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JOHN VARLEY of the "OLD SOCIETY" by ADRIAN BURY Author of "Water Colour Painting of Today," "Oil Painting of Today," "The Art of Reginald G

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JOHN VARLEY of the JOHN VARLEY of the "OLD SOCIETY" by ADRIAN BURY Author of "Water Colour Painting of Today," "Oil Painting of Today," "The Art of Reginald G. Eves, R.A.," "Thomas Collier, R.I.," "Leaves of Syon," etc. / LEIGH-ON-SEA F. LEWIS, PUBLISHERS, LIMITED THE TITHE HOUSE JOHN VARLEY : THE ASTROLOGER L artists must be seers of a kind. In looking into the mysteries of form and colour, light and shade, studying the miracle of nature, their minds are drawn toward things occult. The best of our landscape painters, in the poetic sense of a Turner or a Constable, develop and encourage a perception beyond average normal experience. Nor does this experience necessarily depend on any religious belief. In some cases, as with Blake and Linnell, a profoundly Christian attitude helps to stimulate their faculties in a certain direction. Though Varley had those virtues that make for Christian conduct, he was an agnostic. He had no beliefs, but a great reverence in the presence of nature as a manifestation of some inscrutable power. Varley, developing a taste for science and invention, adopted the view that everything could be explained ultimately by energetic and sincere enquiry. It will be recalled that a genius for science was nounced in the Varley family. His father and uncle, Richard and Samuel Varley, were scientifically minded. His brother Cornelius, was a tinguished scientist, and this talent has persisted throughout later generations of the Varleys. John Varley believed that astrology was a vehicle of acquiring greater knowledge, and he studied it with as much enthusiasm as he devoted to painting. He was quite convinced about the influence of the stars on human beings, and wherever he went, at whatever table he sat as guest, it was not long before he began to talk about astrology. His pockets were always crammed with old almanacs that he might work out a horoscope for a friend or pupil, having ascertained the precise hour, date and place of birth. by so fascinating a character must have been sistible to the ladies, and though the statement by Gilchrist that Varley was in the habit of taking fees as a professional soothsayer has been contradicted by later authorities, we can well imagine that his passion for gazing into the future was no disadvantage to him as a drawing master. The Messrs. Redgrave state that uvarley was shrewd enough to see, and candid enough to own that his astrology was one of the causes of his popularity." uLadies came to him to take drawing lessons," he said, ttthat they might get their nativities cast." This interest in things occult as well as in art brought him an abiding friendship with William Blake. It was about the year 1818 that John Linnell introduced Varley to Blake, and this friendship lasted until Blake's death in 1827. Such a companionship should dispose once and for all of any gestion that Varley was merely an opportunist in matters occult. In 1818 the was living in South Molton Street, not far from Varley, in Great Titchfield Street. It was at the latter house in 1820 that Blake drew the Visionary Heads of famous and infamous characters. Listening to Blake's stories of apparitions, Varley urged him to make sketches of them. 49 Gilchrist relates that "Blake's visionary faculty was so much under control that, at the wish of a friend, he could summon before his abstracted gaze any of the familiar forms and faces he was asked for. This was during the favourable and befitting hours of the night ; from nine to ten in the evening until one or two, or perhaps three or four o'clock in the morning; Varley sitting by, sometimes slumbering, sometimes waking. Varley would say, 'Draw me Moses,' or David ; or would ca11 for a likeness of Julius Caesar, or Cassibellaunus or Edward the Third, or some other great historical personage. Blake would answer, 'There he is!' and paper and pencil being at hand, he would begin drawing with the utmost alacrity, as though he had a real sitter before him." John Linnell was also greatly interested in these strange affairs, and could one have been present at those seances one would have been impressed by three differently inspired personalities, united, however, in their love of art, nature and truth, and earnestly trying to probe the mystery of life and death. Blake with his massive forehead and brilliant eyes; Varley, some in form, an excited and eloquent talker ; Linnell, very intelligent, original and deferential, adding here and there a fine point to the discussion, "forbearing to contradict Blake's stories of his visions, etc., but trying to make reason out of The Visions came at Blake's call. If the phantom disappeared before the sketch was finished, Blake would say, "I can't go on-it is gone"; "I must wait till it returns," or "it has moved-the mouth is gone" ; or "he frowns; he is displeased with my portrait of him." When Linnell moved to Collins's Farm, Hampstead, the three artists frequently met there, and a fourth was admitted to their friendship during the last year of Blake's life. He was the young Samuel Palmer, and A. H. Palmer, his son, has left this charming record of his father's visits with Blake to Co1lins's Farm. Samuel Palmer was living in Broad Street, Bloomsbury, at the time. "Fortunately for my father," writes A. H. Palmer, "Broad Street lay in Blake's way to Hampstead, and they often walked up to the village together. The aged composer of the Somgs of Innocence was a great favourite with the children, who revelled in those poems of the lovely spiritual things and beings that seemed to him so real and so near. Therefore as the two friends reached the farm, a merry troop turned out to meet them led by a little fair#haired girl of some six years old. To this day she remembers cold winter nights when Blake was wrapped up in an old shawl by Mrs. Linnell, and sent on his homeward way, with the servant, lantern in hand, lighting him across the heath to the main road."* What are we to make of those Visionary Heads? They certainly have a sense of character, individually and collectively. Truly, as contemporary critics said, they are typical of Blake's hand and mind as seen in his other work. But to the sceptics Blake merely answered, "It must be right : I saw it so." Suffice it to say that in Linnell and Varley, Blake had a sympa# thetic and encouraging audience. Blake's explanation of his visionary powers was that they were only a degree stronger than those possessed by all men. He had exercised and retained his, whereas other men had lost theirs in a *Life and Letters of Samuel Palmer, by A. H. Palmer (1892). 50 ulove of sordid pursuits, pride, vanity and the unrighteous Mammon." Varley, ready to believe anything commonly thought to be impossible, followed Blake's mood. He could not see the visions himself, but would look wistfully into space, and make notes of persons delineated and the times of their appearance as Blake dictated. For instance, W at Tyler by Blake, from his spectre, as in the act of striking the tax gatherer, drawn October 30, 1819, 1 h. a.m. On another drawing he inscribed, The Man who Built the Pyramids, Oct. 18, 1819, fifteen degrees of 1. Cancer ascending. There is a Visionary H ead of Richard Coeur de Lion, drawn from his spectre -W. Blake fecit, Oct. 14, 1819, at a quarter past twelve, midnight. Some of the portraits are straightforward presentations of the natural face, others have a symbolical attribute. That of_Edward the Third shows the arch's cranium swollen to immense proportions though the rest of the features are naturalistic. This exaggeration was to suggest the tyrannical attitude of the king. Most curious of all the visions is the well,known Ghost of a Flea, or personified flea. Blake's idea in regard to this fantastic drawing is as follows : "The spirit visited his (Blake's) imagination in such a figure as he never anti- cipated in an insect. As I was anxious to make the most correct investigation in my power, of the truth of these visions, on hearing of this spiritual apparition of a flea, I asked him if he could draw for me the resemblance of what he saw: he instantly said, 'I see him now before me.' I therefore gave him paper and a pencil, with which he drew the portrait. I felt convinced, by his mode of proceeding, that he had a real image before him ; for he left off, and began on another part of the paper, to make a separate drawing of the mouth of the flea, which the spirit having opened, he was prevented from proceeding with the first sketch till he had closed it. During the time occupied in completing the drawing, the flea told him that all fleas were inhabited by the souls of such men as were by nature blood- thirsty to excess, and were therefore providentially confined to the size and form of insects ; otherwise were he himself, for instance, the size of a horse, he would depopulate a great portion of the country. He added that, if in attempting to leap from one island to another, he should fall into the sea, he could swim, and should not be lost. This spirit afterwards appeared to Blake, and afforded him a view of his whole figure."* These drawings deeply impressed Varley.
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