Linnell introduced him to many of his young friends, who, catching the infection, hailed Blake as a master and sat at his feet to learn. We note this deference because it is what Blake so richly deserved; but even among his new young friends there was nothing like complete discipleship. Blake's art was an inseparable part of his whole passionate, chequered spiritual life. No one whose inner life does not repeat the same broad outlines can really approach near to him as an artist. James Holmes, with his easy, superficial, courtly life, might teach Blake to brighten his water-colours, but he was completely outside of his spiritual travail, and could only wonder mildly why young idealists like Calvert, Palmer, and Richmond could be so preoccupied with Blake's half-crazed thoughts.
Even among those chosen three, there were no sons of thunder.
Edward Calvert caught Blake's spirit in his lovely and simple woodcuts, but quite rightly followed his own bent, which led him ultimately along a different path from Blake's zigzag lightning tract. The master always transpierced Nature, and lived in a transcendental region: Calvert, serene and calm, detected the heart of the Divine beating equally in Nature, and reproduced what he heard and saw in musical and sweet landscapes, where storms never come, and which modern artists would probably prefer to see disturbed by an earthquake.
Samuel Palmer, with youthful impulse and generosity, gave himself to Blake, and, rendered receptive by his love and enthusiasm, soon assimilated all the master's principles. Palmer's rich nature allowed of much reverence for Linnell too, and in his early work it is easy to find examples first of Blake's influence and then of Linnell's. Like Calvert, he was deeply and equably devout. He did not demand that austerity which drew Linnell to the baptist, John Martin; nor that passion for which Blake went to hell. The gentler elements of his soul led him away from harsh sects to the more temperate Church of England, which can, among other things, still nourish those souls that require the kind of diet that George Herbert could provide so bountifully.
We look with extreme interest to see how Blake's professed disciples set about to unite their religion and art. They did it as many other Christian artists have done it, as Fra Angelico did supremely well; yet they missed Blake's daemonic energy, and so have failed to meet that demand of our own age which will at all cost have passion for the driving force of religion if it is to have religion at all. Samuel Palmer painted and etched some exquisite pictures; but he was in after years gently apologetic for Blake's _Marriage of Heaven and Hell_, and he left the problem of the synthesis of religion and art in the light of Christianity precisely where it was left by the best Italian Christian artists.