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tures, he had changed the room scarcely at all. Curtains and covers, chairs and tables, all preserved the character of the room itself as something that existed outside the idiosyncrasies of the transient inhabitants who read and laughed and ate and talked for so comparatively fleeting a space of time between its four walls. With all that he had imposed of what in the opinion of his contemporaries were eccentricities of adornment, the rooms remained, as he would observe to any critic, essentially the same as his own. Instead of college groups which marked merely by the height of the individual's waistcoat-opening the almost intolerable fugacity of their record, there were Leonardo and Blake and Frederick Walker to preserve the illusion of permanence, or at least of continuity. Instead of the bleached and desiccated ribs of momentarily current magazines cast away in sepulchral indignity, there were a hundred quartos whose calf bindings had the durableness and sober depth of walnut furniture, furniture, moreover, that was still in use. Yet it was in Venner's office where Michael found the perfect fruit of time's infinitely fastidious preservation, the survival not so much of the fittest as of the most expressive. Here, indeed, whatever in his own rooms might affect him with the imagination of the eternal present of finite conceptions, was the embodiment of the possible truth of those moments in which at intervals he had apprehended, whether through situations or persons or places, the assurance of immortality. Great pictures, great music and most of all great literature would always remain as the most obvious pledge of man's spiritual potentiality, but these subtler intimations of momentary vision had such power to impress themselves that Michael could believe in the child Blake when he spoke of seeing God's forehead pressed against the window panes, could believe that the soul liberated from the prison of the flesh had struggled in the very instant of her recapture to state the ineffable. To him Blake seemed the only poet who had in all his work disdained to attempt the recreation of anything but these moments of positive faith. Every other writer seemed clogged by human conceptions of grandeur. Most people, seeking the imaginative reward of their sensibility, would obtain the finest thrill that Oxford could offer from the sudden sight of St. Mary's tower against a green April afterglow, or of the moon-parched High Stre
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