Until the mid-twentieth century, William Blake's madness was taken for granted. As far as most were concerned, he was mad, his work the outpouring of a disturbed psyche. Blake's argument that the devaluing of serious art, and presumed madness of its creators, were products of a Reynoldsian aesthetic is a recurrent theme throughout his annotations, including the comment that ‘Reynolds Wishd none but Fools to be in the Arts & in order to this, he calls all others Vague Enthusiasts or Madmen.’ In ancient Greece, enthusiasm entailed possession by a god; Blake suggests Reynolds equated it with mental illness as a way of denying serious consideration to others. If ‘enthusiasm’ provides little basis for suspecting Blake of insanity, it is nonetheless true he suffered from depression. Psychologists such as Hubert J. Norman suggest Blake's ‘condition may, with little doubt, be classified as one of maniacal-depressive insanity’.