This image is from Blake’s illustrations to “A Long Story,” a comic tale of magic and tangled social relationships in Thomas Gray’s Poems (1972 facsimile). A woman lunges away in fear at the sight of a translucent, ghostly figure on the right who bars the entrance to a chapel door. This alarming “sentry” has flames coming out of his eyes, and is “enough to scare ye,” as the next page of the poem attests.
This image from The Marriage of Heaven and Hell (1960 facsimile) continues the themes of fire and smoke seen throughout the illustrations in this illuminated book. The majority of this particular plate is black text on white, however, smudges of orange and black can be seen in the background.
This image continues Blake’s illustrations to “The Progress of Poesy,” a long Pindaric ode in Thomas Gray’s Poems (1972 facsimile). It has a cold, ice-mountain setting where a figure walks, covered in a wolf skin and playing a trumpet. From the lines Blake marked with an X, it is clear what is going on: “In climes beyond the solar road, / Where shaggy forms o'er ice-built mountains roam, / The Muse has broke the twilight-gloom / To cheer the shiv'ring native's dull abode.”
In this image from the For Children version of The Gates of Paradise (1968 facsimile), an elderly male figure sits at the base of a tree. He wears a long white robe and spectacles, but his eyes are closed. He holds a large pair of scissors, which he is using in an attempt to clip the wings of an angel standing in front of him. The angel’s hands are stretched out, either in sorrow or as protection from the harsh rays of the sun.
This image from the For the Sexes version of The Gates of Paradise (1968 facsimile) is revised from the For Children version with the addition of an explanation, “Perceptive Organs closed their Objects close.” The harmful effect of “aged ignorance” is illustrated, as in the earlier version, by an image of an elderly male figure sitting at the base of a tree. He wears a long white robe and spectacles, but his eyes are closed. He holds a large pair of scissors, which he is using in an attempt to clip the wings of an angel standing in front of him. The angel’s hands are stretched out, either in sorrow or as protection from the harsh rays of the sun.
In this image from Europe, a Prophecy (1969 facsimile), a creature that resembles a bat or a devil sits atop a throne that rests on a cloud. He wears a red robe and has large black wings extending from either side of his body. Blake scholars theorize that this creature is meant to be a caricature of King George III. Beneath him, two angels clad in sheer robes bow before him. They hold scepters that cross and point downwards towards the poetry at the bottom of the plate. The background is jet black darkness.
In this plate from Jerusalem (1951 facsimile), which appears at "The End of the Song of Jerusalem,” the writing at the top of the plate almost disappears out of view like a cloud of smoke as attention is drawn to the center of the page. In this image two figures, male and female, embrace. Their arched posture creates the appearance that they are in a whirlwind of fire. The female figure’s hair blends into the fire and is almost part of it, while the male is protected by his halo from the fire touching him at all. Yet the overwhelming message is of unity as the poem identifies “All Human Forms” as one in “the Life of Immortality.”
This plate from Jerusalem appears at "The End of the Song of Jerusalem.” The emphasis is on the central image of two figures, male and female, who are embracing. Their arched posture creates the appearance that they are in a whirlwind of fire. The female figure’s hair disappears into the fire, while the male is protected by his halo from the fire touching him at all. Yet the overwhelming message is of unity as the poem identifies “All Human Forms” as one in “the Life of Immortality.” This image from the 1952 facsimile should be compared to the colored facsimile in the library’s collections from 1951. Without full color, some of the drama of the image is lost, but overall the message may be even more powerful in its simple unity of color.
At the top of this image from The Marriage of Heaven and Hell (1960 facsimile), a nude female with flowing golden hair is laying down with her limbs outstretched. She is surrounded by flames, some of which drape across her body, although she does not appear to be in pain. At the bottom of the plate, a larger nude female is giving birth. Her child's body language mirrors her own, as both of their arms are reaching towards the sky. In the bottom left corner of the plate, a nude child is mid-stride and appears to be running towards the corner of the plate. He seems to be kissing a spirit-like human with outstretched arms.
Although the images in Blake’s plates do not always seem to relate very clearly to the text, in this case from Jerusalem (1951 facsimile), the male figure at the bottom would seem to represent Albion, calling to his female counterpart Jerusalem in the lines of the poem at the top of the page: “Awake! Awake Jerusalem! O lovely Emanation of Albion / Awake and overspread all Nations as in Ancient Time / For lo: The Night of Death is past and the Eternal Day / Appears upon our Hills! Awake Jerusalem, and come away. / So spake the Vision of Albion . . .” The brilliant sun in this image sends the stars and moon of night sailing off the page.
Although the images in Blake’s plates do not always seem to relate very clearly to the text, in this case from Jerusalem the male figure at the bottom would seem to represent Albion, calling to his female counterpart Jerusalem in the lines of the poem at the top of the page: “Awake! Awake Jerusalem! O lovely Emanation of Albion / Awake and overspread all Nations as in Ancient Time / For lo: The Night of Death is past and the Eternal Day / Appears upon our Hills! Awake Jerusalem, and come away. / So spake the Vision of Albion . . .” This image from the 1952 facsimile should be compared to the colored facsimile in the library’s collections from 1951. Without full color, the brilliance of the sun is less effective and the distinction between day and night is much less clear.
This image from Jerusalem (1974 facsimile) is a trial proof for the lower portion of Plate 41 of Jerusalem, which begins “Bath who is Legions . . .” It was included in this facsimile, in part, as a demonstration of Blake’s working methods. He printed it on the verso of a waste proof of a portion of the frontispiece to his Europe, a Prophecy. The image here depicts a huddled figure next to a scroll which reads, in reverse, “Each Man is in his Spectre’s power . . .”
Note: As of early 2018, none of the material used for this facsimile had been digitized at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of this particular image.
This sketch from The Complete Portraiture of William and Catherine Blake is by William of his wife, Catherine. It appears to be a scene of Catherine sitting on bed getting ready for the day. There is a man lying in the bed next to her, likely Blake. The sketch is very rough and is clearly more of a concept than a detailed portrait of the couple. This intimate scene of the two together in bed expresses how happy they were together. Many sources show how helpful Catherine was to Blake’s works, and this image of a mundane activity emphasizes their closeness. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
At the top of this image from Blake’s Illustrations of the Book of Job (1874 reprint), God is pointing down two of his creations, Behemoth and Leviathan. Behemoth is the creature who appears to have attributes of real animals such as a rhino, elephant and hippo; under him is Leviathan, an underwater sea monster. Both of these are creatures of chaos, who can only be created and destroyed by God himself. The group of people below God, who are looking at the creatures, consists of Job, his wife, and family. Blake surrounds the central image with his own selection of texts.
At the top of this image of a detail from Blake’s Illustrations of the Book of Job (1987 facsimile), God is pointing down two of his creations, Behemoth and Leviathan. Behemoth is the creature who appears to have attributes of real animals such as a rhino, elephant and hippo; under him is Leviathan, an underwater sea monster. Both of these are creatures of chaos, who can only be created and destroyed by God himself. The group of people below God, who are looking at the creatures, consists of Job, his wife, and family. Blake surrounds the central illustration with his own selection of texts.
Close comparison of this image, from the high-quality 1987 facsimile, with that in the 1874 reprint made using Blake's original plates – both of which are in the library's collections – reveals that facsimiles will always fall somewhat short of the “real thing.” The added accessibility of and research material included with the 1987 facsimile, however, makes it an invaluable resource.
This image from The Book of Thel (1965 facsimile) is reminiscent of previous lines in the poem, wherein Thel is “like a watry bow ... like shadows in the water.” In the poetry featured on this plate, Thel is speaking to the Worm and the Clod of Clay. Both creatures are attempting to use their experiences in the natural world’s life cycle to comfort Thel about her mortality. They cite a higher purpose that makes their lowly state seem important in the grand scheme of things. The art features Thel facing her own reflection in a still body of water. A radiant sunrise or sunset fills the backdrop and features bright pinks and softer blues. Drooping trees line the bank of the lake. Human figures lay at the feet of Thel, extending their arms towards her.
This illustration from Edward Young’s Night-Thoughts (2005 facsimile) is for Night II (page 36 in the intended publication). The text, a testament to friendship, is surrounded by grapevines. At the bottom of the page, “Philander” and a friend are toasting each other with “the generous blood of Bacchus” (or wine, Bacchus being the Roman god of wine).
This illustration from Edward Young’s Night-Thoughts (2005 facsimile) is for Night V (page 44 in the intended publication). The image is of a man in blue surrounded by numerous books, with a pile in front of him, which he is leaning upon, and a bookshelf behind him. The line Blake is illustrating is marked, “But you are learn’d; in Volumes deep you sit.” An owl, representing learning or wisdom, is perched at the top of the text, and some of the books' authors can be made out: Plato, Aristotle, Cicero, and Plutarch.
In this small decorative piece from Lavater’s Essays on Physiognomy, an arm clothed in a white, loose sleeve is holding a candle. The candle is lit and the light of the candle appears to be attracting four moths that fly dangerously close to the flame. Blake would have received a commission to engrave this image from a design by someone else. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
This sketch, from The Complete Portraiture of William and Catherine Blake, was made of Catherine Blake by Frederick Tatham in 1828. Frederick Tatham was a sculptor and friend of William and Catherine in the last years of their life together. This sketch shows Catherine as an aged woman in the year after Blake’s death in 1827. There are not many portraits of Catherine; however, compared to other images of her, this one makes her look hardened and frail (she was in her 60s at the time). Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
This sketch of Blake’s wife Catherine, from The Complete Portraiture of William and Catherine Blake, was done in 1803 by William Blake. It is thought that she is shown knitting or sewing. It was drawn by Blake while they were living in Sussex. The same calm presence appears to be evoked in this drawing of Catherine as is evoked in their bedroom scene together. She is idealized as a young woman (she was 40 at the time this sketch was done) who appears to be unaware that Blake is drawing an image of her. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
This portrait of Democritus is featured in Lavater’s Essays on Physiognomy. Blake engraved it, on commission, after a portrait by Rubens. As Lavater notes in his accompanying text, the image depicts not the philosopher, but “Democritus the Laugher.” Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
Pages 8-9 from Palmer’s Sketchbook (1962 facsimile) show Palmer’s interest in the divine. On the left are sketches of both a sun and a moon, either rising or setting. On the right is a radiant picture of nature overlooked by a figure holding what is believed to be a Bible. The left side is more light, airy, and open than the right side, which is more intense and filled with detail. The greater detail on the right could be an indication that Palmer was exploring the divine in a more focused way. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
In this image from The Book of Urizen (1958 facsimile), a muscular and naked figure, possibly Urizen himself, is diving, falling, or lingering above the earth. His hands are extended in front of him in order to brace himself on two rocks. He is surrounded by dark clouds. This image is part of a series in this work depicting the chaotic strife among the forces that are in conflict with each other.