The frontispiece to Visions of the Daughters of Albion (1959 facsimile) depicts a cave that overlooks a large green field. Within the cave are three human figures, all in chains. To the far right is a man with curly hair whose head is bowed so that his face is not visible. This male is likely Theotormon, the object of Oothoon’s desires. Oothoon herself appears to be fully naked and is chained to the arms of another nude figure. This older male figure is likely Bromion, Oothon’s rapist. Dark clouds in the background surround a setting sun as shadows encroach upon the three prisoners, all bound in their separate, psychological and physical ways.
This plate from Blake’s Illustrations to the Bible (1957 facsimile) represents God blessing the seventh day, which is a day for rest. Blake’s image, however, seems anything but restful. A vibrant yellow sunburst full of energy surrounds a soft blue and lavender circle which contains God and other figures looking out. The image utilizes only two main colors to create a dynamic effect. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
In this illustration from Songs of Innocence (1926 facsimile), there are small scenes at the top and bottom of the plate. The top scene shows a line of uniformed boys walking two by two behind two older men wearing long coats, hats, and carrying some form of stick. In the bottom scene, girls walk two by two in the opposite direction as the boys. Leading them is a woman in a very plain dress who appears to be carrying a basket. Between these two orderly scenes is the text of the poem, throughout which small vines are drawn. The title, “Holy Thursday,” is also surrounded by vines beneath the topmost scene.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This copy, for example, puts more emphasis on the leading figure in the bottom scene by making the figure be in black clothing, and the two figures behind have black accents. Compared to the 1954 facsile that has an overall brown hue, this image has a lighter feeling, with the green and blue colors being used. These color choices could possibly be intended to relate back to the title page by representing the sky and trees.
In this illustration from Songs of Innocence (1927 facsimile), there are small scenes at the top and bottom of the plate. The top scene shows a line of uniformed boys walking two by two behind two older men wearing long coats, hats, and carrying some form of stick. In the bottom scene, girls walk two by two in the opposite direction as the boys. Leading them is a woman in a very plain dress who appears to be carrying a basket. Between these two orderly scenes is the text of the poem, throughout which small vines are drawn. The title, “Holy Thursday,” is also surrounded by vines beneath the topmost scene.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This image is very similar to the 1926 reproduction of Holy Thursday, modeled on the same copy by Blake, and emphasizing soft blues and greens in contrast to the text. However, it uses less black for the figures, leaving the black ink of the text to stand out even more. It also is very different from the 1954 version. It appears more divided into three sections, whereas in the 1954 version, which is primarily colored in similar tones, the images and text blend together more seamlessly.
In this illustration from Songs of Innocence (1954 facsimile), there are small scenes at the top and bottom of the plate. The top scene shows a line of uniformed boys walking two by two behind two older men wearing long coats, hats, and carrying some form of stick. In the bottom scene, girls walk two by two in the opposite direction as the boys. They wear long blue dresses with white aprons and bonnets. Leading them is a woman in a very plain dress who appears to be carrying a basket. Between these two orderly scenes is the text of the poem, throughout which small vines are drawn. The title, “Holy Thursday,” is also surrounded by vines beneath the topmost scene.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies.
Two flowers bloom from a patch of grass in the bottom right corner of this plate from Songs of Innocence (1926 facsimile). One flower is still drooping and not fully formed. The other is a magnificent fuchsia and has opened its petals. Between the petals sits a young woman wearing a long yellow gown and holding a newborn child. A female figure with wings wearing a white gown stands across from the woman with arms extended, as if she is waiting to hold the child. The words “Infant Joy” are in light cursive writing at the top of the plate, with the rest of the poem nestled in between the stems of the flowers. The image reflects the “sweet joy” of the poem.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Unlike the 1954 reproduction, for example, the female figure with wings blends into the image because she is not colored in blue. This shifts the emphasis from a three person interaction to the woman holding the newborn and the flower in which she is sitting.
Two flowers bloom from a patch of grass in the bottom right corner of this plate from Songs of Innocence (1927 facsimile). One flower is still drooping and not fully formed. The other is a magnificent fuchsia and has opened its petals. Between the petals sits a young woman wearing a long yellow gown and holding a newborn child. A female figure with wings wearing a white gown stands across from the woman with arms extended, as if she is waiting to hold the child. The words “Infant Joy” are in light cursive writing at the top of the plate, with the rest of the poem nestled in between the stems of the flowers. The image reflects the “sweet joy” of the poem.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Like other images in the 1927 facsimile, for example, this copy of Infant Joy is colored in much darker, richer tones than in the 1954 facsimile. Its flowers and stems are accented with the deepest shades of color, which might normally imply that they are towards the end of their life span. According to the poem, however, this is an occasion of “infant joy.”
Two flowers bloom from a patch of grass in the bottom right corner of this plate from Songs of Innocence (1954 facsimile). One flower is still drooping and not fully formed. The other is a magnificent fuchsia and has opened its petals. Between the petals sits a young woman wearing a long yellow gown and holding a newborn child. A female figure with wings wearing a blue gown stands across from the woman with arms extended, as if she is waiting to hold the child. The words “Infant Joy” are in light cursive writing at the top of the plate, with the rest of the poem nestled in between the stems of the flowers. The image reflects the “sweet joy” of the poem.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies.
Description: Pages 60-61 from Palmer’s Sketchbook (1962 facsimile) are believed to show a judgment scene. They are part of a series of pages that are an exception to the rest of the sketchbook, which normally features scenes of nature. Instead, this series of pages has a clear religious context. It is interesting to think about these pages in relation to Blake’s own intimate connection to religion. Religious concepts were joined to perceptions of nature during the Romantic era, of which both Palmer and Blake were a part. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
Blake includes various notes about his interpretation of the Laocoons sculpture in this engraving (1976 facsimile). He believed the sculpture to depict Jehovah and his two sons, Adam and Satan. Blake’s commentary that surrounds the human figures touches on many subjects, but themes of creativity, art, and the imagination abound in Blakean aphorisms such as “Without Unceasing Practise nothing can be done Practise is Art / If you leave off you are Lost.” “Prayer is the Study of Art Praise is the Practise of Art.” “Art can never exist without / Naked Beauty displayed.” “The Eternal Body of Man is the Imagination, that is God himself.”
In this image from the “experience” section of Songs of Innocence and of Experience (1955 facsimile), an old man with a long beard and a dirty robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man clothed in green warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies.
In this image from the “experience” section of Songs of Innocence and of Experience (1983 facsimile), an old man with a long beard and robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man clothed in green warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Compared to the 1955 reproduction, for example, this “London” utilizes more of the open space. The text is wrapped with a border instead of filled in with color. The scene at the top is also less colorful than the 1955 version; there is also less emphasis on the beam of light. These differences reflect differences in the original copies by Blake that were used as models for each of the two facsimiles.
In this image from the “experience” section of Songs of Innocence and of Experience (1991 facsimile), an old man with a long beard and a dirty blue robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man clothed in green warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Compared to the 1955 reproduction, for example, this image, reproduced from a print made late in Blake’s lifetime, has a more yellow tone, possibly to emphasize the beam of light that is cast over the boy and old man. 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 “experience” section of Songs of Innocence and of Experience (2016 facsimile), an old man with a long beard and robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. In this black and white print, for example, the impact of the beam of light is even more prominent. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image, the frontispiece to Wollstonecraft’s Original Stories from Real Life, the adult woman in the middle is Mrs. Mason and the two children by her side are Mary and Caroline. They appear to be going outside, based upon the flowers and vines that curve in the background. The two girls are literally being led by Mrs. Mason out into the world. The text that accompanies the image is joyful: “Look what a fine morning it is. Insects, Birds, & Animals, are all enjoying existence.” But the girls look up at their guide instead of to nature, in Blake’s beautiful design that nevertheless suggests that they may not be free to enjoy existence fully themselves.
In this image The Book of Urizen (1958 facsimile), Los appears doubled over, perhaps in pain. His hands are pressed against the side of his head with palms flat, as if he is squeezing his head. His sweat and blood drips all down his body and into a glowing orb in the center of the image. This orb is thought to be the growing Enitharmon, who was the first female figure that emerged from the life blood of Los. In a way, this is a creation image.
In this image from The Song of Los (1975 facsimile), Los sits on a cloud with his knees splayed to the side. He clutches his powerful hammer with both hands. Beneath the clouds he sits upon is a glowing red orb. This could be the sun, as Los was thought to have helped create the world, or it could also represent Enitharmon, the female figure Los created from his own blood and tears.
In this image from Jerusalem (1951 facsimile) the figure of the creative spirit Los is shown at his forge, in conflict with opposing energies. The "Spectre" that oppresses him is not, however, necessarily external to him, but part of him. The imagery is one of fire and the poem on the page refers to the “terrible wrath” of Los when confronted with the divisive force of the Spectre. He stamps his feet and throws down his hammer in fury. In the image, however, Los himself appears to be calm and relaxed, perhaps suggesting that he is also “unterrified” by the Spectre, as the next page of the poem reports.
In this illustration of lost love for Ritson’s Select Collection of English Songs, a woman in a dark dress is sitting alone on rocks along the seashore, gazing out to sea. In the ocean to the right side of the image is a corpse floating in the waves, which will likely soon be washed along shore. Images by Blake in this edition were engraved by him on commission, after designs by Thomas Stothard. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
In this lively illustration for Ritson’s Select Collection of English Songs, four couples dance around a Maypole. On the right side of the image is a man playing violin to provide music for the dance. Images by Blake in this edition were engraved by him on commission, after designs by Thomas Stothard. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
In this small decorative piece from Lavater’s Essays on Physiognomy, two bearded men are planting and watering trees. The man on the left appears to be placing a tree into the ground and the man on the right is watering one. On the ground there is a rake and shovel and the area on which they are planting trees appears to be partially surrounded by water. 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.
At the start of Book 1 of Milton (1967 facsimile), the word “Milton” is in large scrawling letters at the top center of the plate. Framing it are two naked human figures, one male and one female. Both have their arms outstretched towards the top corners of the plate with their toes joining amid some vegetation towards the center of the plate. A border of black surrounds sprawling green vines and plants. In the top right of the plate, a bright red star shines brightly through the lush vegetation, holding the promise of what is to come.
While page 28 from Palmer’s Sketchbook (1962 facsimile) devotes an equal amount of space to words and pictures, it appears to emphasize the people in Palmer’s life. Palmer talks about a Mr. Finch and a “Mr. B,” believed to be Blake. Blake may even be represented in the profile portrait on the right. Blake’s suggestions for the way in which natural forms are represented though lines, quoted here, are also captured in sketches on this page. The two bottom, sideways images are believed to be lions. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
In this image at the end of America, a Prophecy (1963 facsimile), a female figure lies hunched over on the edge of a cliff, her hands outstretched in prayer. Tears flow from her eyes and become a waterfall that flows over the edge of the cliff as well. Upon and around her body are several smaller human figures. Several of the smaller figures appear to be reading tablets or books. Others appear to be playing pipes, praying, or herding sheep. Vines and flowers grow throughout the page and even spread into the lines of poetry. There are also several dead trees towards the top of the image. In the poem, revolution and the spirit of liberation have been unleashed, but the ending is not triumphant. The world has been engulfed in the conflict.