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.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (1926 facsimile). The two are framed by thick green vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Trees give the cottage shade from the sun. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
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 of The Lamb, for example, has much brighter colors compared to the 1954 facsimile, drawing the eye to the illustration more strongly. It also lacks the wash of color behind the cottage that can be seen in the 1954 reproduction, representing the sky or a mountain.
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.
On the title page of Songs of Innocence (1926 facsimile), a mother, clad in a long pink gown and a white bonnet, sits upright in a chair while children kneel by her feet. In her lap is a large book in which the children appear to be engrossed. Behind the scene of the mother and children reading together is a deep blue colored lake. In the foreground of the illustration is a tree trunk that appears old and rotten, but has a large fertile branch extending from it. The branch splits into several parts that form the title, Songs of Innocence. Small human figures and birds perch on the various letters that make up the word Songs. The effect is calm, peaceful, and full of promise.
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 1954 version, for example, this title page has a much more pastel overtone.
This image from the 1974 facsimile of Jerusalem is on the verso of a trial proof for the lower portion of Plate 41 of Jerusalem, which begins “Bath who is Legions . . “ The image on the verso here is of a portion of the frontispiece to Blake’s Europe, a Prophecy. The image from Europe was clearly on a waste proof (one Blake never intended to use), so he tested an image from Jerusalem on the other side. This material from the 1974 facsimile of Jerusalem is an interesting demonstration of Blake’s working methods. Blake, who always struggled financially, reused precious materials and paper when he could.
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 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.
In this image from Jerusalem, a man opens an arched door that leads to a dark room. Blake scholars theorize that this man is Los, mainly because of the glowing orb he holds in his right hand. The orb casts light and shadows across the doorway as Los steps within. This image from the 1974 facsimile should be compared to the colored facsimile in the library’s collections from 1951. Like the title page of the 1974 edition, the colors are more limited in range to yellows and gold, but the effect of light entering a darkened space is just as effective.
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 title page from Jerusalem (1974 facsimile) depicts Jerusalem (the female “emanation of the Giant Albion” in the subtitle of the poem) as a butterfly surrounded by figures who are mourning and flying about in distress. Jerusalem is in her unawakened state, separated from Albion. This image from the 1974 facsimile should be compared to the colored facsimile in the library’s collections from 1951. The comparison shows how different Blake’s use of color could be from copy to copy. Here it is more subtle and uses shades of yellow and gold instead of a full rainbow to suggest Jerusalem’s potential.
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.
The Trianon Press produced four different versions of Jerusalem. Blake only completed one full colored copy of the work, which never sold. A few uncolored versions, or tinted only in black and gray, also exist. This facsimile is of an incomplete set of colored prints for the poem (copy B) and includes four watercolor proofs for images that Blake printed on the verso of waste proofs from his Europe, a Prophecy. These trial proofs for Jerusalem show Blake’s re-use of precious paper. The facsimile at Union College was purchased by the Friends of the Library in 1974. Union also holds two copies of an introduction to and commentary on Jerusalem, written by Joseph Wicksteed, and published by the Trianon Press in 1953. These copies were donated to the library by Hans Rozendaal and Walter Tower.
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 more information.
The Trianon Press produced four different versions of Jerusalem. Blake only completed one colored copy of the work, which never sold. A few uncolored versions, or tinted only in black and gray, also exist. This facsimile is of uncolored version copy C, but it also includes a transcription of each plate. It was donated to the library by Walter Tower. Union also holds two copies of an introduction to and commentary on Jerusalem, written by Joseph Wicksteed, and published by the Trianon Press in 1953. These copies were donated to the library by Hans Rozendaal and Walter Tower.
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 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.
In this image from Jerusalem, a man opens an arched door that leads to a dark room. Blake scholars theorize that this man is Los, mainly because of the glowing orb he holds in his right hand. The orb casts light and shadows across the doorway as Los steps within. This image from the 1952 facsimile should be compared to the colored facsimiles in the library’s collections from 1951 and 1974. Without full color, some details are lost and the orb seems a much flatter object. The space that Los is moving through also seems more mysterious.
This title page depicts Jerusalem (the female “emanation of the Giant Albion” in the subtitle of the poem) as a butterfly surrounded by figures who are mourning and flying about in distress. Jerusalem is in her unawakened state, separated from Albion. This image from the 1952 facsimile should be compared to the colored facsimile in the library’s collections from 1974. Although the image shows a lot of detail, without color some of the impact is lost.
This image is from the beginning of Blake’s illustrations to “Ode on a Distant Prospect of Eton College,” which is included in Thomas Gray’s Poems (1972 facsimile). It depicts the life of the young scholars at Eton (which Gray himself had attended) as idyllic and inspired. A figure likely representing Henry VI, founder of the college in 1440, floats nearby as a still-revered “holy shade” looking over them. The poem turns much darker as Gray reflects on how life experiences will change these happy youth.
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.
On the left of this image from Blake’s Illustrations of the Book of Job (1987 facsimile), Job and his wife are praying. Job has been begging for answers for his questions, specifically three of them: why was he born, how can he be square with God, and will he live again once he dies. Out of a whirlwind, represented by the radiating circles behind him, God comes to respond to Job’s questions.
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.
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 engraving from Blake's Illustrations of Dante (1978 facsimile) is also a depiction of the eighth circle of Hell in the Divine Comedy. The two devils are flying over boiling seas and are attacking each other because they are unable to find anyone else upon which to bestow their wrath. In the background, to the right of the devils, is a group of other devils on flaming hills; they are watching the fight as if it were a show. Even further in the distance, on a path in the center, are Virgil and Dante, also watching. This image is a good example of the varying degree of detail in Blake’s work on the Divine Comedy. The devils in the center of the image are very detailed, but it is apparent that he didn’t spend much time on this image other than that. The other demons sitting on the hill are mere rushed sketches, and there is only an outline of Virgil and Dante walking the path.
This engraving from Illustrations of Dante (1978 facsimile) is Blake’s depiction of the eighth circle of Hell in the Divine Comedy, which is where thieves go. Agnolo Brunelleschi, the man in the center of the image who is being attacked by the “six footed serpent,” was a thief condemned to be punished in this way for eternity. The cloaked men standing to the left of Brunelleschi are Dante and Virgil, and the men standing to the right of Brunelleschi are his accomplices. This plate is an example of the detailed attention Blake gave to gruesome scenes; the man being attacked is portrayed in agonizing detail, compared to the snakes on the ground.
This engraving from Illustrations of Dante (1978 facsimile) is Blake’s representation of a moment during Dante’s progress through the second circle of Hell, or Lust, in the Divine Comedy. His guide, Virgil, shows Dante the souls of those who have sinned through passion and who are forever trapped in a “Whirlwind of Lovers,” as this image is also called. Dante has fainted on the grass out of compassion. Blake took a dynamic approach to visualizing this circle of Hell. It is much more subdued and less gruesome than the late circles of Hell that he depicts.
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.
The man to the left is playing a harp in a hut in this image from Wollstonecraft’s Original Stories from Real Life. The woman, Mrs. Mason, is following the sound after an accident to her carriage. In the background are the ruins of a building and a garden. In the accompanying story, which Mrs. Mason tells to her two young charges, she learns that the man has suffered numerous misfortunes at the hand of a tyrant. In compassion and gratitude for the man’s hospitality, Mrs. Mason helps him make a new start in life.