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Creator:
Print made by William Blake, 1757–1827
Title:
"One hair nor particle of dust..." (Plate 14)
Part Of:

Collective Title: Jerusalem: The Emanation of The Giant Albion, Copy E

Date:
1804 to 1820
Materials & Techniques:
Relief etching printed in orange ink, with watercolor, pen and black ink, and gold on moderately thick, smooth, cream wove paper
Dimensions:
Sheet: 13 1/2 x 10 3/8 inches (34.3 x 26.4 cm), Plate: 8 7/8 x 6 1/2 inches (22.5 x 16.5 cm)
Inscription(s)/Marks/Lettering:

Lettered upper right: "14"; inside image: "One hair nor particle of dust, not one can pass away. | He views the Cherub at the Tree of Life, also the Serpent, | Orc the first born coil'd in the south: the Dragon Urizen: | Tharmas the Vegetated Tongue, even the Devouring Tongue: | A threefold region, a False brain: a False heart: | And false bowels: altogether composing the False Tongue, | Beneath Beulah: as a wat'ry flame revolving every way, | And as dark roots and stems: a Forest of affliction: growing | In seas of sorrow. Los also views the Four Females: | Ahania, and Enion, and Vala and Enitharmon lovely, | And from them all the lovely beaming Daughters of Albion. | Ahania & Enion & Vala, are three evanescent shades: | Enitharmon is a vegetated mortal Wife of Los: | His Emanation, yet his Wife till the sleep of Death is past. | Such are the Buildings of Los: & such are the Woofs of Enitharmon. | And Los beheld his Sons, and he beheld his Daughters: | Every one a translucent Wonder: a Universe within, | Increasing inwards, into length, and breadth, and heighth: | Starry & glorious: and they, every one in their bright loins, | Have a beautiful golden gate which opens into the vegetative world: | And every one a gate of rubies & all sorts of precious stones | In their translucent hearts, which opens into the vegetative world: | And every one a gate of iron dreadful and wonderful | In their translucent heads, which opens into the vegetative world. | And every one has the three regions Childhood: Manhood: & Age. | But the gate of the tongue, the western gate in them is clos'd, | Having a wall builded against it : and thereby the gates | Eastward & Southward & Northward, are incircled with flaming fires. | And the North is Breadth, the South is Heighth & Depth : | The East is Inwards : & the West is Outwards every way. | And Los beheld the mild Emanation Jerusalem eastward bending | Her revolutions toward the Starry Wheels in maternal anguish, | Like a pale cloud arising from the arms of Beulah's Daughters: | In Entuthon Benython's deep Vales beneath Golgonooza."

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1992.8.1(14)
Classification:
Prints
Collection:
Prints and Drawings
Subject Terms:
clouds | earth | literary theme | men | meteorology | moon | nudes | planets | rainbow | religious and mythological subject | science | sky | stars | text | wings | women
Access:
Accessible in the Study Room [Request]
Link:
https://collections.britishart.yale.edu/catalog/tms:3442
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William Blake insisted that Jerusalem, his final prophetic book, was divinely inspired. Of the five copies he printed in his lifetime, only the edition now at the Yale Center for British Art was colored. Blake described his narrative as a “Sublime Allegory,” which he divided into four chapters that correspond to spiritual stages of human history, addressed “To the Public,” “To the Jews,” “To the Deists,” and “To the Christians.” The text has been linked to biblical precedents, particularly the Book of Revelation, as it begins after a universal fall and ends with redemption. However, Jerusalem is not a straightforward expression of Christian devotion. The illuminated text offers a critique of organized religion at a moment of spiritual uncertainty across Europe. Blake called for radical religious reform by liberating faith from the corruption and dogmatism of institutional churches and reimagining it in modern terms.

Gallery label for the Critique of Reason: Romantic Art (Yale Center for British Art, 2015-03-06 - 2015-07-26)

The Critique of Reason : Romantic Art, 1760–1860 (Yale University Art Gallery, 2015-03-06 - 2015-07-26) [YCBA Objects in the Exhibition]

William Blake (Tate Britain, 2000-11-02 - 2001-02-04) [YCBA Objects in the Exhibition]

The Human Form Divine - William Blake from the Paul Mellon Collection (Yale Center for British Art, 1997-04-02 - 1997-07-06) [YCBA Objects in the Exhibition] [Exhibition Description]


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