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Creator:
Print made by William Blake, 1757–1827
Title:
"What do I see! The Briton Saxon Roman Norman..." (Plate 92)
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 and pen and black ink 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 x 5 3/4 inches (20.3 x 14.6 cm)
Inscription(s)/Marks/Lettering:

Inscribed in orange ink, upper right: "92"

Lettered inside image: "What do I see! The Briton, Saxon, Roman, Norman amalgamating | In my Furnaces into One Nation, the English : & taking refuge | In the Loins of Albion. The Canaanite united with the fugitive | Hebrew, whom she divided into Twelve, & sold into Egypt, | Then scatter'd the Egyptian & Hebrew to the four Winds: | This sinful Nation Created in our Furnaces & Looms is Albion. | So Los spoke. Enitharmon answer'd in great terror in Lambeth's Vale | The Poet's Song draws to its period & Enitharmon is no more. | For if he be that Albion I can never weave him in my Looms, | But when he touches the first fibrous thread, like filmy dew | My Looms will be no more & I annihilate vanish for ever. | Then thou wilt Create another Female according to thy Will. | Los answer'd, swift as the shuttle of gold. Sexes must vanish & cease | To be, when Albion arises from his dread repose, O lovely Enitharmon ; | When all their Crimes, their Punishments their Accusations of Sin, | All their Jealousies, Revenges, Murders, hidings of Cruelty in Deceit, | Appear only in the Outward Spheres of Visionary Space and Time, | In the shadows of Possibility by Mutual Forgiveness for evermore, | And in the Vision & in the Prophecy, that we may Foresee & Avoid | The terrors of Creation & Redemption & Judgment. Beholding them | Display 'd in the Emanative Visions of Canaan, in Jerusalem & in Shiloh, | And in the Shadows of Remembrance, & in the Chaos of the Spectre, | Amalek, Edom, Egypt, Moab, Ammen, Asshur, Philistea, around Jerusalem: | Where the Druids rear'd their Rocky Circles to make permanent Remembrance | Of Sin, & the Tree of Good & Evil sprang from the Rocky Circle & Snake | Of the Druid, along the Valley of Rephaim from Camberwell to Golgotha, | And framed the Mundane Shell Cavernous in Length, Breadth & Highth."; center right: "Jerusalem"

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1992.8.1(92)
Classification:
Prints
Collection:
Prints and Drawings
Subject Terms:
arch | clouds | gown | heads | literary theme | religious and mythological subject | seated | serpent | sky | snake | text | women
Access:
Accessible in the Study Room [Request]
Link:
https://collections.britishart.yale.edu/catalog/tms:3528
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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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