DOI Page / Citation link:
https://doi.org/10.11588/diglit.31843#0080
ENGRAVED DESIGNS OF WILLIAM BLAKE
Below, The Lion. Same signature and imprint.
4§ X 2§ in.
The diminutive and improbable lion of this design has as little
character as the unfortunate tiger of the Songs of Experience. Blake
was far happier with horses (see No. 99 below), in spite of his pre-
ferring the “ tigers of wrath to the horses of instruction.”
98. The Hermit’s Dog.
The dog, Hero, standing over a vulture he has killed by the dead
body of his master and barking defiance at a second vulture which
attacks him from above. An anchorite comes on the scene from the
left. Below, The Hermit's Dog. Same signature and imprint.
4f X 2& in.
99. The Horse.
The horse, who has thrown his rider, checks his wild career and
stands “ fondly tame ” before the “ maternal virtue ” in the face of
Marcella, who has put her frightened child behind her. Above,
trees grow from a high bank. Below, The Horse. Same signature and
imprint.
4i X 2! in.
See reproduction, Plate 13.
Blake considered this print “ one of my best; I know it has cost
me immense labour.” It is indeed the finest of the series. Mr.
Sturge Moore (Art and. Life, p. 226) notes that “ Blake knew little
about the anatomy of horses ; yet he has been strangely fortunate in
treating them.”
100. Chaucer's Canterbury Pilgrims.
Described by Blake himself in a Prospectus 1: “ The time chosen
is early morning, before sunrise, when the jolly company are just
quitting the Tabarde Inn. The Knight and Squire with the Squire’s
Yeoman lead the Procession; next follow the youthful Abbess, the
nun, and three priests ; her greyhounds attend her :
* Of small hounds had she that she fed
With roast flesh, milk, and wastel bread.'
Next follow the Friar and Monk; then the Tapiser, the Pardoner,
and the Somner and Manciple. After these 4 Our Host/ who
1 The description is repeated from the Descripdve Catalogue of 1809.
60
Below, The Lion. Same signature and imprint.
4§ X 2§ in.
The diminutive and improbable lion of this design has as little
character as the unfortunate tiger of the Songs of Experience. Blake
was far happier with horses (see No. 99 below), in spite of his pre-
ferring the “ tigers of wrath to the horses of instruction.”
98. The Hermit’s Dog.
The dog, Hero, standing over a vulture he has killed by the dead
body of his master and barking defiance at a second vulture which
attacks him from above. An anchorite comes on the scene from the
left. Below, The Hermit's Dog. Same signature and imprint.
4f X 2& in.
99. The Horse.
The horse, who has thrown his rider, checks his wild career and
stands “ fondly tame ” before the “ maternal virtue ” in the face of
Marcella, who has put her frightened child behind her. Above,
trees grow from a high bank. Below, The Horse. Same signature and
imprint.
4i X 2! in.
See reproduction, Plate 13.
Blake considered this print “ one of my best; I know it has cost
me immense labour.” It is indeed the finest of the series. Mr.
Sturge Moore (Art and. Life, p. 226) notes that “ Blake knew little
about the anatomy of horses ; yet he has been strangely fortunate in
treating them.”
100. Chaucer's Canterbury Pilgrims.
Described by Blake himself in a Prospectus 1: “ The time chosen
is early morning, before sunrise, when the jolly company are just
quitting the Tabarde Inn. The Knight and Squire with the Squire’s
Yeoman lead the Procession; next follow the youthful Abbess, the
nun, and three priests ; her greyhounds attend her :
* Of small hounds had she that she fed
With roast flesh, milk, and wastel bread.'
Next follow the Friar and Monk; then the Tapiser, the Pardoner,
and the Somner and Manciple. After these 4 Our Host/ who
1 The description is repeated from the Descripdve Catalogue of 1809.
60