DOI Page / Citation link:
https://doi.org/10.11588/diglit.31843#0098
ENGRAVED DESIGNS OF WILLIAM BLAKE
131. Plate 5. “ He eyed the serpent and the serpent him.”
Hell, Canto XXV, 1. 82.
Buoso is attacked by Francesco di Cavalcanti in the form of a
serpent. Puccio, Dante and Virgil look on, left.
9IX13I in.
See reproduction, Plate 35.
The drawing is in the National Gallery of British Art.
132. Plate 6. ** Then two I marked, that sat
Propped 'gainst each other.”
Hell, Canto XXIX, 1. 71.
In the circle of the Falsifiers (alchemists, etc.), Dante and Virgil
look down (holding their noses) on Griffolino and Capocchio scratch-
ing themselves, back to back. At the left human forms petrified into
rock.
9§X13Iin.
First State: The three figures at the extreme left are slightly
indicated only,
Second State : These figures are worked on, and the shadows on
the rock above deepened.
See reproduction, Plate 36.
The drawing is in the National Gallery of British Art.
133. Plate 7. ** * Wherefore dost bruise me i ' weeping, he exclaimed.”
Hell, Canto XXXII, 1. 79.
The cry comes from Bocca degli Abati, frozen up to the neck in
the lowest circle of Hell, when Dante by inadvertence strikes his head
with his foot.
9IX13I in.
See reproduction, Plate 37.
The drawing is in the Birmingham Gallery.
134. Jesus trampling upon Urizen.
Jesus with a bow in his left hand and an arrow in his right tramples
on Urizen, who lies groaning on the ground.
9§X 5§ in.
Russell entitles this ** Christ with a bow, trampling upon Satan,”
and refers to Milton, Paradise Lost, Book VI, 763. Only the bow,
however, suggests that Milton may have been in Blake's mind. The
prostrate figure resembles the Urisen of the Prophetic Books, but is
78
131. Plate 5. “ He eyed the serpent and the serpent him.”
Hell, Canto XXV, 1. 82.
Buoso is attacked by Francesco di Cavalcanti in the form of a
serpent. Puccio, Dante and Virgil look on, left.
9IX13I in.
See reproduction, Plate 35.
The drawing is in the National Gallery of British Art.
132. Plate 6. ** Then two I marked, that sat
Propped 'gainst each other.”
Hell, Canto XXIX, 1. 71.
In the circle of the Falsifiers (alchemists, etc.), Dante and Virgil
look down (holding their noses) on Griffolino and Capocchio scratch-
ing themselves, back to back. At the left human forms petrified into
rock.
9§X13Iin.
First State: The three figures at the extreme left are slightly
indicated only,
Second State : These figures are worked on, and the shadows on
the rock above deepened.
See reproduction, Plate 36.
The drawing is in the National Gallery of British Art.
133. Plate 7. ** * Wherefore dost bruise me i ' weeping, he exclaimed.”
Hell, Canto XXXII, 1. 79.
The cry comes from Bocca degli Abati, frozen up to the neck in
the lowest circle of Hell, when Dante by inadvertence strikes his head
with his foot.
9IX13I in.
See reproduction, Plate 37.
The drawing is in the Birmingham Gallery.
134. Jesus trampling upon Urizen.
Jesus with a bow in his left hand and an arrow in his right tramples
on Urizen, who lies groaning on the ground.
9§X 5§ in.
Russell entitles this ** Christ with a bow, trampling upon Satan,”
and refers to Milton, Paradise Lost, Book VI, 763. Only the bow,
however, suggests that Milton may have been in Blake's mind. The
prostrate figure resembles the Urisen of the Prophetic Books, but is
78