245:, describes how his design is to work: "If the Spectator could Enter into these Images in his Imagination approaching them on the Fiery Chariot of his Contemplative Thought then would he arise from his Grave". He relies on the word representation frequently in the work, and he tries to represent action in a visible manner that distances his depiction of the apocalypse from a traditional version that disguises the various components of an apocalyptic vision. To Blake, he must create an image of the Last Judgement, then represent the image, and then describe with a written gloss of the work. This creates a layer of representation that separates the audience from the apocalyptic experience, which undermines the concept of apocalypse as both mysterious and directly experienced.
22:
88:
185:, an early biography on Blake. One piece of the work was missing: part of page 71 was sent by Rossetti to Scudder. Blake discussed the 1808 watercolour sold to Ilives in two works, a poem, "The Caverns of the Grave Ive Seen", written for Ilives provided by Blake with her design. and a description of Ilives's design for Humphry in January 1808.
161:, a work that, in 1809, described Blake's feelings about various painters and poets in addition to descriptions of his own works and their various meanings. Blake planned to create another edition for the 1810 collection but the plan was stopped after the exhibition was cancelled. Notes for what Blake planned to write for the works
282:-like dimension to the work. Blake dismissed the idea of using allegory within his works except, as he wrote in a letter to Butts, 6 July 1803, "Allegory Address'd to the intellectual powers, while it is altogether hidden from the Corporeal Understanding, is My Definition of the Most Sublime Poetry".
297:". Both claim that their understanding of time is connected to the common, contemporary view, but they alter their perspective of time within their works to that of an older person. The figure of time appears in other works by Blake, including as the figure Los and in the illustration Blake made for
248:
In discussing the nature of time, Blake wrote in his notes: "The Greeks represented
Chronos or Time as a very Aged Man; this is Fable, but the Real Vision of Time is in Eternal Youth. I have, however, somewhat accommodated my Figure of Time to the common opinion, as I myself am also infected with it
257:
Blake based his portrayal of the apocalypse on his belief that God's love allowed for a personal apocalypse as part of the human experience. In the notes to the work, he claimed that "whenever any
Individual Rejects Error & Embraces Truth a Last Judgement passes upon that Individual". This idea
133:
The seven feet by five-foot painting was to be shown in an 1810 exhibit of Blake's work, but the exhibit was cancelled after problems resulting from an 1809 exhibit of his works. The actual painting was lost, but earlier versions of the work survived. These include an 1808 watercolour version made
193:
The description provided by Blake to
Humphrey explains that the work depicts the resurrection. The top of the work depicts Christ on the Throne of Judgement with Heaven opened up across the painting. Behind Christ are the heads of infants which represent creation coming from Jesus. Christ is
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describes the process that an individual goes through during an apocalypse, which includes having to confront their errors and their flaws. There is no peace during the struggle, as it involves a direct interaction between contrary views that would eventually establish the new state.
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throughout his life, and he claimed that they were a common aspect of life. His understanding of these events was, as he explained, similar to the experiences of biblical prophets. In the commentary to
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is to Christ's left with both representing eternal life. Further to Christ's right is the resurrection of the just and to the left is the resurrection and subsequent fall of the wicked.
60:
describe various aspects of the work in a detailed manner, which allow the aspects of the painting to be known. Additionally, earlier designs that reveal similar Blake depiction of the
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142:. A similar illustration in pencil and ink became part of the Rosenwald Collection. Other editions included watercolours made for
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in 1806, 1807, and 1809, one for John
Flaxman in 1806 (lost), and an 1809 unsold version in tempera. These are in addition to
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50:. The painting was to be shown in an 1810 exhibition with a detailed analysis added to a second edition of his
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On the details in the painting, Blake claimed that each component had a specific meaning that provides an
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of the "pure disinterested love of God", and appears in other works by Blake, including his
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provides a description of the various images within an earlier design of the
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have survived, and these date back to an 1805 precursor design created for
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The Four and Twenty Elders
Casting their Crowns before the Divine Throne
249:& my Visions also infected, as I see Time Aged, alas, too much so."
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and seven angels that have vials filled with God's wrath. An image of a
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71:. In addition to Blake's notes on the painting, a letter written to
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For the Year 1810 Additions to Blakes
Catalogue of Pictures &c
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289:'s depiction of the relationship between time and the state of
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The Wood of the Self-Murderers: The
Harpies and the Suicides
1558:
Themes from
William Blake's The Marriage of Heaven and Hell
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Blake's philosophical interpretation of time is similar to
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and in the centre is the book of death. At the top is the
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with a cross inside is depicted above Christ. An image of
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1808, ink and watercolour described in a letter to
Humphry
1487:
The Works of
William Blake: Poetic, Symbolic and Critical
177:
on 27 November 1864. Rossetti transcribed the notes for
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was created in 1808 as an expansion of his 1805 work
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124:. Blake created this work to be used in Blair's
557:The Complete Poetry and Prose of William Blake
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238:is the figure of a woman on top of the moon.
8:
1055:Jerusalem: The Emanation of the Giant Albion
157:The painting was to be discussed in Blake's
46:that was designed in 1808 before becoming a
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1462:Scholarship, in popular culture, and more
534:Romanticism and the Androgynous Sublime
523:Romanticism, Enthusiasm, and Regulation
315:
169:survived. The notes were discovered by
1304:Europe Supported by Africa and America
510:Johnson, Mary and Grant, John (eds).
7:
1526:Serenade for Tenor, Horn and Strings
136:George Wyndham, 3rd Earl of Egremont
1542:Songs and Proverbs of William Blake
1407:On the Morning of Christ's Nativity
173:and first mentioned in a letter to
116:praising God. The actual design of
1013:Visions of the Daughters of Albion
445:Johnson and Grant 1979 qtd. p. 409
334:Johnson and Grant 1979 pp. 408–409
14:
1576:William Blake in popular culture
1421:Illustrations of the Book of Job
31:The Vision of the Last Judgement
1290:Original Stories from Real Life
999:The Marriage of Heaven and Hell
494:University Press of New England
1363:A Vision of the Last Judgement
243:A Vision of the Last Judgement
163:A Vision of the Last Judgement
138:, that was displayed at their
118:A Vision of the Last Judgement
110:A Vision of the Last Judgement
39:A Vision of the Last Judgement
1:
1501:Blake: Prophet Against Empire
1311:The Night of Enitharmon's Joy
910:The Voice of the Ancient Bard
538:Associated University Presses
436:Johnson and Grant 1979 p. 409
206:is to Christ's right and the
134:for Elizabeth Ilive, wife of
650:There is No Natural Religion
130:, which was published 1808.
1103:Never pain to tell thy love
352:Damon 1988 pp. 102–103, 437
222:are nearby. Below Moses is
103:Blake claimed to have seen
1707:
512:Blake's Poetry and Designs
479:The Stranger from Paradise
1681:The Last Judgement in art
1656:Paintings of Adam and Eve
1508:Witness Against the Beast
1467:
1456:
1269:
1258:
1131:
1118:
616:
605:
391:Stevenson 1996 qtd. p. 83
373:Goldsmith 1993 qtd p. 151
258:is connected to views of
183:The Life of William Blake
16:Painting by William Blake
1069:The Pickering Manuscript
454:Stevenson 1996 pp. 82–83
364:Bentley 2003 pp. 316–317
322:Bentley 2003 pp. 20, 316
171:William Michael Rossetti
917:(found only in Copy BB)
795:The Clod and the Pebble
527:Oxford University Press
468:The Moment of Explosion
287:Samuel Taylor Coleridge
241:Blake, in his notes to
194:surrounded by the four
1676:Visions (spirituality)
1602:Catherine Blake (wife)
472:University of Nebraska
343:Bentley 2003 Plate 109
214:are below Christ, and
100:
34:
1581:William Blake Archive
1480:Life of William Blake
1370:Descriptive Catalogue
1077:Auguries of Innocence
1006:The French Revolution
810:The Little Girl Found
643:All Religions are One
636:An Island in the Moon
562:William Blake Archive
483:Yale University Press
382:Goldsmith 1993 p. 152
159:Descriptive Catalogue
90:
58:Descriptive Catalogue
53:Descriptive Catalogue
24:
1671:Watercolor paintings
1646:Art by William Blake
1377:The Great Red Dragon
1084:The Mental Traveller
805:The Little Girl Lost
717:The Little Boy Found
697:The Little Black Boy
501:Unbuilding Jerusalem
418:Mee 2005 pp. 289–290
409:Mee 2005 qtd. p. 290
148:The Day of Judgement
122:The Day of Judgement
92:The Day of Judgement
1399:Agony in the Garden
1392:The Ghost of a Flea
1297:The Ancient of Days
1096:Rossetti Manuscript
865:The Little Vagabond
845:My Pretty Rose Tree
815:The Chimney Sweeper
777:Songs of Experience
767:On Another's Sorrow
712:The Little Boy Lost
707:The Chimney Sweeper
532:Stevenson, Warren.
499:Goldsmith, Steven.
466:Behrendt, Stephen.
427:Behrendt 1983 p. 23
179:Alexander Gilchrist
94:(1805) for Blair's
1666:Paintings of Jesus
1661:Paintings of Moses
1331:Illustrations for
1027:The Book of Ahania
1020:The Book of Urizen
953:America a Prophecy
895:A Little Girl Lost
875:The Human Abstract
860:The Garden of Love
687:The Ecchoing Green
674:Songs of Innocence
662:Songs of Innocence
505:Cornell University
490:A Blake Dictionary
488:Damon, S. Foster.
101:
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1405:Illustrations of
1354:Illustrations of
1339:Illustrations of
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960:Europe a Prophecy
924:
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890:A Little Boy Lost
664:and of Experience
629:Poetical Sketches
293:within his poem "
150:made for Blair's
42:is a painting by
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1590:(1983 monologue)
1494:Fearful Symmetry
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992:The Book of Thel
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732:The Divine Image
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550:Erdman, David. "
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268:. Also, Blake's
236:Christian Church
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1534:Ten Blake Songs
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1472:Scholarly works
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1439:Visionary Heads
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1288:Engravings for
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1034:The Book of Los
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967:The Song of Los
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545:Further reading
477:Bentley, G. E.
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400:Mee 2005 p. 290
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25:A precursor to
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1641:1810 paintings
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1636:1808 paintings
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175:Horace Scudder
167:Public Address
140:Petworth House
114:host of Heaven
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77:Last Judgement
73:Ozias Humphrey
66:Robert Blair's
62:Last Judgement
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1041:The Four Zoas
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885:A Poison Tree
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825:The Sick Rose
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800:Holy Thursday
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737:Holy Thursday
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727:A Cradle Song
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722:Laughing Song
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1691:Books in art
1593:
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1556:
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820:Nurse's Song
785:Introduction
776:
752:Nurse's Song
682:The Shepherd
673:
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627:
555:
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516:W. W. Norton
514:. New York:
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299:Edward Young
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232:book of life
212:Adam and Eve
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144:Thomas Butts
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48:lost artwork
38:
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18:
1598:(1989 play)
942:continental
702:The Blossom
492:. Hanover:
470:. Lincoln:
228:the Serpent
226:wrapped by
208:Last Supper
1630:Categories
1595:In Lambeth
1276:and prints
1206:Palamabron
1171:Golgonooza
1161:Enitharmon
944:prophecies
757:Infant Joy
536:. London:
525:. Oxford:
521:Mee, Jon.
503:. Ithaca:
461:References
234:, and the
200:tabernacle
1379:paintings
1341:The Grave
1274:Paintings
1125:Mythology
930:Prophetic
900:To Tirzah
855:The Lilly
840:The Tyger
835:The Angel
265:Jerusalem
152:The Grave
127:The Grave
97:The Grave
69:The Grave
1607:Ancients
1550:The Lamb
1431:Sketches
692:The Lamb
280:allegory
189:Painting
27:A Vision
1569:Related
1518:Musical
1236:Urthona
1221:Thiriel
1216:Tharmas
1211:Spectre
1151:Bromion
830:The Fly
762:A Dream
564:, 2001.
540:, 1996.
529:, 2005.
518:, 1979.
507:, 1993.
496:, 1988.
485:, 2003.
474:, 1983.
216:Abraham
204:baptism
105:visions
83:Origins
1561:(1998)
1553:(1982)
1545:(1965)
1537:(1958)
1529:(1943)
1318:Newton
1231:Urizen
1226:Tiriel
1186:Leutha
1176:Grodna
1146:Beulah
1141:Albion
1136:Ahania
1048:Milton
985:Tiriel
870:London
747:Spring
271:Milton
253:Themes
1587:Blake
1196:Luvah
1166:Fuzon
1156:Enion
977:Other
932:books
742:Night
311:Notes
295:Limbo
291:limbo
224:Satan
220:Moses
1385:Pity
1246:Vala
1241:Utha
1094:The
940:The
218:and
196:Zoas
165:and
1264:Art
1201:Orc
1191:Los
1181:Har
554:."
301:'s
181:'s
1632::
560:.
357:^
327:^
307:.
154:.
79:.
29:,
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591:e
584:t
577:v
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