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[ { "append_role_to_name": false, "date": "1833–1898", "fc": "Sir Edward Coley Burne-Jones, Bt", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sir-edward-coley-burne-jones-bt-68" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<p>Following his visits to Venice and Northern Italy in 1859 and again in 1862, Burne-Jones created a number of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolours</span></a> which recall the bucolic pastoral mood of Giorgione and Titian. The figures in this study can be related to those in 'An Idyll', which was completed in 1862 (Birmingham Museum and Art Gallery). However, the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> also anticipates the design of 'Le Chant d'Amour', as is suggested by the inscription of Burne-Jones's assistant, Charles Fairfax Murray. This was a subject the artist used to decorate a piano in the early 1860s (Victoria and Albert Museum) and one that he returned to in watercolour, in <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/g/gouache\" title=\"Glossary definition for 'Gouache'\"><span>gouache</span></a> and in oil.</p>", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1833–1898", "fc": "Sir Edward Coley Burne-Jones, Bt", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sir-edward-coley-burne-jones-bt-68" } ]

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{ "id": 5, "meta": { "type": "art.Classification" } }

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[ { "ajax_url": null, "canonical_url": null, "content": "<p>Burne-Jones's involvement with the firm of Morris, Marshall, Faulkner and Company meant that several of his designs were redeployed to decorate furniture. This sketch relates to a highly finished <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/g/graphite\" title=\"Glossary definition for 'Graphite'\"><span>pencil</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of 1861 called 'The Backgammon Players' (Fitzwilliam Museum, Cambridge), in which the position of the figures is reversed. Burne-Jones repeated the subject as an oil <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>painting</span></a> on leather for the doors of a cabinet made by the Morris company (Metropolitan Museum of Art, New York).</p>", "display_name": "Display caption", "publication_date": "2004-09-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "adults", "backgammon", "furnishings", "leisure and pastimes", "man", "objects", "people", "recreational activities", "table", "woman" ]

[ { "append_role_to_name": false, "date": "1757–1827", "fc": "William Blake", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/william-blake-39" } ]

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[ { "artistRoomsTour": false, "dateText": "24 November 2003 – 22 November 2004", "endDate": "2004-11-22", "exhibitionLegs": [ { "dateText": "10 November 2003", "endDate": null, "id": 1636, "startDate": "2003-11-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 1505, "startDate": "2003-11-24", "title": "William Blake the Painter at Work", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 June 2005 – 14 December 2005", "endDate": "2005-12-14", "exhibitionLegs": [ { "dateText": "15 June 2005 – 25 September 2005", "endDate": "2005-09-25", "id": 2351, "startDate": "2005-06-15", "venueName": "Dulwich Picture Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "15 October 2005 – 14 December 2005", "endDate": "2005-12-14", "id": 2352, "startDate": "2005-10-15", "venueName": "Djanogly Art Gallery (Nottingham, UK)", "venueWebsiteUrl": null } ], "id": 2142, "startDate": "2005-06-15", "title": "Graham Sutherland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 October 2007 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "19 October 2007", "endDate": null, "id": 3962, "startDate": "2007-10-19", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3398, "startDate": "2007-10-19", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "id": 4924, "startDate": "2009-02-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4125, "startDate": "2009-02-13", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2011 – 21 October 2012", "endDate": "2012-10-21", "exhibitionLegs": [ { "dateText": "1 November 2011 – 19 February 2012", "endDate": "2012-02-19", "id": 5527, "startDate": "2011-11-01", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4616, "startDate": "2011-11-01", "title": "Blake Exhibition", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "exhibitionLegs": [ { "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "id": 12230, "startDate": "2019-09-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10072, "startDate": "2019-09-11", "title": "William Blake: The Artist", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<span>A00111</span>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00111</span> <b>Frontispiece: Thenot and Colinet</b>\n<br/>\n<br/>Wood-engraving 62×84 (2 7/16×3 5/16) on paper 65×87 (2 9/16×3 3/8)\r\n<br/>\n<br/>As Dr Thornton wrote in his introduction to Philips's ‘Imitation of Virgil's First Eclogue’, ‘THENOT is the <i>happy</i> and COLINET the unhappy <i>shepherd</i>’. Thenot addresses the younger Colinet with the experience of age.\r\n<br/>\n<br/>Unlike the other designs, there is no record of a preliminary drawing for this <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> in the Linnell collection.\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2009-01-09T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

[ "actions: postures and motions", "adults", "agriculture and fishing", "agriculture, gardening & fishing", "animals: mammals", "classical", "crook", "emotions and human qualities", "emotions, concepts and ideas", "fine arts and music", "happiness", "herdsman / herdswoman", "herdsman / herdswoman, shepherd / shepherdess", "hill", "instrument, panpipes", "instrument, pipe", "landscape", "literature and fiction", "literature (not Shakespeare)", "man", "man, old", "objects", "people", "Philips, Ambrose, ‘Imitation of Virgil’s First Eclogue’", "sadness", "sheep", "standing", "stupidity", "sunset", "Thornton, Robert John, ‘The Pastorals of Virgil ...’", "times of the day", "Virgil, ‘Eclogues’", "wisdom", "work and occupations" ]

[ { "append_role_to_name": false, "date": "1757–1827", "fc": "William Blake", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/william-blake-39" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" }, { "id": 65673, "shortTitle": "Illustrations to Thornton’s ‘Pastorals of Virgil’" } ]

[]

{ "id": 4, "meta": { "type": "art.Classification" } }

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[ { "artistRoomsTour": false, "dateText": "24 November 2003 – 22 November 2004", "endDate": "2004-11-22", "exhibitionLegs": [ { "dateText": "10 November 2003", "endDate": null, "id": 1636, "startDate": "2003-11-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 1505, "startDate": "2003-11-24", "title": "William Blake the Painter at Work", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 June 2005 – 14 December 2005", "endDate": "2005-12-14", "exhibitionLegs": [ { "dateText": "15 June 2005 – 25 September 2005", "endDate": "2005-09-25", "id": 2351, "startDate": "2005-06-15", "venueName": "Dulwich Picture Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "15 October 2005 – 14 December 2005", "endDate": "2005-12-14", "id": 2352, "startDate": "2005-10-15", "venueName": "Djanogly Art Gallery (Nottingham, UK)", "venueWebsiteUrl": null } ], "id": 2142, "startDate": "2005-06-15", "title": "Graham Sutherland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 October 2007 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "19 October 2007", "endDate": null, "id": 3962, "startDate": "2007-10-19", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3398, "startDate": "2007-10-19", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "id": 4924, "startDate": "2009-02-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4125, "startDate": "2009-02-13", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2011 – 21 October 2012", "endDate": "2012-10-21", "exhibitionLegs": [ { "dateText": "1 November 2011 – 19 February 2012", "endDate": "2012-02-19", "id": 5527, "startDate": "2011-11-01", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4616, "startDate": "2011-11-01", "title": "Blake Exhibition", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "exhibitionLegs": [ { "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "id": 12230, "startDate": "2019-09-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10072, "startDate": "2019-09-11", "title": "William Blake: The Artist", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-remonstrates-with-colinet-a00112\" title=\"View the details of this artwork\"><span>A00112</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00112</span> <b>Plate 2: Thenot Remonstrates with Colinet</b>\n<br/>\n<br/>Wood-engraving 38×74 (1 1/2×2 7/8) on paper 40×76 (1 9/16×2 9/16)\r\n<br/>\n<br/>Thenot chides Colinet for being so mournful ‘when all things smile around’, to which Colinet replies that it is his sad lot, unlike the lark and the linnet, to mourn.\r\n<br/>\n<br/>The drawing for this design was in the collection of Sir Geoffrey Keynes (Butlin no.769 <i>1</i>, pl.999).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

[ "actions: expressive", "actions: postures and motions", "adults", "agriculture and fishing", "agriculture, gardening & fishing", "animals: mammals", "arguing", "arm / arms raised", "classical", "crook", "dog - non-specific", "emotions and human qualities", "emotions, concepts and ideas", "happiness", "herdsman / herdswoman", "herdsman / herdswoman, shepherd / shepherdess", "hill", "landscape", "literature and fiction", "literature (not Shakespeare)", "man", "objects", "people", "Philips, Ambrose, ‘Imitation of Virgil’s First Eclogue’", "sadness", "sheep", "standing", "sunrise", "Thornton, Robert John, ‘The Pastorals of Virgil ...’", "times of the day", "tree", "Virgil, ‘Eclogues’", "work and occupations" ]

[ { "append_role_to_name": false, "date": "1757–1827", "fc": "William Blake", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/william-blake-39" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" }, { "id": 65673, "shortTitle": "Illustrations to Thornton’s ‘Pastorals of Virgil’" } ]

[]

{ "id": 4, "meta": { "type": "art.Classification" } }

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[ { "artistRoomsTour": false, "dateText": "24 November 2003 – 22 November 2004", "endDate": "2004-11-22", "exhibitionLegs": [ { "dateText": "10 November 2003", "endDate": null, "id": 1636, "startDate": "2003-11-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 1505, "startDate": "2003-11-24", "title": "William Blake the Painter at Work", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 June 2005 – 14 December 2005", "endDate": "2005-12-14", "exhibitionLegs": [ { "dateText": "15 June 2005 – 25 September 2005", "endDate": "2005-09-25", "id": 2351, "startDate": "2005-06-15", "venueName": "Dulwich Picture Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "15 October 2005 – 14 December 2005", "endDate": "2005-12-14", "id": 2352, "startDate": "2005-10-15", "venueName": "Djanogly Art Gallery (Nottingham, UK)", "venueWebsiteUrl": null } ], "id": 2142, "startDate": "2005-06-15", "title": "Graham Sutherland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 October 2007 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "19 October 2007", "endDate": null, "id": 3962, "startDate": "2007-10-19", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3398, "startDate": "2007-10-19", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "id": 4924, "startDate": "2009-02-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4125, "startDate": "2009-02-13", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2011 – 21 October 2012", "endDate": "2012-10-21", "exhibitionLegs": [ { "dateText": "1 November 2011 – 19 February 2012", "endDate": "2012-02-19", "id": 5527, "startDate": "2011-11-01", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4616, "startDate": "2011-11-01", "title": "Blake Exhibition", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "exhibitionLegs": [ { "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "id": 12230, "startDate": "2019-09-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10072, "startDate": "2019-09-11", "title": "William Blake: The Artist", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-converse-seated-between-two-trees-a00113\" title=\"View the details of this artwork\"><span>A00113</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00113</span> <b>Plate 3: Thenot and Colinet Converse Seated between Two Trees</b>\n<br/>\n<br/>Wood-engraving 33×75 (1 5/16×2 9/16) on paper 35×77 (1 3/8×3)\r\n<br/>\n<br/>Thenot describes his own body bowing down as ‘trees beneath their fruit in autumn bend’, and this is illustrated literally by Blake.\r\n<br/>\n<br/>The drawing cannot be traced since it was exhibited in Philadelphia in 1939 (132) (Butlin no.769 <i>2</i>, pl.999A). This was one of the designs that Thornton had reengraved, in reverse, but in this case Blake's own engraving was in fact used in the book.\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

[ "actions: expressive", "actions: postures and motions", "adults", "agriculture and fishing", "animals: mammals", "arm / arms raised", "astronomy", "classical", "food and drink", "fruit - non-specific", "herdsman / herdswoman", "herdsman / herdswoman, shepherd / shepherdess", "hill", "landscape", "literature and fiction", "literature (not Shakespeare)", "man", "objects", "people", "Philips, Ambrose, ‘Imitation of Virgil’s First Eclogue’", "sheep", "sitting", "sun", "talking", "Thornton, Robert John, ‘The Pastorals of Virgil ...’", "tree", "Virgil, ‘Eclogues’", "work and occupations" ]

[ { "append_role_to_name": false, "date": "1757–1827", "fc": "William Blake", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/william-blake-39" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" }, { "id": 65673, "shortTitle": "Illustrations to Thornton’s ‘Pastorals of Virgil’" } ]

[]

{ "id": 4, "meta": { "type": "art.Classification" } }

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[ { "artistRoomsTour": false, "dateText": "24 November 2003 – 22 November 2004", "endDate": "2004-11-22", "exhibitionLegs": [ { "dateText": "10 November 2003", "endDate": null, "id": 1636, "startDate": "2003-11-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 1505, "startDate": "2003-11-24", "title": "William Blake the Painter at Work", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 June 2005 – 14 December 2005", "endDate": "2005-12-14", "exhibitionLegs": [ { "dateText": "15 June 2005 – 25 September 2005", "endDate": "2005-09-25", "id": 2351, "startDate": "2005-06-15", "venueName": "Dulwich Picture Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "15 October 2005 – 14 December 2005", "endDate": "2005-12-14", "id": 2352, "startDate": "2005-10-15", "venueName": "Djanogly Art Gallery (Nottingham, UK)", "venueWebsiteUrl": null } ], "id": 2142, "startDate": "2005-06-15", "title": "Graham Sutherland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 October 2007 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "19 October 2007", "endDate": null, "id": 3962, "startDate": "2007-10-19", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3398, "startDate": "2007-10-19", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "id": 4924, "startDate": "2009-02-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4125, "startDate": "2009-02-13", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2011 – 21 October 2012", "endDate": "2012-10-21", "exhibitionLegs": [ { "dateText": "1 November 2011 – 19 February 2012", "endDate": "2012-02-19", "id": 5527, "startDate": "2011-11-01", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4616, "startDate": "2011-11-01", "title": "Blake Exhibition", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "exhibitionLegs": [ { "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "id": 12230, "startDate": "2019-09-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10072, "startDate": "2019-09-11", "title": "William Blake: The Artist", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-remonstrates-with-colinet-lightfoot-in-the-distance-a00114\" title=\"View the details of this artwork\"><span>A00114</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00114</span> <b>Plate 4: Thenot Remonstrates with Colinet; Lightfoot in the Distance.</b></p>\n<p>Wood-engraving 33×73 (1 5/16×2 7/8) on paper 35×75 (1 3/8×2 15/16)</p>\n<p>Colinet declares that it will take all day to recite his woes and that as a result Thenot's flocks will be neglected. Thenot replies that his man Lightfoot can guard them while ‘I'tween whiles, across the plain will glance mine eyes’.\r\n<br/>\n<br/>The drawing for this design belongs to Mr and Mrs Arthur Vershbow, Newport, Massachusetts (Butlin no.769 <i>3</i>, pl.1000). The small figure of Lightfoot in the distance recalls those of the messengers in the illustration to Job, ‘And I only am escaped alone to tell thee’ (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/turner-entrance-of-calais-harbour-a01116\" title=\"View the details of this artwork\"><span>A01116</span></a>).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

[ "actions: expressive", "actions: postures and motions", "adults", "agriculture and fishing", "agriculture, gardening & fishing", "animals: mammals", "arm / arms raised", "classical", "crook", "dog - non-specific", "herdsman / herdswoman", "herdsman / herdswoman, shepherd / shepherdess", "hill", "landscape", "literature and fiction", "literature (not Shakespeare)", "man", "objects", "people", "Philips, Ambrose, ‘Imitation of Virgil’s First Eclogue’", "running", "sheep", "standing", "talking", "Thornton, Robert John, ‘The Pastorals of Virgil ...’", "Virgil, ‘Eclogues’", "work and occupations" ]

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[ { "artistRoomsTour": false, "dateText": "24 November 2003 – 22 November 2004", "endDate": "2004-11-22", "exhibitionLegs": [ { "dateText": "10 November 2003", "endDate": null, "id": 1636, "startDate": "2003-11-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 1505, "startDate": "2003-11-24", "title": "William Blake the Painter at Work", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 June 2005 – 14 December 2005", "endDate": "2005-12-14", "exhibitionLegs": [ { "dateText": "15 June 2005 – 25 September 2005", "endDate": "2005-09-25", "id": 2351, "startDate": "2005-06-15", "venueName": "Dulwich Picture Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "15 October 2005 – 14 December 2005", "endDate": "2005-12-14", "id": 2352, "startDate": "2005-10-15", "venueName": "Djanogly Art Gallery (Nottingham, UK)", "venueWebsiteUrl": null } ], "id": 2142, "startDate": "2005-06-15", "title": "Graham Sutherland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 October 2007 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "19 October 2007", "endDate": null, "id": 3962, "startDate": "2007-10-19", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3398, "startDate": "2007-10-19", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "id": 4924, "startDate": "2009-02-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4125, "startDate": "2009-02-13", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2011 – 21 October 2012", "endDate": "2012-10-21", "exhibitionLegs": [ { "dateText": "1 November 2011 – 19 February 2012", "endDate": "2012-02-19", "id": 5527, "startDate": "2011-11-01", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4616, "startDate": "2011-11-01", "title": "Blake Exhibition", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "exhibitionLegs": [ { "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "id": 12230, "startDate": "2019-09-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10072, "startDate": "2019-09-11", "title": "William Blake: The Artist", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-with-colinet-waving-his-arms-in-sorrow-a00115\" title=\"View the details of this artwork\"><span>A00115</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00115</span> <b>Plate 5: Thenot, with Colinet Waving his Arms in Sorrow</b></p>\n<p>Wood-engraving 36×73 (1 7/16×2 15/16) on paper 39×76 (1 9/16×3)</p>\n<p>Colinet begins the recital of his griefs by comparing his plight with ‘Yonder naked tree, which bears the thunder-scar too plain, I see’.\r\n<br/>\n<br/>The drawing for this design has not been traced since it was bought at the American Art Association on 22 April 1924 (69) by the Brick Row Bookshop, New York (Butlin no.769 <i>5</i>).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-blighted-corn-a00116\" title=\"View the details of this artwork\"><span>A00116</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00116</span> <b>Plate 6: The Blighted Corn</b>\n<br/>\n<br/>Wood-engraving 34×73 (1 3/8×2 7/8) on paper 36×74 (1 7/16×2 15/16)\r\n<br/>\n<br/>Thenot agrees with Colinet that he was born in a ‘hapless hour of time...when blightning mildews spoil the rising corn, or blasting winds o'er blossom'd hedgerows pass, to kill the promis'd fruits...’.\r\n<br/>\n<br/>The drawing was in the collection of Sir Geoffrey Keynes (Butlin no.769 <i>6</i>, pl.1002).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "artistRoomsTour": false, "dateText": "24 November 2003 – 22 November 2004", "endDate": "2004-11-22", "exhibitionLegs": [ { "dateText": "10 November 2003", "endDate": null, "id": 1636, "startDate": "2003-11-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 1505, "startDate": "2003-11-24", "title": "William Blake the Painter at Work", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 June 2005 – 14 December 2005", "endDate": "2005-12-14", "exhibitionLegs": [ { "dateText": "15 June 2005 – 25 September 2005", "endDate": "2005-09-25", "id": 2351, "startDate": "2005-06-15", "venueName": "Dulwich Picture Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "15 October 2005 – 14 December 2005", "endDate": "2005-12-14", "id": 2352, "startDate": "2005-10-15", "venueName": "Djanogly Art Gallery (Nottingham, UK)", "venueWebsiteUrl": null } ], "id": 2142, "startDate": "2005-06-15", "title": "Graham Sutherland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 October 2007 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "19 October 2007", "endDate": null, "id": 3962, "startDate": "2007-10-19", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3398, "startDate": "2007-10-19", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "id": 4924, "startDate": "2009-02-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4125, "startDate": "2009-02-13", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2011 – 21 October 2012", "endDate": "2012-10-21", "exhibitionLegs": [ { "dateText": "1 November 2011 – 19 February 2012", "endDate": "2012-02-19", "id": 5527, "startDate": "2011-11-01", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4616, "startDate": "2011-11-01", "title": "Blake Exhibition", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "exhibitionLegs": [ { "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "id": 12230, "startDate": "2019-09-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10072, "startDate": "2019-09-11", "title": "William Blake: The Artist", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-nor-fox-nor-wolf-nor-rat-among-our-sheep-a00117\" title=\"View the details of this artwork\"><span>A00117</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00117</span> <b>Plate 7: ‘Nor Fox, nor Wolf, nor Rat among our Sheep’</b>\n<br/>\n<br/>Wood-engraving 35×73 (1 3/8×2 7/8) on paper 37×76 (1 7/16×3)\r\n<br/>\n<br/>Thenot continues in his comforting of Colinet by saying that not even a good shepherd can preserve his flock against fox or wolf.\r\n<br/>\n<br/>The drawing is in the Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut (Butlin no.769 <i>7</i>, pl.1003).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-sabrinas-silvery-flood-a00118\" title=\"View the details of this artwork\"><span>A00118</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00118</span> <b>Plate 8: Sabrina's Silvery Flood</b>\n<br/>\n<br/>Wood-engraving 33×72 (1 5/6×2 7/8) on paper 35×75 (2 3/8×2 15/16)\r\n<br/>\n<br/>Colinet regrets that he ‘left, Sabrina fair, thy silvery flood’, a reference to the naiad associated with the River Severn.\r\n<br/>\n<br/>The drawing, formerly in the collection of Mr and Mrs Anton G. Hardy, U.S.A., is now in the Department of Printing and Graphic Arts of the Houghton Library, Harvard University (Butlin no.769 <i>8</i>, pl.1004).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-colinets-fond-desire-strange-lands-to-know-a00119\" title=\"View the details of this artwork\"><span>A00119</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00119</span> <b>Plate 9: Colinet's ‘Fond Desire Strange Lands to Know’</b></p>\n<p>Wood-engraving 37×74 (1 7/16×2 7/8) on paper 37×74 (1 7/16×2 7/8)</p>\n<p>Colinet is shown passing a milestone marked ‘LXII miles to London’, following his ‘fond desire strange lands and swains to know’.\r\n<br/>\n<br/>The drawing is in the Houghton Library, Harvard University, Cambridge, Massachusetts (Butlin no.769 <i>9</i>, pl.1005).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-a-rolling-stone-is-ever-bare-of-moss-a00120\" title=\"View the details of this artwork\"><span>A00120</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00120</span> <b>Plate 10: ‘A Rolling Stone is ever Bare of Moss’</b>\n<br/>\n<br/>Wood-engraving 33×77 (1 1/4×3) on paper 34×78 (1 5/16×3 1/16).\r\n<br/>\n<br/>Thenot points to the moral in the previous design, ‘A rolling stone is ever bare of moss’, a chance for Blake to show some unfortunate rolling a path contrary to nature in front of a rationally designed classical house.\r\n<br/>\n<br/>The drawing is in the Pierpont Morgan Library, New York (Butlin no.769 <i>10</i>, pl.1006).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-colinet-rests-by-a-stream-at-night-a00121\" title=\"View the details of this artwork\"><span>A00121</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00121</span> <b>Plate 11: Colinet Rests by a Stream at Night</b>\n<br/>\n<br/>Wood-engraving 33×75 (1 5/16×2 15/16) on paper 35×77 (1 3/8×3)\r\n<br/>\n<br/>Colinet's wanderings have taken him to Cambridge, where Blake shows King's College Chapel rising above the trees on the left.\r\n<br/>\n<br/>The drawing has not been traced since it was reproduced in Keynes <i>Drawings</i> in 1927 (Butlin no.769 <i>11</i>, pl.1007).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-colinet-with-his-shepherds-pipe-mocked-by-two-boys-a00122\" title=\"View the details of this artwork\"><span>A00122</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00122</span> <b>Plate 12: Colinet with his Shepherd's Pipe, Mocked by Two Boys</b>\n<br/>\n<br/>Wood-engraving 36×77 (1 3/8×3) on paper 39×78 (1 9/16×3 1/16)\r\n<br/>\n<br/>Worse still, Colinet complains, no ‘pinching cold’ was as bad as the ‘blasting storms of calumny’, or ‘Untoward lads’ making ‘mock of all the ditties I endite’.\r\n<br/>\n<br/>The drawing has not been traced since its purchase by the Brick Row Bookshop in 1924 (Butlin no.769 <i>12</i>).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-for-him-our-yearly-wakes-and-feasts-we-hold-a00123\" title=\"View the details of this artwork\"><span>A00123</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00123</span> <b>Plate 13: ‘For him Our Yearly Wakes and Feasts We Hold’</b>\n<br/>\n<br/>Wood-engraving 35×75 (1 3/8×2 15/16) on paper 38×78 (1 1/2×3 1/16)\r\n<br/>\n<br/>Unlike the mocking boys, Menalcas, ‘Lord of these fair fertile plains...seems to like my simple strain’, and Blake shows one of the ‘yearly wakes and feasts’ held for Menalcas by his shepherds.\r\n<br/>\n<br/>The drawing is untraced since it was exhibited at Philadelphia in 1939 (134) (Butlin no.769 <i>13</i>, pl.1008).\r\n<br/>\n<br/>Plates 14, 15 and 16, though based on drawings by Blake (Butlin nos.769 <i>14–16</i>, pls.1009–11), were the designs that Thornton had engraved by another hand.\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-folding-their-flocks-together-at-sunset-a00124\" title=\"View the details of this artwork\"><span>A00124</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00124</span> <b>Plate 17: Thenot and Colinet Folding their Flocks together at Sunset</b>\n<br/>\n<br/>Wood-engraving 36×76 (1 7/16×3) on paper 38×78 (1 7/16×3 1/16)\r\n<br/>\n<br/>After their discussion Thenot proposes to Colinet, as consolation, to ‘fold thy flock with mine’.\r\n<br/>\n<br/>The drawing is untraced since its reproduction in Keynes <i>Drawings</i> 1927 (Butlin no.769 <i>17</i>, pl.1012).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "artistRoomsTour": false, "dateText": "24 November 2003 – 22 November 2004", "endDate": "2004-11-22", "exhibitionLegs": [ { "dateText": "10 November 2003", "endDate": null, "id": 1636, "startDate": "2003-11-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 1505, "startDate": "2003-11-24", "title": "William Blake the Painter at Work", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 June 2005 – 14 December 2005", "endDate": "2005-12-14", "exhibitionLegs": [ { "dateText": "15 June 2005 – 25 September 2005", "endDate": "2005-09-25", "id": 2351, "startDate": "2005-06-15", "venueName": "Dulwich Picture Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "15 October 2005 – 14 December 2005", "endDate": "2005-12-14", "id": 2352, "startDate": "2005-10-15", "venueName": "Djanogly Art Gallery (Nottingham, UK)", "venueWebsiteUrl": null } ], "id": 2142, "startDate": "2005-06-15", "title": "Graham Sutherland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 October 2007 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "19 October 2007", "endDate": null, "id": 3962, "startDate": "2007-10-19", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3398, "startDate": "2007-10-19", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "id": 4924, "startDate": "2009-02-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4125, "startDate": "2009-02-13", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2011 – 21 October 2012", "endDate": "2012-10-21", "exhibitionLegs": [ { "dateText": "1 November 2011 – 19 February 2012", "endDate": "2012-02-19", "id": 5527, "startDate": "2011-11-01", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4616, "startDate": "2011-11-01", "title": "Blake Exhibition", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "exhibitionLegs": [ { "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "id": 12230, "startDate": "2019-09-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10072, "startDate": "2019-09-11", "title": "William Blake: The Artist", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-at-supper-a00125\" title=\"View the details of this artwork\"><span>A00125</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00125</span> <b>Plate 18: Thenot and Colinet at Supper</b>\n<br/>\n<br/>Wood-engraving 35×76 (1 3/8×3) on paper 37×78 (1 7/16×3 1/16)\r\n<br/>\n<br/>Thenot, in addition to inviting Colinet to fold his flocks with his own, invites him to share ‘New milk and clouted cream, mild cheese and curd, with some remaining fruit of last year's hoard’.\r\n<br/>\n<br/>The drawing has not been traced since it was acquired by the Brick Row Bookshop in 1924 (Butlin no.769 <i>18</i>).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "append_role_to_name": false, "date": "1757–1827", "fc": "William Blake", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/william-blake-39" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" }, { "id": 65673, "shortTitle": "Illustrations to Thornton’s ‘Pastorals of Virgil’" } ]

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{ "id": 4, "meta": { "type": "art.Classification" } }

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-with-songs-the-jovial-hinds-return-from-plow-a00126\" title=\"View the details of this artwork\"><span>A00126</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00126</span> <b>Plate 19: ‘With Songs the Jovial Hinds Return from Plow’</b>\n<br/>\n<br/>Wood-engraving 35×75 (1 1/2×3) on paper 37×77 (1 1/4×3 1/16)\r\n<br/>\n<br/>Thenot bids Colinet to ‘now behold the sun's departing ray, o'er yonder hill, the sign of ebbing day; with songs the jovial hinds return from plow’.\r\n<br/>\n<br/>The drawing for this design belongs to Edmund Astley Prentis, U.S.A. (Butlin no.769 <i>19</i>, pl.1013).\r\n</p><p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ { "artistRoomsTour": false, "dateText": "24 November 2003 – 22 November 2004", "endDate": "2004-11-22", "exhibitionLegs": [ { "dateText": "10 November 2003", "endDate": null, "id": 1636, "startDate": "2003-11-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 1505, "startDate": "2003-11-24", "title": "William Blake the Painter at Work", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 June 2005 – 14 December 2005", "endDate": "2005-12-14", "exhibitionLegs": [ { "dateText": "15 June 2005 – 25 September 2005", "endDate": "2005-09-25", "id": 2351, "startDate": "2005-06-15", "venueName": "Dulwich Picture Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "15 October 2005 – 14 December 2005", "endDate": "2005-12-14", "id": 2352, "startDate": "2005-10-15", "venueName": "Djanogly Art Gallery (Nottingham, UK)", "venueWebsiteUrl": null } ], "id": 2142, "startDate": "2005-06-15", "title": "Graham Sutherland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 October 2007 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "19 October 2007", "endDate": null, "id": 3962, "startDate": "2007-10-19", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3398, "startDate": "2007-10-19", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "13 February 2009 – 30 October 2010", "endDate": "2010-10-30", "id": 4924, "startDate": "2009-02-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4125, "startDate": "2009-02-13", "title": "Visionary Landscapes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2011 – 21 October 2012", "endDate": "2012-10-21", "exhibitionLegs": [ { "dateText": "1 November 2011 – 19 February 2012", "endDate": "2012-02-19", "id": 5527, "startDate": "2011-11-01", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4616, "startDate": "2011-11-01", "title": "Blake Exhibition", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "exhibitionLegs": [ { "dateText": "11 September 2019 – 2 February 2020", "endDate": "2020-02-02", "id": 12230, "startDate": "2019-09-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10072, "startDate": "2019-09-11", "title": "William Blake: The Artist", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"pbodytext\">\n<span class=\"text13\">Samuel Palmer was the most important of Blake’s followers, known as <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a>. </span><span class=\"text16\">Palmer first met Blake in 1824. He described</span><span class=\"text13\"> </span><span class=\"text17\">these illustrations to an imitation of the </span><span class=\"text18\">First</span><span class=\"text0\"> </span><span class=\"text18\">Eclogue</span><span class=\"text17\"> by the Roman poet Virgil as ‘visions</span><span class=\"text13\"> </span><span class=\"text19\">of little dells, and nooks, and corners of Paradise’. Palmer’s art  was particularly </span><span class=\"text13\">influenced by them. </span>\n</div>\n<div class=\"para2\">\n<span class=\"text13\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text19\">These <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> appealed to the Ancients because they were the result of Blake’s experiments with a new <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/medium\" title=\"Glossary definition for 'Medium'\"><span>medium</span></a>; he had never <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraved</span></a> on wood before. Even at the age of sixty-four he wanted to make </span><span class=\"text13\">further explorations in his art. </span>\n</div>\n", "display_name": "Display caption", "publication_date": "2004-08-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homeward-low-a00127\" title=\"View the details of this artwork\"><span>A00127</span></a> [from] <b>Illustrations to Thornton's <i>Pastorals of Virgil</i></b>\r\n1821/<i>c.</i>1830 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-frontispiece-thenot-and-colinet-a00111\" title=\"View the details of this artwork\"><span>A00111</span></a>-<span>A00127</span>; complete]\r\n<br/></p>\n<p><span>A00111</span>-A00127/-\r\n<br/>Seventeen wood-engravings on commercial thin wove paper\r\n<br/>Presented by Herbert Linnell 1924\r\n<br/>PROVENANCE John Linnell: by descent to Herbert Linnell\r\n<br/>LITERATURE [Henry Cole] ‘Fine Arts, <i>The Vicar of Wakefield, With thirty-two Illustrations</i>. By W. Mulready, R.A. van Voorst’, <i>Athenaeum</i> 21 January 1843, p.165; Gilchrist 1863, 1, pp.270–5; A.H. Palmer <i>Life and Letters of Samuel Palmer</i> 1892, p.15; Russell <i>Engravings</i> 1912, pp.97–101 no.30; Keynes <i>Bibliography</i> 1921, pp.211–14 no.778; Geoffrey Keynes <i>Illustrations of William Blake for Thornton's Virgil</i> 1937; Keynes <i>Engravings</i> 1950, pp.15–16, series repr. pls.1–XVII; Raine 1968, 11, pp.279–80; Bentley <i>Blake Records</i> 1969, pp.266–8, 271–3, 582; Keynes <i>Blake Studies</i> 1971, pp.136–42, 215–16; Easson and Essick, 1, 1972, pp.48–50 no.X, series repr.; Bentley <i>Blake Books</i> 1977, pp.627–30 no.504; Iain Bain, David Chambers and Andrew Wilton <i>The Wood Engravings of William Blake for Thornton's Virgil</i> 1977, published with restrikes (see nos.90–106); Bindman 1977, pp.204–5; Bindman <i>Graphic Works</i> 1978, p.485, nos.602–18, series repr.; Paley 1978, p.69; Essick <i>Printmaker</i> 1980, pp.224–33; Butlin 1981, pp.532–5\r\n<br/></p>\n<p>These are separate impressions from Blake's original wood-blocks, probably made by Edward Calvert (1799–1883), one of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/the-ancients\" title=\"Glossary definition for 'The Ancients'\"><span>the Ancients</span></a> who gathered round Blake in his later years and also a friend of John Linnell, for Linnell who actually owned the blocks. For a more recent set of impressions see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-thenot-and-colinet-t02115\" title=\"View the details of this artwork\"><span>T02115</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-and-unyokd-heifers-loitering-homewards-low-t02131\" title=\"View the details of this artwork\"><span>T02131</span></a>.\r\n<br/>\n<br/>Blake's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving\" title=\"Glossary definition for 'Wood engraving'\"><span>wood-engravings</span></a> were commissioned by Dr Robert John Thornton through John Linnell, whose doctor he was. Blake first met Thornton in September 1818 and by September 1820 Blake was actually working on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> which were commissioned for the third edition of Dr Thornton's <i>The Pastorals of Virgil ... adapted for Schools</i>, published in 1821; the first unillustrated edition had been published in 1812. Beside these seventeen engravings after his own designs for Ambrose Philip's ‘Imitation of Virgil's First Eclogue’, Blake engraved on copper five busts of Theocritus, Virgil, Caesar Augustus, Julius Caesar and Epicurus, and a group of five medallion heads ‘From Antique Coins’. In addition, he is credited with the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of ‘The Giant Polypheme’ after Poussin that was engraved by Byfield; however, Linnell wrote in his Journal on 18 October 1820 that he himself ‘Began a small Drawing on a wood Block of Polypheme (from N. Poussin) for Dr Thornton’ and that he was ‘to receive a guinea for it’ (Bentley 1977, p.629). The <i>Pastorals</i>\r\ncontain 232 illustrations in all.\r\n<br/>\n<br/>The existence, if not the present location, of twenty of Blake's original drawings for the illustrations to Philip's ‘Imitation’ is known (see Butlin 1981 no.769; nos.1–4, 6–11, 13–17 and 19–20 are repr. pls.999A, 999A, 1000–1014). Of Blake's designs no.4, ‘Colinet and Thenot stand together conversing, their sheep behind’ (Pierpont Morgan Library, New York) was not engraved. No drawing for the frontispiece, which is larger in format and shows Thenot and Colinet, has been recorded. Some of Blake's other engravings where lost as a result of Dr Thornton's dissatisfaction; indeed, only a chance conversation between Sir Thomas Lawrence, James Ward, Linnell and others at Mr Ader's prevented all of them from being recut by a commercial engraver. Three, corresponding to the drawings Butlin nos.769 <i>14–16</i>, did suffer this fate (repr. Bentley 1969, pl.41). The design no.769 <i>2</i> was also recut (repr. <i>Athenaeum</i> 21 January 1843, p.165, and Keynes 1971, pl.35) but in this case Blake's original engraving was retained. In the end Thornton published Blake's engravings with the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’.\r\n<br/>\n<br/>Apart from the frontispiece, Blake cut his designs four on a block and proofs of eight of the designs from two blocks are in the British Museum and elsewhere. When they came to be printed in the book they were indeed printed four to a page but simple captions were placed under each design; this entailed cutting each design by about 3/16× 3/8 (4×9).\r\n<br/>\n<br/>On 16 September 1825 John Linnell bought the blocks from Dr Thornton for two guineas and, according to a manuscript ‘List’ of Linnell's ‘Letters and Papers’ by John Linnell jr (in the Ivimy MSS), ‘E. Calvert printed them for J.L. &amp; self, &amp;c (certain number of imprints of the set) (J.L. jnr &amp; brother printed a few of the blocks, but did not finish the set)’. Calvert's printings were apparently done soon after Blake's death, both for Calvert himself and Linnell. As the set of impressions presented to the Tate Gallery by Henry Linnell in 1924 is complete, it was presumably one of those printed by Calvert.\r\n<br/>\n<br/>The blocks themselves were rediscovered in 1937, still in the possession of Linnell's descendants, by Sir Geoffrey Keynes, who had electrotypes made from them and printed from these electrotypes for his edition of <i>The Illustrations of William Blake for Thornton's Virgil</i> published that year. The blocks were sold from the Linnell estate at Christie's on 2 December 1938 and presented by the National Art-Collections Fund to the British Museum (accession nos.1939-14-1-2 to 18).\r\n<br/>\n<br/>These tiny <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/woodcut\" title=\"Glossary definition for 'Woodcut'\"><span>woodcut</span></a> illustrations, though untypical of Blake's art as a whole, were the most influential of all his works on other artists by way of the work of the Ancients, particularly Calvert and Samuel Palmer. As Samuel Palmer wrote (A.H. Palmer 1892): ‘I sat down with Mr. Blake's Thornton's <i>Virgil</i> woodcuts before me, thinking to give their merits my feeble testimony. I happened first to think of their sentiment. They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry. I thought of their light and shade, and looking upon them I found no word to describe it. Intense depth, solemnity, and vivid brilliancy only coldly and partially describe them. There is in all such a mystic and dreamy glimmer as penetrates and kindles the innermost soul, and gives complete and unreserved delight, unlike the gaudy daylight of this world. They are like all that wonderful artist's works the drawing aside of the fleshy curtain, and the glimpse which all the most holy, studious saints and sages have enjoyed, of that rest which remaineth to the people of God’. The influence of the designs extended well into the twentieth century, for instance in the early <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/etching\" title=\"Glossary definition for 'Etching'\"><span>etchings</span></a> of Graham Sutherland.\r\n<br/>\n<br/>These works were formerly inventoried as nos.3866 i–xvii.\r\n<br/>\n<br/><span>A00127</span> <b>Plate 20: ‘And Unyok'd Heifers, Loitering Homeward, Low’</b>\n<br/>\n<br/>Wood-engraving 33×77 (1 5/16×3) on paper 34×78 (1 5/16×3 1/16)\r\n<br/>\n<br/>This illustrates the line following the verses quoted under the last entry, ‘And unyok'd heifers, loitering homeward, low’.\r\n<br/>\n<br/>The drawing is in the Art Museum, Princeton University, Princeton, New Jersey (Butlin no.769 <i>20</i>, pl.1014).</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\r\n<br/></p>\n", "display_name": "Catalogue entry", "publication_date": "2004-09-22T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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[ "adults", "architecture", "church", "cities, towns, villages (non-UK)", "countries and continents", "figure", "Germany", "Gothic", "medieval", "Nuremberg, St Sebaldus’s Church", "people", "periods and styles", "places", "religious", "street", "townscape", "townscapes / man-made features" ]