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Grantglass merged 13 commits into from
May 30, 2026
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Preview #489

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b72589c
added s-inn k and relations
joeafletch Apr 15, 2026
224d673
Create sinn_ k_.xml
joeafletch Apr 21, 2026
5243e54
added s-inn.k
joeafletch Apr 21, 2026
3c09285
Update s-inn.f.xml
joeafletch May 4, 2026
ae69fd2
changed s-inn.k title and updated file
joeafletch May 4, 2026
9bb8948
update medium note in s-inn k and l
joeafletch May 4, 2026
15310ec
added updates and change statements
joeafletch May 5, 2026
fefcc1e
Update blake-relations.csv
Grantglass May 8, 2026
6d8f0b4
fixed em dash
joeafletch May 8, 2026
5b162bd
fixed errors
joeafletch May 8, 2026
b5ed039
corrections to s-inn.f and k
joeafletch May 8, 2026
fb6f831
updated provenance notes
joeafletch May 15, 2026
6787a28
Update s-inn.info.xml
joeafletch May 27, 2026
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11,796 changes: 5,912 additions & 5,884 deletions csv/blake-relations.csv
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1 change: 1 addition & 0 deletions csv/copy-handprints.csv
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Expand Up @@ -123,6 +123,7 @@ s-inn.d,s-inn.d.P2-3
s-inn.e,s-inn.e.P2-3
s-inn.f,s-inn.f.P2-3
s-inn.g,s-inn.g.P2-3
s-inn.k,s-inn.k.P2-3
s-inn.i,s-inn.I.P2-3
s-inn.l,s-inn.l.P2-3
s-inn.o,s-inn.o.P2-3
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2 changes: 1 addition & 1 deletion csv/works.csv
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6 changes: 3 additions & 3 deletions info/s-inn.info.xml
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Expand Up @@ -136,15 +136,15 @@

New York City</relationship><relationship><link type="copy" ptr="none">*Innocence* bound in *Songs of Innocence and of Experience* Copy D, 1789</link><br/>

Private Collection</relationship><relationship>Copy E, 1789<br/>
Private Collection</relationship><relationship><link type="copy" ptr="s-inn.e">Copy E, 1789</link><br/>

Berg Collection, New York Public Library<br/>

New York City</relationship><relationship><link type="copy" ptr="songsie.e">*Innocence* bound in *Songs of Innocence and of Experience* Copy E, 1789</link><br/>

Huntington Library and Art Gallery<br/>

San Marino, California</relationship><relationship>Copy F, 1789<br/>
San Marino, California</relationship><relationship><link type="copy" ptr="s-inn.f">Copy F, 1789</link><br/>

Houghton Library<br/>

Expand All @@ -164,7 +164,7 @@

San Marino, California</relationship><relationship>Copy J, 1789<br/>

Private Collection</relationship><relationship>Copy K, 1789<br/>
Private Collection</relationship><relationship><link type="copy" ptr="s-inn.k">Copy K, 1789</link><br/>

Carl H. Pforzheimer Library<br/>

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157 changes: 105 additions & 52 deletions works/bb440.1.xml
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Expand Up @@ -19,7 +19,27 @@
2025</date>
</publicationstmt>
<seriesstmt>The William Blake Archive</seriesstmt>
<updatestmt></updatestmt>
<updatestmt>
The William Blake Archive is pleased to announce the publication of ten of Blake's designs published as commercial book illustrations. Two of these, one plate in Thomas Commins, <hi rend="i">An Elegy, Set to Music</hi> (1786) and one in <hi rend="i">Remember Me!</hi> (1824), were both designed and engraved by Blake. The remaining eight plates were designed by Blake and engraved by other craftsmen. These were published in Gottfried Augustus Burger, <hi rend="i">Leonora</hi> (1796, three plates), Benjamin Heath Malkin, <hi rend="i">A Father’s Memoirs of his Child</hi> (1806, one plate), John Whitaker, <hi rend="i">The Seraph</hi> (c. 1818-1828, one plate), and John Varley, <hi rend="i">A Treatise on Zodiacal Physiognomy</hi> (1828, three plates). With these additions, the Archive now includes all known works by Blake in two categories, Commercial Book Illustrations Designed and Engraved by Blake and Commercial Book Illustrations Designed by Blake and Engraved by Other Engravers.
<lb/>
<lb/>
Blake's cover or frontispiece design for Commins's <hi rend="i">Elegy</hi> is one of his earliest commercial book illustrations he both designed and engraved. The survival of five preliminary studies offers the opportunity to trace the evolution of the design through different versions culminating in the engraving. The small but striking "Hiding of Moses" in the annual gift book, <hi rend="i">Remember Me!</hi>, is Blake's last commercial book illustration he both designed and engraved. A proof of the plate, before it was cut down to fit the book's format, is included in the Archive as a Supplemental View.
<lb/>
<lb/>
The plates in the translation of Burger's popular and influential poem, <hi rend="i">Leonora</hi>, include a frontispiece with lines from Edward Young's <hi rend="i">Night Thoughts</hi> engraved below the design, a headpiece to the poem, and a tailpiece. An inscription on the preliminary water color for the tailpiece indicates that Blake believed he would be hired to engrave the illustrations he had designed, but he lined through this inscription when he learned that the commission had been given to another engraver. Blake was confronted with the same disappointment when, in 1805, the publisher Thomas Cromek took from Blake the commission to engrave his illustrations to Robert Blair's <hi rend="i">The Grave</hi>.
<lb/>
<lb/>
The framing design in the frontispiece to Malkin's <hi rend="i">A Father’s Memoirs</hi> was initially engraved by Blake, but this was scraped and burnished off the copperplate and an engraving of Blake's design by Thomas Cromek substituted. This unusual history is examined in more detail in the prefatory essay to the Malkin plate. The engraved title page in Whitaker's <hi rend="i">The Seraph</hi>, possibly published after Blake's death, is a copy of one of Blake's engravings illustrating Edward Young's <hi rend="i">Night Thoughts</hi> of 1797.
<lb/>
<lb/>
Three plates in Varley's <hi rend="i">Treatise</hi> include imaginary portraits based on Blake's Visionary Heads he drew for Varley and their mutual friend, John Linnell, beginning no later than 1818 in séance-like sessions. These plates, engraved by Linnell, include what is probably a modified self-portrait of Blake and two views of one of the most famous Visionary Heads, "The Ghost of a Flea."
<lb/>
<lb/>
Blake's tempera painting, <hi rend="i">Sir Jeffery Chaucer and the Nine and Twenty Pilgrims on Their Journey to Canterbury</hi> has been in the Archive in our "Preview" mode since March 2021. This work has now been fully published, with a complete and searchable description of the design and transcriptions of the texts, including those inscribed on the Tabard Inn.
<lb/>
<lb/>
As always, the William Blake Archive is a free site, imposing no access restrictions and charging no subscription fees. The site is made possible by the University of North Carolina at Chapel Hill with the University of Rochester, the continuing support of the Library of Congress, and the cooperation of the international array of libraries and museums that have generously given us permission to reproduce works from their collections in the Archive.
</updatestmt>
<notesstmt/>
</filedesc>
<userestrict> Copyright © <date>2025</date> by Morris Eaves, Robert N. Essick, and Joseph
Expand All @@ -33,68 +53,101 @@
<profiledesc/>
<revisiondesc>
<changestmt>
<change>Republication in full mode</change>
<date>May 2014</date>
<change>Final proofing and publication</change>
<date>November 2025</date>
<respstmt>
<resp>Editors: </resp>
<name>Morris Eaves, </name> University of Rochester; <name>Robert Essick,
</name> University of California, Riverside; and <name>Joseph Viscomi, </name>
University of North Carolina at Chapel Hill <resp>Technical Editor: </resp>
<name>Michael Fox</name>
<resp>Project Manager: </resp>
<name>Robert Essick, </name>
University of California, Riverside; and
<name>Joseph Viscomi, </name>
University of North Carolina at Chapel Hill
<resp>Assistant Editor: </resp>
<name>Joseph Fletcher</name>
<resp>Technical Editor: </resp>
<name>Grant Glass</name>
<resp>Project Coordinator, University of Rochester: </resp>
<name>Laura Bell</name>
<name>Meaghan Green</name>
<resp>Assistant Project Coordinator, University of Rochester: </resp>
<name>Dani Garcia</name>
<resp>Consultant on Special Projects: </resp>
<name>Ashley Reed</name>
<resp>Bibliographer:</resp>
<name>Mark Crosby</name>
<name>Josh Romphf</name>
<resp>Bibliographer: </resp>
<name>Chuck Ripley</name>
<resp>Project Assistants: </resp>
<name>Esther Arnold,</name>
<name>Amber Bertin,</name>
<name>Abby Brengle,</name>
<name>Katherine Calvin,</name>
<name>Adam Engel,</name>
<name>Andrea Everett,</name>
<name>Duncan Graham,</name>
<name>Shannon Jaime,</name>
<name>Gabrielle Kiriloff,</name>
<name>Eric Loy,</name>
<name>Kate Massie,</name>
<name>Adam McCune,</name>
<name>Ali McGhee,</name>
<name>Anastasia Nikolis,</name>
<name>Kylie Regan,</name>
<name>Adair Rispoli,</name>
<name>Hardeep Sidhu,</name>
<name>Margaret Speer,</name>
<name>Sarah Tolf,</name>
<name>Danny Tsegai,</name>
<name>Lisa Vandenbossche,</name>
<name>Nikolaus Wasmoen,</name>
<name>Alia Wegner,</name>
<name>Megan Wilson</name>
<name>Victoria Bik, </name>
<name>Margarita Buitrago, </name>
<name>Emily English, </name>
<name>Timothy Gress, </name>
<name>Kathrin Lachenmaier, </name>
<name>Huimin Li, </name>
<name>Elizabeth McKay, </name>
<name>Anna Mertz, </name>
<name>Celeste Seifert, </name>
<name>Elizabeth Shand, </name>
<name>Gabby Tapia,</name>
<name>Matthew White </name>
</respstmt>
</changestmt>
<changestmt>
<change>Conversion to XML and Blake Archive Description DTD 2004</change>
<date>2004</date>
<respstmt>
<change>BAD created</change>
<date>July 2025</date>
<respstmt>
<resp>Editors: </resp>
<name>Morris Eaves, </name> University of Rochester; <name>Robert Essick,
</name> University of California, Riverside; and <name>Joseph Viscomi, </name>
University of North Carolina at Chapel Hill <resp>Technical Editor: </resp>
<name>Andrea Laue</name>
<resp>Conversion: </resp>
<name>Aziza Technology Associates</name>
<resp>Project Manager: </resp>
<name>Justin Van Kleeck</name>
<name>Robert Essick, </name>
University of California, Riverside; and
<name>Joseph Viscomi, </name>
University of North Carolina at Chapel Hill
<resp>Assistant Editor: </resp>
<name>Joseph Fletcher</name>
<resp>Technical Editor: </resp>
<name>Grant Glass</name>
<resp>Project Coordinator, University of Rochester: </resp>
<name>Meaghan Green</name>
<resp>Assistant Project Coordinator, University of Rochester: </resp>
<name>Dani Garcia</name>
<resp>Consultant on Special Projects: </resp>
<name>Josh Romphf</name>
<resp>Bibliographer: </resp>
<name>Chuck Ripley</name>
<resp>Project Assistants: </resp>
<name>Christopher N. Jackson, </name>
<name>Kari Kraus, </name>
<name>Wesley N. Raabe, </name>
<name>Wayne C. Ripley, </name>
<name>William Shaw</name>
<name>Victoria Bik, </name>
<name>Margarita Buitrago, </name>
<name>Emily English, </name>
<name>Timothy Gress, </name>
<name>Kathrin Lachenmaier, </name>
<name>Huimin Li, </name>
<name>Elizabeth McKay, </name>
<name>Anna Mertz, </name>
<name>Celeste Seifert, </name>
<name>Elizabeth Shand, </name>
<name>Gabby Tapia,</name>
<name>Matthew White </name>
</respstmt>
</changestmt>
<changestmt>
<change>Image acquisition and metadata collection</change>
<date>October 2002</date>
<respstmt>
<resp>Editors: </resp>
<name>Morris Eaves, </name>
University of Rochester;
<name>Robert Essick, </name>
University of California, Riverside; and
<name>Joseph Viscomi</name>
, University of North Carolina at Chapel Hill
<resp>Technical Editors: </resp>
<name>Matthew Kirschenbaum, </name>
<name>Andrea Laue</name>
<resp>Programmer/Analysts: </resp>
<name>Robert Bingler</name>
<resp>Project Manager: </resp>
<name>Andrea Dickens</name>
<resp>Project Assistants: </resp>
<name>Christopher N. Jackson, </name>
<name>Kari Kraus, </name>
<name>Wayne C. Ripley, </name>
<name>Sarah Trippensee, </name>
<name>Justin Scott Van Kleeck</name>
</respstmt>
</changestmt>
</revisiondesc>
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