arVISITS*^""*" ""'"^^^ "-Ibrary 
 
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 3 1924 031 289 030 
 
IXAMPLES OF THE EN GUSH 
 PRE-RAPHAELITE SCHQQL 
 OF PAINTERS, INCLUDING 
 ROSSETTI, BURNE- JONES, MADOX- 
 BROWN AND OTHERS, TOGETHER 
 WITH A COLLECTION OF THE 
 WORKS OF WILLIAM BLAKE. * * 
 
 TO BB BXHIBIxil IN E^IUDELFHU AT 
 
 THE ACADEMYl)F THE |pfE ARTS, 
 
 DECEMBER EIGHTH, 
 
 MDCCCXCII. 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924031289030 
 
PICTURES BY DANTE GAB- 
 RIEL ROSSETTI, IN OIL AND 
 WATER-COLOR, TOGETHER WITH 
 PHOTOGRAPHS FROM HIS PIC- 
 TORIAL WORKS. BELONGING TO 
 MR. SAMUEL BANCROFT, JR., OF 
 ROCKFORD, NEAR WILMINGTON, 
 DEL. 
 
 t 
 
 1. LADY LILITH. Oil Painting. Original picture, 
 
 painted in 1864, retouched by Rossetti in 1S72. Ros- 
 setti celebrated this picture in the following sonnet, a 
 version of which appears on the frame, which was 
 designed by the artist : 
 
 Body's Beauty. 
 
 " Of Adam's first wife, Lilith, it is told 
 (The witch he loved before the gift of Eve), 
 That, ere the snake's, her sweet tongue could deceive. 
 And her enchanted hair was the first gold. 
 And still she sits, young while the earth is old. 
 And, subtly of herself contemplative. 
 Draws men to watch the bright net she can weave. 
 Till heart and body and life are in its hold. 
 The rose and poppy are her flowers ; for where 
 Is he not found, O Lilith, whom shed scent 
 And soft-shed kisses and soft sleep shall snare ? 
 Lo ! as that youth's eyes burned at thine, so went 
 Thy spell through him, and left his straight neck bent. 
 And round his heart one strangling golden hair." 
 Collected Works, page 216, Vol. I. 
 
 2. LADY LILITH. Photograph of the painting in, its 
 
 original state, as painted in 1864. 
 
3. FOUND. Oil painting. Rossetti worked periodi- 
 cally for 20 years on this picture and left it unfinished. 
 See poem entitled "Jenny," page 83, Collected Works, 
 and the following sonnet : 
 
 Found. 
 
 " ' There is a budding morrow in midnight ' 
 So sang our Keats, our English nightingale. 
 And here, as lamps across the bridge turn pale 
 In London's smokeless resurrection-light, 
 Dark breaks to dawn. But o'er the deadly blight 
 Of Love, deflowered and sorrow of none avaU, 
 Which makes this man gasp and this woman quail, 
 Can day from darkness ever again take flight i' 
 Ah ! gave not these two hearts their mutual pledge, 
 Under one mantle sheltered 'neath the hedge 
 In gloaming courtship? And, O God! to-day 
 He only knows he holds her ;— but what part 
 Can life now take ? She cries in her locked heart,— 
 ' Leave me — I do not know you — go away ! ' " 
 
 Collected Works, page 363, Vol. I. 
 
 4. FOUND. Hollyer photograph, from original. 
 
 5. FOUND. Photograph of preliminary sketch in en 
 
 and-ink. This sketch shows the picture in its original 
 conception. The graves above the waU, to the left, 
 are said to have been drawn in by Burne-Jones. 
 
 6. HEAD OF GIRL IN "FOUND." Photograph of 
 
 preliminary sketch in pen-and-ink. 
 
 7. HEAD OF MAN IN "FOUND." Photograph 
 
 of preliminary sketch in pen-and-ink. 
 
 8. MARY MAGDALENE. ''Haec pedes meos:- Oil 
 
 painting. 
 
 9. MARY MAGDALENE. (Portrait of Mrs. William 
 
 Morris.) Preliminary study for oil painting. 
 
 10. DANTE'S DREAM. Hollyer photograph of the 
 
 original, Rossetti's largest oil painting, now in the 
 Walker Gallery, Liverpool. See the following stanza 
 from the VitalSfuova, of Dante, translated by Kossetti 
 
" Then lifting up mine eyes, as the tears came, 
 I saw the Angels, like a rain of manna, 
 In a long flight flying back Heavenward; 
 Having a little cloudin front of them, 
 After the which they went and said ' Hosanna ! ' 
 And if they had said more, you should have heard. 
 Then Love said, ' Now shall all things be made clear : 
 Come and behold our lady where she lies.' 
 These 'wildering phantasies 
 Then carried me to see my lady dead. 
 Even as I there was led, 
 Her ladies with a veil were covering her ; 
 And with her was such very humbleness 
 That she appeared to say, ' I am at peace.' " 
 
 Collected Works, page 67, Vol. II. 
 
 11. DANTE'S DREAM. Same as i6. 
 
 12. HEAD OF DANTE. Preliminary study for " Dan- 
 
 te's Dream." The sitter was Mr. W. J. Stillman, art- 
 critic and author. 
 
 13. HEAD OF ONE OF THE ATTENDANT LA- 
 
 DIES IN "DANTE'S DREAM." Preliminary 
 study. The sitter was Mrs. W. J. Stillman, then Miss 
 Spartali. 
 
 14. HEAD OF THE DEAD BEATRICE. Prelimi- 
 
 nary study for "Dante's Dream." The sitter was 
 Mrs. William Morris. 
 
 15. ANOTHER OF THE SAME. 
 
 16. DANTE'S DREAM. Photograph of preliminary 
 
 study. 
 
 17. LA BELLA MANO. (Also called "Washing 
 
 Hands.") Autotype from original cartoon. Rossetti 
 wrote the following sonnet for this cartoon : 
 
 La Bella Mano. 
 
 " O lovely hand, that thy sweet self dost lave. 
 In that thy pure and proper element. 
 Whence erst the Lady of Love's high advent 
 Was born, and endless fires sprang from the wave 
 Even as her Loves to her their offerings gave, 
 
For thee the jewelled gifts they bear ; while each 
 Looks to those lips, of music-measured speech 
 The fount, and of more bliss than man may crave. 
 In royal wise ring-girt and bracelet-spanned 
 A flower of Venus' own virginity, 
 Go shine among thy sisterly sweet band ; 
 In maiden-minded converse delicately, 
 Evermore white and soft; until thou be, 
 O hand ! heart-handsel' d in a lover's hand." 
 
 Collected Works, p. 373. Vol. I. 
 
 18. WASHING HANDS. Photograph from original 
 
 water-color. 
 
 19. LA BELLA MANO (Washing Hands), as completed. 
 
 Autotype from the original. 
 
 20. WATER WILLOW. Portrait of Mrs. William 
 
 Morris. Oil painting. 
 
 " The small oil, called WaterWillow, includes a view 
 of the house in Kelmscott, where Rossetti and his 
 friend, William Morris, lived for some time : a beauti- 
 ful little painting, that the artist valued highly, and 
 which, for a long time, he refused to part with." 
 Dante Gabriel Rossetti, by William Sharp, p. 226. 
 
 21. THE SALUTATION OF BEATRICE. Photo- 
 
 graph from the preliminary study. Mrs. William 
 Morris was the sitter. The following sonnet, trans- 
 lated by Rossetti, from Dante's Vita Nuova, was the 
 inspiration of the picture : 
 
 " My lady looks so gentle and so pure 
 When yielding salutation by the way. 
 That the tongue trembles and has naught to say. 
 And the eyes, which fain would see, may not endure. 
 And still, amid the praise she hears secure. 
 She walks with humbleness for her array ; 
 Seeming a creature sent from Heaven to stay 
 On earth, and show a miracle made sure. 
 She is so pleasant in the eyes of men 
 That through the sight the inmost heart doth gain 
 A sweetness which needs proof to know it by : 
 And from between her lips there seems to move 
 A soothing essence that is full of love, 
 Saying forever to the spirit, ' Sigh ! ' " 
 Collected Works, p. 74, Vol. II. 
 
5 
 
 22. PROSERPINA. Photograph from the original. 
 
 There were four replicas of this picture. Rossetti 
 wrote the following sonnet for it : 
 
 Proserpina. 
 " Afar away the light that brings cold cheer 
 Unto this wall, — one instant and no more — 
 Admitted at my distant palace-door. 
 Afar the flowers of Enna from this drear 
 Dire fruit, which, tasted once, must thrall me here. 
 Afar those skies from this Tartarean grey 
 That chills me : and afar, how far away, 
 The night that shall be from the days that were. 
 Afar from mine own self I seem, and wing 
 Strange ways in thought, and listen for a sign : 
 And still some heart unto some soul doth pine, 
 (Whose sounds mine inner sense is fainto Dring, 
 Continually together murmuring,) — 
 ' Woe's me for thee, unhappy Proserpine ! ' " 
 Collected Works, p. 371, Vol. I. 
 
 23. PORTRAIT of Mrs. William Morris. Photograph 
 
 from the original. 
 
 24. PANDORA. Photograph from the original sketch 
 
 of Mrs. William Morris. Rossetti wrote the following 
 sonnet for this picture : 
 
 Pandora. 
 
 " What of the end Pandora ? Was it thine. 
 The deed that set these iiery pinions free ? 
 Ah ! wherefore did the Olympian consistory 
 In its own likeness make thee half divine? 
 Was it that Juno's brow might stand a sign 
 Forever ? and the mien of Pallas be 
 A deadly thing ? and that all men might see 
 In Venus' eyes the gaze of Proserijine ? 
 What of the end ? These beat their wings at will. 
 The ill- born things, the good things turned to ill, — 
 Powers of the impassioned hours prohibited. 
 Aye, clinch the casket now ! Whither they go 
 Thou mayst not dare to think : nor canst thou know 
 If Hope still pent there be alive or dead." 
 
 Collected Works, page 67, Vol. I. 
 
 25. MADONNA DELLA FIAMMA. Photograph from 
 
 original drawing. Mrs. William Morris was the sitter. 
 
26. MNEMOSYNE. Photograph from the original oil 
 
 painting. Mrs. William Morris was the sitter. For 
 this picture Rossetti wrote the following lines : 
 
 Mnemosyne. 
 
 " Thou fill' St from the winged chalice of the soul 
 Thy lamp, O Memory, fire-winged to its goal." 
 
 27. MRS. WILLIAM MORRIS, Photograph from 
 
 study. 
 
 28. THE ROSE LEAF. Perlascura Series. Photograph 
 
 from the original drawing from Mrs. William Morris. 
 
 29. THE COUCH. Perlascura Series. Photograph from 
 
 the original pen-and-ink. Mrs. William Morris was 
 the sitter. 
 
 }0. QUEEN GUENEVERE. Perlascura Series. Pho- 
 tograph of the original study, from Mrs. WilUam 
 Morris. 
 
 31. HEAD of' MRS. WILLIAM MORRIS. Per- 
 
 lascura Series. Photograph from the original. 
 
 32. STUDY HEAD of Mrs. William Morris. Periascura 
 
 Series. From the original. 
 
 3^. LACHESIS. Perlascura Series. Photograph from 
 the original drawing. 
 
 34. HEAD OF MRS. WILLIAM MORRIS. Photo- 
 
 graph from the original study. 
 
 35. PORTRAITS of Mrs. Gabriel Rossetti and Miss 
 
 Christina Rossetti, the poetess, Rossetti's mother and 
 sister. Photograph of the original drawing. 
 
 36. PORTRAIT OF GABRIELE ROSSETTI, the 
 
 painter's father. 184S. Photograph from the original 
 ■ painting. 
 
 37. PORTRAIT OF MRS. GABRIEL ROSSETTI. 
 
 1 853. Photograph from the original pen-and-ink sketch. 
 
38. PORTRAIT OF MISS CHRISTINA ROSSETTJ. 
 
 1866. Photograph from the original drawing. 
 
 39. THE SAME. Crayon. 
 
 40. PORTRAIT OF WILLIAM BELL SCOTT. 1852. 
 
 The painter-poet, a friend of Rossetti. Photograph 
 from the original in crayon. 
 
 41. PORTRAIT OF SWINBURNE, i860. Photograph 
 
 from the original pencil-drawing. 
 
 42. PORTRAIT OF RUTH HERBERT. An actress, 
 
 whom Rossetti and Ruskin greatly admired in 1858. 
 This was her stage name Photograph from the original 
 pencil sketch. See 89. 
 
 43. ORPHEUS AND EURYDICE. Photograph from 
 
 the original pencil sketch. 
 
 44. THE DEATH OF LADY MACBETH. Photograph 
 
 from the original pencil study. 
 
 45. ANOTHER VERSION OF THE SAME. 
 
 46. A SONNET. Pro matre fecit, April 27, 1880. Design 
 
 for title-page to Rossetti's "House of Life: A Sonnet 
 Sequence." This sonnet is now printed as a prelude 
 to " The House of Life," and as frontispiece to 
 Sharp's Dante Gabriel Rossetti. Photograph from 
 original design. 
 
 47. HEAD OF WOMAN WITH ROSE IN HER 
 
 HAIR. Photograph from original crayon sketch of 
 Mrs. William Michael Rossetti, formerly Miss Madox- 
 Brown. 
 
 48. THE HAIR-NET. Scotch Girl Series. Photograph 
 
 from original sketch in pencil. 
 
 49. THE PROFILE. Scotch Girl Series. Photograph 
 
 from original sketch in pencil. 
 
 50. THE LAUREL. Scotch Girl Series. Photograph 
 
 from the original sketch in pencil. 
 
 5 I . OPHELIA. Photograph from study in pen-and-ink. 
 
8 
 
 52. DESDEMONA'S DEATH SONG. Photograph 
 
 from study in pen-and-ink. 
 
 53. ANOTHER STUDY FOR THE SAME. 
 
 54. ANOTHER STUDY FOR THE SAME. 
 
 55. ANOTHER STUDY FOR THE SAME. 
 
 56. CASSANDRA. Photograph from the original study 
 
 in ink. Rossetti wrote the following sonnets, with 
 a foot-note, for this picture : 
 
 Cassandra. 
 I. 
 " Rend, rend thine hair, Cassandra : he will go. 
 Yea, rend thy garments, wring thine hands, and cry 
 From Troy still towered to the unreddened sky. 
 See, all but she that bore thee mock thy woe : 
 He most whom that fair woman arms, with show 
 Of wrath on her bent brows; for in this place 
 This hour thou bad'st all men in Helen's face 
 The ravished ravishing prize of Death to know. 
 What eyes, what ears hath sweet Andromache, 
 Save for her Hector's form and step ; as tear 
 On tear make salt the warm last kiss he gave 
 He goes. Cassandra's words beat heavily 
 Like crows above his crest, and at his ear 
 Ring hollow in the shield that shall not save. 
 
 II. 
 " ' O Hector, gone, g'one, gone ! O Hector, thee 
 Two chariots wait, in Troy long bless'd and curs'd 
 And Grecian spear and Phrygian sand athirst 
 Crave from thy veins the blood of victory. 
 Lo ! long upon our hearth the brand had we 
 Lit for tne roof-tree's ruin : and to-day 
 The ground-stone quits the wall, — the wind hath way,— 
 And higher and higher the wings of the fire are free, 
 O Paris ! Paris ! O thou burning brand. 
 Thou beacon of the sea whence Venus rose. 
 Lighting thy shipwreck ! Even that hand 
 Wherewith she took thine apple let her close 
 Within thy curls at last, and while Troy glows 
 Lift thee her troohv to the sea and land.' " 
 
The subject shows Cassandra prophesying among 
 her kindred, as Hector leaves them for his last battle. 
 They are on the platform of a fortress, from which 
 the Trojan troops are marching out. Helen is arming 
 Paris ; Priam soothes Hecuba ; and Andromache holds 
 the child to her bosom. 
 Collected Works, page 358, Vol. I. 
 
 57. DliSIGN for title-page of Christina Rossetti's book 
 
 of poems, The Prince's Progress. 1866. Photograph 
 from original in pen-and-inlc. 
 
 58. ILLUSTRATION FOR SAME. 
 
 59. DESIGN for Tennyson's /!j/af^ <7/'^r/. 1857. Pho- 
 
 tograph from original The stanza illustrated is : 
 
 " Or in a clear-walled city in the sea. 
 Near gilded organ-pipes, her hair 
 Wound with white roses, slept St. Cecily ; 
 An angel look'd at her." 
 
 60. DESIGN for Tennyson's Marianna in the South. 
 
 Photograph from original. The stanza illustrated is : 
 
 " Low on her knees herself she cast ; 
 
 Before Our Lady murmur'd she, 
 
 Complaining, ' Mother, give me grace 
 
 To help me of my weary load.' 
 
 And on the liquicl mirror glow'd 
 
 The clear perfection of her face. 
 ' Is this the form,' she made her moan, 
 ' That won his praises night and morn ? ' 
 
 And ' Ah,' she said, ' but I wake alone ; 
 
 I sleep forgotten, I wake forlorn.' " 
 
 61. DESIGN for Tennyson's Passing of Arthur. Pho- 
 
 tograph from original. One of the queens was drawn 
 from Miss Christina Rossetti. The portions of the 
 poem illustrated are as follows : 
 
 " Then saw they how there hove a dusky barge. 
 Dark as a funeral scarf from stem to stern. 
 Beneath them ; and descending they were ware 
 That all the decks were dense with stately forms, 
 Black-stoled, black-hooded, like a dream " — 
 
' But now farewell. I am going a long way 
 With these thou seest — if indeed I go — 
 (For all my mind is clouded with a doubt) 
 To the island-valley of Avilion, 
 Where falls not hail, or rain, or any snow, 
 Nor ever wind blows loudly." 
 
 62. PAOLO AND FRANCESCA. Photograph from 
 
 original in pencil. 
 
 63. PORTRAIT OF MISS ELIZABETH ELEANOR 
 
 SIDDALL. Afterwards Mrs. Dante Gabriel Ros- 
 setti. Rossetti was married May 23, i860. Mrs. Ros- 
 setti died in 1862. Photograph from original in pen- 
 and-ink. 
 
 64. PORTRAIT OF MRS. DANTE GABRIEL 
 
 ROSSETTI. Photograph from original in pencil. 
 
 65. ANOTHER OF THE SAME. 
 
 66. FULL-LENGTH OF THE SAME. 
 
 67. ANOTHER OF THE SAME. Original in pencil. 
 
 68. PORTRAIT OF MRS. D. G. ROSSETTI; reclin- 
 
 ing on a pillow. Photograph from the original in pencil. 
 
 69. PORTRAIT OF MRS. D. G. ROSSETTI AT 
 
 THE EASEL. Photograph from the original in 
 pencil. 
 
 70. THE BELOVED. Also caUed " The Bride." Photo- 
 
 graph f roni original oil painting. The text for the picture 
 is found in the Song o/"_ Solomon : " My beloved is 
 mine, and I am his ; let him kiss me with the kisses of 
 his mouth; for thy love is better than wine." Ros- 
 setti considered that he never surpassed in downright 
 loveliness the ideal of womanhood here represented. 
 
71. THE GIRLHOOD OF MARY VIRGIN. Pho- 
 
 tograph from the original oil painting. For this pic- 
 ture Rossetti wrote the following sonnet : 
 
 Mary's Girlhood. 
 
 " This is the blessed Mary, pre-elect 
 God's Virgin. Gone is a great while, and she 
 Dwelt young in Nazareth of Galilee. 
 Unto God's will she brought devout respect, 
 Profound simplicity of intellect, 
 And supreme patience. From her mother's knee 
 Faithful and hopeful ; wise in charity ; 
 Strong in grave peace ; in pity circumspect. 
 So held she through her girlhood ; as it were 
 An angel-watered lily, that near God 
 Grows and is quiet. Till, one dawn at home 
 She woke in her white bed, and had no fear 
 At all, — yet wept till sunshine, and felt awed : 
 Because the fulness of the time was come." 
 
 Collected Works, page 353, Vol. I. 
 
 72. HAMLET AND OPHELIA. Photograph from the 
 
 original pen-and-ink. 
 
 73. HESTERNA ROSA. Photograph from original 
 
 Een-and-ink drawing. This composition was suggested 
 y the song sung by Elena, in the second part of Sir 
 Henry Taylor's Philip van Arievelde, Act. V, Sc. II. 
 The two stanzas illustrated are as follows : 
 
 " Quoth tongue of neither maid nor wife 
 To heart of neither wife nor maid, 
 ' Lead we not here a jolly life, ' 
 Betwixt the shine and shade ? ' 
 
 " Quoth heart of neither maid nor wife 
 To tongue of neither wife nor maid, 
 ' Thou may'st, but I am sore with strife. 
 And feel like flowers that fade.' " 
 
 74. DANTIS AMOR. Photograph from the original 
 
 india-ink. This design was carried out as a panel- 
 painting. Qui est per omnia sacula benedictus .' the 
 last words of Vita Nuova. 
 
 Illustrating the final sonnet of Vita Nuova, trans- 
 lated by Rossetti. 
 
tl 
 
 " Beyond the sphere which spreads to widest space, 
 Now soars the sigh that my heart sends above ; 
 A new perception, bom of grieving Love, 
 Guidetn it upward the untrodden ways. 
 When it hath reached unto the end, and stays, 
 It sees a lady round whom splendors move 
 In homage ; till, by the great light thereof, 
 Abashed, the pilgrim spirit stands at gaze. 
 It sees her sucn, that when it tells me this 
 Which it hath seen, I understand it not. 
 It hath a speech so subtle and so fine. 
 And yet I know its voice within my thought. 
 Often remembereth me to Beatrice: 
 So that I understand it, ladies mine." 
 
 75. LUCRETIA BORGIA. Photograph from the ori- 
 
 ginal in water-color. 
 
 76. ORIGINAL STUDY for Foreground of "Fiam- 
 
 metta." 
 
 77. ANOTHER STUDY OF THE SAME. 
 
 72,. SISTER HELEN. Photograph from pen-and-ink 
 study. See Rossetti's poem of that name. 
 
 79 MEETING LOVERS. A study for the PredeUa 
 of the Blessed Damozel. Photograph from the 
 original. See Rossetti's poem of that name. 
 
 80. ANOTHER STUDY FOR THE SAME. 
 
 81. THE QUESTION. (Also called " The Sphynx.") 
 
 Photograph from the original pencil study." 
 
 82. DANTE DRAWING AN ANGEL. In memory 
 
 OP Beatrice. Photograph from the original water- 
 color study. This picture was the means of introducing 
 Rossetti to Ruskin. The following prose passage from 
 Dante's Vita Nuova, is translated by Rossetti: 
 
 K J 9" "'^^ 'i^y which fulfilled the year since my lady 
 Jiad been made of the citizens of eternal life, remem- 
 bering me of her as I sat alone, I betook myself to draw 
 
 wiffi» tTS f^°^ °l ^ .^°8^^^ "P°° certain tablets. And 
 whije I did this, chancing- to turn my head, I perceived 
 
13 
 
 that some were standing beside me to whom I should 
 have given courteous welcome, and that they were ob- 
 serving what I did: also I learned afterwards that they 
 had been there a while before I perceived them. Per- 
 ceiving whom, I arose for salutation, and said : ' An- 
 other was with me.' " 
 
 Collected Works, page 84, Vol. II. 
 
 83. HOW THEY MET THEMSELVES. HoUyer 
 photograph from the original in India-ink. 
 
 " The time is toward twilight, in a thick and presum- 
 ably lonely wood, where two lovers have met by secret 
 appointment; they have stopped to embrace, hidden 
 from the world by the dark forest, from heaven by the 
 roof of closely interwoven branches and dense foliage, 
 when suddenly they behold themselves walk towards 
 and past them. The two supernatural figures have 
 nothing to denote their unmortality save a gleaming 
 light along the line of their bodies, not, however, 
 visible to the lovers : with clasped hands they approach 
 and slowly pass on, the lady looking right into the 
 eyes of her mortal double, and the man, with a fixed 
 and terrible expression, staring back the startled gaze 
 of the lover. The lady of life, if she may be so called 
 in contradistinction, falls fainting against a tree, with 
 her face deathly pale, with sudden fear and horror, 
 and her lover, with his left arm supporting her, with 
 his right draws his sword in order to make trial of 
 this strange double of himself — but for some reason 
 his arm seems paralyzed, and he cannot raise his 
 weapon. This is the moment chosen for illustration : 
 in another, the lovers will be alone again, shuddering 
 with fear at the occult significance of this strange and 
 unnatural meeting with, to all intents, themselves." 
 Dante Gabriel Rossetti, by William Sharp, page 138. 
 
 84. MARY MAGDALENE AT THE DOOR OF 
 SIMON THE PHARISEE. Photograph from the 
 
 original drawing. Rossetti wrote the following sonnet 
 for this picture : 
 
 Mary Magdalene. 
 
 " ' Why wilt thou cast the roses from thine hair ? 
 Nay, be thou all a rose, — wreath, lips, and cheek. 
 Nay, not this house,— that banquet-house we seek ; 
 See how they kiss and enter; come thou there. 
 This delicate day of love we two will share 
 
« ' I 
 
 14 
 
 Till at our ear love's whispering night shall speak. 
 What, sweet one,— hold'st thou still the foolish freak? 
 Nay, when I kiss thy feet they'll leave the stair ! ' 
 
 ' Oh, loose me ! Seest thou not my Bridegroom's face, 
 That draws me to Him ? For His feet my kiss, 
 My hair, my tears He craves to-day ;— and oh ! 
 What words can tell what other day and place 
 Shall see me clasp those blood-stained feet of His ? 
 He meets me, calls me, loves me: let me go! ' " 
 
 Collected Works, p. 356, Vol. I. 
 
 85. THE BLESSED DAMOSEL. Hollyer photograph 
 of the original in oil. See Rossetti's poem of this name. 
 
 " The blessed damozel leaned out 
 
 From the gold bar of Heaven; 
 Her eyes were deeper than the depth 
 
 Of waters stilled at even ; 
 She had three lilies in her hand, 
 
 And the stars in her hair were seven." 
 
 Collected Works, page 232, Vol. I. 
 
 86. BEATA BEATRIX. HoUyer photograph from the 
 original. " It is stated that Lady Mount-Temple has 
 bequeathed or presented this picture to the National 
 Gallery. It represents Beatrice in a semi-superna- 
 tural trance, ominous and symbolic of death, but not in 
 any sense dead ; and was painted some while after Uie 
 death of my brother's wife, probably beginmng m 1863, 
 with portraiture so faitlifuUy reminiscent that one 
 might almost say she sat in spirit and to the mmd s 
 eye for the t3.ce."— William Michael Rossetti. 
 See 114. 
 
 87. ECCE ANCILLA DOMINI- Hollyer phot^raph 
 from the original. " Mr. Ruskin refers to it as difienng 
 from any previous conception of the scene known to 
 him, in representing the angel as awakening the Virgin 
 from sleep to give his message, and ' not depending for 
 recognition of his supernatural character on the inser- 
 tion of bird's wings at his shoulders,' or in being ' neither 
 transparent in body, luminous in presence, nor aurifer- 
 ous in apparel.' " — Willmm Sharp. The sonnet by 
 Rossetti, written in celebration of " The Girlhood of 
 Mary Virgin," also applies to this picture. 
 
 See 71. 
 
 S8. A WOMAN'S HEAD. Photograph from original 
 sketch. 
 
89. PORTRAIT OF RUTH HERBERT, Water- 
 
 color. 
 
 See 42. 
 
 90. ROSA TRIPLEX. HoUyer photograph of origi- 
 
 nal water-color. The sitter was Miss May Morris, 
 daughter of William Morris. 
 
PICTURES AND REPRODUC- 
 TIONS OF PICTURES BY BURNE- 
 JONES AND OTHERS. BELONG- 
 ING TO MR. SAMUEL BANCROFT, 
 JR. 
 
 -^ 
 
 91. THE COUNCIL CHAMBER. Oil painting. 
 By Burne- Jones. One of the Briar-Rose series, rejjre- 
 senting the legend of the Palace of the Sleeping 
 Beauty. 
 
 92-95. PHOTOGRAVURES OF THE BRIAR- 
 ROSE SERIES. All signed by Burne-Jones. 
 
 No. 92. "The Sleeping Guards." 
 
 93. "The Bov/er Maidens." 
 
 94. "The Sleeping Princess." 
 
 95. " The Council Chamber." 
 
 96. THE GOLDEN STAIR. HoUyer photograph 
 
 of the original painting. By Burne-Jones. 
 
 97. THE DEAD ROSSETTI. Drawn by Fred 
 
 Shields, and dated Easter Monday, 1882. 
 
 98. MAGDALENE. Photograph from drawing, by 
 
 Fred. Shields. 
 
 99. THE CORSAIR. Water-color. ByFordMadox- 
 
 Brown, the teacher and friend of Rossetti, who has 
 outlived him. The picture illustrates a scene from 
 Byron's poem of this name. 
 
 100. WATER- COLOR. By Mrs. D. G. Rossetti. 
 " Under Rossetti's zealous tuition her progress [in art] 
 was rapid, and her water-color drawings soon dis- 
 played marked proficiency and a fine sense of color." 
 Joseph Knight. Li/e of Rossetti. 
 
 l6 
 
17 
 
 loi. PHOTOGRAPH OF MRS. FANNY 
 SCHOTT, Rossetti's model. She sat for Lady 
 Lilith and a number of other pictures. This pictiure 
 was taken in Rossetti's garden, at 16 CheneWalk, in 
 1863. The sitter was posed by Rossetti, Ruskin and 
 ~ W. Bell-Scott. 
 
 102. ILLUSTRATION FOR POEM OF WIL- 
 
 LIAM MORRIS. By C. Fairfax Murray, pupil 
 of Burne-Jones. 
 
 103. DESIGN FOR STAINED GLASS WIN- 
 
 DOW. By C. Fairfax Murray. 
 
 104. PORTRAIT OF A CHILD. By C. Fairfax 
 Murray. 
 
 105. PORTRAIT OF CHILDREN. By C. Fairfax 
 
 ' Murray. 
 
 , 106. CHOIR OF GIRLS, in D'Oyley Carte's English 
 ' Opera House, London. By C. Fairfax Murray. 
 
 107. CLAUDIO AND ISABELLA. Photograph of 
 a painting by Holman Hunt. 
 
PICTURES BY DANTE GA- 
 BRIEL ROSSETTI AND EDWARD 
 BURNE-JONES. BELONGING TO 
 PROFESSOR CHARLES ELIOT 
 NORTON, OF CAMBRIDGE, MASS. 
 
 io8. BEATRICE MEETING DANTE AT A 
 MARRIAGE-FEAST, DENIES HIM HER 
 SALUTATION. Water-color. This was the first 
 picture for which Mrs. Schott sat to Rossetti. See 
 Vita Nuova. 
 
 109. THE CHAPEL BEFORE THE LISTS.; 
 
 Water-color. By Rossetti. 
 
 1 10. ANGELS. Water-color. By Bume-Jones. 
 
 111. SIBYL. Water-color. By Bume-Jones. 
 
 112. ROMAUNT OF THE ROSE. Pencil-drawing. 
 By Burne-Jones. 
 
 113. HESTERNA ROSA. Photograph with tide 
 written by Rossetti. 
 
 114. HOW THEY MET THEMSELVES. Pho- 
 tograph with title written by Rossetti. 
 
 iS 
 
PICTURE BY DANTE GA- 
 BRIEL ROSSETTI. BELONGING 
 TO MR. CHARLES L. HUTCHIN- 
 SON, PRESIDENT OF THE ART 
 INSTITUTE OF CHICAGO. 
 
 US. BEATA BEATRIX. Oil painting. Replica of that 
 originally painted, in 1863, for Lord Mount-Temple. A 
 letter of Rossetti describes it thus : " You will remember 
 how Dante dwells on the desolation of the city in con- 
 nection with the incident of her death, and for this 
 reason I have introduced it as my background, and 
 made the figures of Dante and Love passmg through 
 the street, and gazing ominously on one another, con- 
 scious of the event, while the bird, a messemger of 
 death, drops the poppy between the hands of Beatrice. 
 She, through her shut lids, is conscious of a new world, 
 as expressed in the last words of the yUa Nuova : 
 " ' Quella beata Beatrice che gloriosamente mira nella 
 fascia di colui gut est per omnia scecula benedicius.'' " 
 " In this instance, as in many others, the frame itself 
 was designed by the artist. On the under side, in addi- 
 tion to the date, 9th June, 1290, it has the words : 
 ' Quomodo sedet sola civitas,' the first words of that 
 lamentation from Jeremiah, which Dante used upon 
 the death of Beatrice : ' the whole city came to be, as 
 it were, widowed and despoiled of all dignity.' The 
 
 E resent picture differs from Lord Mount-Temple's in 
 aving a predella, the subject of which is the meeting 
 of Dante and Beatrice in Paradise." 
 
 Dante Gabriel Rossetti, by William Sharp, p. 183. 
 $eeS$. 
 
 '9 
 
WORKS BY WILLIAM BLAKE. 
 BELONGING TO MR. HERBERT H. 
 GILCHRIST, OF LONDON, ENG- 
 LAND. 
 
 ii5«. WATER-COLOR. 
 
 " But Hope rekindled, only to illume 
 The shades of death and light her to the tomb." 
 
 This is the original, and is signed W. B. It is a 
 duplicate probably of one of the unengraved designs 
 for Young's Night Thoughts. 
 
 116. WATER-COLOR. A husband parting from his 
 wife and child. Two assassins lurk in ambush. The 
 full moon shines over a lake. 
 
 117. LITTLE TOM THE SAILOR. On pewter. 
 A poem by Hayley, the biographer of Cowper. 
 This broadsheet, published in 1800, was a charitable 
 effort of Hayley and Blake, to help a poor widow. Mr. 
 and Mrs. Blake printed the sheets themselves to save 
 expense. The head-piece shows the spirit of the dead 
 father, watching over the sailor boy. The tail-piece 
 discloses the future widow going to her sick husband, 
 while regretfully parting with her children. It was 
 executed by a process termed by Blake " wood-cutting 
 on pewter." Very scarce. 
 
 118. DESCENT OF MAN INTO THE VALE 
 OF DEATH. This is illustration No. 7 to Blair's 
 The Grave. [1808.] 
 
 " 'Tis here all meet ! 
 The wrecks of nations and the spoils of time, 
 With all the lumber of six thousand years." 
 
 20 
 
it 
 
 119. BLAKE'S COTTAGE AT FELPHAM. 
 
 Drawn by Mr. Herbert H. Gilchrist for the new 
 edition of Gilchrist's Life of Blake, 1880. The cot- 
 tage is near Bognor, in the neighborhood of Brighton, 
 in England, and is still standing. Blake termed it 
 " a perfect model for cottages." 
 
 120. TEN ORIGINAL DESIGNS, to illustrate Tales 
 for Children, by Mary WoUstonecraft. 
 
 Six only were used in the work as published in 1791 
 
 1. Frontispiece. 
 
 " Look what a fine morning it is. Insects, 
 Birds and animals are all enjoying existence." 
 
 2. Man Watching His Dead Children. 
 " The dog strove to attract his attention. 
 
 He said, ' Thou wilt not leave me.' " 
 
 3. The Family Group. 
 
 " Indeed we are very happy." 
 
 4. Visiting the Needy. 
 
 " Oiconomy and self-denial are necessary, in every 
 station, to enable us to be generous." 
 
 " God's care for them." 
 
 6. 
 
 7- 
 
 " Every prospect smiled." 
 
 8. 
 " She turned her eyes on her cruel master." 
 
 9. 
 
 " How delighted the old bird will be." 
 
 10. Mother in Despair. 
 
 On the right are faintly sketched the good lady 
 and her two children, about to pay a charitable 
 
 visit. 
 
 121. SIX OF EIGHT DESIGNS to illustrate MUton's 
 
 Masque, entitled Comus. Autotypes. 
 
 1. Comus with his Revellers. His companion 
 ' revellers have the heads of a pig, a dog and a cat. 
 A lady is seated on the bank in front. Comus 
 raises aloft his divining rod. 
 
ii 
 
 2. COMUS Disguised as a Rustic, addressing the 
 lady in the wood. The Guardian Spirit hovers 
 near her. 
 
 3. The Brothers, as described by Comus, pluck- 
 ing grapes. The Guardian Spirit in a ray of 
 glory. 
 
 4. The Two Brothers, passing the night in the 
 wood. The Guardian Spirit, in likeness of a 
 shepherd, stands between them. Above is the 
 moon in her dragon-drawn car. 
 
 7. Sabrina disenchanting the lady. 
 
 8. The Lady Restored to her Parents. The 
 Guardian Spirit resumes his angelic shape and 
 departs as the brothers gaze upon him. 
 
 122. "PARADISE LOST." (Book XII.) Autotype. 
 St. Michael foretelling the Crucifixion to Adam. At 
 the foot of the Cross lie the sins or vices. The foot of 
 Christ crushes the serpent. Eve lies, in the foreground, 
 asleep. Adam stands on the right, the Archangel on 
 the left. [1808.] 
 
 123. "PARADISE LOST." (Book VIII.) Autotype. 
 The creation of Eve. At the Word of the Creator Eve 
 floats up from the side of Adam. The crescent moon 
 is above, in a deep, dusky sky. 
 
 124. VISION OF QUEEN KATHARINE. 
 Shakespeare's "Henry VIII." Autotype. Treated quite 
 from the ideal, following neither the historic nor dra- 
 matic point of view. The Queen holds up her hands to 
 the angels. The dozing attendants are Griffith and 
 Patience. 
 
 125. A BREACH IN A CITY: THE MORNING 
 AFTER THE BATTLE. Autotype. Blake was 
 a strong Peace-advocate, and this is one of his contri- 
 butions to the realization of the "supreme despica- 
 bleness of wars." Sometimes erroneously catalogued 
 as " The Plague." [1784.] 
 
 126. INFANT JOY. From The Songs of Innocence. 
 Water-color. One of the illustrations to the book, so 
 named, in which the poet and his wife did everything — 
 namely, writing, designing, printing, engraving and 
 made even the color or ink with which the pages were 
 written and illustrated. [1788-89.] 
 
23 
 
 12;. THE HUMAN ABSTRACT. A page from 
 The Songs of Innocence. 
 
 128. VISION OF QUEEN KATHARINE. 
 Shakespeare's "Henry VIII." Engraving by Blake, 
 after the design of Fuseli. One of a series to illustrate 
 Shakespeare, published by Rivington in 1804. 
 
 " Spirits of peace, where are ye ? Are ye all gone ? " 
 
 129. FERTILIZATION OF EGYPT. Engraving 
 by Blake, after a drawing by Fuseli. Published in 
 Darwin's Botanic Garden. [1791.] 
 
 130. WEST MIDDLESEX WATER-WORKS 
 COMPANY. Ticket of admission. 
 
 131. THE ELEPHANT. The first of a series of Bal- 
 lads, by Hayley, to which Blake provided illustrations. 
 The elephant carries off his protector and thrusts him 
 through a third-story window. The reason is explained 
 by the head-piece of page i. It was to place him be- 
 yond an awkward tiger's reach. [1802.] 
 
 132. THE EAGLE. The second of a series of Ballads, 
 by Hayley, illustrated by Blake. It is a story of a 
 Scotch peasant, who rescued her babe by following the 
 eagle to its nest, and then seating herself on the bird's 
 back, forced him to bear her to the earth, where the 
 child was rescued and the eagle killed. [1802.] 
 
 133. YOUNG'S "NIGHT THOUGHTS." Illustra- 
 
 tion to opening of " Night the Second." It reveals a 
 skeleton discovering the first signs of reanimation on the 
 sounding of the Archangel's trump. Designed by 
 Blake; etched by Schiavonetti. Blake executed 537 
 designs to form margins for the pages of this work, 
 but only forty-seven (Books I-I V) were engraved. This 
 design was also used as the title-page ornament to 
 The Grave. [1808.] 
 
 134. ILLUSTRATIONS TO THE " BOOK OF 
 JOB." Large paper copy. India proofs. The origi- 
 nal drawings were executed by Blake in the years 
 1823-25, when he was from 66 to 68 years of age. 
 They were engraved and published in 1825. 
 
24 
 
 The page exhibited is plate 14, " When the Morning 
 Stars sang together, and all the Sons of God shouted 
 for joy." The addition, in the angelic group at the 
 summit, of the upreared arms of two angels, to right 
 and left, who pass out of the composition, was an after- 
 thought during the progress of the engraving. In the 
 original design the two exterior wreaths of clouds 
 finished off the group. 
 
 135. WILLIAM BLAKE. Portrait. Blake was bom 
 
 November 28, 1757, and died August 12, 1827. En- 
 graved by C. H. Jeens from a portrait on ivory, painted 
 from life by John Linnell, in 1827. 
 
 136. REV. JOHN CASPAR LAVATER, OF 
 ZURICH. Born 1741, died 1801. Engraved by 
 Blake, and published in 1800, from a drawing in the 
 possession of the publisher, taken in 1787. 
 
 137. WILLIAM BLAKE. Reproduction of mask 
 from life, taken by Deville. The original is in the 
 possession of Mr. W. B. Rickman, R.A. 
 
 138. EIGHT DESIGNS TO ILLUSTRATE 
 "TALES FOR CHILDREN." By Mary 
 WoUstonecraft. Engraved and Designed by Blake. 
 
 I. Frontispiece. 
 
 i. Man Watching his Dead Children. 
 
 3. The Family Group. 
 
 4. Visiting the Needy. 
 
 5. "I AM a Very Poor, Unhappy Man ! " 
 
 7- 
 
 8. " Fear and Hope are Vision." 
 
 The original designs of Nos. 1-4 are exhibited. 
 
 See No. 120. 
 
 139. DEMOCRITUS. Engraved by Blake after the 
 picture by Rubens. Executed for Lavater's Physiog- 
 nomy in 1789. 
 
25 
 
 MO. REUNION OF THE SOUL AND THE 
 BODY. Illustration No. lo to Blair's The Grave. 
 
 " Thrice happy meeting ! 
 Nor time, nor death, shall ever part them more." 
 
 141. YOUNG'S "NIGHT THOUGHTS." Illus- 
 trated by Blake. 
 
 The frontispiece title-page to " Night the Third," 
 showing a female figure, who appears from the crescent 
 beneath her feet to have surmounted the trials of this 
 world and to be admitted to an eternity of glory. 
 Eternity is represented by its usual emblem, a serpent 
 with its extremities united. [1797]. 
 
 142. NURSE'S SONG. From The Songs of Inno- 
 cence. Water-color. 
 
 143. THE FLY. From The Songs of Experience. Wa- 
 ter-color. 
 
 144. THE CHIMNEY SWEEPER. A page from 
 
 The Songs of Experience. 
 
 145. SIBYLLINE LEAVES. 
 
 (a) On Homer's Poetry. 
 {b) On Virgil. 
 
 146. SIBYLLINE LEAF: THE GHOST OF 
 ABEL. First page of this "Revelation" seen by 
 William Blake. This original stereotype was executed 
 in 1788. 
 
 147. VISIONS OF THE DAUGHTERS OF 
 ALBION. A page of this work of designs and 
 rhymeless verse, originally printed in color. 
 
 148. EARTH'S ANSWER. One of the Songs of 
 Experience. 
 
 149. AMERICA: A PROPHECY. A page from this 
 work, originally published in 1793, when Blake was 
 thirty-six years of age. It appeared in a folio of twenty 
 pages. The theme was the American War of Inde- 
 pendence. 
 
2$ 
 
 iSp. AMERICA : A PROPHECY. A page from this 
 work. 
 
 I SI. "ARISE, O RINTRAH !" Etc. Design for a 
 Prophetic book. 
 
 152. JERUSALEM. A page of prefatory •• Address to 
 
 the Public," in which the author explains why the 
 "Poem" was mostly written in prose, occasionally 
 in metrical prose and more rarely in verse. This page 
 is from Blake's private collections, the omissions 
 or erasures being made by Blake himself. 
 
 153. THE ACCUSERS OF THEFT, ADUL- 
 TERY AND MURDER. These are " Satan's 
 Holy Trinity— The Accuser, the Judge, and the Exe- 
 cutioner." 
 
 154. JOSEPH OF ARIMATH^A AMONG 
 THE ROCKS OF ALBION. Engraved by 
 Blake in 1773, the second year of his apprenticeship. 
 It is subscribed " From an old Italian Drawing, 
 Michael Angelo Pinxit." The curious interpolated in- 
 scription is a wild theory of Blake's own as to Saint 
 Joseph. 
 
 155. LEONORA. By G. A. Biirger. With three illus- 
 trations, designed by Blake and engraved by Perry. 
 The frontispiece shows the terrible dream of Leonora, 
 carried to her marriage-bed by Death. The head- 
 piece is allegorical of her lover, William, lighting in 
 "Frederick's host," and the tail-piece reveals the 
 happy maiden awakened from her horrid dream by 
 William's return. 
 
 156. NAVAL PILLAR OR MONUMENT. 
 
 (a) Design OF Britannia. By John Flaxman. En- 
 graved by Blake. It was proposed to erect a monu- 
 ment on Greenwich Hill, two hundred and thirty feet 
 high, with statues of Howe, St. Vincent, Duncan, Nel- 
 son, etc., at the corners of the basement. 
 
 {6) View of Greenwich Hospital, disclosing the 
 statue of Britannia on the hill. 
 
 157. Mrs. BLAKE. Portrait of the artist's wife, bom 
 1762, died October 18, 1831. Pencil drawing by Fred- 
 erick Tatham, showing Mrs. Blake in her latest years. 
 
if 
 
 158. VISITING THE SICK. India-ink. A woman 
 carrying a purse and vase enters at the door. A wo- 
 man kneels at the bedside, on which a man has just 
 expired. A weeping child opens the door. 
 
 159- "DEATH AND HELL TEEM WITH 
 LIFE." An original water-color drawing by Blake. 
 
 160. A YOUNG MAN RESCUING A WOMAN 
 AND GIRL FROM A CONFLAGRA- 
 TION. Original water-color drawing by Blake. 
 [1794.] This is identical, or nearly so, with the artist's 
 "tail-piece" to the Europe. 
 
 161. JOB. A pencil sketch for an opening scene to the 
 illustrations of Job recalling the two plates, Job pray- 
 ing for and with his family, and. Job and his wife, sur- 
 rounded by his children and having the " Almighty yet 
 with him. 
 
 162. JOB AND HIS THREE DAUGHTERS. 
 
 Pencil drawing by Blake. 
 
 163. FIVE VISIONARY HEADS OF WOMEN. 
 Pencil drawing by Blake, recording " Spiritual por- 
 traits of worthies," who appeared to him from time to 
 time in his visions. 
 
 164. EVE AND SATAN. A pencil drawing,with other 
 sketches for the same subject on the other side. Satan 
 is shown as a figure, vehemently flying, but wingless. 
 
 165. Mrs. BLAKE. Portrait in pencil, drawn by Blake. 
 
 166. ADAM AND EVE. Pencil sketch. They are 
 recumbent, under a tree, and angels are hovering above 
 them. 
 
 167. THE LAST JUDGMENT. A pencil sketch for 
 the Dedication to Blair's Grave. One angel sheathes 
 the sword while another bears a pair of unequally 
 
 Eoised scales, thus depicting the deliverance of the 
 uman soul from death and the ascension of the just. 
 
 168. THE PENANCE OF JANE SHORE, IN 
 
 ST. PAUL'S CATHEDRAL. Pencil sketch 
 for this work. 
 
28 
 
 i69. ADAM, SURROUNDED BY ANIMALS, 
 NAMING THE BEASTS. This has six lines 
 subscribed from Cowper's Task, Book VI. It forms 
 the frontispiece to Hayley's Ballads. 
 
 170. Mrs. BLAKE- Portrait, from drawing by Blake. 
 
 171. SIX OUT OF THIRTEEN ILLUSTRA- 
 TIONS, engraved by Blake for Stedman's Surinam, 
 after drawings made by the author. Published by 
 Johnson, 1796. 
 
 1. A Negro Hung Alive by the Ribs to a 
 
 Gallows. 
 
 2. A Private Marine of Colonel Fourgeoud's 
 
 Corps. 
 
 3. The Mecoo and Kishee-Kishee Monkeys. 
 
 4. Skinning an Aboma Snake. Shot by Captain 
 
 Stedman. 
 
 5. Flagellation of a Female Samboe Slave. 
 
 6. Emblematical Picture of Europe; sup- 
 
 ported by Africa and America. 
 
 172. PENCIL DRAWING, to illustrate quotation 
 from Macbeth : 
 
 " And pity, like a naked, new-born babe 
 Striding the blast, or Heaven's Cherubim horsed 
 Upon the sightless couriers of the air." 
 
 173. A FATHER'S MEMOIRS OF HIS CHILD. 
 
 Frontispiece designed by Blake, and engraved by 
 Cromek for these Memoirs of the Son of B. Heath 
 Malkin, an early friend of the artist. The child was 
 a " prodigy of learning," and died young. [1806.] 
 
 174. TRIUMPHS OF TEMPER. By William Hayley. 
 
 Three plates. Engraved by Blake, after Maria Flax- 
 man [1803.] 
 
 17s. ADVERTISEMENT OF BLAKE'S 
 CHA UCER. 
 
 176. Mrs. BLAKE. Portrait. Water-color. 
 
 177. MOTTO ON A CLOCK. Engraving of the fa- 
 miliar Weather-house toy, with quotation from Cow- 
 per's Task, Book I, line 200. 
 
29 
 
 178. MORNING, OR GLAD DAY. A scarce engrav- 
 
 ing, marked "W. B., inv. 1780." Below crawls a 
 caterpillar, and a hybrid kind of night-moth takes 
 wmg. 
 
 179. THE LAST JUDGMENT. PencU sketch for 
 this drawing. 
 
 See No, 167. 
 
 180. MAN AND WOMAN UNDER TREES, IN 
 ATTITUDE OF ADORATION. Water- 
 color. 
 
 181. WILLIAM COWPER. Portrait of the poet, en- 
 graved in i8o2, by Blake, from a portrait in crayon, 
 drawn from life in 1792. It was engraved for Hayley's 
 Life of Cowper. 
 
 182. DAY OF JUDGMENT. Designed by Blake and 
 etched by Schiavonetti. 
 
 183. ROMEO AND JULIET. Shakespeare, Act 
 IV. Scene 5. Engraving by Blake, after painting by 
 J. Opie. [1799.] 
 
 184. SKETCH OF A SHIPWRECK. Engraved 
 by Blake, after Romney, for Hayley's Lifeof Romney. 
 [1809.] The scene represents a horseman at the Cape 
 of Good Hope rescuing persons from shipwreck. 
 
 185. STUDY IN INDIA-INK, for a group of figures 
 on the edge of a rock by the sea. 
 
 See No. igo. 
 
 186. ANOTHER STUDY IN INDIA-INK. 
 
 187. DROWNED BODIES OF A MAN AND 
 WOMAN, WASHED UP BY THE SEA, 
 and lying on the rocks, with enormous eagles soaring 
 above. Design cut on pewter. 
 
 188. ADAM AND EVE OVER A MANACLED 
 
 YOUTHFUL FIGURE. The design is prob- 
 ably intended for a prophetic symbol of the Atonement. 
 A design like that of St. Peter's Dome appears in the 
 distance. The heads of Adam and Eve are each en- 
 circled by a nimbus. 
 
3° 
 
 iSg. MOSES PLACED IN THE ARK OF BUL- 
 RUSHES. Engraved by Blake. The fainting 
 mother falls back from the ark of bulrushes. 
 
 190. GROUP OF FIGURES on the edge of a rock bj 
 the sea, gazing, apparently, on some awful or super- 
 natural spectacle in the clouds and waters. An " ap- 
 pallingly suggestive composition," 
 
 191. STUDY IN INDIA-INK. By Robert Blake, the 
 brother of William Blake. 
 
 192. BODY surrounded and borne up on flames. 
 
 193. ENGRAVING BY BLAKE. Man tormented by 
 a huge serpent. Part of the engraving has been torn 
 off. 
 
 194. SKETCH IN COLOR. A floating spirit rising 
 above a dead body recumbent below. Title-page. to 
 The Grave, which was dedicated by permission " To 
 the Queen" Charlotte. 
 
 195. DRAWING IN INDIA-INK, described as « The 
 Parable of the Sower." Christ is represented as ad- 
 dressing a number of persons of all conditions, and an 
 angel in the sky is seen sowing the seed. 
 
 196. PENCIL AND COLOR SKETCH. By the 
 artist Gainsborough. 
 
 197. ALEXANDER GILCHRIST. Portrait of the 
 author of the life of Blake, published 1863, drawn 
 by his son, Herbert H. Gilchrist. 
 
 198. DEATH'S DOOR. Copy of Blair's The Grave, 
 open at this fine illustration. 
 
WORKS BY BLAKE. BELONG- 
 ING TO MR. CHARLES HENRY 
 HART, OF PHILADELPHIA. 
 
 ^ 
 
 199. SCIENCE DISSIPATING IGNORANCE. 
 Engraved for Lavater's Physiognomy. 
 
 200. JOHN BROWN, M.D. Portrait, engraved by 
 Blake, after Donaldson. [1795.] 
 
 201. TEMPLE OF MIRTH. Engraved by Blake, 
 after Stothard. [1784.] 
 
 202. SAMSON AND DELILAH. Engraved by 
 Blake, after Stothard, for Chaucer's In Praise o* 
 Women. [1783.] In two states. 
 
 " Sampson yhad experience 
 That women were fultrew ifound." 
 
 203. ORLANDO FURIOSO. Translated by Hoole. 
 Engraved by Blake, after Stothard. [1791-3 In two 
 states. 
 
 " First his huge grasp a lofty pine uptears 
 Sheer by the roots, alike another fares 
 Of equal growth." [Book XXIII.] 
 
 204. PHILOSOPHIC CONTEMPLATION. 
 Frontispiece to Lavater's Aphorisms. 1788. Motto 
 (in Greek) " Know Thyself." Engraved by Blake, after 
 Fuseli. 
 
 3' 
 
PAINTING BY BLAKE. BE- 
 LONGING TO MR. JOHN S. INGLIS, 
 OF NEW YORK. 
 
 205. ELIJAH IN THE CHARIOT OF FIRE. 
 
 The Prophet Elisha stands humbly before his Master, 
 who is about to ascend to heaven. 
 
 Pkojj or qlobq PRiNriisa Mouor