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oai:tms.ycba.yale.edu:35262026-04-10ycba:pd

YCBA/lido-TMS-3526 http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object Human-Made Object 300041391 relief print 300033973 drawing 300078925 watercolor 300410510 literary theme 300451718 religious and mythological subject 300041273 Print "The Feminine separates from the Masculine..." (Plate 90) Jerusalem: The Emanation of The Giant Albion, Copy E Inscribed in orange ink, upper right: "90" Lettered inside image: "The Feminine separates from the Masculine & both from Man, | Ceasing to be His Emanations, Life to Themselves assuming : | And while they circumscribe his Brain, & while they circumscribe | His Heart, & while they circumscribe his Loins: a Veil & Net | Of Veins of red Blood grows around them like a scarlet robe, | Covering them from the sight of Man like the woven Veil of Sleep, | Such as the Flowers of Beulah weave to be their Funeral Mantles: | But dark, opake, tender to touch, & painful: & agonizing | To the embrace of love, & to the mingling of soft fibres | Of tender affection, that no more the Masculine mingles | With the Feminine, but the sublime is shut out from the Pathos | In howling torment, to build stone walls of separation, compelling | The Pathos to weave curtains of hiding secrecy from the torment. | Bowen & Conwenna stood on Skiddaw cutting the Fibres | Of Benjamin from Chester's River: loud the River, loud, the Mersey | And the Ribble, thunder into the Irish sea, as the Twelve Sons | Of Albion drank & imbibed the Life & eternal Form of Luvah. | Cheshire & Lancashire & Westmoreland groan in anguish. | As they cut the fibres from the Rivers he sears them with hot | Iron of his Forge, & fixes them into Bones of chalk & Rock. | Conwenna sat above: with solemn cadences she drew | Fibres of life out from the Bones into her golden Loom. | Hand had his Furnace on Highgate's heights & it reach'd | To Brockley Hills across the Thames; he with double Boadicea | In cruel pride cut Reuben apart from the Hills of Surrey, | Comingling with Luvah & with the Sepulcher of Luvah. | For the Male is a Furnace of beryll : the Female is a golden Loom. | Los cries: No Individual ought to appropriate to Himself | Or to his Emanation, any of the Universal Characteristics | Of David or of Eve, of the Woman, or of the Lord, | Of Reuben or of Benjamin, of Joseph or Judah or Levi. | Those who dare appropriate to themselves Universal Attributes | Are the Blasphemous Selfhoods & must be broken asunder. | A Vegetated Christ & a Virgin Eve, are the Hermaphroditic | Blasphemy: by his Maternal Birth he is that Evil-One | And his Maternal Humanity must be put off Eternally, | Lest the Sexual Generation swallow up Regeneration : | Come Lord Jesus, take on thee the Satanic Body of Holiness! | So Los cried in the Valleys of Middlesex in the Spirit of Prophecy, | While in Selfhood Hand & Hyle & Bowen & Skofeld appropriate | The Divine Names: seeking to Vegetate the Divine Vision | In a corporeal & ever dying Vegetation & Corruption: | Mingling with Luvah in One, they become One Great Satan. | Loud scream the Daughters of Albion beneath the Tongs & Hammer, | Dolorous are their lamentations in the burning Forge: | They drink Reuben & Benjamin as the iron drinks the fire: | They are red hot with cruelty: raving along the Banks of Thames | And on Tyburn's Brook, among the howling Victims in loveliness. | While Hand & Hyle condense the Little-ones & erect them into | A mighty Temple even to the stars: but they Vegetate | Beneath Los's Hammer, that Life may not be blotted out. | For Los said: When the Individual appropriates Universality | He divides into Male & Female: & when the Male & Female | Appropriate Individuality, they become an Eternal Death. | Hermaphroditic worshippers of a God of cruelty & law! | Your Slaves & Captives you compell to worship a God of Mercy. | These are the Demonstrations of Los & the blows of my mighty Hammer. | So Los spoke. And the Giants of Albion terrified & ashamed | With Los's thunderous Words, began to build trembling rocking Stones, | For his Words roll in thunders & lightnings among the Temples, | Terrified rocking to & fro upon the earth, & sometimes | Resting in a Circle in Maiden or in Straithness or Dura, | Plotting to devour Albion & Los the friend of Albion. | Denying in private, mocking God & Eternal Life: & in Public | Collusion, calling themselves Deists, Worshipping the Maternal | Humanity: calling it Nature, and Natural Religion. | But still the thunder of Los peals loud & thus the thunders cry: | These beautiful Witchcrafts of Albion, are gratifyd by Cruelty." 500303557 Yale Center for British Art http://britishart.yale.edu B1992.8.1(90) Not on view Yale Center for British Art 41.3080060, -72.9306282 Bentley Copy E 13 1/2 x 10 3/8 inches (34.3 x 26.4 cm) height cm 34.3 width cm 26.4 Sheet 8 3/8 x 5 7/8 inches (21.2 x 15 cm) height cm 21.2 width cm 15.0 Plate 3526 300054713 production Print made by William Blake, 1757–1827, British ycba_actor_248 http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX853571 http://d-nb.info/gnd/118511513 http://en.wikipedia.org/wiki/William_Blake http://id.loc.gov/authorities/names/n78095331 http://id.ndl.go.jp/auth/ndlna/00433456 http://isni-url.oclc.nl/isni/000000012096135X http://libris.kb.se/resource/auth/178705 http://viaf.org/viaf/54144439 http://vocab.getty.edu/ulan/500012489 http://www.idref.fr/026730626/id https://n2t.net/ark:/99166/w6h132g2 https://www.wikidata.org/wiki/Q41513 Blake, William, 1757-1827 Uil'iam Bleik William Blake Blake William, 1757–1827 William Blake, 1757–1827 Print made by William Blake, 1757–1827 7011413 7011781 7011781 British 1757 1827 male 300025103 Artist 300112172 draftsman (artist) 300025165 engraver (printmaker) 300025123 illustrator 300025136 painter 300025569 philosopher 300025513 poet 300025164 printmaker 300025157 watercolorist 300025492 writer Print made by 300111159 British 1804 to 1820 1804 1820 24 19th century Relief etching printed in orange ink, with watercolor and pen and black ink on moderately thick, smooth, cream wove paper 300178614 relief etching 300014187 wove paper 300015045 watercolor black ink William Blake (Tate Britain, 2000-11-02 - 2001-02-04) 67 300054766 exhibition William Blake Yale Center for British Art Tate Britain ycba_actor_1284 http://vocab.getty.edu/ulan/500266827 https://www.wikidata.org/wiki/Q195436 http://viaf.org/viaf/235803538 http://id.loc.gov/authorities/names/nr00020808 Tate Britain The Board of Trustees of the Tate Gallery 0 0 300311675 Borrower 2000-11-02 - 2001-02-04 2000-11-02 2001-02-04 Tate Britain ycba_actor_1284 http://id.loc.gov/authorities/names/nr00020808 http://viaf.org/viaf/235803538 http://vocab.getty.edu/ulan/500266827 https://www.wikidata.org/wiki/Q195436 Tate Britain London 7011781 London The Human Form Divine - William Blake from the Paul Mellon Collection (Yale Center for British Art, 1997-04-02 - 1997-07-06) 635 https://britishart.yale.edu/node/716 300054766 exhibition The Human Form Divine - William Blake from the Paul Mellon Collection Yale Center for British Art Yale Center for British Art ycba_actor_1281 https://www.wikidata.org/wiki/Q6352575 http://vocab.getty.edu/ulan/500303557 https://viaf.org/viaf/155449049 http://id.loc.gov/authorities/names/n77005277 British Art Center Yale Center for British Art BAC YCBA 1977 0 63 Organizer 1997-04-02 - 1997-07-06 1997-04-02 1997-07-06 Yale Center for British Art ycba_actor_1281 http://id.loc.gov/authorities/names/n77005277 http://vocab.getty.edu/ulan/500303557 https://viaf.org/viaf/155449049 https://www.wikidata.org/wiki/Q6352575 Yale Center for British Art New Haven 7014210 New Haven 300435424 In the spring of 1997, the Center celebrated its twentieth anniversary with an exhibition of its incomparable collection of illuminated books, engravings, and drawings by William Blake. The Center’s founder, Paul Mellon (Yale College, Class of 1929), assembled a rich and remarkable group of works over a lifetime of personal involvement with the poetry and art of this romantic paragon. For this comprehensive survey of the collection, several of the Center’s twelve illuminated books were exhibited in their entirety for the first time. These included Blake’s masterwork, the unique, colored copy of Jerusalem, two copies of the pastoral Songs of Innocence, and the prophetic Songs of Experience, Book of Urizen, Book of Thel, and America a Prophecy. Blake’s work as a painter was represented by individual tempera paintings from his series of illustrations to the Bible commissioned by Thomas Butts. A generous selection of forty sheets from the watercolor illustrations to the Poems of Thomas Gray revealed the magnificent range of Blake’s interpretive genius and the brilliance of his watercolor technique. — — Credits — — Patrick Noon, Curator of Prints, Drawings, and Rare Books at the Center, organized this special exhibition, which was accompanied by a catalogue illustrated in color. Yale Center for British Art 3526 300157782 acquisition Yale Center for British Art ycba_actor_1281 YCBA BAC Yale Center for British Art British Art Center 1977 0 300203630 Owner 1992 1992 1992 300138913 gift 300250810 ycba_term_16788 text 300132406 ycba_term_17594 vines ycba_term_2046879 religious and mythological subject ycba_term_2046880 literary theme 300055603 500303557 Yale Center for British Art https://britishart.yale.edu Yale Center for British Art, Paul Mellon Collection 300055598 Public Domain 300435434 https://creativecommons.org/publicdomain/zero/1.0/ 3526 300133025 Volume 500303557 Yale Center for British Art http://britishart.yale.edu https://collections.britishart.yale.edu/catalog/tms:3526 oai:tms.ycba.yale.edu:3526 https://manifests.collections.yale.edu/v2/ycba/obj/3526 https://manifests.collections.yale.edu/ycba/obj/3526 IIIF manifest Yale Center for British Art 500303557 Yale Center for British Art