Blake Quarterly summer 2018

Summer is our checklist issue, and our contributors this year are Luisa Calè for exhibitions, Wayne (Chuck) Ripley for...

The Diffusion of Blake Letters

The Blake Archive Northern Division has been hard at work transcribing and proofing the next installment of Blake letters...

Publication: URIZEN Copy J

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s The First Book...

Publication: A DESCRIPTIVE CATALOGUE

The William Blake Archive is pleased to announce the publication of A Descriptive Catalogue of Pictures, Poetical and Historical Inventions, Painted...

Tutorial Video: Introduction to Search

Did you know that the search function of the William Blake Archive is one of the most helpful features...
Blake Quarterly, Publications
Blake Quarterly summer 2018
BAND
The Diffusion of Blake Letters
Publications
Publication: URIZEN Copy J
Publications
Publication: A DESCRIPTIVE CATALOGUE
BAND, Tutorial Videos
Tutorial Video: Introduction to Search
BAND

Reconciling the Four Zoas and Marginalia Encoding Schemas

A while back (actually it’s been more than a year) I wrote about our efforts to develop a set of shared terms to be used across the Four Zoas and Marginalia projects. We’ve been struggling with this since, with the use of <layer> in the marginalia encoding as an interim solution. Since the Four Zoas project has unusual (ahem) layout and intensive revisions, we introduced <zone> to represent the spatial structure of the text and <stage> as a child element of line in an attempt to represent every act of editing in detail. For the marginalia however, we needed a tag to distinguish between Blake’s writing and the typographic text more than anything to denote layers of revision and editing within the line. In order to avoid confusion, we decided to use <layer> for our schema. The results looked like this:

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Publications

Publication: VISIONS Copy R; Misc. Plates & Impressions

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s Visions of the Daughters of Albion Copy R from the Bayerische Staatsbibliothek, Munich; colored impressions of Visions Plates 1, 2, and 3 (Copy mpi) from the Morgan Library and Museum; a proof of Visions Plate 6 from the Fitzwilliam Museum that belongs to our previously published Visions Copy a; and five monochrome wash drawings for the wood engravings in Thornton’s Virgil added to the seven previously published designs.

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Blake Quarterly

Blake in Sussex

Knowing how hard it is for me to put together a blog post with a couple of illustrations, I can’t imagine what it would be like to make a film. That’s why I spoke to Matt Wilmshurst, a London- and Sussex-based filmmaker and visual effects artist. He’s the writer and director of Blake in Sussex, currently in production, which promises to tell the tale of the Blakes’ turbulent three years outside London.

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BAND, Blake Quarterly

Serendipity and difficulty

Behind the scenes the indefatigable members of the Blake Archive are preparing a batch of separate plates for future publication. In general, I would define separate plates as plates not published as illustrations in books, such as “Chaucers Canterbury Pilgrims” and “Albion Rose.” Each plate may have several states, or stages of execution—”Albion Rose” has two, so we’ll publish an impression of each. Each state may exist in several impressions (prints made from that state).

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BATS

Over-reading Overwriting? A Textual Anomaly in Songs of Innocence, Copy Q

Last year, I traded my work with archived issues of Blake: An Illustrated Quarterly for new tasks in text and image markup of Blake’s illuminated books. Last month, I began writing markup “without a net,” as we say. With Katherine Calvin’s guidance, I am learning to describe individual watercolor drawings without recourse to a previous editor’s text. So, rather than thinking comparatively, I consider only the image at hand, and I have to familiarize myself more thoroughly with the body of search terms The Blake Archive uses to describe and tag images.

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BATS

Do you see what I see?

Under the skilled eye of Katherine Calvin, I have completed training on illustration markup. With her help, I have gained practice in the art of seeing and of describing what I see, without inserting my interpretations. My introduction to the process of using templates to reflect on the new (to me) plate and spot the differences–a skill set that I first developed reading Highlights magazines–went smoothly. As I learned the ropes, there was only one instance where I thought the template itself was wrong.

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Uncategorized

Urizen, Bound and Unbound

In previous posts on Hell’s Printing Press, I have explored the process of illustration markup and textual tagging at the WBA (see my earlier posts about textual tagging broadly and focused studies of tags like “streams of gore,” “lunging,” and “ecstasy”). In addition to tags related to objects, movements, and emotions, the WBA also aims to identify particular figures significant to Blake’s works and life. These include historical figures, such as Catherine Blake and George Romney; biblical characters including Potiphar and Job; and allegories like Mirth and Joy. However, one of the most important groups of tagged figures are characters created by Blake—from Oothoon and Los to Rintrah and Orc—who often recur throughout his poetry and designs.

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