40. 1802 (?).—*Adam naming the Beasts. [Butts.] Tempera.
Bust: front face: life-size. See p. 176—7, Vol. I. as to this subject, as frontispiece to Hayley's Ballads.
41. 1802.—*Eve naming the Birds. [Butts.] Tempera.
Bust: front-face: life-size. The pretty turn of thought evidenced in this as connected with the preceding subject will not be missed.
42. 1802.—Portrait of the Rev. John Johnson. Miniature. See p. 171, Vol. I.
43. 1803.—The Riposo (Repose in the flight to Egypt). [Butts.]
Described in Blake's letter, p. 184, Vol. I. The Riposo, No. 161, does not strictly correspond with the description, nor yet No. 76.
44. 1803.—*St. Paul preaching in Athens. [Butts.] Colour-printed.
Mentioned on p. 184, Vol. I.
45. 1803.—*The three Maries, with the Angel at the Sepulchre. [Butts.]
The Angel is just floating above the ground: the Maries, arrested by the sight, hold together, unknowing what to think. Very fine and mystic-looking.
46. 1803.— *The Death of the Virgin Mary—(inscribed) 'Then saith He to the disciple, "Behold thy Mother! " And from that hour that disciple took her unto his own home.' [Butts.]
Mary has just yielded up her breath: Angels attend her bed, head and foot. Above her, and within a rainbow composed of angel-heads, stands John. Impressive: the figures standing out almost wholly colourless upon a more than usually high-coloured background.
47. 1803.—*The Death of St. Joseph—(inscribed) 'Into Thine hand I commend my spirit: Thou hast redeemed me, O Lord God of Truth.' [Butts.]
The companion design to the preceding, strictly corresponding with it in such details as the rainbow. The group of Joseph tended by Jesus and Mary is a fine one, and the effect of light and colour very vivid: though the general quality of execution aimed at is not in all respects that most suitable to Blake.
48. 1803.—The Sacrifice of Jephthah's Daughter. [Butts.]
The loveliness and pathos of innocent girlhood could not be more gloriously expressed than in this figure of the fair young creature, perfectly naked and rose-chapleted, kneeling upon a lofty altar, full-fronting the spectator. Swathes of rushes for burning are behind her: at either side her tambourine and lyre. Two maidens stand sorrowfully at each angle of the altar. Jephthah kneels in front, his back turned, his arms wide-spread, invoking the Divine sanction upon the tremendous deed. To right and to left, clouds, here louring in brown, there blue, droop like heavy folds of curtain. This ranks among Blake's noblest designs.
