84. 1806.—The Last Judgment.
A very elaborate treatment of the subject, exceedingly fine. It used to belong to Sir W. Stirling-Maxwell.
85. 1807.—Twelve Designs from 'Paradise Lost.'
This fine series belongs to Mr. Aspland, of Liverpool. It is of smaller size than the similar series described under No. 89, but the number of subjects is larger-twelve instead of nine. Those subjects which correspond in the two series are essentially alike in design, yet with numerous and interesting variations of detail. Mr. Aspland's set does not include subject e, Satan, as a toad, haunting the dreams of Eve, but comprises the following four extra subjects:—
(a) Satan calling up his Legions. Book I.
(b) Satan at the Gate of Hell, guarded by Sin and Death. Book II.
(c) Satan's Entry into Paradise—God sends Raphael to warn Adam. Book V.
(d) The Condemnation of Adam and Eve. Book X.
86. 1807.—The Vision of Queen Katharine—Shakespeare's 'Henry VIII.' [Butts.] Slight tint of water-colour.
Treated quite from the ideal, not the historic or dramatic point of view; and a leading example of Blake's accurate manner. Katharine, crowned and young-looking, with light hair, 'makes in her sleep signs of rejoicing, and holdeth up her hands to heaven,' or to the Angels, of whom a considerable number are floating about in all parts of the composition, with wreaths, harps, &c. Their small size gives them rather a fairy-like than a strictly angelic character. The attendants, Griffith and Patience, both dozing, are an ancient bearded man with a book, and a youthful woman. See the following number, for which this appears to be a preparation. It was exhibited in Manchester in 1857.
87. 1807.—The same.
This is the work painted for Sir Thomas Lawrence (see p. 401, Vol. I.), and is very elaborately executed, with a great glory of light shooting through ragged drifts of darkness. The purity of colour is somewhat affected by the strong effort to get relief and play of light. Katharine is finer here than in the preceding.
88. 1807.—The same.
In the Shakespeare volume. See No. 77.
89. 1807-8.—The Last Judgment. Tempera. See pp. 260-2, &c. Vol. I.
A small picture highly finished in drawing, but slight in colour, the white predominating save on the side of the condemned. Some of the figures of the blessed are of extreme loveliness, and the grouping is admirable.
