103. 1809.—Richard III. and die Ghosts. Neutral tints.
In the same Shakespeare volume as No. 77. The candles shine through the spectral form of Henry VI.
104. 1809.—The Babylonian Woman on the Seven-headed Beast. [British Museum.]
Her face is of a heavy type (something like that of the Kemble family), her head crowned with a mural diadem. The flesh of the Beast is red, with a smoky tinge; his heads and figure human, though of a Calibanic cast. The woman holds in her right hand a golden serpent-handled cup, whence flows forth a wreath of figures, also bearing cups and trumpets. They swoop down towards small foreground figures of knights fighting. At them points the woman's left hand, as if to claim them as her own; men drunk with her cup of ambition, animosity, and the pride of life. Complete in execution and colour, though the latter partakes rather of the character of 'tinting.' A valuable example of Blake, yet with a less daringly original aspect than might have been expected in such a subject. See p. 291, Vol. I.
105. 1809.—Six Illustrations to Milton's 'Hymn for the Nativity.'
(a) The Annunciation to the Shepherds.
(b) The Nativity.
(c) The Overthrow of Paganism.
(d) Moloch.
(e) 'Typhon huge ending in snaky twine,' &c.
(f) The Slumber.
106. 1809.—Portrait of Mrs. Butts. [Butts.] Miniature.
The creamy flesh, and the general knack of execution, assimilate closely enough to the style of most miniature-painters.
107. Circa 1810.—Portrait of Mr. Butts, Jun. [Butts.] Miniature.
The son of the Mr. Butts with whom Blake was chiefly connected. There is an elegant quality in the miniature, which conforms fairly to the requirements of portraiture. Some touches of gilt appear in the hair.
108. 1811.—*The Judgment of Paris. [Butts.] Colour-printed.
Discord, triple-headed, is flying off; Mercury floating on the air; Cupid exults as he handles his arrows; Paris, languidly seated, seems almost to shrink from the decision which he is in the act of making. His crouched dog has Παρις inscribed on its collar. The three goddesses, as well as the other figures, are splendid in form; and the whole design belongs to the highest order of Blake's work, both in spirit and in treatment.
109. Circa 1820.—The Ghost of a Flea. Tempera.
A small picture, much wrought up. The flea, full-length, is a scaled semi-human figure, striding energetically, and holding a goblet of blood. The head is less unhuman, and less strikingly invented, than that engraved in Vol. I. p. 303. See List 2, Nos. 65, 82.
