Title: Illustrations of the Book of Job: electronic edition
Statement of Responsibility:
Editors:
Morris Eaves, University of
Rochester;
Robert Essick, University of California, Riverside; and
Joseph Viscomi, University of North Carolina at Chapel Hill
Technical Editors:
Matthew Kirschenbaum,
Andrea Laue
Programmer/Analysts:
Robert Bingler
Project Manager:
Andrea Dickens
Project Assistants:
Christopher N. Jackson,
Kari Kraus,
Gerald Miller,
Wayne C. Ripley,
Sarah Trippensee,
Justin Scott Van Kleeck
Sponsor: The University of North Carolina at Chapel Hill and the Library of Congress
Funding: The Institute for Advanced Technology in the Humanities, 1995-2007
Funding: The National Endowment for the Humanities, 2000-02
Funding: Paul Mellon Centre for Studies in British Art, 1997-98
Funding: The Getty Grant Program, 1995-98
Funding: Sun Microsystems, hardware and software grants
Funding: Inso Corporation, software grant
Edition:
Blake Archive Description DTD Version 2004
Extent:
XML file derived from 1 SGML (ISO 8879) encoded file approx. 240KB; 36 JPEG (ISO/IEC
10918) files ranging in size from 150KB to 2500KB
Statement of Publication:
Charlottesville: Eaves, Essick, Viscomi; IATH
Date:
December 2002
Series:
The William Blake Archive
Publication Announcement:
The William Blake Archive is pleased to announce the publication of Blake's 22 engraved
Illustrations of the Book of Job. This work is generally considered Blake's masterpiece in traditional line engraving, as well as the culmination of his long
pictorial engagement with the Book of Job. His first series of 19 water colors illustrating Job were commissioned c. 1805-06
by his chief patron, Thomas Butts. These are available in the Archive in Preview (see description below). In 1821, Blake and
his new patron John Linnell borrowed this Butts set of designs. Linnell traced the series and Blake colored them. Blake also
added two more compositions to this later group and added versions of these same compositions to the earlier series, so that
both sets now have 21 designs. The Linnell set led directly to his commissioning of the engravings, as set forth in a contract
dated 25 March 1823. Blake began the project by executing a series of 21 reduced pencil sketches of the central designs for
transfer to the copperplates. According to John Linnell, the border designs, unique to the engraved series, were a last-minute
addition. Blake also added a title page, perhaps late in the production process. Although 21 of the plates bear 1825 imprints
(the second plate was mistakenly dated 1828), Linnell's account books show that the engravings were not published until March
1826.
The copy reproduced in the Archive is from the first printing on laid India paper with the word Proof appearing lower right
on all but the title page. Also included, as the first item, is a copy of the original letterpress cover label for the Job
engravings. Our complete transcription of all engraved texts on each plate is the first to be published in any form. Both
these inscribed texts and the designs are fully searchable.
At present the Archive contains 48 copies of 18 of Blake's 19 illuminated books, all fully searchable. In addition to the
Butts set of Job designs, Blake's illustrations to Milton's "L'Allegro" and "Il Penseroso" are also available in Preview,
our mode of presentation that provides all the features of the Archive except Image Search and Inote (our image annotation
program). In the near future we expect to release a much-anticipated electronic edition of
Jerusalem copy E, and further supplementary materials, including a biography and glossary and more drawings and prints in Preview,
including the Job pencil sketches noted above.
As always, the William Blake Archive is a free site, imposing no access restrictions and charging no subscription fees. The
site is made possible through the continuing support of the Institute for Advanced Technology in the Humanities at the University
of Virginia, by a major grant from the Preservation and Access Division of the National Endowment for the Humanities, by the
University of North Carolina at Chapel Hill, and by the cooperation of the international array of libraries and museums that
have generously given us permission to reproduce works from their collections in the Archive.