Blake List — Volume 1997 : Issue 61

Today's Topics:
	 Tom Dacre
	 Re: shortcuts in library research
	 Re: trickster figure in blake
	 Weep, weep
	 Re[2]: Frontispiece of "Europe" Again
	 C'mon, was I really cruel?
	       Re: Frontispiece of "Europe" Again
	 spamming Blake Online (was Re: Eastern Influence)
	 Re: Blake Online
	 Re: Yale Blake exhibit particulars please!
	 Re: shortcuts in library research
	 Re: RE: shortcuts in library research
	 Re: bad man/ good man query
	 Re: shortcuts in library research
	 New(ish) Blake Book
	 Blake Ball
	 Re: Yale Blake Exhibition/Mellon Collection 


Date: Wed, 21 May 97 10:19 CST
To:, Scranton 
Subject: Tom Dacre
Message-Id: <>
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     Dear William,
     First, a warm welcome! You'll find extensive discussion of *Dead Man* 
     in the archives of this group. I've never used this resource, but I'm 
     sure someone will be willing to tell you how to get into it.
     You've put forward for discussion one of the most poignant and complex 
     of Blake's *Songs of Innocence,* "The Chimney Sweeper." (And you are 
     right, there is another poem of the same name in *Songs of 
     Experience.*) To refresh everyone's memory, the *Innocence* poem goes 
     like this:
     When my mother died I was very young.
     And my father sold me while yet my tongue,
     Could scarcely cry weep weep weep weep
     So your chimneys I sweep & in soot I sleep.
     There's little Tom Dacre who cried when his head
     That curl'd like a lambs back, was shav'd, so I said
     Hush Tom never mind it, for when your head's bare
     You know that the soot cannot spoil your white hair.
     And so he was quiet. & that very night
     As Tom was a sleeping he had such a sight,
     That thousands of sweepers Dick Joe Ned & Jack
     Were all of them lock'd up in coffins of black,
     And by came an Angel who had a bright key
     And he open'd the coffins & set them all free.
     Then down a green plain leaping laughing they run
     And wash in a river and shine in the Sun.
     Then naked & white, all their bags left behind,
     They rise upon clouds, and sport in the wind.
     And the Angel told Tom if he'd be a good boy,
     He'd have God for his father & never want joy.
     And so Tom awoke and we rose in the dark
     And got with our bags & our brushes to work
     Tho' the morning was cold, Tom was happy & warm.
     So if all do their duty, they need not fear harm.
        The page is very crowded with text, with most of the stanzas 
     separated by tendrils (with minuscule human figures riding on one 
     part) of flamelike vegetation, some of which also grows out of the 
     letters of the title and twines and trails down the edges of the page. 
     A very small design is crowded into the bottom of the page - jubilant 
     chimney sweepers frolicing outdoors beside a stream; to the right an 
     angel in a white gown reaches down and pulls one figure, presumably 
     Tom, out of a black object on the ground - a chimney top embedded in 
     the soil, or a coffin?
        Before delving into the poem it's helpful to know that in 1788, 
     probably about the time the poem was being written, a law was debated 
     in Parliament (it passed but was never enforced) that was supposed to 
     curb the horrible exploitation of "climbing boys" by their masters, 
     who pocketed the fees for their labor but kept them in rags, 
     half-starved, perpetually unwashed, barefoot year-around, with no 
     place to sleep except on top of their soot bags. The coalburning 
     chimneys were so small that only young children could fit inside them. 
     Starting around 5 years old, they had to learn to knee and elbow their 
     way up the insides of these chimneys, always sore and bleeding until 
     they formed protective callouses. Their heads were shaved to make it 
     easier to get up and down, but many still got stuck and suffocated. 
     They were even sent up lighted chimneys. By the time they were 12 or 
     so they were useless to the master and to anyone else - occupational 
     hazards were rickets and bowlegs from malnutrition and carrying heavy 
     bags, and cancer of the scrotum. (For more details, if you can stand 
     them, see Martin Nurmi's "Fact and Symbol in 'The Chimney Sweeper,' a 
     1964 article in *Bulletin of the NY Public Library* that has been 
     reprinted in Northrop Frye's *Blake: A Collection of Critical Essays,* 
        I can see why you had the impression that "poof - everyone winds up 
     in heaven," but if you look more closely at the poem you'll see that 
     this is little Tom Dacre's dream of a paradise where sweepers will at 
     last be liberated, clean, and happy. Warmed and comforted by this 
     dream, he and the older sweep (the narrator) get up in the dark and 
     get to work. 
        I think it's helpful, in reading any of these poems, to keep in 
     mind the subtitle of *Songs of Innocence and of Experience*, which is 
     "Shewing the Two Contrary States of the Human Soul." Narrators of 
     *Innocence* poems are usually themselves in a state of innocence - and 
     may describe others in a still "more innocent" level of innocence. We 
     as readers start to see shades and degrees of awareness and sense that 
     these states aren't static, but that people move through them. In this 
     poem and "The Little Black Boy" the narrators seem to be on the verge 
     of losing their innocence, leaving this state altogether.
        Look at the contrast between the narrator, a veteran chimney 
     sweeper, and Tom Dacre, newcomer to the trade. The narrator describes 
     Tom's first night under the master sweep - as a new initiate he is 
     having his head shaved for the first time, and he cries when his 
     beautiful curly hair is cut off. The older sweep comforts him by 
     saying that at least now his hair will be kept forever pure and clean. 
        Tom stops crying, goes to sleep, and dreams of freedom. But even in 
     the dream there's a catch: the angel tells him "If he'd be a good boy" 
     God will be his father and he'll never lack joy. In Tom's waking life, 
     being good means cleaning chimneys and keeping quiet. Tom is still 
     innocent enough to accept this, and he is warmed and comforted by his 
     dream. The older sweep can't quite put it even this positively; in his 
     summing up, the lesson to be drawn is "So if all do their duty, they 
     need not fear harm." If we do our duty of cleaning chimneys, the 
     master won't beat us.
        But stepping back we remember the poem is addressed to homeowners: 
     the opening stanza tells the older sweep's history, as he remembers 
     it, from being left motherless to being sold by his father into a form 
     of slavery before he's even old enough to pronounce the word "sweep," 
     and it comes out "weep," and the result is "your chimneys I sweep & in 
     soot I sleep." We readers/homeowners see more than the narrator can 
     see - that this is an evil system and that we as property owners who 
     use the services of sweeps are deeply implicated in it. The boys can't 
     change their situation but we can.
        Oh, one last historical footnote: "Dacre" was the name of one of 
     the poorhouses in London. Tom is probably an orphan, a nameless 
     foundling, who was given the last name "Dacre" when he was turned out 
     of the orphanage to work for the master sweep. If that's what his name 
     is meant to suggest, then he wouldn't even have the narrator-sweep's 
     memory of a mother and father. Being befriended by the 
     narrator-sweeper ("Hush Tom never mind it) may be the closest thing to 
     family life he's ever known.
     P.S. - My earlier general lament (intended for "edu" e-mailers) about 
     using Blake Online as a substitute for library research was not meant 
     to discourage use of this forum to ask time-saving quick questions or 
     to ask for tips on where to begin a search. I was just concerned that 
     as the whole world moves to the Internet people may use chit-chat as 
     their primary source of information. From the responses I've seen so, 
     few subscribers to Blake Online see this as a danger - so, enough 
     -- Mary Lynn Johnson  


Date: Wed, 21 May 1997 10:46:00 -0500 (CDT)
From: Voice of the Devil 
Subject: Re: shortcuts in library research
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Tue, 20 May 1997, DR. JOSIE MCQUAIL wrote:

> Sometimes I just throw out a casual question that I could maybe answer if I
> spent an hour or two in the library, but to me that's part of the point of
> this discussion list:  sharing knowledge!  
> Josie McQuail
Amen.  That is why I joined the list as well.  I figured that a group of
experienced Blake readers, scholars, students etc.  would readily be able
to help in the quest for understanding of Blake.  At my University, we do
not even get Blake Quarterly so I appreciate all the help I can get.

What would a University Professor be for if the only response he/she gave
to his/her students was, "Go look it up in the library" ?  The internet
provides us with specialized groups were we can share our knowledge of
Blake and other interests with potentially the whole world, but it would
be absolutely impossible to do any type of serious research by the
internet alone because there simply is not enough out there.

I have looked.  See what I found at

If you would like to add to this list with generosity and the desire to
educate others, please send me any critical works you have done and are
proud of and I will gladly put your work on-line.

Last word - Criticizing others for asking questions seems to be very cruel
and not in the best interest of scholarship.  Remember there is no such
thing as a stupid question.  Not asking the question is stupid.

		Thanks for your time,



Date: Wed, 21 May 1997 11:24:03 -0500
Subject: Re: trickster figure in blake
Message-Id: <>

I would also be interested to see any critical study of "tricksters" 
in Blake, assuming it approaches the matter from a folkloric or 
anthropological perspective, using "trickster" in the technical 
sense common in those disciplines.  
My guess is (especially in light of the recent discussion and 
dissension over him on the list) that Orc is the best candidate for
trickster status in Blake's myth--he is rebellious, angry, sometimes
a transgressor of boundaries, sometimes too clever for his own good,
and a source of dismay or chagrin especially to authority figures.
There is, of course, the irrepressible scamp, himself, William Blake,
constantly subverting pieties and dogmas in the Songs, frequently 
sending up the stuffy and established in his letters and annotations,
satirizing his own "circle" in Island in the Moon.  Bringing a sense of
the trickster role to bear on Blake would be salutary, since it is all
too common that readers forget his sense of humor and elide his ironies
in favor of his sublimities.  (I know; I do it myself.)

(I might add that to the extent that Orc embodies or represents the phallus
and all its embarrassments, that also aligns him with the trickster figure
as it appears in other contexts. But I still can't recall any published 
discussion of this in this context.)
Tom Dillingham


Date: Wed, 21 May 1997 12:12:24 -0500
Subject: Weep, weep
Message-Id: <>

From:	COSMO::TOMDILL      "TOM DILLINGHAM" 21-MAY-1997 11:09:52.52
To:	SMTP%""
Subj:	Chimney Sweepers

There are, indeed, two poems by Blake about the chimney sweeper.  One is
from Songs of Innocence, the other from Songs of Experience.  While 
Blake did not completely match the songs from the two books, a number
of such pairings occur (the most famous is the Lamb/Tyger pair) and
the contrasts between the paired poems represent the differing angles of
perception on them identified in the titles of the collections.  From the
perspective of "innocence," the chimney sweeper may "weep," but he 
goes about his business in a "cheerful" way and "need not fear harm."
In this poem, especially, the "innocent" view is unusually naive and
unrealistic, since chimney sweeps in real life were subject to horrible
oppression and physical danger--they shaved off their hair so it would
not catch fire in the chimneys, but many still were burned by pockets of
burning soot, many suffocated in the chimneys, and as David Erdman pointed
out, testicular cancer was very common among them (along with other kinds
of cancers and glandular malfunctions)because of their exposure to toxic
chemicals.  Blake, of course, did not know the epidemiology of these 
problems, but he saw their effects and knew the horrors of child labor.
The corresponding poem in "experience" is extremely ironic, of course,
and recognizes the realities of the sweeps' condition--they do not,in
fact, end up in heaven.  It is the exploiters (the mother and father who
go to church to pray while the child is working and who "make up a heaven
of our misery"--representing the society that benefits from such 
oppression and *pretends* that the children are safe and happy) who
are exposed in the second poem.
I might add that "weep, weep" is the street cry that chimney sweepers used
to notify householders that they were in the street and available for work.
So that adds another fairly obvious irony to the poem.

I agree that Jarmusch's _Dead Man_ is a fascinating and even brilliant
film.  If you check the archives of the Blake list, you will find a number
of comments about it--one lengthy post by Ralph Dumain is especially 
informative and valuable.  I don't remember the date of it, but I think
it was probably about February of this year; the others were much 
earlier, closer to the time the film came out.
Tom Dillingham


Date: Wed, 21 May 97 13:23 CST
Subject: Re[2]: Frontispiece of "Europe" Again
Message-Id: <>
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     If I recall correctly, Essick's *Separate Plates* may be where he 
     discusses Goyder's print as a Muir facsimile. I hope Sandy or Detlef 
     will correct me on this one.


Date: Wed, 21 May 97 13:44 CST
Subject: C'mon, was I really cruel?
Message-Id: <>
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     Dear Blake friends and acquaintances,
        I must be getting really dreadful at communicating my intended 
     tone. I certainly apologize for giving offense on the research issue. 
     I should never have used an example at all, and, as things turned out, 
     I suppose I shouldn't have even brought up the subject. But let me 
     repeat, in case people zapped my long message on "The Chimney Sweeper" 
     because it had my return address on it, my final paragraph:
        My earlier general lament (intended for "edu" e-mailers) about 
     using Blake Online as a substitute for library research was not meant 
     to discourage use of this forum to ask time-saving quick questions or 
     to ask for tips on where to begin a search. I was just concerned that 
     as the whole world moves to the Internet people may use chit-chat as 
     their primary source of information. From the responses I've seen so 
     far, few subscribers to Blake Online see this as a danger - so, enough 
        Old research technologies or new, there's no substitute for 
     friendly personal help and advice. Without an abundance of it, from 
     teachers and friends and colleagues all my life, I'd be totally 
        I continue, however, to think there's a difference between sincere 
     naive questions, which one should never hesitate to ask a group like 
     this one, and questions that really mean, "Please do my homework for 
     me." But now I admit I might not be able to tell the difference. In 
     failing dismally, the other day, to communicate my own tone and 
     intent, I realize that I may also have become tonedeaf to others.
        I hope we can get past this and go back to talking about Blake.
     -- Mary Lynn Johnson


Date:          Wed, 21 May 1997 21:15:04 MET
To: William F Halloran ,
Subject:       Re: Frontispiece of "Europe" Again
Message-Id: <>

May 21st, 1997

Earlier today, William F. Halloran wrote:

>      The most striking version I have seen was hanging on the wall
>      at George Goyder's house in Long Melford when I visited him a
>      few years back. Its background was black and its sun blood
>      red. I will check the Lister book because from Jennifer's post
>      it sounds as though the Goyder print resembles the one Blake
>      made for Tatham.  Could it be a copy?

It could.

>      That leads me to two questions:

>      1) George Goyder believed his print was executed by Blake.  He
>      said, however, that Bob Essick, when he saw it, thought it was
>      a copy.

Yes, Robert Essick thought "it was a copy", though not a forgery.

>      I wonder if anyone has evidence or could point me to evidence
>      either way. I have not seen any printed references to the
>      Goyder print, perhaps for good reason.  Bob Essick or Jerry
>      Bentley would be the best people to respond on this point, but
>      they seem not to be on the list.  It may be also that the
>      matter is a bit sensitive in the wake of George Goyder's death
>      in January.

When, back in 1978, the richly coloured loose impression from the
Whitworth was hanging side by side with the late Sir Geoffrey
Keynes's and the late George Goyder's versions of "The Ancient of
Days" in the Tate Gallery's Blake exhibition, Martin Butlin (as well
as myself and probably many others) began to realize that, if
genuine, the three pulls would have had to be printed from *three
different relief-etched plates*, and this just didn't seem to make
*any* sense from a printmaker's point of view.  But it was, to the
best of my knowledge, Robert N. Essick who first noted that some of
the lines in the cross-hatching of the clouds which show a much
cruder pattern in the Keynes and Goyder versions than in any copy of
*Europe* were applied *on top* of other colours (etc., etc.); this,
of course, is technically impossible if a pull from an etched plate
is being hand-coloured or colourprinted. And this in turn led Essick
to the discovery that the Keynes and Goyder impressions in fact
belong with a small edition of facsimiles of "The Ancient of Days"
produced by William Muir's Blake Press at Edmonton from the 1880s
onwards.  The matter has been discussed by Essick in print and in
greater detail (probably in an appendix in his catalogue of *The
Separate Plates of WB*, Princeton, N.J.: Princeton University Press,

>      That leads to a related question:

>      2) Can someone point me to the most current source of printed
>      information about the various versions of this plate?  Has
>      there been an article on it in recent years I have missed?
>      (Dare I ask this question after Mary Lynn's recent post?)

Whereas G. E. Bentley's *Blake Books* still listed a fairly large
number of separate pulls of the *Europe* frontispiece, Bentley's
*Blake Books Supplement* (Oxford, Oxon.: Clarendon Press, 1995) will
probably contain the updated chalcographic information you are
looking for.

--DW Doerrbecker


Date: Wed, 21 May 97 18:35:02 -0700
From: Seth T. Ross 
Subject: spamming Blake Online (was Re: Eastern Influence)
Message-Id: <>
Content-Type: text/plain has been kicked off the list. For the record, anyone who uses  
their Blake subscription to send spam or a chain letter will be removed with  
extreme prejudice. I will also file a complaint with the postmaster of their  
site. I apologize for this administrative interruption.
--Seth Sysadmin

Begin forwarded message:

Date: Tue, 20 May 1997 22:09:03 -0400 (EDT)
Subject: Re: Eastern Influence
X-Mailing-List:  archive/latest/4801

> The following income opportunity is one you may be interested
> in looking at.  It can be started with VERY MINIMAL outlay and
> the income return is TREMENDOUS ...


Date: Thu, 22 May 1997 13:21:16 +0000
Subject: Re: Blake Online
Message-Id: <>

To Mary Lynn Johnson,

Thank you for your detailed and informative reading of "The Chimney 
Sweeper". I appreciate the time and effort taken to share that with 

I also note the disucssion taking place over the last few days about 
using Blake-Online instead of library research, and your report that 
most onliners feel it is not a problem.  I thought I'd just mention 
an interesting example of the accuracy risks of quoting Internet 
sources in academic research.

I belong to another discussion group dedicated to Emily Dickinson and 
linguistic issues.  An english teacher from China wrote in asking for 
information regarding Dickinson's indebtedness to Ralph Waldo Emerson. 
He received several contradictory replies, and someone suggested going 
back into the archive of Internet entries of this discussion group.  
This was done, and some ten or more relevant entries were thrown up. 
However, and this is the point, these entries were then fed back into 
the system as what looked like a very official and authoratitive 
summary of the academic status-quo of the subject, whereas in fact it 
was simply a compilation of various haphazard remarks reflecting 
varying degrees of factual knowledge about Dickinson's relationship 
or lack of it with Emerson.  I realized this because I noticed my own 
somewhat uncertain reply in amongst the entries.

So I throw that in as an interesting example of lifting casual 
remarks out of context and representing them as facts.  Always a 
danger - even in books, of course!

Yours,  Hassanah Briedis.


Date: Thu, 22 May 1997 00:08:46 +0200
From: (Tim Linnell)
Subject: Re: Yale Blake exhibit particulars please!
Message-Id: <>
Content-Type: text/plain; charset="us-ascii"

>OK, I could find all this out if I called Yale, but for anyone who has
>already attended the exhibition, what are the hours, does it cost anything,

Most people on the list probably already know this, but note that there is
also a concurrent exhibition of the so-called followers of Blake, including
Samuel Palmer, George Richmond, Calvert, and John Linnell. 

Tim Linnell


Date: Thu, 22 May 1997 20:36:02 -0400 (EDT)
Subject: Re: shortcuts in library research
Message-Id: <>

While I expect to be considered a dinosaur, I do believe that there is no
substitute for first-person research in a library, and, yet, I lament the
demise of the researcher's best friend--the card catalog.

Gary Geoffrion


Date: Thu, 22 May 1997 21:07:51 -0400 (EDT)
Subject: Re: RE: shortcuts in library research
Message-Id: <>

John, et alia,

I've only been monitoring this site for a few months and have been trying to
figure out what it's about. You've helped, but I don't have a firm grip on it
yet. I've seen academic/sophomoric/new ageic/bizarroic stuff but no center.

I'm not suggesting, after so little exposure, that I understand what it ought
to be but am wondering if there is a controlling dynamic. What is the raison
d'etre for this site? I'm not being critical, just curious.

Gary Geoffrion


Date: Thu, 22 May 97 19:04:47 -0800
From: Tom Devine 
Cc: "Izak Bouwer" 
Subject: Re: bad man/ good man query
Message-Id: <>
Content-Type: text/plain; charset="US-ASCII"

      Patricia Neal reported that
Morris Eaves had asked, on behalf of Richard Finneran,
for the identification of the source for the line in 
W. B. Yeats:  "The Words upon the Windowpane" 
that reads: "The poet William Blake said that he never 
knew a bad man that has not something very good 
about him." 
      The quotation is from "Reminiscences" (1852) of
Henry Crabb Robinson.  The quote can be found for
instance in G.E. Bentley : Blake Records (1969) page
548. The actual quote reads:
    " I have never known a very bad man who had not
       something very good about him."
The sentence in Crabb Robinson preceding this one
reads: "He digressed into a condemnation of those who
sit in judgment on others."

Izak Bouwer


Date: Fri, 23 May 1997 07:18:56 -0400
From: Al Mardeuse 
Subject: Re: shortcuts in library research
Message-Id: <>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit wrote:
What is the raison
> d'etre for this site? I'm not being critical, just curious.
> Gary Geoffrion
 As a new member of this site I can only say that it seems obvious to me
that the raison d'etre for this site is the "love and appreciation of
Blake & his work" how much greater a passion do you ned for a center?


Date: Fri, 23 May 1997 16:03:12 +0200
From: (Tim Linnell)
Subject: New(ish) Blake Book
Message-Id: <>
Content-Type: text/plain; charset="us-ascii"

As a postscript to the discussion on paper/electronic copies of Blake's
work, I've just bought a book of reproductions of pictures and engravings,
which seems excellent value to me (it cost 30 UKP). It is a catalogue of
what seems to have been a very comprehensive Blake exhibition in Madrid last
year, and is entitled 'William Blake' (Fundacion "la Caixa") : ISBN

Text is in Spanish, but English translations are provided, and the
reproductions are of quite reasonable quality, mostly in colour. The book is
large in format, I suppose about 12" by 8", 259 pages. The work ranges from
early engravings to later work including Dante and Job, and as previously
mentioned seems very comprehensive.

By the way, does anyone know where I can contact Stephen Keynes (who
apparently helped organise the exhibition), who I take to be the son or
close relative of Sir Geoffrey? 

Tim Linnell


Date: Fri, 23 May 1997 15:39:35 -0500 (CDT)
From: Kathy Krejci 
Subject: Blake Ball
Message-Id: <>
Content-Type: text/plain; charset="us-ascii"

Hello, list members!

I apologize for "crashing" your list but I was hoping some of you might have
information that a poor struggling librarian could use.  Unfortunately I do
not have a sufficient knowledge base (or time) to pursue this on my own.
Any help would be appreciated.

"Blake Ball" is an animated film by Emily Hubley based on poetry by William
Blake.  We have a copy of this film on video which I am in the process of
cataloging.  If any of you are familiar with this film, would you know:

        1)  The year in which it was produced.
        2) Which specific poems by Blake are quoted.
        3) A brief summary of the film.

It appears that my record will be the first going on-line for this film so I
would like it to be as accurate as humanly possible.

Thank you for you time and in advance for any help you may be able to offer!


Kathy Krejci
"You fill me with inertia."
		--Bedazzled, 1967
Kathy Krejci
Cataloging - Morris Library
Southern Illinois University - Carbondale
Carbondale, IL 62901
(618) 453-1605


Date: Fri, 23 May 1997 16:55:43 -0500 (CDT)
From: (susan p. reilly)
Subject: Re: Yale Blake Exhibition/Mellon Collection 
Message-Id: <>

Dear Listers,

Travelling in tandem or trio to view the Blake exhibit is probably not 
advisable, as one or more members of the group are bound to have a 
headache, become claustrophobic, or be looking for the nearest 
ice cream parlour.

In my own case, consequently, I  managed only the minimal
once-around of what is a rather large, extremely unusual, and very 
impressive exhibition of Blake works which ranges from pencil sketches 
to pen and ink drawings, relief etchings, watercolor
illustration, temperas and engraved illustrations.

I observed that no facsimile, however fine, can ever 
adequately capture the delicacy of detail or the scale (large or small) 
of Blake's work.
>From the huge folios of the illustrated works of Gray to the smallest
plates of S of I, there is a quality about the originals which cannot 
be duplicated in photographic reproduction.

As to the Mellon collection and the dates of acquisition
of Mellon-owned Blake articles by YBCA: the most recent item in 
the Blake exhibit  seems to have been aquired from Mellon by Yale
in  1981, though Mellon, it seems, is STILL an avid collector
and may have donated other items to the permanent collection which 
were not on display in this exhibit.  Some items in the exhibit 
were on loan from Mellon (and from elsewhere?).  Perhaps this is where 
the idea originated that some of Mellon's donations are "recent" (?).

Most of the items in the exhibit will revert back to the private 
collection at Yale, housed, I assume, at the Beinecke, and will be 
available there for viewing.
One of the curators informed me that _Jerusalem_ still remains the 
private property of Paul  Mellon.   

Acquisition details aside, this is, as has been noted, an exceptionally 
fine and beautifully displayed exhibit in which the Blakeophile can be 
lost for hours.

Susan Reilly

End of blake-d Digest V1997 Issue #61