Canto VI, Verse 294

Canto VI, Verse 294, created in 1803 by William Blake and Mary Ann Flaxman, is a significant example of British printmaking from the early 19th century. This work, classified as a print, utilizes the intricate and demanding medium of engraving. The creation of such prints often involved a collaborative process where an established designer, such as Blake, provided the foundational drawing, which was then meticulously translated onto the copper plate by the engraver, a role often filled or assisted by Flaxman. This artistic partnership occurred during the period spanning 1801 to 1825, a time of profound artistic and literary shifts in Britain.

Engraving was a principal method for mass reproduction and illustration during this era, enabling the wide distribution of narrative and artistic concepts. The title itself suggests a direct visual interpretation of a specific literary passage, focusing the viewer’s attention on a detailed moment extracted from a larger epic or poem. The precision required for such fine line work is characteristic of 19th-century prints and is evident in the finished piece, showcasing Flaxman’s technical skill in handling the plate. The quality of these historic prints often relied heavily on the successful translation of the initial drawing into a durable, repeatable image.

This particular engraving is preserved within the collections of the National Gallery of Art, offering scholars and the public an important historical document of British visual culture. The work not only demonstrates the common collaborative practices between designers and engravers in the early 1800s but also underscores the enduring legacy of Blake, one of the period’s most visionary figures. As a historical work produced two centuries ago, the accessibility of such high-quality prints often places them within the public domain, allowing broader study of art created during the 1801 to 1825 timeframe. The careful rendering and formal structure of this piece position it as a key document for understanding the intersection of literature and the visual arts in early modern Britain.