Frontispiece to Jerusalem, the Emanation of the Great Albion

Frontispiece to Jerusalem, the Emanation of the Great Albion by William Blake is a profound print created between 1804 and 1820. This work showcases Blake’s mastery of the white line engraving technique, which he used throughout his illuminated books. Unlike many conventional prints of the era, the impression is rendered entirely in a warm, distinctive orange ink, lending a unique emotional quality to the composition.

Blake intended this iconic image to precede his epic prophetic poem, Jerusalem, the Emanation of the Great Albion, the capstone of his mythological system. The imagery is deeply symbolic, focusing on a powerful male figure, traditionally interpreted as Albion, the primal man and personification of Britain. The figure, floating or suspended, often represents the spiritual decay of humanity or, conversely, the power of Divine Imagination central to Blake’s theology. Through this solitary man, Blake channels the central themes of his complex narrative: redemption, destruction, and the struggle for spiritual renewal.

Though the final printing and coloring of Blake’s books spanned several years, the finished result stands among the most ambitious artistic endeavors of the English Romantic period. The artist’s inventive method allowed him to integrate text and illustration seamlessly, elevating his printed works beyond mere book illustrations into complete, unified artworks. This influential historic print resides in the collection of the Metropolitan Museum of Art, where it serves as a critical example of Blake’s late style. As an important historic print, the artwork frequently enters the realm of public domain resources, ensuring continued access for scholarly study and general appreciation.