The Soul Hovering Over the Body [from Marriage of Heaven and Hell," plate 14]

The Soul Hovering Over the Body [from Marriage of Heaven and Hell," plate 14], created by William Blake in 1796, is a powerful example of the British artist's innovative approach to printmaking. This work is a relief etching that was then color-printed, exemplifying Blake’s unique method of combining text and image, often referred to as "illuminated printing." Dating to the period 1776 to 1800, this piece belongs to one of Blake's most radical literary and visual projects, The Marriage of Heaven and Hell. Blake acted as author, designer, engraver, printer, and colorist for the volume, establishing a deeply personal and revolutionary production method designed to bypass conventional publishers and maintain complete creative control over his complex narratives.

The image visually interprets the metaphysical concept of the soul’s departure from the physical form, a frequent theme in Blake’s philosophical writings regarding spiritual duality. Unlike standard intaglio techniques prevalent at the time, the color-printed relief etching provided a means for Blake to achieve painterly effects within the reproductive medium. The resulting prints exhibit highly varied textures and hues, making each impression distinctive and emphasizing the work’s visionary quality. Blake’s intensity is captured through the dynamic tension between the grounded, inert figure and the ethereal entity hovering above, symbolizing the separation and transition of the spirit.

This extraordinary piece of British art represents the height of Blake’s maturity as a printmaker during the late 18th century, demonstrating his commitment to fusing poetic inspiration with demanding technical execution. The work holds significant scholarly value, providing insight into the intersection of poetry and visual art during the Romantic movement. This specific impression of The Soul Hovering Over the Body is held in the collection of the National Gallery of Art, where it contributes greatly to the study of the history of prints and illustrated books. Because of its age and cultural significance, the underlying intellectual property of the original 1796 work often falls into the public domain, allowing for wider dissemination and research into Blake’s enduring artistic legacy.