Publius Virgilius Maro, William Blake

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Rights

Credit
Yale Center for British Art, Paul Mellon Collection
Licence
PDM-1.0
Evidence
manifests.collections.yale.edu: Copyright Statement=Public Domain on ycba object 1494da93-2334-4e36-8273-668aee06a6d9 (https://manifests.collections.yale.edu/v2/ycba/obj/7477); Image Use Rights=No Copyright: You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. (CC0 1.0) (read 2026-09-16)
Record
https://collections.britishart.yale.edu/catalog/tms:7477
IIIF
manifest
Publius Virgilius Maro, William Blake
Publius Virgilius Maro — William Blake1821

Also by William Blake

17
Songs of Experience: The School Boy, William Blake
Songs of Experience: The School BoyWilliam Blake[1789] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: The Little Girl Found (second plate), William Blake
Songs of Experience: The Little Girl Found (second plate)William Blake[1789] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: The Little Girl Lost, William Blake
Songs of Experience: The Little Girl LostWilliam Blake[1789] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: The Little Girl Lost (second plate); The Little Girl Found, William Blake
Songs of Experience: The Little Girl Lost (second plate); The Little Girl FoundWilliam Blake[1789] printed ca. 1825Metropolitan Museum of Art, New York, NY
God Judging Adam, William Blake
God Judging AdamWilliam Blakeca. 1795Metropolitan Museum of Art, New York, NY
'Behold him, when past by; what then is seen' (Page 25), William Blake
'Behold him, when past by; what then is seen' (Page 25)William Blakeca. 1797Yale Center for British Art
Songs of Experience: A Little Girl Lost, William Blake
Songs of Experience: A Little Girl LostWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: To Tirzah, William Blake
Songs of Experience: To TirzahWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY

Within fifty years of 1821

3239
Portrait of Infante Don Luis de Borbon, Anton Raphael Mengs (German, 1728–1779)
Portrait of Infante Don Luis de BorbonAnton Raphael Mengs (German, 1728–1779)c. 1776Cleveland Museum of Art
Architectural Elevation of La Retraite within its Landscape, François de Cuvilliés the younger, German, 1731 - 1777
Architectural Elevation of La Retraite within its LandscapeFrançois de Cuvilliés the younger, German, 1731 - 17771771Cooper Hewitt, Smithsonian Design Museum
Title Page, Pierre Moreau, French, 1722 – 1798
Title PagePierre Moreau, French, 1722 – 17981771Cooper Hewitt, Smithsonian Design Museum
Plan D’Amalienbourg Batie sur la gauche dans le jardin de Nimphenbourg, François de Cuvilliés the Elder, Belgian, 1695 - 1768
Plan D’Amalienbourg Batie sur la gauche dans le jardin de NimphenbourgFrançois de Cuvilliés the Elder, Belgian, 1695 - 17681771Cooper Hewitt, Smithsonian Design Museum
Title Page, Pierre Moreau, French, 1722 – 1798
Title PagePierre Moreau, French, 1722 – 17981771Cooper Hewitt, Smithsonian Design Museum
PLAN DE BADENBOURG EXECUTE DANS LE JARDIN DE NYMPHENBOURG. MDCCLXXI, Joseph Effner, German, 1687 – 1745
PLAN DE BADENBOURG EXECUTE DANS LE JARDIN DE NYMPHENBOURG. MDCCLXXIJoseph Effner, German, 1687 – 1745ca. 1771Cooper Hewitt, Smithsonian Design Museum
Rolltop desk, David Roentgen
Rolltop deskDavid Roentgenca. 1776–79Metropolitan Museum of Art, New York, NY
Drop-front desk (secrétaire à abattant or secrétaire en cabinet), Martin Carlin
Drop-front desk (secrétaire à abattant or secrétaire en cabinet)Martin Carlinca. 1776Metropolitan Museum of Art, New York, NY

Also at Yale Center for British Art

18
The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoors, Sir James Thornhill
The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoorsSir James ThornhillundatedYale Center for British Art
Sketch for 'The Last Supper,' St. Mary's, Weymouth, Sir James Thornhill
Sketch for 'The Last Supper,' St. Mary's, WeymouthSir James Thornhillbetween 1719 and 1720Yale Center for British Art
The Beggar's Opera, William Hogarth
The Beggar's OperaWilliam Hogarth1729Yale Center for British Art
Self-Portrait, William Hogarth
Self-PortraitWilliam Hogarthca. 1735Yale Center for British Art
Mary Hogarth, William Hogarth
Mary HogarthWilliam Hogarthca. 1740Yale Center for British Art
The Adoration of the Magi, Arthur Pond
The Adoration of the MagiArthur Pond1735Yale Center for British Art
The Adoration of the Magi, Arthur Pond
The Adoration of the MagiArthur Pond1735Yale Center for British Art
The Last Supper, Francesco Bartolozzi
The Last SupperFrancesco BartolozziundatedYale Center for British Art

In the stacks

Not yet checked
2

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. The Bases of Design · Walter Crane

    At the end of last century a sort of revival took place under Thomas Bewick and his school, which led, not to a revival of the firm and open linear drawing of the designers of the early printers, but rather to a search after extra fineness and qualities of tone and colour, hitherto associated with steel or copper-plate. This tendency or aim of the engravers, however, only served to put the woodcut out of relation with the type, and the type itself grew uglier, and was hardly considered as part
    0.70
  2. Of the Decorative Illustration of Books Old and New · Walter Crane

    When he came to embody his own thoughts and dreams, he recurred quite spontaneously to the methods of the maker of the MS. books. He became his own calligrapher, illuminator and miniaturist, while availing himself of the copper-plate (which he turned into a surface printing block) and the printing press for the reproduction of his designs, and in some cases for producing them in tints. His hand-coloured drawings, the borderings and devices to his own poems, will always be things by themselves. His treatment of the resources of black and
    0.68

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