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It may not be stored, displayed, published, reproduced, or used for any other purpose without prior and written permission by Poetry International. Blake was already recognized as an engraver at age twenty-five, when his first volume of poems appeared. At thirty-three, in The Marriage of Heaven and Hell, he audaciously claimed that his birth had marked the origin of a "new heaven" in which his own art would exemplify the creativity prefigured by Milton and Michelangelo.


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By that time, Blake, in one of his most productive periods, had already produced Songs of Innocence and was at work on a series of illuminated books. In he met John Linnell, a young painter and engraver, through whom a group of young artists became Blake's followers.


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Calling themselves the Ancients, they helped perpetuate Blake's influence for generations. The Morgan's Blake collection—one of this country's most distinguished—began with purchases as early as by Pierpont Morgan. During the tenure of Charles Ryskamp, director from to , major gifts almost doubled the size of its Blake holdings.

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In recent years Ryskamp's own gifts of engravings, letters, and related materials have significantly enriched its scholarly resources. The Morgan preserves Blake's twelve watercolor designs for Milton's early poems L'Allegro and Il Penseroso that contrast the cheerful man with the melancholic, thoughtful one.


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  • Like the illustrations for the Book of Job, Blake created them on commission for Thomas Butts about — The two series were separated in and not reunited until , when they were acquired as the first purchase by the Morgan's newly formed Association of Fellows. Milton, along with Dante and the Bible, was one of Blake's great inspirations. Blake wrote a long and mystical poem, Milton , and executed several other series of illustrations for Milton's works. Each of the watercolors in this series is accompanied by Blake's transcription of the relevant portion of the poem as well as his notes on his design.

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