Fogg Art Musem, Harvard University
Illustrations to Dante's Divine Comedy
Dante and Virgil Escaping from the Devils
Blake was continuing to work on illustrations to Dante's Divine Comedy up to the time of his death. He had been commissioned by his friend John Linnell to do so and gladly devoted himself to the project. There were 102 drawings either in process or completed when he died in 1827. Until 1918 the drawings were owned by the Linnell family who then decided to release them . Various institution were interested in owning some of all of the images but could not afford the whole set. Negotiations resulted in distributing the drawings on three continents to five organizations and two individuals. The above picture eventually was obtained by Harvard through the bequest of Grenville Lindall Winthrop.
The above image pictures Dante and Virgil as they were passing through the Eighth circle of Hell where Devils were punishing sinners who had committed abuses in Florence. Dante and Virgil escaped from the Devils who were prohibited from leaving the 'ditch' where their work was to keep the sinners submerged in pitch. Although Blake did not shy away from picturing the cruel methods of punishing sinners in Dante's Hell, it would have given him pleasure to contemplate the protection which was afforded to Virgil and Dante as the pursued their journey through the underworld.
This article was printed in the Blake Quarterly, 1989/90 issue:
"The Dispersal of the Illustrations to Dante's Divine Comedy" by Krzysztof Z. Cieszkowski
"Purchase of 102 Illustrations to DANTE by WILLIAM BLAKE at the Linnell Sale at Christie’s, March 15th 1918.
The price was £7665. Ninety of the 102 drawings were completed. Twelve were so slight and in pencil as to be of little value. The ninety finished drawings were divided into three categories:
30 “A” Drawings
30 “B” Drawings
30 “C” Drawings
To work a plan out in round figures it was assumed that £7500 was subscribed as follows in £250 shares there being thirty such shares for the ninety drawings:
| Melbourne | £3000 (12 shares) |
| Tate Gallery | £3000 (12 shares) |
| British Museum | 500 (2 shares) |
| Birmingham | 500 (2 shares) |
| Oxford | 250 (1 share) |
| Mr. Ricketts & Mr. Shannon | 250 (1 share) |
it was decided to allot on the principle of one £250 share entitling to a selection of 1 “A” drawing, 1 “B” and 1 “C”. Melbourne, therefore, having 12 £250 shares received 12 “A”, 12 “B” and 12 “C” drawings, 36 in all, as the Tate also: the British Museum 6 each, and Oxford and Ricketts and Shannon 3 each.
...
Charles Ricketts acquired four works, which in 1943 entered the Fogg Art Museum at Harvard University, together with a further 19 works which had passed through various American private collections. Thus the unfinished series is currently divided between seven public and university collections in England, Australia, and the United States—a situation that would appear destined to remain unchanged."
Hell, Canto 21, Line 79
“O Malacoda, do you think I’ve come,”
my master answered him, “already armed—
as you can see—against your obstacles,
without the will of God and helpful fate?
Let us move on; it is the will of Heaven
for me to show this wild way to another.”
At this the pride of Malacoda fell;
his prong dropped to his feet. He told his fellows:
“Since that’s the way things stand, let us not wound him.”
Hell Canto 23, Line 31
"If that right bank is not extremely steep,
we can descend into the other moat
and so escape from the imagined chase.”
Canto 23, Line 34
He’d hardly finished telling me his plan
when I saw them approach with outstretched wings,
not too far off, and keen on taking us.
My guide snatched me up instantly, just as
the mother who is wakened by a roar
and catches sight of blazing flames beside her,
will lift her son and run without a stop—
she cares more for the child than for herself—
not pausing even to throw on a shift;
and down the hard embankment’s edge—his back
lay flat along the sloping rock that closes
one side of the adjacent moat—he slid.
No water ever ran so fast along
a sluice to turn the wheels of a land mill,
not even when its flow approached the paddles,
as did my master race down that embankment
while bearing me with him upon his chest,
just like a son, and not like a companion.
His feet had scarcely reached the bed that lies
along the deep below, than those ten demons
were on the edge above us; but there was
nothing to fear; for that High Providence
that willed them ministers of the fifth ditch,
denies to all of them the power to leave it."
Letters, To Linnell, (E 784)
25 April 1827
Dear Sir
I am going on better Every day as I think both in health &
in Work I thank you for The Ten Pounds which I recievd from you
this Day which shall be put to the best use as also for the
prospect of Mr Ottleys advantageous acquaintance I go on without
daring to count on Futurity. which I cannot do without Doubt &
Fear that ruins Activity & are the greatest hurt to an Artist
such as I am. as to Ugolino &c I never supposed that I should
sell them my Wife alone is answerable for their having Existed in
any finishd State--I am too much attachd to Dante to think much
of any thing else--I have Proved the Six Plates & reduced the
Fighting Devils ready for the Copper I count myself sufficiently
Paid If I live as I now do & only fear that I may be unlucky
to my friends & especially that I may not be so to you
I am Sincerely yours
WILLIAM BLAKE
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