“…Tasso dresses out his ‘gods of the abyss in hair of snakes, and immense voluminous tails[’].…The same might be said of Dante, of M. Angelo, and of Raffael…; they have painted Satan, according to the old women’s conception of him, with horns and claws. But Milton’s touches of character are of a nobler and more spiritual kind; and indeed it is a piece of justice due to his superior talents, to observe, that he was the first man of genius who was able to make any poetical use (that was not more ridiculous than sublime) of the great personages and imagery of our religion…”
— James Barry, An Inquiry into the Real and Imaginary Obstructions to the Acquisition of the Arts in England (1775)
WORKS
Milton
Book I of Paradise Lost
Book II of Paradise Lost
Book IV of Paradise Lost
Book VI of Paradise Lost
Book VII of Paradise Lost
Book IX of Paradise Lost
Book X of Paradise Lost
Book XII of Paradise Lost
Miscellaneous
MILTON
Milton dictating to Ellwood the Quaker
Date
ca. 1804–5
Medium
Etching and engraving with some aquatint on ivory
Dimensions
Height: 57.8 cm (plate)
Width: 42.3 cm (plate)
Height: 67.4 cm (sheet)
Width: 52.6 cm (sheet)
Location
Art Institute of Chicago
John Milton Composing Paradise Lost
Date
1807
Medium
Etching with engraving
Dimensions
Height: 58 cm
Width: 42 cm
Locations
British Museum, London
National Galleries of Scotland
BOOK I OF PARADISE LOST
“This first Book proposes, first in brief, the whole Subject, Man’s disobedience, and the loss thereupon of Paradise wherein he was plac’t: Then touches the prime cause of his fall, the Serpent, or rather Satan in the Serpent; who revolting from God, and drawing to his side many Legions of Angels, was by the command of God driven out of Heaven with all his Crew into the great Deep. Which action past over, the Poem hastes into the midst of things, presenting Satan with his Angels now fallen into Hell, describ’d here, not in the Centre (for Heaven and Earth may be suppos’d as yet not made, certainly not yet accurst) but in a place of utter darkness, fitliest call’d Chaos: Here Satan with his Angels lying on the burning Lake, thunder-struck and astonisht, after a certain space recovers, as from confusion, calls up him who next in Order and Dignity lay by him; they confer of thir miserable fall. Satan awakens all his Legions, who lay till then in the same manner confounded; They rise, thir Numbers, array of Battle, thir chief Leaders nam’d, according to the Idols known afterwards in Canaan and the Countries adjoining. To these Satan directs his Speech, comforts them with hope yet of regaining Heaven, but tells them lastly of a new World and new kind of Creature to be created, according to an ancient Prophecy or report in Heaven; for that Angels were long before this visible Creation, was the opinion of many ancient Fathers. To find out the truth of this Prophecy, and what to determine thereon he refers to a full Council. What his Associates thence attempt. Pandemonium the Palace of Satan rises, suddenly built out of the Deep: The infernal Peers there sit in Council.”
— John Milton, “The Argument,” Book I of Paradise Lost (1674 edition)
Preparatory study for Satan and His Legions Hurling Defiance toward the Vault of Heaven
Date
ca. 1792–94
Medium
Reed pen and brown ink, with grey wash, over black chalk
Dimensions
Height: 68.8 cm
Width: 49.5 cm
Location
British Museum, London
PL Lines
“He spake: and to confirm his words, out-flew
Millions of flaming swords, drawn from the thighs
Of mighty Cherubim; the sudden blaze
Far round illumin’d hell: highly they rag’d
Against the Highest, and fierce with grasped Arms
Clash’d on thir sounding shields the din of war,
Hurling defiance toward the Vault of Heav’n.”
(Paradise Lost, Book I, 663–69)
Satan and His Legions Hurling Defiance toward the Vault of Heaven
Date
ca. 1792–94
Medium
Etching
Dimensions
Height: 74.6 cm
Width: 50.4 cm
Locations
British Museum, London
British Museum (2)
British Museum (3)
Tate Britain, London
The Ashmolean Museum of Art and Archeology, Oxford
National Gallery of Victoria, Melbourne
PL Lines
“He spake: and to confirm his words, out-flew
Millions of flaming swords, drawn from the thighs
Of mighty Cherubim; the sudden blaze
Far round illumin’d hell: highly they rag’d
Against the Highest, and fierce with grasped Arms
Clash’d on thir sounding shields the din of war,
Hurling defiance toward the Vault of Heav’n.”
(Paradise Lost, Book I, 663–69)
BOOK II OF PARADISE LOST
“The Consultation begun, Satan debates whether another Battle be to be hazarded for the recovery of Heaven: some advise it, others dissuade: A third proposal is preferr’d, mention’d before by Satan, to search the truth of that Prophecy or Tradition in Heaven concerning another world, and another kind of creature equal or not much inferior to themselves, about this time to be created: Thir doubt who shall be sent on this difficult search: Satan thir chief undertakes alone the voyage, is honor’d and applauded. The Council thus ended, the rest betake them several ways and to several employments, as thir inclinations lead them, to entertain the time till Satan return. He passes on his Journey to Hell Gates, finds them shut, and who sat there to guard them, by whom at length they are op’n’d, and discover to him the great Gulf between Hell and Heaven; with what difficulty he passes through, directed by Chaos, the Power of that place, to the sight of this new World which he sought.”
— John Milton, “The Argument,” Book II of Paradise Lost (1674 edition)
Satan, Sin and Death
Date
ca. 1792–95
Medium
Etching
Dimensions
Height: 56.8 cm
Width: 51 cm
Locations
British Museum, London
British Museum (2)
British Museum (3)
British Museum (4)
British Museum (5)
British Museum (6)
British Museum (7)
Tate Britain, London
Victoria and Albert Museum, London
National Gallery of Victoria, Melbourne
PL Lines
“So spake the grisly terror, and in shape,
So speaking and so threat’ning, grew tenfold
More dreadful and deform: on th’ other side
Incens’t with indignation Satan stood
Unterrifi’d, and like a Comet burn’d,
That fires the length of Ophiucus huge
In th’ Artic Sky, and from his horrid hair
Shakes Pestilence and War. Each at the Head
Levell’d his deadly aim; thir fatal hands
No second stroke intend, and such a frown
Each cast at th’ other, as when two black Clouds
With Heav’n’s Artillery fraught, come rattling on
Over the Caspian, then stand front to front
Hov’ring a space, till Winds the signal blow
To join thir dark Encounter in mid air:
So frown’d the mighty Combatants, that Hell
Grew darker at thir frown, so matcht they stood;
For never but once more was either like
To meet so great a foe: and now great deeds
Had been achiev’d, whereof all Hell had rung,
Had not the Snaky Sorceress that sat
Fast by Hell Gate, and kept the fatal Key,
Ris’n, and with hideous outcry rush’d between.
O Father, what intends thy hand, she cri’d,
Against thy only Son? What fury O Son,
Possesses thee to bend that mortal Dart
Against thy Father’s head?”
(Paradise Lost, Book II, 704–30)
Preparatory study for Satan, Sin and Death
Date
ca. 1792–95
Medium
Graphite, brush and brown ink, gray and brown wash heightened with touches of white
Dimensions
Height: 59 cm (sheet)
Width: 41.6 cm (sheet)
Location
The Metropolitan Museum of Art, New York
PL Lines
“So spake the grisly terror, and in shape,
So speaking and so threat’ning, grew tenfold
More dreadful and deform: on th’ other side
Incens’t with indignation Satan stood
Unterrifi’d, and like a Comet burn’d,
That fires the length of Ophiucus huge
In th’ Artic Sky, and from his horrid hair
Shakes Pestilence and War. Each at the Head
Levell’d his deadly aim; thir fatal hands
No second stroke intend, and such a frown
Each cast at th’ other, as when two black Clouds
With Heav’n’s Artillery fraught, come rattling on
Over the Caspian, then stand front to front
Hov’ring a space, till Winds the signal blow
To join thir dark Encounter in mid air:
So frown’d the mighty Combatants, that Hell
Grew darker at thir frown, so matcht they stood;
For never but once more was either like
To meet so great a foe: and now great deeds
Had been achiev’d, whereof all Hell had rung,
Had not the Snaky Sorceress that sat
Fast by Hell Gate, and kept the fatal Key,
Ris’n, and with hideous outcry rush’d between.
O Father, what intends thy hand, she cri’d,
Against thy only Son? What fury O Son,
Possesses thee to bend that mortal Dart
Against thy Father’s head?”
(Paradise Lost, Book II, 704–30)
The Birth of Sin
Date
ca. 1792–94
Medium
Pen and brown ink over black chalk
Dimensions
Height: 23 cm
Width: 20.4 cm
Location
The Ashmolean Museum of Art and Archeology, Oxford
[See Tom Dunne, ed. James Barry, 1741 – 1806: “The Great Historical Painter” (Cork and Kinsale, Co. Cork: Crawford Art Gallery and Gandon Editions, 2005), p. 160; William L. Pressly, The Life and Art of James Barry (New Haven and London: Yale University Press, 1981), p. 167.]
PL Lines
“…In Heav’n, when at th’ Assembly, and in sight
Of all the Seraphim with thee combin’d
In bold conspiracy against Heav’n’s King,
All on a sudden miserable pain
Surpris’d thee, dim thine eyes, and dizzy swum
In darkness, while thy head flames thick and fast
Threw forth, till on the left side op’ning wide,
Likest to thee in shape and count’nance bright,
Then shining heav’nly fair, a Goddess arm’d
Out of thy head I sprung: amazement seiz’d
All th’ Host of Heav’n…”
(Paradise Lost, Book II, 749–59)
Satan’s Ascent from Hell
Date
c.1792–94
Medium
Pen and brown ink over black chalk
Dimensions
Height: 22.6 cm
Width: 22 cm
Location
The Ashmolean Museum of Art and Archeology, Oxford
[See Tom Dunne, ed. James Barry, 1741 – 1806: “The Great Historical Painter” (Cork and Kinsale, Co. Cork: Crawford Art Gallery and Gandon Editions, 2005), p. 160.]
PL Lines
“…Into this wild Abyss the wary fiend
Stood on the brink of Hell and look’d a while,
Pondering his Voyage: for no narrow frith
He had to cross. Nor was his ear less peal’d
With noises loud and ruinous.…
…At last his Sail-broad Vans
He spreads for flight, and in the surging smoke
Uplifted spurns the ground, thence many a League
As in a cloudy Chair ascending rides
Audacious…”
(Paradise Lost, Book II, 917–21, 927–31)
Satan at the Abode of Chaos and Old Night
Date
1792–95
Medium
Pen and brown and black ink with grey wash over black chalk on laid paper
Dimensions
Height: 55.4 cm
Width: 41.7 cm
Location
Royal Academy of Arts, London
PL Lines
“T’ whom Satan turning boldly, thus. Ye Powers
And Spirits of this nethermost Abyss,
Chaos and ancient Night, I come no Spy,
With purpose to explore or to disturb
The secrets of your Realm, but by constraint
Wand’ring this darksome Desert, as my way
Lies through your spacious Empire up to light,
Alone, and without guide, half lost, I seek
What readiest path leads where your gloomy bounds
Confine with Heav’n; or if some other place
From your Dominion won, th’ Ethereal King
Possesses lately, thither to arrive
I travel this profound, direct my course;
Directed, no mean recompence it brings
To your behoof, if I that Region lost,
All usurpation thence expell’d, reduce
To her original darkness and your sway
(Which is my present journey) and once more
Erect the Standard there of ancient Night;
Yours be th’ advantage all, mine the revenge.
Thus Satan; and him thus the Anarch old
With falt’ring speech and visage incompos’d
Answer’d. I know thee, stranger, who thou art,
That mighty leading Angel, who of late
Made head against Heav’n’s King, though overthrown.”
(Paradise Lost, Book II, 968–92)
BOOK IV OF PARADISE LOST
“Satan now in prospect of Eden, and nigh the place where he must now attempt the bold enterprise which he undertook alone against God and Man, falls into many doubts with himself, and many passions, fear, envy, and despair; but at length confirms himself in evil, journeys on to Paradise, whose outward prospect and situation is described, overleaps the bounds, sits in the shape of a Cormorant on the Tree of Life, as highest in the Garden to look about him. The Garden describ’d; Satan’s first sight of Adam and Eve; his wonder at thir excellent form and happy state, but with resolution to work thir fall; overhears thir discourse, thence gathers that the Tree of Knowledge was forbidden them to eat of, under penalty of death; and thereon intends to found his Temptation, by seducing them to transgress: then leaves them a while, to know further of thir state by some other means. Meanwhile Uriel descending on a Sun-beam warns Gabriel, who had in charge the Gate of Paradise, that some evil spirit had escap’d the Deep, and past at Noon by his Sphere in the shape of a good Angel down to Paradise, discovered after by his furious gestures in the Mount. Gabriel promises to find him ere morning. Night coming on, Adam and Eve discourse of going to thir rest: thir Bower describ’d; thir Evening worship. Gabriel drawing forth his Bands of Night-watch to walk the round of Paradise, appoints two strong Angels to Adam’s Bower, lest the evil spirit should be there doing some harm to Adam or Eve sleeping; there they find him at the ear of Eve, tempting her in a dream, and bring him, though unwilling, to Gabriel; by whom question’d, he scornfully answers, prepares resistance, but hinder’d by a Sign from Heaven, flies out of Paradise.”
— John Milton, “The Argument,” Book IV of Paradise Lost (1674 edition)
The Detection of Satan by Ithuriel
Date
ca. 1792–95
Medium
Pen and ink and wash over pencil
Dimensions
Height: 50.8 cm
Width: 39.8 cm
Location
Nelson-Atkins Museum of Art, Kansas City, MO
[See William L. Pressly, The Life and Art of James Barry (New Haven and London: Yale University Press, 1981), p. 164; William L. Pressly, James Barry: The Artist as Hero (London: Tate Gallery Publications Department, 1983), p. 111.]
PL Lines
“So started up in his own shape the Fiend.
Back stepp’d those two fair Angels half amaz’d
So sudden to behold the grisly King;
Yet thus, unmov’d with fear, accost him soon.
Which of those rebel Spirits adjudg’d to Hell
Com’st thou, escap’d thy prison, and transform’d,
Why satst thou like an enemy in wait
Here watching at the head of these that sleep?
Know ye not then said Satan, fill’d with scorn,
Know ye not mee? ye knew me once no mate
For you, there sitting where ye durst not soar;
Not to know mee argues yourselves unknown,
The lowest of your throng…”
(Paradise Lost, Book IV, 819–31)
BOOK VI OF PARADISE LOST
“Raphael continues to relate how Michael and Gabriel were sent forth to Battle against Satan and his Angels. To first Fight describ’d: Satan and his Powers retire under Night: He calls a Council, invents devilish Engines, which in the second day’s Fight put Michael and his Angels to some disorder; but they at length pulling up Mountains overwhelm’d both the force and Machines of Satan: Yet the Tumult not so ending, God on the third day sends Messiah his Son, for whom he had reserv’d the glory of that Victory: Hee in the Power of his Father coming to the place, and causing all his Legions to stand still on either side, with his Chariot and Thunder driving into the midst of his Enemies, pursues them unable to resist towards the wall of Heaven; which opening, they leap down with horror and confusion into the place of punishment prepar’d for them in the Deep: Messiah returns with triumph to his Father.”
— John Milton, “The Argument,” Book VI of Paradise Lost (1674 edition)
Fall of the Rebel Angels
Date
ca. 1792–94
Medium
Pen and brown ink over black chalk
Dimensions
Height: 23 cm
Width: 22.8 cm
Location
Sir John Soane’s Museum, London
The Ashmolean Museum of Art and Archeology, Oxford
[See Tom Dunne, ed. James Barry, 1741 – 1806: “The Great Historical Painter” (Cork and Kinsale, Co. Cork: Crawford Art Gallery and Gandon Editions, 2005), p. 162.]
PL Lines
“The overthrown he rais’d, and as a Herd
Of Goats or timorous flock together throng’d
Drove them before him Thunder-struck, pursu’d
With terrors and with furies to the bounds
And Crystal wall of Heav’n, which op’ning wide,
Roll’d inward, and a spacious Gap disclos’d
Into the wasteful Deep; the monstrous sight
Struck them with horror backward, but far worse
Urg’d them behind; headlong themselves they threw
Down from the verge of Heav’n, Eternal wrath
Burn’d after them to the bottomless pit.”
(Paradise Lost, Book VI, 856–66)
BOOK VII OF PARADISE LOST
“Raphael at the request of Adam relates how and wherefore this world was first created; that God, after the expelling of Satan and his Angels out of Heaven, declar’d his pleasure to create another World and other Creatures to dwell therein; sends his Son with Glory and attendance of Angels to perform the work of Creation in six days: the Angels celebrate with Hymns the performance thereof, and his reascension into Heaven.”
— John Milton, “The Argument,” Book VII of Paradise Lost (1674 edition)
The Creation
Date
ca. 1792–95
Medium
Pen and grey ink and grey wash over black chalk with white highlights
Dimensions
Height: 53.4 cm
Width: 40.8 cm
Location
The Ashmolean Museum of Art and Archeology, Oxford
[See William L. Pressly, The Life and Art of James Barry (New Haven and London: Yale University Press, 1981), p. 166; Tom Dunne, ed. James Barry, 1741 – 1806: “The Great Historical Painter” (Cork and Kinsale, Co. Cork: Crawford Art Gallery and Gandon Editions, 2005), p. 162.]
PL Lines
“…Heav’n op’n’d wide
Her ever-during Gates, Harmonious sound
On golden Hinges moving, to let forth
The King of Glory in his powerful Word
And Spirit coming to create new Worlds.”
(Paradise Lost, Book VII, 205–09)
BOOK IX OF PARADISE LOST
“Satan having compast the Earth, with meditated guile returns as a mist by Night into Paradise, enters into the Serpent sleeping. Adam and Eve in the Morning go forth to thir labors, which Eve proposes to divide in several places, each laboring apart: Adam consents not, alleging the danger, lest that Enemy, of whom they were forewarn’d, should attempt her found alone: Eve loath to be thought not circumspect or firm enough, urges her going apart, the rather desirous to make trial of her strength; Adam at last yields: The Serpent finds her alone; his subtle approach, first gazing, then speaking, with much flattery extolling Eve above all other Creatures. Eve wond’ring to hear the Serpent speak, asks how he attain’d to human speech and such understanding not till now; the Serpent answers, that by tasting of a certain Tree in the Garden he attain’d both to Speech and Reason, till then void of both: Eve requires him to bring her to that Tree, and finds it to be the Tree of Knowledge forbidden: The Serpent now grown bolder, with many wiles and arguments induces her at length to eat; she pleas’d with the taste deliberates awhile whether to impart thereof to Adam or not, at last brings him of the Fruit, relates what persuaded her to eat thereof: Adam at first amaz’d, but perceiving her lost, resolves through vehemence of love to perish with her; and extenuating the trespass, eats also of the Fruit: The effects thereof in them both; they seek to cover thir nakedness; then fall to variance and accusation of one another.”
— John Milton, “The Argument,” Book IX of Paradise Lost (1674 edition)
The Temptation of Adam
Date
1767–1770
Medium
Oil on canvas
Dimensions
Height: 199.8 cm
Width: 152.9 cm
Location
National Gallery of Ireland, Dublin
PL Lines
“On my experience, Adam, freely taste,
And fear of Death deliver to the Winds.
So saying, she embrac’d him, and for joy
Tenderly wept, much won that he his Love
Had so ennobl’d, as of choice to incur
Divine displeasure for her sake, or Death.
In recompense (for such compliance bad
Such recompense best merits) from the bough
She gave him of that fair enticing Fruit
With liberal hand: he scrupl’d not to eat
Against his better knowledge, not deceiv’d,
But fondly overcome with Female charm.”
(Paradise Lost, Book IX, 988–99)
Temptation of Adam
Date
1776
Medium
Etching and engraving
Dimensions
Height: 65.5 cm
Width: 45 cm
Locations
British Museum, London
National Gallery of Victoria, Melbourne
PL Lines
“On my experience, Adam, freely taste,
And fear of Death deliver to the Winds.
So saying, she embrac’d him, and for joy
Tenderly wept, much won that he his Love
Had so ennobl’d, as of choice to incur
Divine displeasure for her sake, or Death.
In recompense (for such compliance bad
Such recompense best merits) from the bough
She gave him of that fair enticing Fruit
With liberal hand: he scrupl’d not to eat
Against his better knowledge, not deceiv’d,
But fondly overcome with Female charm.”
(Paradise Lost, Book IX, 988–99)
BOOK X OF PARADISE LOST
“Man’s transgression known, the Guardian Angels forsake Paradise, and return up to Heaven to approve thir vigilance, and are approv’d, God declaring that the entrance of Satan could not be by them prevented. He sends his Son to judge the Transgressors, who descends and gives Sentence accordingly; then in pity clothes them both, and reascends. Sin and Death sitting till then at the Gates of Hell, by wondrous sympathy feeling the success of Satan in this new World, and the sin by Man there committed, resolve to sit no longer confin’d in Hell, but to follow Satan thir Sire up to the place of Man: To make the way easier from Hell to this World to and fro, they pave a broad Highway or Bridge over Chaos, according to the Track that Satan first made; then preparing for Earth, they meet him proud of his success returning to Hell; thir mutual gratulation. Satan arrives at Pandemonium, in full assembly relates with boasting his success against Man; instead of applause is entertained with a general hiss by all his audience, transform’d with himself also suddenly into Serpents, according to his doom giv’n in Paradise; then deluded with a show of the forbidden Tree springing up before them, they greedily reaching to take of the Fruit, chew dust and bitter ashes. The proceedings of Sin and Death; God foretells the final Victory of his Son over them, and the renewing of all things; but for the present commands his Angels to make several alterations in the Heavens and Elements. Adam more and more perceiving his fall’n condition heavily bewails, rejects the condolement of Eve; she persists and at length appeases him: then to evade the Curse likely to fall on thir Offspring, proposes to Adam violent ways, which he approves not, but conceiving better hope, puts her in mind of the late Promise made them, that her Seed should be reveng’d on the Serpent, and exhorts her with him to seek Peace of the offended Deity, by repentance and supplication.”
— John Milton, “The Argument,” Book X of Paradise Lost (1674 edition)
Preparatory study for The Discovery of Adam and Eve
Date
ca. 1792–95
Medium
Pen and brown ink and grey ink and grey wash over pencil
Dimensions
Height: 58.4 cm
Width: 41.9 cm
Location
Sir John Soane’s Museum, London
[See Tom Dunne, ed. James Barry, 1741 – 1806: “The Great Historical Painter” (Cork and Kinsale, Co. Cork: Crawford Art Gallery and Gandon Editions, 2005), p. 163.]
PL Lines
“I heard thee in the Garden, and of thy voice
Afraid, being naked, hid myself.…
O Heav’n! in evil strait this day I stand
Before my Judge, either to undergo
Myself the total Crime, or to accuse
My other self, the partner of my life;
Whose failing, while her Faith to me remains,
I should conceal, and not expose to blame
By my complaint…”
(Paradise Lost, Book X, 116–17, 125–31)
The Discovery of Adam and Eve
Date
1792–95
Medium
Etching
Dimensions
Height: 57 cm
Width: 41.8 cm
Location
British Museum, London
[See also William L. Pressly, The Life and Art of James Barry (New Haven and London: Yale University Press, 1981), p. 168.]
PL Lines
“I heard thee in the Garden, and of thy voice
Afraid, being naked, hid myself.…
O Heav’n! in evil strait this day I stand
Before my Judge, either to undergo
Myself the total Crime, or to accuse
My other self, the partner of my life;
Whose failing, while her Faith to me remains,
I should conceal, and not expose to blame
By my complaint…”
(Paradise Lost, Book X, 116–17, 125–31)
BOOK XII OF PARADISE LOST
“The Angel Michael continues from the Flood to relate what shall succeed; then, in the mention of Abraham, comes by degrees to explain, who that Seed of the Woman shall be, which was promised Adam and Eve in the Fall; his Incarnation, Death, Resurrection, and Ascension; the state of the Church till his second Coming. Adam greatly satisfied and recomforted by these Relations and Promises descends the Hill with Michael; wakens Eve, who all this while had slept, but with gentle dreams compos’d to quietness of mind and submission. Michael in either hand leads them out of Paradise, the fiery Sword waving behind them, and the Cherubim taking thir Stations to guard the Place.”
— John Milton, “The Argument,” Book XII of Paradise Lost (1674 edition)
The Expulsion from Paradise
Date
ca. 1792–94
Medium
Pen and brown ink over black chalk
Dimensions
Height: 23 cm
Width: 22.5 cm
Location
The Ashmolean Museum of Art and Archeology, Oxford
[See Tom Dunne, ed. James Barry, 1741 – 1806: “The Great Historical Painter” (Cork and Kinsale, Co. Cork: Crawford Art Gallery and Gandon Editions, 2005), p. 163; William L. Pressly, The Life and Art of James Barry (New Haven and London: Yale University Press, 1981), p. 169.]
PL Lines
“…In either hand the hast’ning Angel caught
Our ling’ring Parents, and to th’ Eastern Gate
Led them direct, and down the Cliff as fast
To the subjected Plain; then disappear’d.
They looking back, all th’ Eastern side beheld
Of Paradise, so late thir happy seat,
Wav’d over by that flaming Brand, the Gate
With dreadful Faces throng’d and fiery Arms:
Some natural tears they dropp’d, but wip’d them soon;
The World was all before them, where to choose
Thir place of rest, and Providence thir guide:
They hand in hand with wand’ring steps and slow,
Through Eden took thir solitary way.”
(Paradise Lost, Book XII, 637–49)
MISCELLANEOUS MILTONIC ILLUSTRATIONS
The Fall of Satan
Date
1777
Medium
Etching, engraving and aquatint
Dimensions
Height: 83.5 cm
Width: 61 cm
Locations
British Museum, London
British Museum (2)
British Museum (3)
Victoria and Albert Museum, London
National Gallery of Victoria, Melbourne