In Tate Britain
- Artist
- Samuel Palmer 1805–1881
- Medium
- Ink on card
- Dimensions
- Support: 152 × 184 mm
frame: 357 × 372 × 15 mm - Collection
- Tate
- Acquisition
- Purchased 1922
- Reference
- N03698
Display caption
Palmer drew this about five years after he first met Blake. It shows the strong influence of Blake’s illustrations to Thornton’s Virgil, displayed nearby. There is a similar contrast of dark and light, though handled more broadly.
This drawing is also an evocation of the English pastoral vision, which complements Blake’s idea of England as a country where Jerusalem would one day have been ‘builded’. The peaceful walk to the church is flanked by wheat sheaves – a symbol of the Last Judgement, when the good are gathered into God’s heaven.
Gallery label, July 2008
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.
Explore
You might like
-
Samuel Palmer Coming from Evening Church
1830 -
Samuel Palmer A Hilly Scene
c.1826–8 -
Samuel Palmer Moonlight, a Landscape with Sheep
c.1831–3 -
Samuel Palmer Landscape, Girl Standing
c.1826 -
Attributed to Samuel Palmer Bally Hooley Castle and Old Church
date not known -
Samuel Palmer The Harvest Moon: Drawing for ‘A Pastoral Scene’
c.1831–2 -
Samuel Palmer The Bright Cloud
c.1833–4 -
Samuel Palmer Evening, engraved by Welby Sherman
1834 -
Joseph Mallord William Turner Church and Trees
1817 -
Samuel Palmer The Gleaning Field
c.1833 -
Joseph Mallord William Turner Barges Unloading; Church Tower among Trees Beyond
1808 -
Joseph Mallord William Turner Part of Distant View; a Church among Trees
c.1810–16 -
Joseph Mallord William Turner A Church Spire and a Clock Tower among Wooded Hills, Probably in Kent
c.1830 -
Joseph Mallord William Turner A Church among Trees above the Bend of a River
c.1820–40 -
Attributed to Samuel Palmer A Ruined Castle on a Hill
date not known