The House of Death c. 1790

Curator: The pallid figures here evoke a quiet, almost desolate stillness. It’s like glimpsing a dreamscape where the veil between worlds thins. Editor: William Blake, who was born in London in 1757, didn’t title this sepia drawing, but it’s now known as "The House of Death." Look how the figures are arranged within this modestly sized work. Curator: That wild-haired figure, pointing dramatically upwards, I see him as a sort of agitated guide, maybe ushering souls to their next destination. He's practically vibrating with a grim urgency. Editor: Note the winged figure looming above, holding what appears to be some sort of symbolic key. Blake was fascinated by symbols of passage and transformation. Curator: Yes, the key! It suggests unlocking something profound, perhaps the mysteries of existence beyond mortal understanding. It's like a final, whispered promise of transcendence. Editor: Exactly. And the slumbering figures entwined below—they’re both intimate and distanced. The moment between life and whatever comes after is so fragile, captured in ink. Curator: There’s a strange beauty here, a haunting elegance. Blake's not just depicting death, but hinting at the poetry of it. Editor: A reminder that even in the face of mortality, we can still find moments of reflection and perhaps even, a sort of peace.