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Selected  emails  with  Terrance  Lindall   on  collecting,   art  and  other  topics      


Copyright Yuko  Nii  Foundation  2016  


INTRODUCTION BY   Terrance  Lindall     Robert  J  Wickenheiser  (Bob)  was  very  special  to  me  in  ways  that  I  cannot  describe.  We  were   kindred  spirits  who  recognized  John  Milton  as  a  figure  of  philosophical,  literary  and  visionary   merit  surpassing  nearly  any  other  figure  in  history.  Bob  was  a  major  scholar,  a  great   transformational  leader  in  education.       Bob  was  the  19th  President  of  St.  Bonaventure  University.   Bob  died  November  25th  2015  in   Olean  General  Hospital.  He  was  72,  my  age  today.  He  was  known  for  his  scholarship,  exuberant   leadership  and  financial  guidance,  but  also  for  the  NCAA  scandal  that  ended  his  tenure  in  2003.   Bob  told  me  about  that,  the  first  thing  he  wanted  me  to  know  when  we  had  our  first  telephone   conversation.  My  opinion  was  that  he  was  shanghaied  and  made  a  scapegoat,  a  tragedy  that   affected  his  entire  family  and  placed  an  unfair  judgment  on  him  that  caused  him  grave  feelings   of  having  failed  ,  having  fallen  from  a  glorious  height  of  self  sacrifice  and  service  to  the   academic  and  educational  community.  “I’ve  always  ached  over  that,”  said  Riley,  a  former   campus  minister  at  the  school.  “I  think  that  was  a  personal  tragedy  for  him  and  a  time  of  great   sadness  and  difficulty  for  the  university.”  And  one  might  add  “for  his  family.”     “I  found  in  him  a  sort  of  unique  personality  who  wanted  to  engage  people  on  the  level  of   excitement,”  said  the  Rev.  Dan  Riley,  president  of  the  Mount  Irenaeus  Franciscan  Mountain   Retreat.  “It  would  not  be  unusual  to  have  met  over  a  cup  of  coffee  at  a  meeting  and  immediately   plunge  into  something  that  was  exciting  for  the  university.”     Bob  was  born  in  Bismark,  N.D.,  and  was  a  Benedictine  monk  for  four  years.  He  earned  his   doctorate  in  English  literature  from  the  University  of  Minnesota  and  specialized  in  the  works  of   17th-­‐century  English  poet  John  Milton.  I  was  also  at  the  University  of  Minnesota  around  this   time  specializing  n  philosophy.  We  never  met  back  then,  but  we  would  later  recount  tales  of   visiting  bookstores  around  the  campus  looking  for  interesting  titles.     Bob  was  an  assistant  professor  at  Princeton  University  for  seven  years  and  later  president  of   Mount  St.  Mary’s  University  in  Emmitsburg,  Md.  During  his  16  years  there,  he  was  the  youngest   college  president  in  the  United  States  and  recognized  by  the  Maryland  State  Senate  for   “exemplary  leadership.”       His  nine  years  as  St.  Bonaventure  president  were  described  in  the  school’s  online  history  as   “leading  the  University  into  the  21st  century.”  Wickenheiser  was  credited  for  developing  a  new   curriculum,  described  by  experts  as  “groundbreaking”  and  a  “national  model,”  according  to  his   online  St.  Bonaventure  profile.  He  solved  the  school’s  “grave  financial  problems,”  it  said,  and   expanded  the  school  ministries  program  and  established  an  arts  center  and  the  Franciscan   Center  for  Social  Concern.  And  then  they  all  left  him  hanging  when  he  needed  support.       For  years  thereafter  until  2008  when  we  finally  came  into  contact,  he  was  suffering  and  feeling   isolated.  I  think  that  when  we  got  together  and  started  making  great  plans,  he  was   reinvigorated  and  realized  that  life  had  much  more  in  store.        


In 2008  I  created  the  largest  birthday  party  for  John  Milton  in  history  celebrating  his   400th  Birthday.  It  was  an  unrivaled  arts  festival  bridging  classic  literature  and   contemporary  fine  art,  performing  arts  and  poetry  reading,  opening  with  THE  GRAND   PARADISE  LOST  COSTUME  BALL.  At  that  time  I  did  not  know  Bob  Wickenheiser.  I  wish  I   had.  He  would  have  been  delighted  to  see  how  the  artists  and  performers  celebrated   Milton  and  we  would  have  been  delighted  to  have  one  of  the  greatest  Milton  scholars   and  collectors  participate  in  the  opening  ceremonies.        


ABOVE: At  the  2008  Milton  Festival:  At  the  opening  ceremonies  Terrance   Lindall  with  famed  illustrator  Rich  Buckler  unveiling  Rich’s  painting  of   John  Milton  


I got  to  know  Bob  Wickenheiser  because  he  saw  an  Ebay  listing  of  some  of  my  1979  Paradise   Lost  postcards.  He  ordered  them  and  I  recognized  his  name  as  a  major  Milton  collector.  I  sent   him  a  lot  of  extra  items.  We  began  a  correspondence  that  became  a  major  partnership  in   Paradise  Lost  productions.  He  thought  I  was  Yuko,  so  his  email  was  to  her:     From:    Robert  J.  Wickenheiser     Re:  Message  from  eBay  Member  Regarding  Item   #270310265268   Date:     December  8,  2008  10:35:47  PM  EST   To:     Yuko  Nii     Dear  Yuko,     Thank  you  for  your  kind  response.     I  hope  you  saw  my  message  to  you  that  I  bought  another  set  already   Above:  Postcard   listed,  so  I  am  okay  in  that  regard.    Wish  I  had  looked  more  carefully   at  the  listing,  but  in  any  case,  I  have  made  payment  for  another  set   and  I  am  grateful  about  that.     I  am  buying  another  set  of  the  pictures  for  me  to  keep  since  the  set  you  sent  me  here  will  be   united  with  the  first  1983  edition  of  Paradise  Lost,  signed  by  the  illustrator.    It  is  recorded  in   my  book  as  No.  1481.    I  am  extremely  glad  I  bought  that  signed  copy  of  the  first  edition  when  I   did.     You  mention  something  about  "originals."    Are  any  of  the  originals  for  sale,  and  if  so,  could  I   please  have  an  opportunity  to  know  which  one  or  ones  will  be  on  sale  and  also  an  opportunity   to  purchase  one  or  more  for  my  Milton  collection,  which  is  now,  as  you  know,  at  the  University   of  South  Carolina?     I  don't  know  which  "Professor  Fallon"  you  mean,  but  I  had  the  privilege  of  teaching  Steve   Fallon  at  Princeton  (way  back  when  I  taught  there).    He  now  teaches  at  Notre  Dame.     There  seems  to  be  much  going  on  and  perhaps  there  has  never  been  as  much  interest  in  Milton   as  there  has  been  in  more  recent  times.    Your  mention  of  doing  a  "one  day  mini  festival  for   Milton's  Paradise  Lost"  next  year  sounds  most  interesting  and  I  appreciate  your  invitation  to   join  you.    Depending  on  when  the  mini  festival  is  held,  I  would  be  very  happy  to  attend.     Warmest  best  wishes,   Robert  


Subject: Dear  Robert   To:  Robert  J.  Wickenheiser   Date:  Tuesday,  December  9,  2008,  11:19  AM   From  Terrance  Lindall:     Dear  Robert:     Yuko  &  I  share  the  same  email.  She  told  me  that  a  Robert  Wickenheiser  had  inquired  about   originals  and,  of  course,  I  recognized  the  name  of  the  great  Milton  collector!  I  am  pleased  that   my  little  book  has  been  included  in  your  famed  U  of  SC  collection!       This  has  been  a  great  year  for  Milton  and  a  great  year  for  me  personally.  My  fellow  artists  have   done  or  are  doing  portraits  of  me  as  a  contribution  to  our  own  collection.  A  famed  hymn  writer   is  writing  my  requiem  because  of  my  dedication  to  Milton!  And  for  the  festival  we  had,  we   received  major  international  coverage,  mostly  very  positive.     I  do  indeed  have  some  of  the  original  concept  drawings  for  the  final  oils  in  my  little  book.   Would  you  be  interested  in  a  few  those?  I  do  not  receive  money  myself  personally  from   the  sales,  but  our  Yuko  Nii  Foundation  would  be  glad  of  the  income,  since  our  $500,000  capital   grant  from  the  city  for  our  national  landmark  building  was  postponed  from  FY  2009  to  2013   because  of  the  economic  problems.  If  you  did   acquire  some,  I  would  wish  you  to  have  a  set.  I   did  about  50  concept  drawings  and  a  few   finished  drawings.  Twenty  i  am  saving  for   a  possible  touring  show.       I  could  of  course  do  a  painting  on  Paradise  Lost   especially  for  your  collection.  I  would  love  to   have  an  original  in  your  U  of  SC  collection!       Right:  Terrance  


From Terrance  to  Bob,  continued:     Two  other  projects  I  am  currently  working  on:     The  elephant  folio:  With  12  signed  Giclee  prints  and  one  original  drawing.  I  have   immediately  begun  to  find  the  printers  and  binder  who  can  do  the  work.  I  will  be  using   the  world's  foremost  luxury  binder,  Weitz.    They  can  do  anything  that  I  require.  I  still   have  to  find  the  type  setter.  Fortunately  the  high  end  craftsmen  are  mostly  located  in   the  NYC  area.  The  book  will  be  23  X  16  inches.  Each  of  the  five  or  ten  copies  that  I   produce  will  be  uniquely  different  bindings,  and  each  personally  dedicated  to  the   owner  (in  this  case  you,  if  you  buy  one).  I  am  thinking  that  the  covers  may  be  identified   by  different  motifs,  such  as  the  "Archangel  Michael"  or  the  "Lucifer,"  etc.  I  will  see  as   things  progress.  Each  copy  will  have  one  conceptual  or  finished  drawing  from  the   original  project.     The  four  paneled  altarpiece:  It  will  be  about  40  X  24  inches  each  panel,  gold  leaf   binding  set  with  precious  and  semiprecious  stones.  Inside  with  verses  from  Paradise   Lost.  I  already  did  a  triptych  altarpiece  of  the  The  Revelation  of  St.  John  the  Divine.     Our  one  weekend  mini  festival  is  always  Mother's  day  weekend.     With  Appreciation  and  Admiration!     Yours  Truly,  Terrance  Lindall    

Above: Lindall’s  Revelation  of  St.  John    


So, as  I  had  a  habit  of  doing,  I  painted  the  great  collector  Bob  into  one  of  my   paintings,  the  Par  Altarpiece The  altarpiece,  completed  in  2009,  is  in  the  form  of  a   large  book  whose  cover  has  gilt  ormolu  mounts  and  semiprecious  stones.  When   opened,  the  panels  might  be  seen  as  pages  from  an  illuminated  manuscript  of  the   Renaissance.  This  panel  (one  of  two)  shows  the  gates  to  the  Garden  of  Eden,  which   gates  look  like  a  book  being  opened  to  the  story  of  Adam  &  Eve.  The  second  panel   (not  pictured)  shows  the  gates  to  Hell,  which  looks  like  a  book  being  opened  to  the   story  of  Satan’s  escape  to  Earth  from  his  designated  prison.  In  both  panels,  pages   from  the  poem  “Paradise  Lost”  lie  revealed.  Vignettes  of  people  who  have   been  important  to  Terrance  Lindall’s  engagement  with  Milton’s  epic  over  time   are  in  the  panels.  They  include  God,  Satan,  Adam  &  Eve,  John  Milton,  William  Blake,   Yuko  Nii,  Peter  Dizozza,  Amanda  Husberg,  Professor  Karen  Karbiener,  Arthur   Kirmss,  Orin  Buck,  Terrance  Lindall  and  Dr.  Robert  Wickenheiser.  You  will  also  see   in  the  panels:  Heaven,  Hell,  The  Bible,  Eden,  The  Infernal  Serpent,  WAH  Center’s   building,  the  St.  Croix  River  in  Afton  (Minnesota)  where  Lindall  grew  up,  Nemo’s   submarine  Nautilus,  Flannagan’s  Mirror,  an  Apple  computer,  a  real  estate  salesman,   and  Josephine  Baker  costumed  for  the  Danse  banane  from  the  Folies  Bergère   production  Un  Vent  de  Folie  in  Paris  in  1927,  among  others.    


From: Terrance   Subject:  Robert  Wickenheiser  immortalized  in  a  Lindall  Paradise  Lost  painting!   To:  Robert  Wickenheiser   Date:  Thursday,  January  8,  2009,  3:41  PM         Dear  Bob:  Here  you  are.  That's  you  with  your  hand  on  Williams  Blake's  back...   appropriating  him  for  your  collection,  no  doubt.    This  is  a  detail  from  a  painting  that   is  about  20  times  the  size  of  the  detail.  You  may  not  think  it  looks  like  you.  Gertrude   Stein  told  Picasso  that  his  portrait  of  her  did  not  look  at  all  like  her.  He  replied"  It   will."     Best  Regards,  Terrance    


From:  Robert  J.  Wickenheiser     Re:  Robert  Wickenheiser  immortalized  in  a  Lindall  Paradise  Lost  painting!   Date:     January  8,  2009  9:38:59  PM  EST   To:     Terrance       Dear  Terrance,     I  just  have  to  respond  and  tell  you  how  great  your  "Lindall  Paradise  Lost"  painting  is.    It  is   really  marvelous,  and  I  consider  myself  very  honored  to  be  included  among  the  many   others  who  should  buy.     I  feel  so  badly  that  I  haven't  yet  been  able  to  respond  as  I  would  like  to,  to  all  that  you  have   written  and  passed  along  to  me.    Please  know  that  you  are  very  much  in  my  thoughts.     Aside  from  everything  else  I  want  to  ask  you  about  or  respond  to  you  in  terms  of  your   important  emails,  and  now  including  what  your  plans  are  for  this  remarkable  painting,  let   me  just  ask  about  your  painting  here,  will  you  consider  a  duplicate  (by  some  process)  of  the   painting  to  hang  with  my  collection  in  South  Carolina?    Also,  is  it  possible  for  me  to  get  hold   of  a  copy  of  me?     As  I  said  to  you  when  we  talked,  there  have  been  some  remarkable  developments  with   respect  to  my  collection,  the  kind  of  development,  as  with  yours  here  and  earlier,  which  I   believe  the  collection  will  attract  and  having  attracted  some  of  the  major  items  it  attracts,   will  attract  even  more  as  time  goes  on.    


I can't  yet  tell  you  about  what  is  happening  with  respect  to  my  collection,  but  let  me  just  say   that  a  truly  singularly  important  painting  is  coming  to  the  collection,  to  be  a  part  of  the   collection  so  long  as  the  collection  remains  together.    What  a  way  of  ensuring  that  the   collection  stays  together  and  is  used  and  respected  in  generations  to  come.     Besides  this  most  remarkable  development,  there  is  of  course  your  own  interest  in   contributing  to  the  collection  in  various  ways  which  we  need  to  talk  about  and  define,  such  a   wonderful  development  for  the  collection;  then  your  drawing  here;  and  then  the  major   development  presently  underway  which  I  will  tell  you  about  as  soon  as  I  can  do  so.     Another  kind  of  development  presented  itself  just  before  Christmas.         I'm  sure  you  know  John  Shawcross.    He  has  become  a  very  good  friend  and  supporter  and   someone  who  throughout  my  writing  of  my  book  on  the  collection  discussed  any  and  every   issue  I  brought  to  his  attention.    He  has  cancer  (on  the  positive  side  of  this  kind  of  bad  news:   he  has  a  very  good  chance  of  beating  it).    In  any  case,  he  offered  to  give  all  of  his  duplicate   editions  to  my  collection,  especially  early  editions,  which  Kentucky  already  has.    This  will  be   a  great  boon  in  its  own  way,  but  we  both  hope,  of  course,  that  it  will  show  his  respect  for  the   collection  and  thereby  establish  a  model  for  others  to  follow.      


I can't  tell  you  how  excited  I  am  about  your  response  to  the  collection  as  well  as  to  me,  and  to   the  good  fortune  that  is  developing  because  of  my  giving  my  collection  to  the  public  to  be   used  in  various  ways.     I  want  so  much,  of  course,  to  talk  with  you  about  all  of  this  and  about  your  own  response,  our   growing  relationship,  and  so  much  more.    But  rather  than  wait  to  respond  to  you  later,  I   wanted  to  tell  you  immediately  how  much  Pat  and  I  love  your  painting,  and  how  much  we   would  like  to  have  a  small,  frameable  picture,  with  your  signature  on  the  painting  of  course.     More  anon,  but  please  accept  my  warmest  thoughts  now  about  your  painting  and  how  proud  I   am  to  be  included  (I  really  don't  belong  in  that  group  of  poets  and  artists,  but  I'm  surely  not   going  to  request  that  you  change  it  and  drop  me  out.    I  wouldn't  be  surprise  if  you  decide  to   do  that  sometime.    Meanwhile,  I  will  enjoy  every  moment  of  the  painting  and  what  it  means,   and  how  you  brought  it  into  existence  –  all  of  which  impresses  me  so  much  while   simultaneously  humbling  me.     Let's  stay  in  touch.    I  owe  a  response  or  two  to  your  previous  emails,  and  I  will  get  those  to   you.    Since  we  seem  to  be  on  the  same  wave-­‐length,  I  strongly  believe  that  only  good  things   will  come  of  our  association  and  friendship  in  the  future.     With  much  thanks  for  your  interest  in  the  collection,  especially  for  your  speaking  about  it  and   otherwise  reacting  to  it  as  wonderfully  as  you  do,  I  will  always  remain  most  grateful,     Bob     Robert  J.  Wickenheiser    


Re: Robert  Wickenheiser  immortalized  in  a  Lindall  Paradise  Lost  painting!   Date:     January  9,  2009  9:55:28  AM  EST   To:     Robert  J.  Wickenheiser   From:  Terrance     Dear  Bob,       Now  I  am  VERY  curious  about  the  major  painting  coming  into  your  collection...Fuseli?  Blake?  I   am  eager  to  hear  of  the  progress!  And  if  you  come  to  talk  in  May  for  my  festival  about  your   adventures  and  achievements  in  this  collecting  arena  it  will  be  a  coup  for  WAH  Center  and  my   festival.  I  am  sure  your  talk  will  attract  a  lot  of  attention.     I  am  VERY  pleased  you  liked  the  detail  from  my  painting.  If  you  are  in  the  city  sometime,  let  me   know.  You  can  come  to  see  my  progress  on  the  paintings  I  am  currently  working  on  and  discuss   how  I  can  "paint  a  major  work  of  my  own  into  your  collection."    I  think  what  we  are  both  doing   is  making  important  history  and  adding  to  Milton's  already  substantial  legend  as  one  of   humanity's  greatest  figures.     I  was  at  Amanda  Husberg's  last  night.  She  played  sections  from  the  Requiem  she  is  working  on   for  me.  It  is  spectacular!  She  is  in  my  painting  too,  along  with  Dizozza,  Yuko  Nii,  Professor  Karen   Karbiener  etc.  It's  a  history  of  my  time  with  Milton.  It  is  part  of  a  two  panel  alter  piece.   Conceptually  it  is  a  book  within  a  book   within  a  book.  Nothing  has  ever  been   done  like  it.  It  is  based  on  the  idea  of  a   book  of  hours.  They  were  the  greatest  art   productions  of  their  time.     Here  is  what  the  large  painting  currently   looks  like,  although  I  am  still  working  a   bit    on  it.  You  can  see  yourself  at  the   bottom  in  that  detail.  The  second  panel,   which  is  still  in  basic  formation,  has  Satan   stepping  on  a  page  from  paradise  lost  and   leaping  into  the  void  per  the  caption  at   the  gates  to  hell    "  Open  fly  the  infernal   doors  redounding  smoke  and  ruddy  flame   before  vast  illimitable  ocean.    And  now  his   sail  broad  vans  he  spread  for  flight  and   through  the  shock  of  fighting  elements  he   wins  his  way."  


The important  acquisition  mentioned  in  the  preceding  Wickenheiser  email:       Two  historic  portraits  of  the  poet  John  Milton  and  his  mother  Sara  have  been  given  to  the   University  of  South  Carolina's  rare  book  collections  by  Drs.  Peter  and  Caroline  Koblenzer,  of   Philadelphia.       The  portrait  of  John  Milton  at  the  age  of  21,  by  Benjamin  Vandergucht  (1753-­‐1794)  dates   from  1792,  based  on  the  earlier  "Onslow"  Milton  portrait  of  1629.  The  portrait  of  Sara   Milton,  dating  from  1621,  has  been  identified  in  recent  scholarship  as  the  only  known   portrait  of  the  poet's  mother.  Scholars  have  attributed  the  painting  to  various  artists,   notably  Cornelius  Janssen  or  Jonson  (1593-­‐1661),  Robert  Walker  (1595-­‐1658),  or  one  of   the  Hilliard  family.     Acquiring  the  Portraits:   The  portraits  have  been  donated  to  the  University  by  two  distinguished  art  collectors  Dr.   Peter  S.  Koblenzer  and  Dr.  Caroline  S.  Koblenzer,  of  Philadelphia.    The  Koblenzers  selected   the  University  for  this  gift  when  they  learned  of  the  library's  Robert  J.  Wickenheiser   Collection  of  John  Milton,  one  of  the  leading  collections  in  the  world,  acquired  for  the   University  in  2006  with  the  leading  support  of  William  R.  Richter  and  the  William  R.  Richter   Family  Foundation.      


From: Terrance   Subject:  From  Terrance...Important!   To:  "Robert  J.  Wickenheiser"     Date:  Thursday,  March  26,  2009,  12:13       Dear  Bob:       I  am  canceling  the  luncheon  event.  I  had  intended  the  luncheon  to  be  a  celebration  of   all  of  my  happy  experiences  with  the  Milton  project  with  which  I  have  been   involved  for  over  30  years.  I  know  that  you  too  have  been,  like  me,  involved  in   your  Milton  project  for  a  considerably  longer  time.         My  Milton  adventures  have  been  a  great  joy  to  me.  I  began  to  illustrate  Paradise   Lost,  not  in  order  to  make  money  or  achieve  fame,  but  because  I  loved  the   fantastic  visual  and  conceptual  qualities  of  the  great  work.  I  was  pleasantly   surprised  when  I  was  rewarded  with  it’s  appearing  in  Heavy  Metal  magazine  and   the  paintings  being  exhibited  at  B.  Dalton’s  flagship  store  on  5th  Avenue  in  Manhattan   when  I  self  published  my  Paradise  Lost  Illustrated.  The  books  consigned  to  B.  Dalton  sold   out!         My  project  was  in  quietus  for  a  while  until  Yuko  and  I  opened  the  Williamsburg  Art  &   Historical  Center,  her  gift  to  the  people  of  America  in  return  for  the  kindnesses  shown  to  her   when  she  came  to  this  great  country.       Shortly  thereafter  I  began  to  annually  recite  Paradise  Lost  for  fun  and  displaying  my   illustrations.  Over  a  few  years  my  audience  began  to  grow  and  I  was  happily  surprised  by   that,  selling  a  few  postcards  and  books  at  these  events.        


Then last  year  I  got  a  call  from  the  book  designers  from  Random  House  who  wanted  to  use   my  art  for  the  cover  of  their  “Essential  Milton.”  And  following  that,  Holt  Rinehart  wanted  to   use  another  illustration  for  their  2009  high  school  English  literature  textbook.  Finally,  with   the  smashing  success  of  my  Paradise  Lost  exhibit  and  ball  in  September  2008,  with  the   major  New  York  Times  article  and  several  other  articles  around  the  world,  I  knew  that  my   project  had  run  its  course  and  was  now  part  of  history.  The  Wickenheiser  luncheon  was  to   be  a  happy  celebration  of  the  culmination  of  my  Paradise  Lost  adventure,  celebrated   with  good  friends  who  have  helped  me  along  the  way:  Yuko  Nii,  Peter  Dizozza,  Amanda   Husberg  and  Orin  Buck,  among  others.         What  was  particularly  pleasing  about  that  luncheon  was  the  fact  that  you  are  a   Midwesterner  like  myself.  Our  paths  crossed  at  the  University  of  Minnesota.  We  may  have   even  attended  the  university  at  the  same  time!  And  you  studied  under  Thomas  Clayton  who   wrote  the  introduction  to  my  book!  Remarkable.  And  subsequently  you  included  my  book   in  your  great  collection.  Truly  serendipitous!        


In any  case,  the  internal  politics  at  the  WAH  Center  impinging  on  my  trying  to  do   this  happy  little  luncheon  and  celebration  has  completely  taken  the  joy  out  of  dong  it   for  me.  And  if  it  is  not  to  be  a  happy  production  for  me  personally,  I  think  it  is  better   not  to  do  it.         Unfortunately,  my  colleagues  Peter  Dizozza  and  Amanda  Husberg  were  to  present   their  work  on  that  day  along  with  the  many  artists  who  contributed  work  to  the   Yuko  Nii  Foundation’s  Milton  collection.  That  will  all  have  to  happen  at  another  time   to  be  arranged  by  Yuko.  I  am  sure  it  will  happen  in  it's  own  good  time.       So,  in  any  case  I  will  be  printing  a  greeting  card  to  celebrate  the  consummation  of   my  Milton  project  and  it  will  also  commemorate  your  achievement,  since  it  was   supposed  to  be  the  invitation  to  the  luncheon  celebrating  your  collection.     Sometime  when  you  are  in  the  city,  we  can  go  out  to  lunch  and  talk.  Or  maybe,  if  I   drive  upstate  you  will  allow  me  to  call,  and  perhaps  go  out  to  lunch  and  then  maybe  I   can  see  your  Herbert  collection.       With  Great  Appreciation  and   Highest  Regards,       Your  Friend  and  Colleague  in  John  Milton,        Terrance  Lindall      


On Mar  27,  2009,  at  2:48  PM,  Robert  J.  Wickenheiser  wrote:       Dear  Terrance,     I  read  your  email  yesterday  when  I  returned  home  early  in  the  evening  and  I  was  shocked   as  well  as  disappointed.    Not  for  me,  but  for  you  and  for  the  Center.     Perhaps  I  misread  your  email  and  why  you  had  to  cancel  the  May  10  Mother's  Day  fete,  but  I   don't  think  so.     I  sincerely  hope  that  things  you  and  I  talked  about  doing  didn't  anger  fellow  Board   members.    I  also  hope  that  whatever  happened  doesn't  have  a  long  term  effect;  and  more:   that  you  emerge  from  whatever  has  happened  or  is  happening  with  the  deep  respect  you   deserve.     Let  me  know  if  you  want  to  talk.    No  matter  what  else  has  happened,  I  consider  myself  very   fortunate  to  have  come  to  know  you  as  I  have;  to  have  become  a  friend  of  someone  as   talented  as  you  and  as  sensitive  as  you  are  in  your  appreciation  of  Milton  and  his  great   English  epic,  Milton  having  done  for  England  what  Virgil  did  for  Rome  and  Homer  for   Greece  (to  reference  Dryden's  great  epigram).     Now  as  for  your  "project!"    First  of  all,  your  work  is  far  more  than  a  "project;"  moreover,   your  "project"  is  never  done  as  no  great  work  ever  is,  but  rather  it  is  at  a  point  where  it  is   beginning  to  influence  others  in  new  and  substantive  ways;  to  be  appreciated  by  an  ever-­‐ increasing  audience  of  admirers;  and  the  increasing  appreciation  of  your  work  means  more   to  me,  as  one  who  sees  Milton  brought  to  life  in  new  ways  by  you,  than  anything  else  you   might  be  doing  just  now.     Let's  stay  in  touch,  please,  and  if  there  is  anything  I  can  do  for  or  with  you,  please,  by  all   means  let  me  know.    You  have  become  a  special  friend  as  we  have  begun  to  share  our   mutual  admiration  for  Milton.     In  response  to  your  questions,  you  are  always,  always  welcome  to  stop  and  see  me,   anytime;  you  are  also  more  than  welcome  to  see  my  library  and  remaining  collections,   Herbert  being  the  most  comprehensive  and  exciting  because  I  put  that  collection  together   in  the  same  way  and  over  the  same  time  frame  that  I  collected  Milton.    My  next  book  will  be   on  Herbert.    There  are  a  few  other  collections:  Hopkins,  Francis  Thompson,  and  the   Rubaiyat  –  the  newest  of  my  collections,  but  a  very  exciting  one  in  its  own  right  and   becoming  increasingly  more  and  more  important  with  my  selective  and  careful  buying   since  Milton  left  my  shelves  somewhat  bare,  although  I  always  collected  the  Rubaiyat  over   the  years,  but  only  in  a  small  way.    


My Bunyan  collection,  really  quite  a  nice  collection  and    fairly  extensive,  from  the  early  18th   to  the  21st  centuries,  went  to  South  Carolina  a  short  while  ago.    I  collected  Bunyan  in  the   same  way  and  over  the  same  time  frame  that  I  collected  Milton.    Like  Milton,  collecting   Bunyan  kept  me  involved  with  illustrators,  many  of  whom  also  illustrated  Milton;  allowed   me  to  collect  and  enjoy  a  wide  range  of  bindings,  again  as  with  Milton;  opened  the  door  to   some  important  press  books;  and  more.    I  first  began  collecting  Bunyan  on  a  trip  to  England   in  the  early  1970s,  justifying  my  broadening  out  this  way  by  collecting  another  author,  that   Bunyan  was  and  remains  an  important  17th-­‐century  writer  and  someone  who  was  read  by   the  masses  from  the  beginning  and  through  the  succeeding  centuries.     My  Bunyan  collection  will  not  be  received  in  the  same  way  that  my  Milton  collection  was,   but  each  book  in  the  collection  of  about  800  editions  &  a  few  important  critical  studies  has   my  general  book  label  in  it.     My  wife,  Pat,  and  I  have  long  planned  to  move  to  New  Hampshire  and  we  are  going  to  see  if   we  can  make  that  dream  come  true  this  spring  or  summer.    After  raising  five  children  we   don't  need  big  homes  anymore  and  the  cost  it  take  to  run  them  is  much  more  than  we  can   bear  -­‐  but  alas,  this  time  it  means  leaving  my  dream  library  behind,  which  I  designed  and   which  Pat  and  I  carefully  watched  over  to  ensure  the  best  construction  possible.    [My  book   contains  everything  it  does,  including  partial  color  pictures  of  my  library  as  end-­‐papers  for   the  book,  so  that  I  can  take  it  with  me  wherever  I  go.    I  will  keep  you  posted  if  and  when  we   ever  sell  our  home  and  move  to  NH.    I  hope  you  can  see  now  why  I  felt  your  invitation  was   so  providential:  coming  at  exactly  the  right  time  and  from  someone  I  admire  greatly.     I  would  still  gladly  come  to  talk,  as  you  initially  wanted  me  to  talk:  about  collecting  one   author  over  40  years  and  what  that  means,  especially  when  the  author  is  Milton.     I  certainly  would  also  like  to  carry  forth  on  the  "book  selling"  arrangement  we  had,  and   which  I  will  put  on  hold  until  you  advise  me  otherwise.    I  don't  need  more  money  to  come   and  talk,  and  we  could  do  everything  you  had  envisioned  without  a  luncheon.     It  may  be  very  unfair  and  unfeeling  of  me  to  ask  you  about  some  things  at  this  moment,  but  I   really  became  VERY  excited  when  you  alluded  to  having  found  another  copy  of  your   "illustrated  Paradise  Lost"  –  illustrated  and  self-­‐published!    That  excitement  and   enthusiasm  have  not  waned  one  iota,  particularly  since  the  copy  I  bought  of  your  rare  and   very  special  book  is  in  the  collection  and  therefore  no  longer  just  a  reach  away  from  where  I   am  sitting  and  writing  at  the  moment.    You  have  no  idea  how  excited  I  became  over  the   possibility  of  having  a  copy  (especially  a  signed  copy)  to  place  with  my  very  special  and   very  select  Milton  items  I  have  kept  for  myself  (for  now  at  least):  fore-­‐edge  paintings;  rare   and  gorgeous  bindings;  special  associated  and  illustrated  copies,  where  your  copy  would   rank  the  highest.  The  last  section  in  my  book  has  photos  and  descriptions  of  some  of  my   rare  holdings  which  I  couldn't  sell  or  give  up  to  anyone  just  yet.      


All of  the  above  –  my  speaking  at  the  Center  and  my  being  given  a  copy  of  your  truly  special   and  very  rare  book  –  meant  more  to  me  than  I  can  possibly  say,  so  if  the  luncheon  is  the   issue,  forget  about  having  one;  if  my  speaking  at  the  Center  however  is  the  issue,  I  can  live   with  that  because  I  know  your  own  feelings  about  my  coming  to  the  Center  to  speak  and  to   have  some  time  to  spend  together  both  before  and  after  the  talk.  .  .and  the  music  if  you  want   to  include  that  as  well  (I  had  very  much  looked  forward  to  hearing  and  seeing  all  of  the   other  things  you  have/had  planned  for  the  day).     If  everything  is  cancelled,  then  might  I  ask  if  you  would  be  willing  to  send  me  an  inscribed   copy  of  your  illustrated  Paradise  Lost  as  a  generous  gift  in  advance  of  my  doing  something   you  might  want  me  to  do  sometime  down  the  road.    Your  book  is  genuinely  priceless,  and  I   assure  you  that  it  will  be  shelved  in  a  very  special  place,  with  select  other  copies  of  Milton's   epic  and  his  works  I  have,  to  be  shown  to  select  visitors  in  whom  I  believe  I  can  generate   new  enthusiasm  for  Milton  and  for  illustrated  Milton  through  the  ages.     You  mentioned  that  "a  major  New  York  Times  article  and  several  other  articles  around  the   world"  showed  you  just  how  welcome  your  artistic  vision  is,  especially  when  brought  to   bear  on  Milton.    I  refuse  to  believe,  as  I  said  above,  the  these  articles  convinced  you  "that   [your]  project  had  run  its  course."    I  disagree  and  would  love  to  have  the  chance  to  discuss   what  I  mean  by  this  with  you  sometime.    [I  have  reached  a  certain  point  in  my  own  “project”   with  Milton,  but  I  will  never  be  completely  done  with  that  “project.”]    Might  I  have  a  copy  of   each  of  these  articles,  please.    If  my  request  goes  too  far  "above  and  beyond"  I  will  most   assuredly  understand,  but  if  possible,  I  would  love  to  have  a  copy  of  each  of  the  articles  you   mention.   I  have  several  copies  of  the  2008  Modern  Library  “Complete  Poetry  and  Essential  Prose  of   John  Milton,”  with  your  illustration  on  the  front  cover,  and  actually,  I  have  been  planning  on   how  I  might  get  an  inscription  from  you  on  one  copy.    I  will  happily  send  a  copy  to  you  for   you  to  inscribe  to  me,  with  funds  to  cover  the  cost  of  returning  the  book  to  me.    If  you  think   this  is  feasible,  please  let  me  know.    I  am  sure  that  you  have  a  copy  of  this  college  text  book,   but  if  you  do  not,  I  will  be  glad  to  send  you  one.    I  will  also  search  to  find  a  copy  of  “the  Holt   Rinehart  2009  high  school  textbook”  which,  as  you  say,  also  uses  your  illustrations.    I   haven’t  seen  this  anywhere  yet,  but  I’ll  find  it.     I  am  a  little  confused  about  these  texts  you  mention  because  you  state  that  “last  year  [you]   got  a  call  from  the  book  designers  from  Random  House  who  wanted  to  use  [your]  art  for  the   cover  of  their  “Essential  Milton”  [the  only  “Essential  Milton”  I  know  of  appears  in  the  title  of   the  Modern  Library  edition  of  Milton  (identified  in  the  preceding  paragraph)],  with  one  of   your  illustrations  on  the  cover  of  the  dust  jacket.    I’ll  keep  checking  on  this.     I  have  kept  your  attention  (perhaps  off  and  on)  for  too  long  now  and  I  apologise  for  my  long   email,  but  I  felt  this  was  the  right  time  for  me  to  respond  in  full  to  you  as  you  have  in  your   email  to  me.    [My  monastery  life  I  will  save  for  another  time.}       With  much  esteem  and  fondest  personal  regards,   Bob      


From:  Robert  J.  Wickenheiser     Re::  Thought  you  might  like  to  see  the  last  reception  and  show  on  Youtube:   Date:     April  2,  2009  5:13:41  PM  EDT       Terrance:  I  forgot  to  say  in  my  earlier  email  today  that  my  admiration  for  you  only   deepened  when  you  wrote  me  the  following    about  why  you  have  had  your  own  long   relationship  with  Milton:  "My  Milton  adventures  have  been  a  great  joy  to  me.  I  began  to   illustrate  Paradise  Lost,  not  in  order  to  make  money  or  achieve  fame,  but  because  I  loved   the  fantastic  visual  and  conceptual  qualities  of  the  great  work.  "     Someone  to  be  admired  for  your  own  reasons  for  loving  Milton's  Paradise  Lost,  and   inspiration  for  others  –  now  and  in  the  years  to  come.     Your  illustrations  have  inspired  me  and  now  that  I  know  your  reason  for  devoting  a   lifetime  and  all  of  your  talents  to  Milton  I  am  all  the  more  inspired  and  all  the  more   committed  to  working  with  you  in  any  capacity  you  see  fit.     Best  always,     Bob  


From:  Robert  J.  Wickenheiser     Subject:  Re:  Thought  you  might  like  to  see  the  last  reception  and  show  on  Youtube:   Date:     April  2,  2009  7:08:36  PM  EDT           Terrance:       Speaking  of  "parallel  universes,"  I  have  been  searching  your  emails  since  we  first  started   writing  to  each  other.     I  don't  think  I  realized  something  VERY  important  in  several  of  your  early  emails,   referenced  once  again  in  your  suggested  wording  for  my  presentation  inscription,  namely,   the  Center's  having  celebrated  Milton's  400th  birthday  and  in  doing  so  "having  generated  a   wide  public  awareness  of  the  importance  of  the  work  of  John  Milton  in  the  history  of   human  thought  and  literature  by  their  producing  the  largest  Milton  festival  in  the  world  in   honor  of  Milton's  400th  birthday,  September/October  2008."     I  missed  your  celebration  (without  knowing  about  it,  alas!)  by  only  a  few  months.    Would   that  our  beginning  to  contact  one  another  had  begun  in  August,  2008.     In  any  case,  since  I  missed  such  an  important  and  historic  celebration  of  Milton  and  his   works,  I  wonder  if  there  might  be  some  material  left  over  from  that  celebration  that  you   might  be  able  to  pass  along  to  me,  with  your  presentation  and  signature,  attached.    Ever   the  collector!,  as  by  now  you  well  know,  but  seeing  in  your  celebration  yet  another   milestone  in  celebrating  Milton  as  an  icon  down  through  the  ages  (and  a  great  deal  more,   to  be  sure).     If  my  request  starts  bordering  on  that  of  being  a  pest,  forget  it  and  concentrate  on  my   amazement  over  your  continued  concentration  on  Milton  and  you  and  the  Center   celebrating  Milton  so  beautifully  in  the  year  just  past.     With  much  esteem  and  admiration,     Bob  


From:  Robert  J.  Wickenheiser     Subject:  Heartfelt  thanks  for  signed  copy  of  your  illustrated  Paradise  Lost  &  much   more   Date:     April  13,  2009  6:32:08  PM  EDT     Terrance:     Last  week  ended  Friday  when  I  received  your  package.    I  spent  the  time  I  had  after  the  mail   arrived  that  day  enjoying  each  item,  enthralled  by  the  remarkable  enclosures  and  each  of   your  truly  wonderful  gifts.     First,  your  illustrated  book,  which  I  remembered  so  well  from  the  pristine  copy  I  have  in   my  Milton  collection  now  in  the  Thomas  Cooper  Library  on  the  main  campus  of  the   University  of  South  Carolina.    Not  only  does  the  presentation  copy  of  your  book,  which  you   sent  me  and  which  I  received  last  Friday,  allows  me  to  enjoy  anew  your  telling  of  the  story   in  word  and  illustration.         I  was  truly  overwhelmed  when  I  held  your  book,  not  only  because  it  allowed  me  to  enjoy   once  again  what  I  no  longer  had  so  close  at  hand  in  my  Milton  collection,  but  because  it  has   come  to  mean  so  much  more  to  me  due  to  our  growing  friendship  and  my  increased   admiration  for  what  I  have  come  to  recognize  and  respect  in  your  profound  love  of   Milton's  great  epic.     Then  there  was  the  splendid  card  you  are  working  on  which  includes  me  in  your  love  of   Milton  and  in  your  splendid  tri-­‐fold  "altar  piece"  featuring  the  temptation  of  Adam  and  Eve   in  the  center  panel,  with  art  and  music  celebrated  on  the  side  panels,  and  the  great  epic   itself  in  the  sacred  book  down  stage  surrounded  by  vital  images  through  the  ages  of  those   who  have  admired  and  loved  Milton's  great  work  in  various  unique  ways.      

Hardcover: 44 pages, Lindall’s synopsized Paradise Lost 1983


I do  not  yet  know  what  you  plan  to  do  with  the  card,  but  I  am  profoundly  grateful  for  the   copy  your  included  in  your  great  package.     Also  in  this  package  was  your  hand-­‐drawn  copy  in  pencil  of  the  snake  wound  around  the   tree  in  nature,  with  apple  and  butterfly  above  and  Eden  identified  below,  with  your  kind   comment  to  me.    I  will  have  this  special  gift  framed  so  that  I  can  hang  it  in  a  special  place  in   my  library  here  and  in  my  study  in  our  new  home  in  New  Hampshire  when  we  sell  our   home  here.     The  two  copies  of  the  front  page  of  the  New  York  Times  on  September  26,  2008,  signed  in   a  special  way,  with  presentation  copy  to  me,  make  me  wish  all  the  more  that  I  had  known   about  your  celebration  in  September.    I  would  most  certainly  have  come  to  join  in  the   festivities,  presenting  to  you,  Yuko  Nii,  and  the  Center  itself  a  copy  of  my  book  which  had   appeared  in  print  only  a  couple  of  months  before.    The  various  coverage  in  the  Times   allows  me  to  understand  better  and  so  thoroughly  more  all  that  the  Center  did  to  celebrate   Milton's  400th  birthday  and  all  that  the  Center  stands  for  in  doing  so.  I  would  have   thanked  you  for  all  of  these  splendid  and  very  meaningful  gifts  immediately  had  our  oldest   son  and  his  wife  and  family  of  three  (including  the  first  of  our  nine  grandchildren)  not   arrived  to  spend  several  days  with  us  just  about  the  time  I  finished  reviewing  my   treasured  new  gifts.    I  did,  of  course,  proudly  show  them  how  a  famous  artist  had  included   me  in  his  painting  honoring  Milton’s  great  epic,  something  all  of  my  five  children  know   about  to  the  degree  that  most  undergraduates  do  today,  but  undoubtedly  with  greater   respect  because  of  their  father’s  collecting  Milton  all  of  the  days  of  their  lives.     Please  forgive  me  for  not  thanking  you  for  your  remarkable  gifts  before  now,  but  every  one   of  the  three  plus  days  since  the  arrival  of  my  son  and  his  family  has  been  filled  with  travel   (to  Niagara  Falls  and  other  places  of  interest  around  here).    All  of  my  time  was  taken  up,   minute  by  minute  and  hour  by  hour  during  this  special  visit,  and  my  age  has  begun  to   show  itself  when  I  had  little  energy  at  midnight  after  everyone  went  to  bed  to  write  and   express  my  heartfelt  thanks  to  you.    

Above: Ticket  to  Lindall’s  Milton  bash  


My gratitude,  though,  is  indeed  real  and  I  will  always  be  profoundly  grateful  to   you  for  the  special  gifts  you  have  given  me.    Each  of  your  gifts  will  not  only  be   cherished,  truly  cherished,  but  given  prominent  display  in  one  way  or  another  in   my  library  now  and  my  study  after  we  move.     Please  forgive  my  tardiness  in  not  responding  to  you  before  now,  and  please   know  how  genuinely  grateful  I  am  and  shall  always  be  for  the  special  gifts  you   have  given  me  which  draw  me  closer  to  “our”  Milton  and  his  great  epic  in  a   variety  of  important  ways,  including  art,  word,  and  music.     Many  thanks  for  allowing  me  to  share  your  affection  for  the  greatest  English  poet   and  epic  writer  who  has  brought  to  life  the  great  story  of  creation  and  the  fall  of   woman  and  man.    It  is  truly  a  pleasure  beyond  words  to  share  affection  for  Milton   and  his  poetry  with  someone  who  is  in  his  own  right  a  genuinely  remarkable   artist  and  someone  who  has  devoted  a  great  part  of  his  life  to  this  great  poet,  who   is  to  England  what  Virgil  is  to  Rome  and  Homer  to  Greece.     With  heartfelt  gratitude  always,   Bob        


From:  Robert  J.  Wickenheiser   Subject:  Re:  Announcing  new  illustrated  Milton  (&  some  related  suggestions)   Date:     April  14,  2009  5:22:26  PM  EDT   To:     Terrance     Dear  Terrance,     Thank  you  for  your  kind  response  back  to  me.    I  am  genuinely  grateful  –  for  that,  for  our   growing  friendship,  and  for  the  manner  in  which  Milton  has  brought  us  together.    I  admire   your  paintings  and  your  strong  commitment  to  Milton,  and  I  sincerely  hope  that  we  will  be   able  to  work  together  on  several  projects  in  one  manner  or  another.    Your  paintings  bring   Milton’s  great  epic  alive  in  an  electrifying  new  way  in  a  new  day  and  age.     You  mention  the  “broadsheets”  in  your  email  and  also  “some  cards.”    I  have  wanted  to  ask   you  ever  since  I  received  your  earlier  email  regarding  the  broadsheets  for  high  schools   whether  or  not  there  might  be  a  way  in  which  I  could  join  you  in  this  project  –  and  let  me   assure  you  that  I  want  only  to  work  with  you  and,  God  willing,  to  help  raise  some  money  for   the  Center  and  its  endowment  –  all  while  advancing  the  cause  of  Milton.    The  honor  would  be   mine  to  join  with  you  in  whatever  way  or  ways  you  think  possible.     I  recall  sending  you  some  of  my  thoughts  regarding  raising  money  in  an  earlier  email.    I   believe  we  can  work  together  to  help  advance  the  cause  and  mission  of  the  Center  while   sharing  the  poetry  and  visionary  effect  of  that  great  blind  poet  Milton.     I  would  love  to  write  a  short  new  introduction  or  foreword,  with  a  little  different  thrust  than   that  of  Tom  Clayton,  but  only  if  I  step  on  no  one’s  toes  or  do  not  go  beyond  anything  I  should   be  suggesting.    I  long  ago  learned  that  you  can’t  get  ahead  or  raise  money  if  you  aren’t  strong   enough  to  ask  for  it,  and  to  ask  for  it,  as  my  closest  and  most  generous  donor  friend  said  to   me  back  in  the  early  1980s  when  I  asked  him  for  5  million  dollars,  in  less  than  two  minutes.       He  told  me  that  the  pleasant  lunches,  dinners,  or  meetings  are  all  well  and  good,  but  in  each   context  a  donor  expects  the  "asker"  to  know  and  believe  in  what  he  is  requesting  support  for,   so  strongly  that  he  can  make  the  “ask”  in  full  and  with  enthusiasm  in  two  minutes  or  less.    I   have  never  forgotten  this  early  education  from  a  donor  who  ultimately  gave  me/the   institution  I  was  president  of  a  great  many  million  dollars  in  the  years  that  followed.    


So let  me  know  any  thoughts  you  might  have  about  our  working  together  in  any  of  your   projects;  please  let  me  also  know  when  I  am  not  wanted.    I  care  only  about  Milton,  your   work,  and  however  I  might  work  with  you  to  educate  readers  and  viewers  of  all  ages  about   each  since  art  brings  Milton’s  visionary  poetry  alive  as  little  else  can,  with  the  possible   exception  of  music.     One  last  request,  if  possible.    I  thought  your  idea  of  providing  original  cards  of  your   drawings  unbound  for  hanging  or  bound  in  solid  leather  a  splendid  idea.    I  think  the  price   tags  are  also  fair  and  certainly  shouldn’t  scare  anyone  away.     May  I  put  in  my  order  now  for  a  bound  set  for  $2,500,  with  the  plea  that  I  be  allowed  a   two-­‐year  period  (max,  I  believe  it  will  be  much  less)  in  which  to  make  payments.    Could  I   also  be  considered  for  the  purchase  of  one  or  two  of  your  illustrations  separately  so  that  I   can  frame  them.  Retirement  at  just  the  wrong  time  has  sort  of  shattered  the  plans  Pat  and  I   put  in  place  prior  to  the  collapse  of  the  market  and  Wall  Street.    If  my  request  for  a  longer   period  to  complete  my  payment  is  out  of  line,  then  I’ll  figure  out  another  way  to  pay  all  at   once;  in  either  case,  I  want  you  to  sign  me  up,  please,  for  the  earliest  copy,  realizing  that   some  copies  often  are  reserved  for  others  or  for  other  purposes  (such  as  for  Yuko  Nii  and   for  the  Foundation,  perhaps  also  for  members  of  the  Board  who  wish  to  purchase  a  set  –   no  freebees  here).    I  want  very  much  to  be  an  early  supporter.     I  have  given  you  much  to  think  about  with  the  understanding  that  I  want  you  always  to  tell   me  what  you  want  or  don’t  want,  like  or  don’t  like,  as  well  as  what  will  work  or  won’t   work,  and  so  forth.     Warmest  regards,   Bob          



P ARADISE L OST Synopsized & illustrated by Terrance Lindall

This special edition printed on the occaision of the 400th Birthday of John Milton, and in honor of

DR. ROBERT J. WICKENHEISER 19th President of President of Saint Bonaventure University

Celebrating his achievement in bringing together one of the the world’s largest collections of John Milton books, related original illustrations and Miltoniana, now housed in the Thomas Cooper Library at the University of South Carolina

©2009 Yuko Nii Foundation

Sing Heavenly Muse! Say first, for Heaven hides nothing from thy view – nor the deep tact of Hell – say first what caused out parents in that happy state of Eden to fall off from their creator. Who first seduced them to that foul revolt? The Infernal Serpent, he it was whose guile stirred up by envy and revenge deceived the mother of mankind. What time he trusted to have equaled the Most High if he opposed, and with ambitious aim, against the throne and monarchy of God, raised impious war in Heaven and battle proud with vain attempt. Him the Almighty Power hurled headlong flaming from the ethereal sky with hideous ruin and combustion, down to bottomless perdition, there to dwell in penal fire who durst defy The Omnipotent to arms. Now the thought of both lost happiness and lasting pain torments him. Round he throws his baleful eyes that witnessed huge affliction and dismay. A dungeon horrible on all sides round as one great furnace flamed, yet from those flames no light, but rather darkness visible served only to discover sights of woe where peace and rest can never dwell. Hope never comes that comes to all, but torture without end still urges. Said then the Lost Archangel: “Hail horrors! Hail infernal world! Meet thy new possessor: A mind not to be changed. The mind is its own place and in itself can make a Heaven of Hell, a Hell of Heaven. To reign is worth ambition though in Hell. Better to reign in Hell than serve in Heaven!” SATAN BUILDS A CITY IN HELL Nigh on the plain with wondrous art a fabric huge rose like an exultation, with the sound of dulcet symphonies and voices sweet, built like a temple. Meanwhile, the heralds by command of sovereign power, with awful ceremony and trumpet sound, throughout the host proclaim a solemn council to be held in Pandemonium, the high capital of Satan and his peers. Satan exalted thus displayed: “Powers and Dominions! I give not Heaven for lost. Whether for open war or covert guile we now debate. Who can advise may speak.” Moloch, the strongest and fiercest spirit that fought in Heaven, these words thereafter spake: “My sentence is for

open war. Turning our tortures into horrid arms, He shall see black fire and horror shot among His angels, which if not victory is yet revenge.” On the other side rose up Belial. Though his tongue dropped manna, to nobler deeds timorous and slothful: “What if from above should intermitted vengeance arm again His red right hand to plague us, and Hell should spout her cataracts of fire threatening hideous fall upon our heads? This would be worse. War therefore dissuades.” Beelzebub, than whom, Satan except, none higher sat, seemed a pillar of state. On his front engraven deliberation sat while thus he spake: “Thrones and Imperial Powers! War hath determined us and foiled with loss irreparable. What if we find some easier enterprise? There is a place, the happy seat of some new race called ‘man’ to be created. Thither let us bend our thoughts and where their weakness seduce them to our party that their God may prove their foe. This would surpass common revenge.” The bold design pleased highly. With full assent they vote. Satan, whom now transcendent glory raised above his fellows thus spake: “Long is the way and hard that out of Hell leads up to light. But I should ill become this throne if aught of difficulty or danger could deter me from attempting. Wherefore mighty powers, intend at home against a wakeful foe while I abroad through all the coasts of dark destruction seek deliverance for us all. This enterprise none shall partake but me!” And Satan, with thoughts inflamed of highest design, puts on swift wing and toward the gates of Hell explores his solitary flight. At last appear Hell-bounds and the gates impaled with circling fire, yet unconsumed. Before the gates there sat on either side a formidable shape. The one seemed woman to the waist and fair. The other shape, black as night it stood, terrible as Hell. The monster came fast with horrid strides. Hell trembled as he strode. Satan undaunted thus began: “What art thou that dare’st athwart my way to yonder gate? Retire or taste thy folly!” The goblin replied, “Art thou that traitor angel? Reckonest thyself with spirits of Heaven where I reign king – thy kind and lord?!” So spake the grisly terror. So matched they stood, for never but

once more was either like to meet so great a foe. And now the Snakey Sorceress with hideous outcry rushed between: “O father, what intends thy hand against thy only son? What fury, O son, possesses thee to bend that mortal dart against thy father’s head?” To her Satan returned: “Why thou call’st me father and that phantasm my son? I know thee not, nor ever saw sight more detestable than him and thee.” The portress of Hell-gate replied: “Hast thou forgot me then, once deemed so fair in Heaven when in sight of all the seraphim with thee combined in bold conspiracy against Heaven’s King? All of a sudden miserable pain surprised thee, while thy head fast thick flames threw forth till out of thy head I sprung. All the host of Heaven recoiled and called me ‘Sin.’ But I with attractive graces won the most adverse, thee chiefly, who becam’st enamored. And such joy thou took’st with me that my womb conceived a growing burden. At last this odious offspring whom thou see’st, thine own begotten, tore though my entrails, that all my nether end thus grew transformed. I fled and cried out ‘Death!’ Hell trembled at that hideous name and sighed from all her caves. I fled but he pursued, and in embraces forcible and foul begot these yelling monsters.” Satan, now milder, thus answered smooth: “Dear daughter, since thou claim’st me and my fair son here show’st me, know I come no enemy but to set free from this dark home of pain both he and thee, and myself expose to tread the unfounded deep to search and bring ye to the place where thou and Death shall dwell at ease.” Both seemed highly pleased. Thus from her side the fatal key she took. On a sudden open fly the infernal doors, redounding smoke and ruddy flame before a vast illimitable ocean. The wary fiend at last his sail-broad vans he spread for flight. Into the expanse and through the shock of fighting elements he wins his way. Now at last the sacred influence of light appears that Satan now with ease wafts on the calmer wave and weighs gladly to behold far off the emphereal Heaven with opal towers, once his native seat, and, fast by, hanging in a golden chain this pendant world. Thither he hies. So on he fares and to the border comes of Eden where nature crowns with her enclosure green. Blossoms and fruits

Above: The  front  of  The  Paradise  Lost  Broadsheet  with  a  picture  of   Bob  Wickenheiser  in  his  library  holding  his  Milton  collection  catalog  

My Broadsheet  got  a  news  article     "Who  said  the  newspaper  industry  Is  dead?  A  condensed  version  of  Milton's  Paradise   Lost  is  now  available  in  broadsheet  format,  courtesy  of  the  Williamsburg  Art  &   Historical  Center."  Brooklyn  Courier    


From:  Robert  J.  Wickenheiser     Subject:     Re:  Milton  Broadsheet  to  be  featured  at  the  Book  Expo  America   Date:     April  26,  2009  1:55:27  PM  EDT     Dear  Terrance,     When  I  first  received  the  information  in  your  email  sent  only  a  short  while  ago  (4/20/09),  I   was  genuinely  very  excited,  hopeful  that  I  might  play  some  small  part  in  helping  you,  Yuko   Nii,  and  the  Center  launch  what  I  wish  I  had  had  available  to  me  when  I  taught  literature  in   my  Abbey's  Prep  School  years  ago.    Now  that  you  have  sent  me  my  box  with  copies  of  what   you  described  in  your  earlier  email,  I  am  genuinely  in  awe  of  what  you  have  prepared  for   teachers  of  literature  in  high  schools.    [Originally,  I  included  your  email  here,  but  it  was   apparently  too  large  to  include  in  just  an  email  manner.  such  as  this;  either  that,  or   something  is  not  working  well  with  our  email  provider].     You  are  correct  in  every  respect  in  that  email  and  I  applaud  you  for  providing  a  new  and   most  exciting  manner  for  making  Milton  come  alive  for  all  of  (or  at  least  a  great  many)  high   school  students.    As  I  held  your  broadsheet  in  front  of  me  I  was  transformed  into  that   student  who  sees  visually  for  the  first  time  drawings/illustrations  for  the  great  English  epic   Milton  wrote,  Paradise  Lost,  a  highly  visionary  epic,  doing  for  England  what  Virgil  did  for   Italy,  and  Homer  for  Greece  (a  briefly  stated  summary  of  Dryden’s  great  epigram).       Citizen Milton

4/22/08 12:10 PM

Left: Lindall  painting  on   Oxford  University’s  web   page  for  Milton’s  400th   Birthday  

14. Exhumations and Destinies: 'For Books are not absolutely Dead Things' While many have found Milton's words to be spur to an ongoing project of civic emancipation, others have sought a touch of the divine power. Relics, exhumation, and revivals are all part of the complex legacy of this provocative and powerful writer. Exhumations and Relics Milton's Writing Case.

Milton's Tortoise shell writing case, with a pair of dividers; and a fish skin case with geometry implements, purportedly came from his widow Elizabeth Minshull (1638-1727). The Bodleian Library was also given a circular box, partly of tortoise-shell, alleged to have been given the poet by the Duke of Richmond, perhaps a snuff-box, though there is no evidence Milton took snuff. The relics were given to the Bodleian Library by the Bridger family, who have claimed a connection by marriage with Milton family. (84) [MSS.] Cons. Res. Objects 66-79 Milton's Horoscope. Cast by John Gadbury the famous almanac-maker (16271704), presumably for Milton himself. MS Ashmole 436, pt. 1, at f. 119 Philip Neve, A Narrative of the Disinterment of Milton's Coffin… Wednesday, 4th of August, 1790 (1790)

The leaden coffin opened, and beneath the shroud were taken teeth, bones and hair from the corpse, the coffin and body exhibited by the grave digger, Elizabeth Grant. Neve recounts this "sacriligious scene" with horror--although Neve himself took some hair, bone and a tooth. Some thought the corpse was instead that of a woman. Leigh Hunt and John Keats obtained a lock, now at the Keats Memorial, Rome. On seeing a lock of hair taken from Milton, Keats became "mad with glipmses of futurity." Gough Lond. 42(13) Destinies and Revivals Geoffrey Hill, A Treatise of Civil Power (2005). In a direct quotation from one of Milton's pamphlets on toleration, Geoffey Hill engages with Milton's legacy. M05.E17525 Philip Pullman, His Dark Materials trilogy (1995-2000).

The title of this series taken from Milton's Paradise Lost, where "His dark materials" of Chaos are there "to create more Worlds." A modern master

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Your broadsheet  (with  images  beyond  compare)  are  your  grand  gift  to  all  students  (of   all  ages)    –  now  and  in  the  future.    They  are  worth  far,  far  more  than  they  or  anyone,   really,  could  afford  to  pay.    If  Milton  has  been  brought  to  a  new  life  in  the  20th  century,   particularly  the  last  half  of  that  century,  then  surely  special  interest  in  Milton’s  epic   will  take  hold  in  high  school  students  and  will  prepare  those  students  far  more  for   study  of  Milton  in  college  than  perhaps  any  class  of  high  school  students  before  now.     Thus,  not  only  are  your  images  beyond  compare,  but  they  are  also  part  of  a  gift  beyond   compare  in  the  form  of  the  published  broadsheets  provided  by  the  Centre.     I  was  likewise  in  awe  of  your  warm  and  most  welcome  presentation  copies  to  me.    I   need  guidance,  however,  as  to  what  you  would  like  done  with  the  pieces  printed  in  my   honor,  which  are  far  beyond  anything  I  deserve,  but  which  I  humbly  accept  and  dearly   admire.    I  hope  that  the  sincerity  of  my  gratitude  is  not  lessened  in  any  way  by  these   publications;  nonetheless  I  remain  grateful  beyond  words.    I  will,  of  course,  send  some   of  the  materials  to  Steve  Fallon,  as  we  discussed,  but  what  do  I  say  or  request  of  Steve   about  the  personal  pieces  related  to  me.    You  advice  and  guidance  here  will  be  deeply   appreciated.     One  last  and  slightly  different  question,  if  I  may.    Is  there  any  place  at  any  given  time   when  you  might  want  me  to  do  a  brief  essay  on  Milton,  Milton’s  great  epic,  and  the   illustrations  of  Milton  down  through  the  centuries,  expressing  here  that  I  am  an  ardent   admirer  of  your  illustrations  and  why,  and  where  would  such  an  essay  appear?    I  want   to  be  fair  to  what  you  might  like  to  have  from  me,  as  well  as  on  target  in  writing  what   you  want  and  how  you  want  it  done  in  providing  you  something  fresh  and  spirited  in   writing  about  Milton  and  then  about  your  stunning  drawings  or  illustrations.    When  we   spoke  about  this  a  short  while  ago,  you  said  go  ahead  and  write  anything  I  might  like  to   write.    Alas!,  much  as  such  advice  is  a  writer’s  dream  and  wonderful  to  hear,  it  can   rapidly  become  a  nightmare,  difficult  to  do  without  either  some  further  direction  from   or  discussion  with  you.     I  sincerely  hope  I  have  expressed  myself  clearly  in  this  email  and  that  I  have  touched   upon  the  major  issues  for  discussion  when  next  we  speak  or  you  send  me  an  email  in   response  to  my  email  here.     With  much  esteem  and  abiding  gratitude,   Bob    


Robert J.  Wickenheiser     Subject:  Renewed  expression  of  gratitude  and  a  question   Date:     May  11,  2009  8:12:32  PM  EDT     Dear  Terrance,     I  have  spent  the  day  going  through  all  of  the  remarkable  things  you  have  given  me  along   with  the  cards  I  have  purchased  and  also  the  many  other  cards  that  you  have  so   graciously  signed  for  me.     I  am  truly  grateful  and  renewed  in  my  enthusiasm  for  sharing  your  illustrations  and   retelling  of  Paradise  Lost  with  others  (in  particular  the  young).    More  on  that  later,  but  I   remain  committed  to  doing  what  we  talked  about  last  Sunday  evening;  I  am  also  grateful   for  that  call  and  the  gift  of  your  time  in  discussing  a  shared  passion  for  Milton  and  for   your  retelling  his  great  epic  and  even  more,  your  compelling  illustrations  of  Milton's   grand  epic.     After  sorting  things  out  (postcards,  original  sketch  of  me,  signed  original  piece  of  musical   score  by  Peter  Dizozza,  and  so  much  more),  I  know  that  I  never  thanked  you  sufficiently   for  your  gracious  gifts.    Please  let  me  remedy  that  now  by  telling  you  how  moved  I  was,   and  will  remain,  and  how  genuinely  grateful  I  am.    I’ve  also  determined  that  whenever  we   move,  we  will  have  to  have  the  “Lindall  Area,”  featuring  the  great  original  gifts  you  have   given  me  together  with  the  things  I  have  managed  to  purchase.    Would  that  I  could   purchase  more.  

Above: Composer  Peter  Dizozza  with  Terrance  


I am  also  sorting  things  to  make  sure  I  send  Steve  Fallon  some  interesting  items  beyond   your  own  enclosures  for  him.    I  will  send  you  a  copy  of  my  cover  letter  to  him  so  that  you   will  know  firsthand  what  I  send  him  and  related  commentary  here  and  there  throughout   the  letter,  and  that  I  have  in  fact  accomplished  that  task.     My  question  is  one  I  am  somewhat  embarrassed  to  ask,  but  anyway,  I  thought  I  recalled   your  telling  me  that  you  had  found  (most  happily)  a  last  copy  of  your  book  which  you   were  going  to  send  to  me.    I  have  searched  and  searched  everywhere  today  for  the  book   and  I  cannot  find  it  anywhere.    Did  you  send  me  a  copy?    Am  I  remembering  correctly:   that  you  did  indeed  find  a  last  copy  and  that  you  did  indeed  plan  to  send  it  to  me.     I  am  terribly  confused  about  this,  especially  since  I  had  looked  forward  to  using  the  book   in  writing  my  essays;  the  original  copy  I  bought  being  with  my  Milton  collection  at  the   University  of  South  Carolina.    I  would  have  that  copy  sent  to  me  for  my  use  now,  but  as  I   reported  to  you  some  time  ago,  your  illustrations  won  hands  down  among  students  who   were  asked  to  review  the  illustrated  Milton  exhibition,  and  thus  your  book  and   illustrations  have  achieved  a  stature  that  would  never  allow  the  book  to  be  sent  to  me   without  some  kind  of  commotion  occurring  among  students  and  faculty.    On  that   particular  note,  I  would  love  to  have  you  spend  some  time  on  the  campus  (at  their   invitation),  meeting  with  students  and  perhaps  also  lecturing  on  your  “Adventure  into   Paradise  Lost”  through  imagery  and  painting.    I  would  be  there  for  that!     If  my  recollection  about  your  sending  me  a  last  copy  of  your  book  is  incorrect,  please  do   not  give  it  a  second  thought  –  with  one  exception:  just  set  me  straight  and  forgive  me  for   being  so  wrong  in  my  recollection.    Thanks  much!    

Above: The  2008  High  School  English  textbook  with  Blake  and  Lindall  


Incidentally, I  am  also  sorting  out  what  will  go  to  my  collection  at  the  Thomas  Cooper   Library:  a  few  things  now  (all  duplicates)  and  later  (after  I  am  gone)  your  signed  cards,   the  sketch  you  drew  of  me,  the  original  page  of  music,  etc.    Pat  and  I  have  talked  about   doing  a  collage  of  your  things  for  framing.    After  all,  not  everything  can  go  to  my   collection  just  yet.    I  need  to  have  Milton  around  me  and  so  I  have  held  back  on  some   substantive  things  with  me  for  my  use  and  admiration  in  the  years  ahead.    The  last   chapter  in  my  book  shows  you  some  of  the  things  I  have  retained,  and  they  may  or  may   not  be  reunited  with  the  collection.    I  have  added  a  couple  of  fore-­‐edge  paintings  (gifts  of   a  friend  in  England  who  is  currently  taking  two  of  my  books  and  rebinding  them  in  rich   leather  after  he  has  painted  a  thick  coating  of  gilt  on  each  edge  and  then  painted  edge   paintings  (at  my  request)  on  as  many  edges  as  possible.    He  is  a  remarkable  and  widely   recognized  fore-­‐edge  painter,  an  art  which  is  dying  for  lack  of  talent  being  committed  to   it,  as  I  am  told.     I  wish  you  could  see  my  library  and  everything  in  it  before  we  move,  which  remains  a  big   IF  given  the  housing  market,  the  size  of  our  house  and  acreage.  We  have  drastically  cut   our  original  sale  price  in  order  to  sell  and  so  that  we  can  move  on  –  a  decision  which  will   either  turn  out  well  or  not  so  well;  only  time  will  tell).     Sorry  for  going  on  so  long,  but  after  spending  the  day  with  your  illustrations  I  have   discovered  once  again  what  it  is  that  I  admire  so  much  about  them  and  about  the  artist.     Best  always,   Bob      


Bob wrote  a  letter  to  Professor  Steve  Fallon,  one  of  the  greatest  Milton  scholars  and   his  former  student:     May  14,  2009     Dear  Steve,     Terrance  Lindall  sent  some  of  the  enclosed  in  a  package  to  me  with  the  request  that  I  pass   those  items  along  to  you  (enclosed  here).    I  happily  agreed  to  do  so.     Alas,  I  have  had  the  enclosed  material  with  me  for  some  time  now,  despite  my  best  intentions   of  wanting  to  send  them  to  you  in  a  more  timely  manner.    Please  accept  my  apologies  for   failing  to  do  so.    That  said,  I  am  sure  you  will  appreciate  the  enclosed  items  from  Terrance   and  that  you  will  thank  him  accordingly     Among  the  enclosures  you  will  find  signed  posters  of  "A  Dungeon  Horrible"  and  "The  Infernal   Serpent."    Also  included  among  the  enclosed  are  some  postcards  and  the  broadsheet   Terrance  has  worked  up  for  a  modest  cost  (a  well-­‐conceived  idea,  which  I  hope  makes  it  into   the  schools).    In  addition,  I  included  some  copies  of  the  wonderful  “invitation”/now  “note   cards”  designed  by  Terrance  in  my  honor,  along  with  a  copy  of  the  DVD,    “John  Milton's   Paradise  Lost:  Art  &  Recitation  By  Terrance  Lindall”  with  “Music  By  Peter  Dizozza,”  2008,   which  I  bought  via  eBay  from  the  WAH  Center  before  I  got  to  know  Terrance.     Included,  too,  is  a  copy  of  Terrance’s  presentation  to  me  of  a  copy  of  his  evolving  drawing  of   “The  story  of  my  [i.e.,  his]  adventures  in  Paradise  Lost.”    I  think  you  will  enjoy  it.     I  became  very  impressed  with  Terrance’s  illustrations  of  Paradise  Lost  when  I  bought  a  copy   of  his  privately  printed  book  in  1983:  “John  Milton’s  Paradise  Lost  synopsized  and  with   illustrations  by  Terrance  Lindall.”    Little  did  I  know  then  how  precious  that  copy  is,  certainly   in  its  content,  but  also  in  its  rarity,  since  it  was  privately  printed  in  a  limited  edition.     Since  then,  I  have  had  the  good  fortune  of  getting  to  know  Terrance  personally,  to   understand  something  of  his  well-­‐deserved  reputation  as  an  artist,  and  to  recognize  in  him   an  ardent  commitment  to  Milton,  and  a  fierce  desire  to  share  Milton  with  younger  students   (something  rarely  done,  particularly  when  it  comes  to  Paradise  Lost!).    All  of  this  is  most   admirable  and  will  develop  future  generations  of  students  of  Milton  as  well  as  many  others   who  will  always  remember  their  exposure  to  one  of  the  truly  great  poets  of  England  and  of   the  English  language.     Terrance’s  greatest  gift,  however,  is  his  series  of  illustrations  of  Milton’s  great  epic.    They  are   unique  and  as  such  provide  us  a  new  approach  to  appreciating  Milton  as  the  visionary  poet   he  is;  a  great  gift  and  a  most  unanticipated  one,  to  be  sure!    It  is,  to  adapt  a  cliché  of  our  time   to  serve  a  more  noble  use  here:  a  gift  which  keeps  on  giving.    


In the  process  of  my  coming  to  know  Terrance  and  some  of  his  goals,  we  have  agreed  to   work  on  a  project  together  with  the  WAH  Center.    It  is  a  rare  privilege  for  me  to  work  with   someone  as  talented  and  as  devoted  to  Milton  as  Terrance  is.    The  devotion  to  Milton  is   something  we  share  in  common;  we  also  share  a  common  background  of  having  spent  time   in  Minneapolis,  MN.     I  was  delighted  to  see  one  of  Terrance’s  illustrations  used  by  you  and  your  colleagues  in   your  edition  of  “Milton’s  poems  and  major  prose.”    I’ve  already  told  you  how  much  I  like   your  edition  and  how  proud  I  am  of  your  involvement  in  it.     I  was  also  delighted  to  learn  that  Holt  Rinehart  &  Winston  is  using  one  of  Terrance’s   illustrations  of  Paradise  Lost  in  their  2009  high  school  textbook  series,  entitled  “Elements   of  Literature,  Sixth  Course.”     More  later  on  the  project  Terrence  and  I  are  working  on  together  with  the  WAH  Center.     For  now,  let  me  tell  you  once  again  how  good  it  was  to  see  you  last  Fall  and  that  I  hope  we   will  have  occasion  to  see  each  other  again  sometime  soon,  perhaps  at  Mufursboro  again   this  Fall.    I  remain  very  proud  of  you  and  your  accomplishments,  which  are  many,  and  I  am   confident  that  Milton  is  in  good  hands  with  you  and  also  that  you  will  continue  to  serve   Milton  very  well  in  the  classroom  and  in  various  other  ways.    Notre  Dame  doesn’t  realize   how  fortunate  it  is  to  have  you.       Fondest  regards,        


From: Terrance   Subject:  I  did  not  have  time  to  say...   To:  "Robert  J.  Wickenheiser"     Date:  Wednesday,  June  3,  2009,  9:18  AM     Dear  Bob:     I  was  in  a  rush  yesterday,  so  i  did  not  say  how  wonderful  the  full  color  brochures  are.  I  love   the  fact  that  it  says  that  you  are  the  "uncontested  premier  collector"  of  Milton!!!     So,  next  week  I  take  my  paintings  out  of  storage  to  photograph.  During  summer  Yuko  &  I  will   design  the  plates  for  the  boxed  set.     Amanda  Husberg  is  finalizing  the  "Celebration  Oratorio"  (my  requiem).  She  wants  to  present   it  in  a  local  historic  church,  which  is  able  to  seat  400  people.     Hope  you  and  Pat  are  enjoying  the  early  summer.     Warmest  Regards,  Terrance     PS:  Thanks  for  the  US  Airways  Mag  about  Brooklyn  and  the  SCU  bulletin  on  the  "Imagining   Paradise"  exhibit.  All  goes  into  our  own  tiny  Milton  collection.        


Wickenheiser Collection  Brochure  Front  


From:  Terrance   Subject:     New  project   Date:     September  22,  2009  11:16:52  AM  EDT   To:     Robert  J.  Wickenheiser       Dear    Bob:       I  thought  you  might  like  to  be  the  first  to  know  about  the  new  Paradise  Lost    project.  It  is   a  scroll  containing  one  of  my  "complete"  versions  of  PL.  It  is  4  feet  long  with  8  miniature   insets  plus  many  other  little  cartouches  amidst  the  text,  which  is  below  the  miniatures.       The  scroll  reads  from  right  to  left  like  a  Torah  scroll.  The  upper  portion  of  the  scroll   contains  the  miniatures.  The  bottom  part  is  the  text  that  begins  with  a  picture  of  Milton   reciting  to  his  daughter  who  is  transcribing.       The  opening  panel  is  an  angel  wrestling  with  a  snake  as  a  cloud  exuding  lighting  bolts   over  the  Garden  of  Eden.  The  last  panel  is  a  library  with  a  monk  named  Wickenheiser   holding  a  book.  The  vaulted  ceiling  of  the  library  leads  up  to  the  second  coming  of  Christ   surrounded  by  Apostles  and  the  learned  men  Leonardo,    Plato,  Socrates  and  some  others.   Below  you  can  see  the  size  of  the  panels.  Note  above  my  index  finger  there  is  gold  leaf.  It   will  be  fully  illuminated.       The  concept  is  exciting  for  me  and  it  is  all  laid  out.  It  will  take  a  long  time  to  do.  I  have  not   committed  this  to  the  Foundation  and  may  keep  it  with  me,  since  it  is  small.  Or  maybe  if   someone  has  a  million  dollars  for  the  foundation  I  will  sell  it.  Otherwise  it  goes  to  the   Yuko  Nii  Foundation.     The  spindle  will  have  crown  finials  with  emeralds  and  rubies.       I  may  never  get  my  elephant  folio  done  to  my  satisfaction,  but  I  will  have  done  a  pretty   good  body  of  original  art  for  PL.  Maybe  more  than  any  other  artist  in  history.  Only  you   know  if  that  is  true.       This  scroll  will  be  exhibited  with  our  "Book  Art"  show  next  September.  In  another  email  I   will  send  the  draft  idea  of  the  show  .  We  changed  the  date  from  May  since  the  show  is   going  to  be  a  very  big  production.  Best,  Terrance    


From:  Yuko  Nii  <>   Subject:  Your  panel   Date:     September  24,  2009  11:34:38  AM  EDT   To:     Robert  J.  Wickenheiser          Dear  Bob:     I  thought  you  might  like  to  see  the  panel  in  the  painting  that  contains  you  in  the  library.  Just   an  oil  sketch  at  the  moment.  The  vault  in  the  ceiling  is  composed  of  books  and  the  stair   leading  up  to  heaven  and  the  2nd  coming  of  Christ  is  made  of  BOOKS!   Knowledge  is  vindicated!  I  am  thinking  about  including  Satan  redeemed  in  the  cluster   around  Christ.  Satan  has  served  His  purpose  and  God  is  all  forgiving.  I  guess  that  goes   against  scripture?     PS:  This  is  the  first  time  I  have  documented  the  process  of  painting  a  picture.  That's  the   Virgin  Mary  &  Child  in  blue  garb  at  the  top  in  the  niche  above  the  angel.     There  is  an  angel  above  your  head  beatifying  you!      


From:  Robert  J.  Wickenheiser     Subject:     Re:  Your  panel   Date:     September  25,  2009  11:00:48  PM  EDT   To:     Terrance     Dear  Terrance,     You  are  not  reaching  at  all,  and  I  am  honored,  truly  I  am,  to  be  in  your  corner,  sharing  your   ideas,  and  assisting  you  in  moving  those  ideas  forward.         It  has  always  been  too  easy  by  many  of  my  colleagues  to  argue  that  Milton  is  of  the  school  of   Satan,  unknowingly,  of  course.    This  and  other  ideas  like  it  have  been  argued  far  more  than  I   care  to  reiterate  or  respond  to  in  words.    One  can  see  in  this  how  the  artist  views  things   differently  and  captures  his  views  in  art,  not  words,  views,  I  would  argue,  that  are  more   often  reflective  of  what  Milton  intends  in  his  great  epic  which  is  visionary  in  an  artistic  way   more  than  in  the  ways  of  the  writer,  philosopher,  or  critic  (who  took  hold  in  the  18th   century,  as  you  know,  when  Milton  was  torn  apart  and  often,  as  with  Johnson,  "praised"   only  because  it  is  the  correct  thing  to  do,  while  subtly  critiquing  the  poet  and  his  works.     Milton  wrote  poetry  to  envision  what,  in  later  life,  he  no  longer  saw  except  within  and  as   captured  in  his  great  poetry.    He  wrote  poetry  for  one  great  purpose  and  he  wrote  prose   when  he  chose  to  express  his  thoughts  and  views  about  the  great  issues  that  have  plagued   mankind  through  the  ages  or  when  he  wanted  to  express  himself  about  that  which  had   obviously  reflected  upon  and  wanted  to  express  in  the  correct  medium:  prose;  including  his   great  defense  of  freedom  of  the  press  and  of  thought,  or  of  issues  relating  to  kingship,  and   much  more.    I  am  also  a  strong  advocate  that  Milton  wrote  in  the  medium  he  thought  most   correct  for  what  he  wanted  to  say  along  with  how  he  wanted  to  say  it;  and  I  do  not  believe   that  he  wrote  in  one  form  (prose)  to  clarify  and  pass  along  his  ideas  that  he  tried  also  to   write  in  another  form  (poetry).    Milton  knew  what  he  was  doing,  and,  my  good  friend,  you   express  it  well  in  few  words  that  I  wish  I  had  said  first  to  you.      


Since Yuko  has  already  co-­‐opted  your  scroll  for  the  foundation,  any  possibility  of   me  getting  hold  of  a  second  copy,  or  working  copy,  whatever?  More  on  that  as   well.     I  look  forward  to  talking  to  you  about  all  of  this.    Can  we  do  it,  perhaps,  in   connection  with  my  speaking  at  the  Center  next  September?    After  everything:  is   done:  costume  ball,  dinner,  my  talk,  Herbert  Weitz’s  talk,  the  public  aspect  of  your   marvellously  conceived  exhibit  on  “Art  and  Book.”    This  way  we  can  devote  our   full  attention  to  your  expression  of  ideas  here  and  in  other  of  your  emails.     Incidentally,  I  think  some  of  the  things  I  mentioned  bringing  along  will  fit  various   of  the  categories  delineated  for  entries  in  the  exhibit,  particularly  “#2)  FINE  ART,     PAINTINGS  SCULPTURE  ETC.,  THAT  INCORPORATES  THE  CONCEPT  OF  THE   BOOK.”     Forgive  my  going  on  so  long.    If  I  haven’t  told  you  before,  let  me  do  so  here:  Pat   and  I  will  be  driving  back  to  MN  and  ND,  to  visit  family,  attend  a  family  wedding,   and  generally  return  to  our  roots  and  origins,  including  a  return  to  my  monastery.     We  will  be  gone  for  some  two  weeks  and  then  when  we  return  I  go  to  TN  for  a   Milton  Conference  and  at  the  end  of  the  month  to  South  Carolina  for  the   announcement  of  two  major,  singular,  and  unique  paintings.    (More  on  the   announcement  shortly,  but  it  really  is  big!)     Kindest  regards,   Bob    


From:  Terrance   Subject:     Scroll  update   Date:     October  25,  2009  9:32:29  AM  EDT   To:     Robert  J.  Wickenheiser             Bob:   Just  showing  the  progress.  Lots  of  work  to  do!  Terrance      


From:  Terrance   Subject:  My  basic  philosophy,  probably  evolved  since  2001   Date:     November  2,  2009  12:15:08  PM  EST   To:     Robert  J.  Wickenheiser         Bob:  Follow  this  link  to  my  basic  arguments. Gdj&hl=en     I  may  have  modified  them  over  the  years  since  2001.  I  developed  this  essay  in  debate   with  two  people:  Mark  Daniel  Cohen,  co-­‐founder  of  the  Nietzsche  Circle  and  Robert  Sagerman,  a   mystic  of  the  Kabalah. Gdj&hl=en     Excerpt  Lindall's  thinking:     Now  allow  me  to  posit  the  final  contradiction  that  reveals  the  truth  in  that   dialectic  I  was  talking  about:  BEING  AND  NOTHINGNESS  ARE  THE  SAME  THING.   Both  East  and  West  have  known  this  for  a  long  time.  SEIN  UND  GEIST,  SEIN  UND   DASEIN!  All  thought  and  existence  revolves  around  these  ideas.  The  gates  of   the  universal  computer:  on  and  off,  one  and  zero.  And  we  see  it  most  aptly   expressed  in  the  imposing  Morse  code  of  Richard  Humann’s  work.  The  binary.   But  the  binary,  the  dualism  of  the  world,  is  an  illusionary  idea  necessary   to  the  creation  of  perceptions.  In  fact,  being  and  nothingness  are  the  same   thing!  A  great  mystery!  The  proof  of  this  comes  from  analytic  philosophy   which  asks  whether  "existence"  is  a  predicate!  If  we  think  about  something   that  exists  and  conceptually  remove  all  of  the  qualities  (hardness,  redness,   etc.)  leaving  only  the  quality  of  "existence,"  we  find  that  only  "nothing"   is  left!  So  too  the  perceiver  and  the  perceived  are  one.  As  Hume  pointed   out,  we  are  merely  "bundles  of  perception"  perceiver  can  be  proven  to   exist.  If  a  person  in  contemplating  the  perceiver  and  the  perceived,  removes,  by   process  of  reason,  all  perceptions,  nothing  is  left;  therefore  the   perceiver  (the  self)  does  not  exist...  the  "I"  does  not  exist.  We  who  think   that  we  are  free,  our  freedom  is  not  even  "ours"  for  we  do  not  exist  apart   from  what  we  perceive.  That  we  use  words  like  "I"  is  a  foolish  convenience   because  we  cannot  grasp  truth,  and  the  convenience  of  such  terms  or   expressions  allows  us  to  communicate.  It  is  like  the  use  of  imaginary   numbers  in  mathematics.  See,  "communication"  and  it’s  contradictions  are   what  this  is  all  about!  The  solipsist  says  that  "only  the  ‘I’  exists."  I   deny  him  even  that!    


Ultimately we  cannot  break  out  of  the  dualistic  world  by  which  we  define  all   things.  Quine,  up  at  Harvard,  attempted  to  invent  a  new  logic  circumventing   the  paradoxes  inherent  in  non-­‐contradiction.  Mixed  results.  And  since   computer  thinking  is  based  upon  the  binary,  the  computer  probably  cannot   transcend  it’s  own  makeup.  In  that  sense,  the  whole  is  no  more  than  the  sum   of  it’s  parts.  And  fractal  geometry  suggests  the  same.       Ultimately,  since  we  are  immersed  in  duality  since  all  our  thinking  is  based   upon  it,  and  we  cannot  escape  it’s  snares,  we  are  left  with  what  we  had  in   the  beginning:  blind  of  belief!!  Sagerman’s  mysticism!  There   are  mysteries  we  cannot  fathom.  Our  science  is  the  religion  of  faith  in   duality  and  it’s  mysteries.  The  support  for  this  "strange  universe"  can  be   attributed  to  God  as  Truth,  as  in  Richard  Humann’s  significantly  substantial   support  for  the  dots  and  dashes  of  the  binary  (representing  the  duality   which  gives  meaning  to  the  world)!  If  we  are  looking  for  Truth  about  these   deep  mysteries,  look  to  Richard’s  work!       Plato,  in  his  Theory  of  Forms,  talked  about  this  world  being  mere  shadows   cast  by  perfect  ideas.  Perhaps  he  had  the  right  idea.  St.  Anselm’s   ontological  proof  of  God,  an  a  priori  proof,  and  thus  irrefutable,  again   talks  of  perfect  ideas.  But  the  proof  comes  out  of  the  principle  of   non-­‐contradiction  and  the  inherent  flaws  of  dualism.  Ultimately  faith  may  be   the  only  answer!!  Faith  is  a  "system  of  belief."       Sagerman  looks  at  the  act  of  creating  art  as  "being  steeped  in  the  process   of  being  in  a  state  of  belief."  There  is  something  really  significant  here,   and  more  is  discovered  at  every  turn  through  the  eyes  of  the  these  artists.   The  artists  here  are  mystics  and  ontologists  and  epistemologists.  All  that   an  ideal  artist  can  be  is  envisioned  here.    


From:  Robert  J.  Wickenheiser     Subject:     Re:  from  Terrance   Date:     November  11,  2009  4:02:59  PM  EST     Dear  Terrance,     I  agree  and  only  wish  that  at  times  like  this  I  could  hail  a  taxi  from  where  I  live  and  join  you  for   a  bit  viewing  this  splendid  exhibit  –  and  to  think,  all  are  from  your/Yuko’s's  permanent   collection.    How  can  one  not  be  impressed  or  wish  to  see  the  collection  continue  to  grow,   particularly  because  of  the  remarkable  eye  for  quality  of  Yuko  and  you  supporting  her.     I  need/and  want  to  respond  to  several  of  your  wonder  emails  that  awaited  my  return  from   South  Carolina,  but  let  me  just  say  here  that  I  was  reviewing  your  life,  as  written  by  various   sources  I'm  sure,  but  in  any  case  I  have  learned  the  following,  all  of  which  knew  before  but   which  is  now  in  some  kind  of  organized  shape  in  my  head:     "Lindall  attended  the  University  of  Minnesota  and  graduated  magna  cum  laude  from  Hunter   College  in  New  York  City  in  1970,  with  a  double  major  in  Philosophy  and  English  and  a  double   minor  in  Psychology  and  Physical  Anthropology.  He  was  in  the  Doctor  of  Philosophy  program  in   philosophy  at  New  York  University  from  1970  to  1973.  He  is  listed  in  Marquis  "Who's  Who  in   America  2006."  Information  about  this  artist  is  also  on  file  in  the  Smithsonian  Institution   Library  Collection."     I  believe  we  were  destined  to  meet:  as  with  you,  my  undergraduate  degree  shows  a  double   major  in  Philosophy  and  English,  with  minors  in  Latin  and  Journalism.    I  may  have  graduated   summa,  as  you  did,  but  I  don't  believe  that  I  can  hold  a  candle  to  you.    I  admire  the  depth  of  your   interests,  which  in  turn,  contributes  to  your  writing  and  thinking  and  ultimately  to  your  art,  all   of  which  set  you  apart  in  substantive  ways  from  other  contemporary  artists.    I  stopped   worrying  about  being  in  "Who's  Who"  after  being  in  many  of  them  from  the  1970s  on.    My   point,  though,  is  that  our  interests  are  shared  in  many  areas  and  grow  out  of  our  undergraduate   education  I  believe.      Know  how  grateful  I  am  that  we  share  as  much  as  we  do  and  that  you  are  interested  and   involved  with  someone  like  me.    I  especially  appreciate  your  taking  away  from  my  Introduction   to  my  book  the  important  detail  that  I  want  to  know  what  artists  of  each  period  or  age  think  of   Milton  and  what  influences  their  thinking;  that  the  image  or  painting  says  so  much  more  than   the  essay  and  does  so  in  a  way  that  I  do  not  believe  has  been  as  appreciated  as  much  as  it   should.    This  is  where  had  hoped  to  enter  Milton  studies  in  a  big  way,  but  alas!,  I  allowed  25+   years  of  presidential  service  get  in  the  way.    It  is  now  all  the  more  joyful  to  do  what  I  have  truly   loved  doing  and  to  do  so  with  someone  like  you  taking  an  interest  in  me  virtually  from  the   beginning  of  my  return.     In  the  spirit  of  our  on-­‐going  sharing  of  ideas  designed  to  serve  the  same  goal:  i.e.,  to  help  define   how  artists  through  the  ages  have  viewed  Milton  and  how  this  view  represented  or  reflected   the  culture  of  the  age  while  simultaneously  influencing  that  culture.     More  anon!   BOB       45  

On Dec  11,  2009,  at  3:23  PM,  Robert  J.  Wickenheiser  wrote:     Terrance,     Well  put,  although  what  a  challenge.    May  I  ask  if  Yuko  would  have  a  problem  with  you   giving  me  a  signed  COPY  of  the  scroll,  this  way  I  could  have  it  bound  in  a  style  Bob  Roberts   already  has  worked  out.     Thanks,   Bob     On  Dec  11,  2009,  at  3:23  PM,  Robert  J.  Wickenheiser  wrote:   From:  Yuko  Nii  <>   To:  Robert  J.  Wickenheiser     Sent:  Fri,  December  11,  2009  3:59:48  PM   Subject:  Your  Great  Idea     Bob:       I  asked  Yuko  a  while  back  and  Yuko  already  said  you  can  have  a  printed  copy,  if  that's  what   you  mean;  AND  THEN  YOU  CAN  HAVE  ME  SIGN  IT  AND  YOU  BIND  IT.  I  recommend  you   send  out  for  a  giclee  print,  the  highest  quality  printing.  It  will  be  a  simple  printing  job,  like   printing  a  long  big  photograph.  May  take  some  simple  graphic  design  work  by  Orin  Buck   our  designer.  I  can  send  you  some  good  photography  and  let  you  run  from  there  or  have   Orin  send  your  a  PDF  file.       I  will  inform  Yuko  that  this  is  part  of  our  mutual  project  to  raise  money  for  her   Foundation..  You  will  have  the  salesman's  sample  of  the  production  at  your  expense,  which   will  be  minimal.  We  can  limit  the  edition  to  maybe  2000  signed  and  numbered.  What  do   you  think  of  a  price?  Maybe  $1-­‐2000?  I  guess  we  have  to  find  out  the  exact  cost  of  printing   and  binding.  We  can  then  do  it  one-­‐off  as  we  get  orders.  If  we  can  sell  1000,  we  have  our   million,  less  expenses.  Every  major  library  of  classical  lit.  should  want  one.  My  Youtube   video  passed  50,000  hits  and  is  getting  about  100  hits  a  day  now.  Know  a  publisher  who   wants  to  make  money?       Thanks  for  coming  up  with  the  idea  to  fund  the  Yuko  Nii  Foundation.  I  am  sure  Yuko  will   be  appreciative.  I  will  run  it  by  her  at  my  earliest  opportunity.      


The last  three  panels  of  the  scroll  with  24  k  gold  borders  


Eventually I  finished  the  Gold  Scroll  of  Paradise  Lost  and  announced  a  sale  of  limited   edition  Giclee  prints,  one  limited  to  ten  full  size  at  $5,000  each  and  a  smaller  size  edition   of  100  for  $2000  each. I  started  getting  phone  calls.  One  was  from  the     National  Trust  Library  in  New  Zealand,  which  surprised  me.  Also,  another  famous   Professor  /scholar  Joe  Wittreich  bought  three  of  the  smaller  versions  for  the  Huntington   Library,  The  Universities  of  Pennsylvania  and  Tennessee.     A  sent  one  of  the  signed  full  size  copies  to  Bob  for  his  collection.       From:    Robert  J.  Wickenheiser  <>   Subject:     WOW!   Date:     July  23,  2010  8:13:44  PM  EDT   To:     Yuko  Nii     WOW!    No  matter  what  else  any  day  might  bring,  NOTHING  brings  as  much  joy  and   happiness  as  mail  from  you.     Can  you  let  me  know  what  phone  number(s)  I  can  best  reach  you  at!    I  tried  calling  you   after  receiving  my  mail  today  and  your  package  in  it.    I'd  rather  wait  and  save  my   comments,  etc.,  to  discuss  with  you  personally  (over  the  phone)  how  overwhelmed  I  was   by  your  enclosures.     Call  me  please  anytime  tomorrow,  I'll  be  working  at  my  desk  all  day.     I  also  want  to  confirm  the  purchase  by  Patrick  Scott  of  one  of  the  two  remaining  special   copies.    He  will  contact  you  this  week.    PLEASE,    PLEASE,  hold  one  for  him.     More  when  we  talk  tomorrow,  okay.         To  say  thank  you  is  too  little,  by  far,  but  I  say  it  and  mean  it.    I  will  always  cherish  our   friendship  and  our  working  together.     Take  care,   Bob  


The Scroll  was  finished  and  I  made  the  announcement:     From:  Yuko  Nii  <>   Date:  December  18,  2009  10:29:09  AM  EST   To:  Yuko  Nii  <>   Cc:  Yuko  Nii  <>   Subject:  JOHN  MILTON'S  PARADISE  LOST  -­‐  THE  GOLD  ILLUMINATED  SCROLL     The  Yuko  Nii  Foundation  at  the  Williamsburg  Art  &  Historical  Center  is  pleased  to   announce:     JOHN  MILTON'S  PARADISE  LOST  -­‐  THE  GOLD  ILLUMINATED  SCROLL     Terrance  Lindall  in  his  year  long  celebration  of  John  Milton's  400th  birthday,  which  started   on  December  8,  2008,  has  just  completed  as  of  December  8,  2009,  what  is  considered  by  the   few  who  have  seen  it  already  to  be  the  most  unusual  painting  for  Milton's  Paradise  Lost   ever  done.    It  is  in  the  form  of  a  scroll  that  reads  from  right  to  left  like  a  Torah.       The  scroll  is  now  in  the  Milton  collection  at  the  Yuko  Nii  Foundation.  It  contains  one  of   Lindall's  "complete"  versions  of  PL.  It  is  14  inches  high  with  24  K  (23.75)  gold  illuminated   miniature  inset  paintings  plus  many  other  cartouches  of  the  Bodleian  Library,  the  Visionary   Foal,  Milton  dictating,  Nemo's  submarine,  etc.         The  scroll  begins  with  the  great  omniscient  eye  of  God  in  the  upper  right  hand  corner.  In  the   iris  of  the  eye  reads  “THE  WORD.”  Below  the  eye  is  the  Tree  of  Life,  roots  extending   upwards  with  a  bird  of  paradise  perched  atop.  The  Tree  of  Life  becomes  a  vine  that  twines   across  the  bottom  of  the  scroll.  The  upper  portion  of  the  scroll  contains  the  miniature   paintings  depicting  scenes  from  Milton’s  epic.  The  bottom  part  is  the  text  that  is  only  to  be   read  as  captions,  not  complete  Miltonic  quotes.     The  opening  panel  shows  an  angel  wrestling  with  a  snake  over  the  Garden  of  Eden  and   piercing  the  serpent  with  his  sword.  The  angel  and  serpent  are  in  the  form  of  a  cloud  and   the  sword  piercing  the  serpent  delivers  gold  lighting  bolts…portending  the  tragedy  that  is   to  come.     At  the  bottom  in  the  next  panel  Milton  is  dictating  Paradise  Lost  to  his  daughter,  giving  birth   to  the  serpent  with  a  burst  of  flame  from  his  forehead  like  Athena  from  the  head  of  Zeus  or   Sin  from  the  head  of  Satan.  A  bottle  is  pouring  forth  a  stream  water  that  symbolizes  the   purity  of  God's  Spirit  or  God’s  “Historical  Will.”  It  flows  throughout  the  panels  beneath  the   Pillars  of  the  Universe.  The  water  also  represents  Milton’s  reputation  which  starts  off  small   and  by  the  19th  century  becomes  an  ocean  in  which  we  see  Captain  Nemo's  19th  Century   submarine  Nautilus.  Nemo  is  somewhat  like  Satan,  rebelling  against  what  he  perceives  as   the  injustice  of  a  greater  power.    


There is  a  mysterious  winged  creature  riding  the  Visionary  Foal  at  the  bottom  of  the   panels.  The  Visionary  Foal  is  an  aspect  of  the  omniscient  God.  At  the  end  of  the  scroll  we   see  who  the  mystery  rider  is:  it  is  none  other  than  Satan  himself  who  has  been  performing   God’s  work.  He  has  been  redeemed  because  God  has  used  him  to  seduce  Adam  and  Eve  so   God  could  actualize  his  Divine  Grace  and  Mercy  by  having  His  alter  ego,  His  Son,  sacrifice   Himself  and  take  the  sins  of  Adam  &  Eve  back  upon  himself.  God’s  mercy  is  not  perfect  if  it   is  not  actualized,  and  Satan  has  helped  actualize  (perfect)  it  by  rebellion  and  seduction   thus  initiating  God’s  perfect  mercy.    But  God’s  Mercy  being  infinite,  God  has  also  redeemed   Satan  who  leans  back  upon  the  Heavenly  Foal  in  the  next  to  last  panel.  Satan  is  back  to   Satan's  former  self,  no  longer  ruined.  A  rainbow,  the  promise  of  God,  over  Cavalry  Hill   confirms  the  redemption  or  promise  of  His  Perfect  Mercy.       The  last  panel  is  a  library  with  a  Benedictine  monk  named  Wickenheiser  holding  a  book.   Wickenheiser  is  the  Universal  Librarian,  maintaining  the  records  of  Man’s  great  thoughts   and  works  recorded  in  books,  especially  those  of  John  Milton.  The  vaulted  ceiling  of  the   library  becomes  a  stairway  composed  of  books  leading  up  to  the  second  coming  of  Christ   surrounded  by  Apostles  and  the  learned  men  Davinci,  Plato,  Socrates,  Newton  and  others.   Knowledge,  forbidden  by  God  to  Adam  &  Eve  as  a  test  of  their  obedience  to  Goodness,  has   been  vindicated  and  redeemed  for  and  through  Man  by  God’s  Grace.  Note  that  another   bottle  of  water  on  Wickenheiser’s  library  table  pours  the  spirit  of  God’s  Will  and  Milton’s   reputation  back  into  the  scroll  the  opposite  way  from  the  bottle  at  Milton's  feet.  It   represents  the  fact  that  by  Wickenheiser's  building  of  the  great  Milton  collection   Wickenheiser  has  sustained,  preserved  and  reestablished  Milton's  reputation  until  the   end  of  time.   I   n  the  upper  left  hand  corner  of  the  scroll,  the  great  eye  of  God  has  closed!  “I  am  the  Alpha   and  Omega,  I  am  the  Beginning  and  the  End,”  so  sayeth  the  Lord,  “  I  am  the  Almighty.”   Thus,  as  God  opens  the  universe  with  His  Great  Eternal  Eye  and  THE  WORD,  He  also   closes  His  Great  Eternal  Eye  at  the  end  of  time,  and  nothing  more  is  perceived  about  our   universe!     About  Lindall's  philosophy:  he  adheres  to  the  precept  “esse  est  percipi”(per  George     Bishop  Berkeley).  There  is  no  proof  that  anything  exists  outside  of  perception  or  idea.   Even  today,  physicists  have  come  to  the  conclusion  that  the  subbasement  to  the  “material   universe”  is  composed  of  “events.”  Events  are  things  perceived.  As  Leibnitz,  the  inventor   of  the  infinitesimal  calculus,  explains,  “we  are  all  aspects  (thoughts)  of  the  mind  of  God.”   Thus  the  great  eye  of  God  in  my  art  and  the  large  eye  of  the  Visionary  Foal  represent   Perceptions  in  the  Mind  of  God.  All  is  Perception;  all  is  God.  There  is  much  more  to   Lindall's  philosophy,  but  that  explains  a  point  in  his  scroll.  For  further  reading  on  Lindall's   philosophy:      


The brochure  announcing  the  Gold  Scroll  


The Yuko  Nii  Foundation  is  working  with  Dr.  Robert  J.  Wickenheiser  to  produce  full-­‐scale   facsimiles  of  this  scroll.    The  facsimiles  will  come  with  options  for  the  collector:   1)        Signed  by  Terrance  Lindall  with  a  signed  letter  from  Robert  Wickenheiser  explaining   the  work  and  authenticating  the  facsimile.    Bound  in  leather  with  gold  tooling  and  die   (from  the  Schunke  collection)  stamped  (gold)  with  the  coat  of  arms  of  Katherine  of  Aragon.   The  painting  will  have  a  silk  protective  covering.  Facsimile  will  be  on  paper  or  vellum,  per   choice  of  collector.  This  is  a  very  high-­‐end  limited  edition  and  can  be  ordered  through   Robert  Wickenheiser  or  directly  from  the  Yuko  Nii  Foundation.  These  are  produced  one  at   a  time  and  only  a  very  limited  number  will  be  done.   2)  Various  levels  of  printed  reproduction  and  various  bindings  or  no  binding.       I  began  to  receive  accolades:     Please  tell  Terrance  that  this  work  is  just  absolutely  amazing.  Congratulations!"  The  Baron   of  Fulwood,  Scotland     "Thanks  so  much  for  the  link  to  the  YouTube  video.    I  think  you  are  rather  overemphasizing   the  24k  gold  leaf,  because  the  real  "gold"  lies  in  the  perceptions  incorporated  in  the  artist's   concepts.  This  is  the  best  since  Blake  and  Doré."  Nancy  Charlton,  Milton  Lists     "Thanks,  Nancy,  for  your  detailed  and  helpful  interpretation  of  this  impressive  work."  Dr.   Salwa  Khoddam,  Oklahoma  City  University     "Terrance:  Would  that  Milton  had  been  as  rich  in  writing  about  his  great  epic  as  you  have   been  about  everything  you  have  written  about  your  scroll  and  the  inspiration  for  it.    I  don't   mean  to  sell  Milton  short  by  any  means  because,  like  all  great  artists,  somewhere  in  his   writing  can  be  found  his  own  profound  reasons  for  what  he  has  done  and  why  he  did  it.    In   this  you  stand  side  by  side  with  the  great  bard  in  wanting  your  paintings  to  be  appreciated   and  understood."  Dr.  Robert  J.  Wickenheiser,  19th  President  of  St.  Bonaventure   University     -­‐-­‐Terrance,  this  is  stunningly  beautiful!    There  is  so  much  to  look  at-­‐-­‐  both  traditional  and   intriguingly  mysterious.    It  really  makes  me  think  of  Blake's  "Marriage  of  Heaven  and  Hell",   as  well  as  some  of  the  Serbian  iconography  I've  been  looking  at  recently  in  the  monasteries   of  Fruska  Gora  (do  you  know  I'm  on  a  Fulbright  in  Serbia  right  now?    We  haven't  caught  up   in  a  long  time).    I  visited  the  ancient  monastery  and  chapel  of  Hopovo  just  last  weekend-­‐-­‐   and  the  brilliant  colors  of  the  figures  crowding  into  the  inner  sanctum  recall  your  powerful   sunsets  and  energetic  (yet  static)  figures.     Hoping  all's  well  on  your  side...  zdravo,     Professor  Karen.  Karbiener.  New  York  University  


Bob agreed  to  write  and  introduction/commentary  for  a  special  “elephant”  folio  I  wanted   to  produce:       From:    Robert  J.  Wickenheiser  <>   Subject:  Re:  Satan,  Sin  &  Death   Date:     August  1,  2010  4:06:44  PM  EDT   To:     Terrance     Dear  Terrance,     Your  first  painting  for  PL  is  remarkable  and  raises  question  we  might  want  to  pursue   about  the  artist  and  his  art,  choice  of  subjects,  etc.:  if  only  we  could  have  done  30  years   ago  what  there  just  isn't  enough  time  to  do  as  we  get  older  and  wiser.     Imagine  my  approach  (vs  yours)  that  viewing  PL  from  the  eye  and  paintings  of  the  artist;   you  have  a  different  view  as  expressed  fairly  strongly  in  the  email  you  sent   accompanying  your  last  couple  of  emails.     So  often  the  artist  turns  to  "Satan,  Sin,  &  Death"  as  their  first  painting  for  PL.  Sometime  I   would  love  to  talk  with  you  about  what  you  say  in  your  accompanying  essay  regarding   the  writer's  approach  viz  a  viz    the  artists.     I  would  like  to  show  how  the  view  of  the  artist  surpasses  the  view  of  the  writer,  or  at   least  surpasses  the  writer's/critique's  expression,  as,  e.g.,  John  Martin.     As  I  said,  if  only  there  were  more  time.     I  finished  my  essay  you  requested.    I  have  done  as  you  suggested:  I  have  printed  and   signed  4  copies.    I  will  send  them  shortly.    I  owe  you  so  much  for  all  that  you  have  passed   along  to  me.    I  do  hope  you  will  use  the  essay,  not  just  because  I  worked  so  hard  on  it,  but   because  it  provides  a  counterpoint  to  what  you  say  in  your  text,  much  as  I  like  what  you   say.    Please  read  it  well;  there  are  some  major  changes  and  I  believe  the  prose  flows  as  I   always  want  prose  to  do.    Do    with  it  as  you  wish.     More  anon!   Bob  


From: Terrance   To:  Robert  J.  Wickenheiser     Sent:  Mon,  August  2,  2010  9:20:44  AM     Dear  Bob:     I  was  thinking  of  doing  a  scroll  as  a  modernist  interpretation  of  PL.  It  would  not  be  useful  as   pure  illustration  the  public  could  readily  understand  though.       Yes,  the  subject  of  the  artists  envisioning  VS  the  writer  is  one  that  should  be  developed  into  a   serious  scholarly  thesis.       Did  you  want  to  attach  your  finished  essay?  It  was  not  in  this  email.       Best,  Terrance       I  never  did  produce  this.    


I was  introducing  artists  to  Bob,  and  encouraging  them  to  do  portraits  of  him  and  other   things.    One  was  Bienvenido  Bones  Banez  and  another  was  Robert  Beal,  both  outstanding   fellow  artists.     Beal  was  great  at  drawings  and  etchings:      


Bienvenido was  also  a  master:  

Satan Leaping  for  Joy  


Sometimes Yuko  &  I  were  so  busy  we  forgot  our  birthday  celebrations.  In   2011  we  did  it  right  with  a  special  get  together  to  toast  our  nearly  50  years   working  together.  


From:  Robert  J.  Wickenheiser     Subject:  Re:  A  Peaceful  Afternoon  Birthday  Toast    for  Terrance  &  Yuko,  unveiling  of   Gold  Scroll  &  Honor  Portraits   Date:     October  4,  2010  4:08:47  PM  EDT     Dear  Yuko  and  Terrance,                                                                                                                                         I  join  you  in  your  special  toast,  grateful  for  the  honor  of  sharing  your  special  friendship.    To   your  toast  I  add  my  own  fondest  best  wishes  for  continued  great  success  over  a  long  and   fruitful  period  devoted  to  art.     I  sincerely  hope  that  your  “peaceful  afternoon  Birthday  toast”  will  serve  as  the  basis  for   moving  forward  and  achieving  even  greater  accomplishments  in  the  years  ahead.     I  regret  that  I  cannot  be  with  you  to  tell  you  in  person  how  strongly  I  feel  about  your   accomplishments  and  how  anxious  I  am  to  be  a  part  of  your  future,  alas!,  less  than  I  had   once  hoped,  but  nonetheless  in  other  ways  of  importance.      May  your  upcoming  celebration  of  the  arts  and  especially  of  Terrance’s  breathtaking   illustrations  of  Milton  be  successful  beyond  your  (and  my)  wildest  dreams.      I  remain  deeply  touched  by  your  many  kindnesses  to  me  with  respect  to  Milton      I  doubt  that  there  is  anything  I  do  not  have,  but  if  there  is,  PLEASE  let  me  know  so  that  I   can  acquire  them  before  anyone  else  does  -­‐-­‐  likewise  with  respect  to  other  art  items  being   displayed  and  for  sale.    As  you  say,  Christmas  is  just  around  the  corner.      To  say  that  I  am  overwhelmed  by  the  portrait  of  me  by  Bienvenido  Banez  (“Bones”  to  you)   is  sheer  understatement.    But  I  am,  to  be  sure,  and  I  always  will  be.    Now  I  feel  all  the  more   regretful  that  I  cannot  be  with  all  of  you;  but  perhaps  it  is  for  the  best  since  I  cry  at  sad  and   emotionally  happy  movies,  and  doubt  that  I  could  make  it  through  this  part  of  the   ceremony,  and  perhaps  any  other  part,  without  displaying  this  side  of  me.     Yuko  and  Terrance:  you  have  made  me  feel  more  special  than  anyone  else  has,  and  I  will   remain  grateful  to  you  always  and  in  ways  I  can  never  express  adequately  in  words  (here   is  where  the  very  real  need  for  the  artist  comes  in).           Fondly,     Bob      


October 8,  2010     Dear  Terrance,     As  you  admire  me,  so  I  admire  you  and  Yuko.  Both  of  you,  but  especially  you,  Terrance,  have   made  the  past  couple  of  years  remarkable  in  your  allowing  me  to  be  a  part  of  the  WAH   Center's  definition  and  growth.    Please  allow  me  to  continue  serving  the  WAH  Center  in   some  capacity,  whether  with  respect  to  the  Board.  or  in  some  other  way  you  think   appropriate.     Additionally,  I  genuinely  hope  that  you  and  I  can  continue  the  friendship  we  have  developed     based  on  Milton.    I  also  cannot  possibly  define  what  our  friendship  has  meant  to  me,  but  I  do   know  that  you  have  had  an  enormous  influence  on  me  and  my  life,  my  thinking  about   various  important  topics  I  would  otherwise  never  have  thought  of  with  respect  to  Milton,   and  so  much  more,  including  the  emails  you  just  sent  me  sharing  the  philosophical  thoughts   of  your  brother  and  your  consideration  of  them  and  more.     Please  know  that  I  care  about  all  of  this;  you  have  taught  me  a  great  many  things  and  I  would   like  very  much  to  continue  our  friendship,  perhaps  through  our  Sunday  evening  talks  (more   often  and  more  regularly),  but  in  other  ways  as  well  that  will  afford  us  the  opportunity  to   continue  sharing  thoughts  about  Milton  and  working  on  projects,  exciting  projects,  that  will   continue  to  bring  Milton  alive.     With  much  admiration  and  affection,   Bob       PS    FYI:  Pat  celebrates  her  birthday  on  October  8.    What  a  month!!  Your  kind  support  and   warm  love  have  uplifted  my  spirit.  Thank  you  very  much  Bobl!!!      


At the  back  of  my  mind  for  many  years  was  a  desire  to  produce  an  elephant  folio  of  my   synopsized  version  of  Paradise  Lost.  It  would  be  an  expensive  and  time-­‐consuming   project.  The  best  paper  was  to  be  purchased  from  Crane,  the  maker  of  paper  for  our   currency.    It  would  be  lush  with  24  k.  gold  leaf,  and  the  borders  of  giclee  prints  of  the   original  art  to  be  hand-­‐painted  pictorial  commentaries  on  the  subjects.       So  Bob  and  I  agreed  that  he  would  try  to  raise  the  money  for  this  gold  elephant  folio  of   Paradise  Lost.  He  began  soliciting  gifts  to  the  Yuko  Nii  Foundation  and  money  started   coming  through.  It  came  in  in  dribs  and  drabs,  $3,000  here,  $8000  there,  etc.  The  cost  of   the  elephant  was  substantial  for  him  even  though  I  was  giving  him  a  50%  discount.    He   also  agreed  to  write  a  major  introduction.     I  bought  a  large  format  printer  and  began  to  design  the  pages  on  my  computer.      


From: Terrance   To:  Robert  J.  Wickenheiser     Sent:  Wed,  December  8,  2010  11:52:18  AM   Subject:  Elephant  Folio     Dear  Bob:     Your  introductory  essay  for  the  elephant  folio    is  incredibly  good.  I  am  extremely   happy  with  it,  you  have  no  idea.       I  do  not  yet  know  if  the  Turnbull  will  order  one.  I  know  they  are  very  interested,  but  it  will   probably  go  to  committee  for  decision.  If  nobody  fronts  a  $10,000  deposit  for  materials,   scanning  and  Giclee  printing  of  the  14  major  illustrations,  the  work  on  it  in  will  be  a  lot  slower.   But  it  will  get  done!     Obviously  you  want  to  have  one  for  the  U  of  SC  since  it  has  your  major  introduction  in  it.  So,  I   will  be  working  on  three  folios  at  one  time.  One  will  be  dedicated  to  Dr.  Robert  J.  Wickenheiser,   one  to  Yuko  Nii,  and  hopefully  one  for  the  Alexander  Turnbull  Library.  I  may  only  produce  these   three  if  I  get  no  other  orders,  because  they  will  be  time  consuming  and  after  2012  I  will   probably  want  to  move  on  to  other  things:  I  may  want  to  paint  a  mural  on  the  ceiling  of  the   Grand  Reception  Hall  at  the  WAH  Center.  If  the  U  of  SC  does  not  buy  the  Wickenheiser  folio,  we   will  just  keep  it  at  the  Yuko  Nii  Foundation  in  our  own  Milton  collection.  But  your  copy  will   exist  alongside  my  original  art  and  be  displayed...eventually  in  a  permanent  display  at  the  WAH   Center  or  YF  Foundation.  There  will  be  "THE  WICKENHEISER  COLLECTION  IN  THE  YUKO  NII   FOUNDATION  MILTON  COLLECTION  AT  THE  WAH  CENTER!     The  Yuko  Nii  copy  of  the  folio  is  called  "The  Lucifer."  What  do  you  want  to  call  yours?  It  has  to   be  one  of  the  main  characters  in  Paradise  Lost.  The  drawing  as  the  frontispiece  will  be  based  on   your  decision.       I  am  having  a  lot  of  fun  doing  the  mock-­‐ups.  I  will  eventually  put  a  nice  binding  on  the  mock-­‐up   pages  too.  I  would  guess  it  will  be  important  to  the  history  of  the  project.     Also,  I  am  holding  20  of  the  some  100  original  large  format  sketches  (1979)  for  the  U  of  SC  if   they  ever  want  to  acquire  them.  I  am  afraid  that  if  they  cannot  acquire  the  Lycidas,  probably  the   sketches  are  beyond  reach  too.  I  would  love  to  give  them  to  the  U  of  SC,  but  the  YN  Foundation   would  not  approve.  Actually  through,  it  is  probably  easier  to  raise  $500,000  for  several   important  things  than  $150,000  for  one  thing.  I  guess  you  might  know  if  that  is  true  since  you   have  raised  millions  over  the  years  for  your  universities.       Highest  Regards  and  Many,  Many  Thanks  for  your  great  gift  to  the  project,     Terrance        


In December  2010  I  sent  out  an  appeal  for  funding  support:   From:    Yuko  Nii     Subject:  THE  PARADISE  LOST  ELEPHANT  FOLIO    &  THE  FINAL  PAINTING   DESCRIBED  IN  DEPTH   Date:     December  25,  2010  3:25:54  PM  EST     PARADISE  LOST:  The  Elephant  Folio     Elephant  Folio  Paradise  Lost       Synopsized  and  illustrated  by  Terrance  Lindall     With  Introduction  by  Dr.  Robert  J.  Wickenheiser        Offering  POR     CLICK  HERE:  Details  on  the  Production  of  the  Elephant  Folio     HOW  TO  SUPPORT  (and  get  something  in  return):    HOW  TO  SUPPORT  PRODUCTION  OF   THE  ELEPHANT  FOLIO     The  Elephant  Folio  will  use  HAND  EMBELLISHED  GICLEE  PRINTING  AND  23.75  CARAT   GOLD  LEAF,  the  most  superlative  techniques  and  materials  available  to  our  age!           THE  FINAL  PAINTING  FOR  THE  ELEPHANT  FOLIO     For  the  Elephant  Folio,  Terrance  Lindall  is  working  on  a  final  painting  as  a  frontispiece.   It  is  Terrance's  "ultimate  statement"  as  an  artist's  interpretation  of  Milton's  great  epic.   This  painting  will  only  be  produced  as  a  print  for  the  Elephant  Folio  and  will  not  be   reproduced  for  collectors  as  a  signed  print  in  any  other  format.  Only  those  who  acquire   the  Elephant  Folio  will  have  it.       This  Frontispiece  for  the  Elephant  is  a  13  x  13  inch  highly  concentrated  conceptual   piece.  Thirteen  is  a  prime  number  and  has  many  associations  in  religion,  witchcraft  and   more.  According  to  the  Torah,  God  has  13  Attributes  of  Mercy.    The  shape  of  the  new   painting  is  a  true  mathematical  square,  within  which  is  a  Celestial  Orbit,  as  is   Leonardo’s  “Man."    


The 13  x  13  inch  Celestial  Orbit,  oil  on  board  


The circularity  of  the  orbit  represents  the  perfect  harmony  of  God's  created  universe.  The   compass  that  inscribes  the  circle  in  the  13th  century  manuscript  below  is  a  symbol  of  God's   act  of  Creation.  One  sees  the  compass  also  in  Blake's  illustration  of    Newton  (1795).  Newton   fixes  his  eye  on  a  compass  (recalling  Proverbs  8:27,  an  important  passage  for  Milton)[81]  to   write  upon  a  scroll  that  seems  to  project  from  his  own  head.[82]  We  again  see  this  in  Blake's     Ancient  of  Days  showing  God  with  a  compass,  referred  to  in    Chapter  7  of  the  Book  of  Daniel.   Notice  also  below  the  circular  shape  of  the  halo  in  the  13th  c.  illumination.                                                                                         Allusions  are  also  made  to  squaring  the  circle,  a  problem  proposed  by  ancient  geometers.  In   1882,  the  task  was  proven  to  be  impossible,  as  a  consequence  of  the  Lindemann–Weierstrass   theorem  which  proves  that  pi  (π)  is  a  transcendental,  rather  than  an  algebraic  irrational   number.  This  alludes  to  the  limits  of  Man's  attempts  to  understand  the  Mystery  of  God.     There  are  also  dualities,  opposites  (a  visual  dialectic),  angular  references,  overlays  and  more.   The  languages  of  mathematics,  philosophy,  story  telling  and  visual  art  are  all  there.     Within  the  celestial  orbit  are  the  main  characters  of  Paradise  Lost:  God,  Satan  Adam  &  Eve,   Death  and  Sin,  the  Tree  of  Knowledge  and  the  Son  of  God  riding  forth  as  a  beam  of  light  from   the  forehead  of  God  on  the  Steed  of  Virtue,  Sword  of  Truth  in  hand…  and  The  Great  Author   himself  becomes  one  of  the  main  characters  of  this  painting.  Milton  is  receiving  “THE  WORD”   directly  from  the  mouth  of  God  who  fundamentally  gifts  Milton  with  The  Tongue  such  that  he   becomes  “THE  UNIVERSAL  POET  of  the  AGE  of  MAN.”  John  Milton  receives  the  Word  of  God*   into  his  mouth  like  John  the  Baptist  who  ate  the  “little  book.”  And  there  is  a  surprise  too,  for   the  Serpent  is  in  front  of  that  Divine  Imparting  of  the  Holy  Spirit...and  Infernal  Serpent   is...well,  you  will  see!  


Remarkably, in  The  Reason  of  Church  Government    Milton  quotes  Rev  10.9  in  the  middle   of  a  fascinatiing  autobiographical  digression:     "And  although  divine  inspiration  must  certainly  have  been  sweet  to  those  ancient   prophets,  yet  the  irksomeness  of  that  truth  which  they  brought  was  so  unpleasant  to   them,  that  everywhere  they  call  it  a  burden.  Yea  that  mysterious  book  of  Revelation  which   the  great  evangelist  was  bid  to  eat,  as  it  had  been  some  eye-­‐brightening  electuary  of   knowledge  and  foresight,  though  it  were  sweet  in  his  mouth  and  in  the  learning,  it  was   bitter  in  his  belly,  bitter  in  the  denouncing."       Terrance  said,  "I  did  not  remember  this  until  Professor  Steve  Fallon  pointed  it  out  after  I   had  begun  the  painting.  I  had  actually  painted  a  triptych  of  The  Revelation  of  St.  John  a   while  back:  Apocalyptic  Visions  of  St.  John  the  Divine."  All  concepts  were  drawing   themselves  into  place  for  this  Ultimate  Expression  of  Lindall's  interpretation  of  Paradise   Lost  in  this  one  final  work,  the  frontispiece  for  the  Elephant  Folio.  Lindall's  final  painting   addresses  the  tragic  position  of  Satan  and  how  he  has  ruined  himself,  bent  toward  evil  but   lamenting  his  own  sad  choice,  determined  nonetheless  to  move  forward  on  the  wrong   path.  Lindall  also  addresses  the  issue  of  "The  Fortunate  Fall  (of  Satan)"  that  led  to  great   art,  poetry  and  philosophy.       As  one  of  Terrance's  great  artist  followers  Bien  Banez  says  "Satan  gave  color  to  the   world!"  [38]     The  frontispiece  herewith  described  was  conceived  several  months  ago  in  sketch  form.   Terrance  stopped  at  a  point  in  preliminary  execution  to  let  the  work  rest  until  it  called   him  back.  The  ideas  had  incubated  in  his  subconscious  such  that  when  he  started   undertaking  it  again  recently  all  issues  resolved  immediately  into  their  rightful  place.        


Terrance also  said  in  what  is  sure  to  be  a  controversial  statement,  “Only  a  visionary   visual  artist  and  a  philosopher  can  really  completely  understand  Milton’s  Paradise  Lost.   There  are  not  too  many  who  combine  both  realms  in  any  depth.  Yes,  the  scholars  of   English  literature  and  poetry  do  indeed  delve  much  further  into  the  reaches  of  the   Greco-­‐Roman  mythological  sources  and  biblical  sources  and  have  analyzed  the  use  of   meter  in  depth  revealing  the  essential  structure  of  Paradise  Lost.  It  is  something  I  never   had  time  to  pursue  in  my  many  different  careers.  But  all  the  Greco-­‐Roman  sources  and   brilliant  meter  alone  cannot  produce  a  great  poem  like  Paradise  Lost  unless  there  is  a   Great  Idea  or  an  astounding  philosophy  interpreted  through  the  BRILLIANT  visual   conjuring  of  Milton’s  words.    Many  scholars  of  English  literature  do  indeed  reason   soundly  and  come  up  with  insights  on  the  philosophy  of  Paradise  Lost.  They  ALL  realize   that  it  is  not  just  a  fantastic  and  colorful  story.  For  example,  one  scholar  correctly  points   out  that  Paradise  Lost  is  not  a  religious  poem.  That  is  true.  But  it  is  a  philosophical   poem.  Milton.  though  blind,  had  an  "eye"  for  the  visual  and  a  mind  for  the  philosophical   and  he  had  the  God  given  UNIVERSAL  TONGUE!"  That  is  why  Milton  can  boast  that  he  is   REVEALING  THE  WAYS  OF  GOD  TO  MEN  through  the  glory  of  mind,  art  and  the   axiological  issue  of  Ordo  Amoris,  the  Order  of  Love.     “An  example  of  a  'simply  visual'  or  literal  storyline  that  is  actually  more  is  when  Satan   falls  headlong  flaming  from  the  ethereal  skies…nine  times  the  space  that  measures   night  &  day  to  mortal  men…  “  A  lot  of  readers,  even  scholars,  take  that  to  be  a  literal   storyline  event.  But  actually  it  is  a  metaphor  for  the  degree  to  which  Satan  had  turned   from  God.  Perhaps  scholars  have  pointed  that  out  before  me,  I  do  not  know  not  having   read  the  research  of  300  some  years  of  scholars  in  depth.  There  is  much  still  to  uncover   …in  the  way  “Milton  thinks”  rather  than  merely  in  the  way  “Milton  works.”  What  I  do   know  from  that  fall  is  that  Satan  is  NOT  completely  fallen.  That  is  his  ultimate  tragedy!       *  The  Word  of  God     In  the  beginning  was  The  Word.  God  said  LET  THERE  BE  LIGHT!  And  He  divided  the   light  from  the  dark.  Opposites  were  actualized  and  the  possibility  of  infinite  divisions   made  manifest.  This  is  the  Beginning,  the  "big  bang"  of  the  great  dialectic  of  creation   and  destruction  through  The  Word.  Just  as  the  binary  language  of  a  computer  can  create   worlds  within  the  universe  of  the  hard  drive,  so  God  through  the  binary,  the  duality,  the   Dialectic  of  Light  and  Dark  (Being  &  Nothingness),  made  possible  all  things,  and   through  the  fulminations  of  possibility  and  actuality  actualized  (created)  all  things…as   ideas  or  aspects  of  the  MIND  of  God.          


From:  Robert  J.  Wickenheiser  <>     Subject:  Re:  Dear  Guys!  From  Terrance...     Date:     January  3,  2011  3:16:16  PM  EST     To:     Yuko  Nii  <>      Dear  Terrance,     How  impressive  this  appeal  is!    Count  me  in  somehow,  and  while  I  previously  only  worried   about  how  I  might  accomplish  this,  now  I  worry  that  my  Commentary  will  never  be  up  to  the   class  of  your  project.     Best  always,   Bob     From:    Robert  J.  Wickenheiser  <>     Subject:  Re:  FINISHED  -­‐  Terrance  Lindall's  Ultimate  Paradise  Lost  Painting     Date:     February  2,  2011  5:06:43  PM  EST     To:     Yuko  Nii  <>Dear  Terrance,     I  just  got  home  and  only  have  a  moment,  but  I  had  to  write  and  tell  you  how  moved  I  am  by   your  absolutely  enthralling  "Ultimate  Paradise  Lost  Painting."    From  having  talked  as  much  to   you  as  I  have,  I  can  see  just  how  strongly  your  passion  and  thinking  are  captured  in  this,  your   latest  painting.    I  say  "latest"  only  because  I  sincerely  hope  this  will  not  be  your  last  illustration   of  Milton's  Paradise  Lost.          l  will  write  more  when  I  get  a  chance,  also  may  I  call  you  on  your  cell,  if  so  when?    I  really   would  love  to  talk  to  you  about  your  masterpiece;  it  is  truly  that  and  a  great  deal  more.     More  anon,   Bob  


Some times  I  would  not  get    a  response  from  Bob:    

 Emailed  him:     Dear  BB:     Either  you  are  in  the  hospital  or  traveling.  I  will  try  to  call  you  later  in  the  week.  BT      He         responded  to  me      

Dear  BT,     You  almost  hit  the  target.    I  was  in  the  hospital  for  surgery  to  remove  an  elbow  spur;   ended  up  okay,  but  the  pain  over  the  past  10  days  has  been  rather  fierce.    

That was  followed  by  the  removal  of  the  remain  upper  teeth  (this  pain  over  the  past  4   days)  has  been  severe,  to  say  the  least,  although  I  am  by  no  means  looking  for  pity.    I  feel   terrible  about  not  being  in  touch  with  you  of  the  past  (?)  number  of  days.    Please  forgive   me.    I  just  today  looked  at  my  emails  for  the  first  time  in  10  days  or  so,  and  when  I  saw   your  email  subject  title,  I  just  had  to  respond  to  your  much  appreciated  concern.    My  left   arm  just  doesn't  want  to  do  what  I  want  it  to  do,  and  pain  in  my  mouth  just  wants  me   simply  to  take  a  pain  pill  or  two  and  forget  the  world.  

Give me  through  this  weekend  and  I  will  then  focus  on  all  of  your  emails  and  be  in  touch   with  you  about  each  of  them.    

I have  missed  you  and  truly  look  forward  to  getting  back  in  touch  with  you  again.  



From: Yuko  Nii  <>   To:   Sent:  Mon,  April  11,  2011  11:15:13  AM   Subject:  Progress  on  the  elephant  folio     Dear  Interested  Parties:     I  am  still  working  on  this  first  embellished  13  x  19  inch  page  of  Eve  as  seen  below.  Each   page  takes  a  couple  of  weeks  or  even  more.    The  basic  layout  in  gold  is  complete.  I  am   now  rendering  the  forms  with  sienna  to  set  off  the  gold.  THIS  PAGE  IS  NOT  FINISHED   YET.  The  lower  left  hand  cartouche  has  the  name  of  this  folio's  owner  "Nii,  "    and  the   lower  right  hand  cartouche  will  have  my  signature.  As  the  border's  background  is   enhanced  with  dark  shading  around  the  gold,  the  gold  forms  will  have  the  illusion  of   actually  floating  off  the  page.  ONLY  REAL  GOLD  CAN  DO  THIS!       Not  done  yet  are  lines  at  various  points  around  the  serpent  and  the  apple  that  is  falling   in  flames,  which  will  give  the  forms  the  illusion  of    movement.  As  you  can  see  in  one  of   the  pictures,  Wickenheiser's  essay  is  beautifully  formatted  and  will  not  be  embellished   (looks  great  as  it  is).  The  first  complete  copy  of  the  elephant  folio  has  been  printed  and     now  begins  the  long  arduous  process  of  painting  borders  on  the  major  plates  and  the   historiated  initials.       The  first  unembellished    QUARTO  edition  has  been  printed  and  is  ready  for  binding.   Only  18  of  20  (all  major  pages  signed  and  numbered)  are  still  available.  REMEMBER   THE  LAST  PAGE  CONTAINS      THE  NAMES  OF  CONTRIBUTORS  OT  THE  PROECT!      





From: Yuko  Nii  <>   To:  Robert  J.  Wickenheiser  <>   Sent:  Sat,  April  30,  2011  5:00:08  PM   Subject:  More  answers...Re:  Your  quarto  is  in  the  way!     BB  Said:  “Since  we  never  discussed  any  option  regarding  the  folio  version,  could   you/would  you  possibly  make  copies  of  your  pages  (or  of  select  pages)  which   would  not  be  originals  (wish  I  could  afford  your  final  product),  but  which  would   be  very,  very  special  to  me.”     Dear  Bob:  The  only  way  I  will  do  this  is  by  doing  giclee  prints.  They  would  cost  about   $300  per  page  x  15  =  $4500.  I  can  probably  just  print  the  balance  of  the  book  (30  pp.)  on   my  printer  (paper  alone  costs  me    $5  per  sheet).  So  you  could  have  a  true  "facsimile   elephant  folio"  all  major  pages  signed  by  me  for    $7500.  Of  course  that  would  be   UNBOUND.       Any  original  elephant  folios  are  now  $100,000.  The  original  offering  of  $35,000  is  now   defunct  -­‐  the  deadline  for  ordering  has  passed.  Maybe  SCU  would  like  a  facsimile  too  for   $7500  UNBOUND?     Shall  we  add  it  to  your  bill?  Pay  the  $7500  by  Xmas?     Best,  BT    


From:  Robert  J.  Wickenheiser  <>   Subject:     Re:  More  answers...Re:  Your  quarto  is  on  the  way!  AND  Re:  your  great  folio   Date:     May  1,  2011  5:48:27  PM  EDT   To:     Yuko  Nii     Dear  BT:     You  may  well  be  bankrupting  me,  but  I  will  be  the  happiest  bankrupt  collector  you  or  anyone   else  knows.     I  am  so  very  grateful  to  you  for  your  kind  offer  and  I  want  you  to  know  that  your  folio  pages,  as   with  your  quarto,  will  occupy  a  place  of  real  distinction  here,  among  the  other  books  in  my   library.  Eventually  they  will  join  my  collection  (where  I  will  ensure  that  they  are  regularly  on   display  in  the  seminar  room  which  holds  many  of  my  books  and  which  is  named  after  Bill   Richter  for  his  monetary  gift  which  helped  to  bring  my  collection  to  USC).       I  am  really  very  excited  by  your  kind  solution  to  enable  me  to  have  a  copy  of  the  folio  edition,   truly  I  am!    I  warmly  accept  all  of  the  "restrictions"  you  must  place  upon  my  copy.    Beyond  that,   I  would  very  much  want  as  a  separate  item  one  of  the  pages  you  have  decorated  around  the   borders.    I  have  been  won  over  completely  by  the  pages  you  showed  me  with  the  border  trim   (they  have  totally  captured  my  love  for  Milton,  of  course,  as  well  as  for  the  medieval/monastic   tradition  of  monks  handsomely  embellishing  the  manuscripts  they  worked  on  each  day).    How   could  I  not  be  excited  about  this  and  the  possibility  of  hanging  one  such  page  fully  decorated   marginally  by  the  greatest  illustrator  of  Milton  over  the  past  70+  years,  and  I  would  indeed   display  the  page  with  great  pride  and  admiration,  not  to  mention  affection.     I  realize  that  I  may  be  overstepping  my  bounds  with  my  request  for  one  of  your  marginally   illustrated  folio  pages,  but  the  request  arises  out  of  my  deep,  deep  admiration  for  you  and  for   your  own  dedication  to  Milton  and  your  profound  understanding  of  the  great  poet.         So  all  is  in  your  hands  (where  I  am  confident  they  will  receive  the  best  response  possible)  and  I   will  pay  for  everything  in  December.     We  can,  of  course,  talk  about  this  if  you  wish  whenever  you  care  to  do  so.    Meanwhile  I  shall   remain  hopeful  that  my  request  has  been  made  for  the  right  reasons  and  in  the  appropriate   manner,  and  that  because  of  this  my  request  will  be  responded  to  in  a  most  positive  manner.     Take  care,  my  friend,  for  you  have  one  of  the  most  important  tasks  before  you:  to  continue   rising  to  the  occasion  of  bringing  Milton's  great  epic  alive  to  countless  others  in  countless  ways   and  doing  so  as  only  you  –  one  of  the  all-­‐time  great  illustrators  of  Milton  –  can  do.     With  abiding  admiration  and  heartfelt  gratitude,  now  and  always,   BB    


Bob was  a  consummate  perfectionist.  As  an  artist  I  did  not  always  follow  publishing   protocols.  I  respected  his  criticisms  and  tried  to  follow  them:     On  Thu,  May  5,  2011  at  7:31  PM,  Robert  J.  Wickenheiser   <>  wrote:       Dear  BT:       Since  we're  going  to  talk  later,  let  me  bring  something  to  your  attention  here.       I  am  deeply  touched  that  you  dedicated  your  wonderful,  beautiful,  and  compelling   work  (both  quarto  and  folio)  to  me  as  well,  of  course,  as  to  Yuko.       Yuko's  Introduction  is  beautiful  in  its  own  way  and  I  don't  believe  anyone  could   write  anything  better  or  more  appropriate.       There  is  no  title  page  in  my  copy.     BT  says:  THIS  IS  THE  TITLE  PAGE,  and  it  is  also  page  number  1  (although  the  way   word  formats  it,  page  one  is  not  numbered  at  the  bottom.  I  think  that  is  correct...):      I  was  hoping  very  much  to  have  a  title  page  that  was  singular  in  its  distinction  and   which  helped  to  tell  a  binder  that  the  title  page  joins  with  the  illustrations  in  setting   tremendous  guidelines  for  this  unique  publication  (I  believe  the  reader  is  told  this   also).       You  and  Yuko  have  signed  your  names,  and  I  am  happy  to  have  each.    You  asked  me   to  sign  my  Commentary  also,  and  in  fact  I  sent  four  signed  copies  to  you  for  this   purpose.    Somehow,  though,  my  signature  does  not  appear.    Instead,  a  number   appears  at  the  bottom  right  of  my  first  page.    Two  things:  (1)  I  don't  believe  a   number  should  appear  at  the  start  of  a  new  section,  (BT:  Probably  right!)  but  it's   your  book  and  your  call,  and  most  assuredly  I  love  it  and  you  no  less  for  this;  (2)  my   signature  should  appear  at  the  bottom  of  my  last  page  (BT:  You  can  sign  it  now!),  as   with  you  and  Yuko  (although  you  each  have  only  one  page).     BT  says:  You  did  indeed  send  me  four  signed  copies  of  your  commentary  on  your   letterhead,  which  I  will  treasure  in  my  Milton  collection!.  However,  they  were  not   suitable  for  this  folio  because  it  was  not  formated  as  needed  it  to  be  for  consistency.   Also  it  was  not  printed  on  Museo  II  paper  for  consistency  of  quality.  Also,  I  think  that   you  improved  that  version  since  you  sent  it.  Also.  on  page  2,  paragraph  3,  line  5  you   dropped  the  line  in  the  middle:          


The first  number  to  appear  is  the  printed  number  "2"  at  the  bottom  of  my  Commentary.     I  don't  know  whether  you  planned  a  title  page  as  "1"  or  left  the  number  out  for  some   reason.    This  raises  the  question  of  whether  or  not  you  planned  a  title  page.    Without   one,  there  is  some  confusion:  no  title  page  is  followed  by  the  printed  page  "2"  to  "8",  the   last  page  of  my  Commentary  and  the  page  I  would  love  to  sign  for  each  copy;  then   comes  Yuko's  and  your  pages,  each  signed,  and  unnumbered.       BT  says:  Possibly  the  commentary  should  be  BEFORE  the  title  page.  I  simoly  considered   your  work  and  mine  to  be  a  unit.  I  would  certainly  defer  to  an  editor  of  the  Princeton   Review  and  a  person  in  charge  of  major  university  publications.  I  certainly  am  not  an   experienced  publisher.  BT       Some  confusion  regarding  pagination  arises  here.  The  last  page  with  a  printed  page   (page  8)  is  at  the  end  of  my  “Commentary.”    Yuko's  "Introduction"  is  unpaginated,   likewise  your  Dedication.    Then  a  blank  page  appears.     BT  says:  Yuko's  introduction  and  my  dedication  were  done  and  inserted  after  I  had   printed  pages  1-­‐47.  My  only  options  were  to  reprint  everything  again  or  to  place  the   unnumbered  introduction  and  dedication  at  the  front  unnumbered.  I  guess  this  type  of   thing  is  annoying  to  experienced  publishers,  editors  and  collectors.  As  I  said,  I  can   always  do  an  issue  number  three  by  your  guidelines.         You  also  said  that  you  would  sign  each  of  your  illustration  plates,  which  would   distinguish  my  (and  I  imagine  Yuko's)  copies  from  that  of  everyone  else.    I  realize  that   you  have  signed  each  page  with  an  illustration  plate  in  pencil,  using  only  your  last  name   and  the  present  year,  all  very  small  in  size.    I  am  happy  with  anything,  but  won't  you   have  to  sign  each  of  your  illustration  plates  in  the  remaining  18  copies.  If  this  is  the  case   I  have  a  suggestion  which  you  might  like,  or  you  might  not,  but  in  any  case  it  will  save   you  time,  will  please  me  and  I’m  sure  Yuko  as  well.  


T says:  Yes,  the  uniqueness  of  this  "folio"  is  that  all  major  illustration  plates  ARE  SIGNED.   It  is  like  binding  together  signed  art  prints.  THAT  is  why  the  production  is  especially   valuable  to  collectors,  not  only  of  books  but  works  of  art,  in  this  case  art  prints.  The   signed  plates  can  be  sold  separately  by  some  future  collector  who  wishes  to  capitalize  on   making  more  money  by  savaging  the  book,  breaking  it  up.  This  was  done  with  many   illuminated  manuscripts,  notably  by  Ruskin  (shame  on  him).         PS:  Art  prints  are  traditionally  signed  in  PENCIL,  not  in  ink.         I  assume  you  printed  everything,  or  oversaw  the  production  in  one  way  or  another,  from   beginning  to  end.    If  so,  this  qualifies  as  a  private  publication.    I  suggest  that  you  work  up   a  colophon  for  the  final  page,  typed  in  the  same  type  and  on  the  same  paper  as   everywhere  else.    To  set  it  off,  you  could  print  everything  in  red,  with  a  larger  initial  at  the   outset,  (say  blue  as  elsewhere)  or  with  other  distinguishing  features.    This  is  where  you   would  then  sign  the  remaining  18  copies,  without  having  to  sign  each  illustration.    It   could  also  be  a  good  place  for  both  Yuko  and  me  to  sign  this  privately  printed  publication,   although  this  is  your  work  and  most  important  in  its  own  right.    Thus:     BT  says:  Well,  this  I  can  do  just  for  yours,  but  I  have  reasons  not  to  do  it  on  other  copies.   The  reason  is  that  I  am  not  THAT  lazy  that  I  do  not  want  to  sign  each  illustration.  This  is  a   unique  production  by  an  artist  and  not  a  commercial  production  by  a  publisher  trying  to   make  money  by  producing  "collectors  editions"  like  the  Franklin  Mint.  I  personally  think   it  is  tacky  to  place  that  type  of  label  or  page  at  the  back  saying  "This  is  number  _____  of   _____  copies              [Month  and]  Year  in  your  hand              Your  signature  "                                                               Of  course  a  lot  of  famous  art  editions  do  this,  but  it  just  shows  how  art  has  been   commercialized.      


I like  this  and  will  use  it::  "Here  ends  the  Synopsis  and  Illustrations  by  Terrance  Lindall  of   Paradise  Lost  by  John  Milton"     BT  says  LET  ME  KNOW  WHAT  YOU  WANT  ME  TO  DO.  I  am  HAPPY  to  give  you  what  you   want!       [All  blanks  are  signed  by  you,  Terrance,  in  full,  i.e.,  using  your  full  name.]       This  is  number  _____  of  _____  copies              [Month  and]  Year  in  your  hand                                                                                                                                                                                                    Your  signature                                                                      [If  you  want  Yuko  and  me  to  sign  here  also,  though  I  think  it  better  if  we  are  not  included,   but  if  you  do,  then  you  could  use  something  like  the  following:                              


Here ends  the  Synopsis  and  Illustrations  by       Terrance  Lindall  of       Paradise  Lost  by  John  Milton.           [All  blanks  immediately  below  are  signed  by  you,  Terrance,  in  full,  i.e.,  using  your  full  name.]       This  is  number  _____  of  _____  copies              [Month  and]  Year  in  your  hand                                                                                                                                                                                                    Your  signature                                                                 Additionally,  with  the  Introduction  by  Yuko  Nii            Signed  by  Yuko  in  her  own  hand                                                               And  with  the  Commentary  by  Robert  J.  Wickenheiser,  Ph.D.            Signed  by  me  in  my  own  hand                 *********       [I  must  add  that  I  remained  troubled  with  your  having  no  general  title  page.    Am  I  missing   something  here?]       I  want  also  to  take  another  look  at  my  Commentary.    I  noticed  a  paragraph  broken  in  the   middle  when  I  was  giving  everything  a  quick  reading.    I’ll  look  through  it  tomorrow  morning   and  get  back  to  you.    Any  mistake  may  well  be  mine  and  I  don’t  think  it  will  clost  too  much.       I  don’t  want  to  give  you  the  impression  that  I  have  any  negative  feelings  about  your   tremendous  accomplishment  or  the  modest  role  you  have  allowed  me  to  play  in  it.    Tears   came  to  my  eyes  when  I  read  your  Dedication,  and  pride,  real  pride,  came  to  me  when  I   unwrapped  you  package  and  began  looking  through  your  masterpiece.    Your  are  wonderful   beyond  compare  and  a  genuine  friend  I  am  most  fortunate  to  have.       I  look  forward  to  talking  with  you  and  to  telling  you  in  person  how  much  I  love  you  for  your   tremendous  work,  your  true  dedication  as  an  artist,  and  your  overall  commitment  to  Milton   and  to  keeping  him  alive  as  only  a  great  artist  can  ––  of  which,  my  dear  friend  you  are  one.       You  remain  in  my  thoughts  and  prayers  always.   BB      


An artist  friend  of  mine  who  is  also  a  renowned  Lutheran  hymn  writer  Amanda  Husberg.         The  Husberg/Leach  Requiem  for  Terrance  Lindall     The  Requiem  entitled  A  FEAST  PREPARED  was  commissioned  from  noted  Lutheran   hymn  composer  Amanda  Husberg  and  lyricist  Richard  Leach  by  Terrance  Lindall  (1944-­‐ 20-­‐-­‐).  It's  debut  was  at  the  Elizabethtown  Area  Sacred  Community  Choir,  Elizabeth,   Kentucky  in  March  2011.       According  to  the  composer  Amanda,  it  definitely  stands  as  "the  answer  to  Paradise   Lost."       "One  can  compare  it  to  a  road  which  leads  the  believing  soul  to  the  final  Resurrection   banquet,  to  join  all  of  Christ's  disciples  in  thankfulness,  joy  and  triumph."  D.  Sida   Hodoroaba-­‐Roberts,  The  Elizabethtown  Area  Sacred  Community  Choir  (Kentucky)       The  lyrics  to  this  section:     Maranatha,  maranatha!   Come,  Lord  Jesus;  come;  Lord  Jesus.   Alleluia,  Alleluia,  Alleluia.     "It  is  with  great  joy  that  I  hear  this  wonderful  requiem!  It  will  cotinue  to  give  me  faith,   comfort  and  inspiration!"  Terrance  Lindall      



From:  Robert  J.  Wickenheiser  <>   Subject:  Re:  Requiem  for  the  Milton  artist  Terrance  Lindall  is  being  published  by   Concordia  Publishing  House   Date:     May  18,  2011  7:55:37  AM  EDT   To:     Yuko  Nii     Dear  Brother  Terrance,       Heartfelt  congratulations.    No  one  (and  I  mean  NO  ONE!)  deserves  this  honor,  this  highest   recognition,  this  testimony  to  the  profound  artist/illustrator/epic  illustrator  of  the  greatest   English  epic  poet,  John  Milton.    Milton  has  needed  the  powers  you  command,  the  love  you   have  for  his  epic,  Paradise  Lost,  and  the  commitment  you  have  made  to  bringing  him  alive  in   a  remarkably  fresh  new  way  for  the  21st  century.    (Could  I/May  I  make  a  few  changes  in  my   "Commentary"  in  order  to  bring  in  and  align  this  with  my  other  comments  as  well  as  make   use  of  the  genuine  belief  I  have  in  my  statements  following  and  below  in  red?)       Because  of  you,  Milton  will  live  in  yet  another  new  age,  brought  to  life  in  a  refreshingly  new   way,  made  “relevant”  in  remarkably  profound  ways.    Because  of  you,  great  new  numbers  of   readers  will  be  attracted  to  Milton  and  his  great  epic  than  would  otherwise  have  been  the   case.           Maybe  we  can  also  return  to  your  first  plan  which  attracted  me  to  you  beyond  your  great   illustrations  and  synopsis:  to  make  a  color  fold-­‐out  for  every  high  school  student  in  NYC?      I   say  this  while  reminding  you  that  I  bought  your  limited  first  edition  in  1983  because  its   value  opened  my  eyes  to  new  ways  of  “seeing”  Paradise  Lost,  and  it  is  in  my  Milton   collection  at  USC.    I  cherish  far  more,  though,  the  copy  you  have  since  given  me  which  is   displayed  proudly  among  some  of  my  most  personal  Milton  editions  and  holdings  in  my   library  here.    I  was  also  convinced  when  I  read  your  synopsis  way  back  in  1983,  that  it  was   the  only  “rendition,”  if  I  may,  truest  to  Milton  than  any  other  synopsis  –  and,  as  you  well   know,  prose/poetry  parallels  along  with  straight  prose  retellings  of  the  story  have  dotted   the  publishing  scene  over  the  past  25  or  more  years,  some  with  “illustrations,”  as  it  were.     Moreover,  your  synopsis  is  poetic  in  its  own  beauty,  with  each  word  carefully  chosen  to  be   true  to  Milton  while  maintaining  integrity  with  his  great  epic  and  your  rendering  of  it  into  a   readable  form.  (“Readable”  doesn’t  do  justice  and  there  are  far  better  words  to  be  found,  but   it  serves  my  purpose  here.)        


I couldn't  be  happier  for  you,  prouder  of  you,  or  more  humbled  that  you  consider   me  to  be  your  brother.    Brothers  we  are,  and  brothers  we  shall  always  remain,   united  by  a  common  bond  of  love  for  “that  great  story.”       I  am  on  the  mend  and  as  you  can  tell  here  slowly  getting  my  real  energy  and   enthusiasm  back  again;  not  to  mention  my  undying  optimism.    About  other  things,  a   little  later,  except,  perhaps,  for  your  answer  to  my  question  about  adding  some   judiciously  (and  strategically)  placed  texts  to  my  commentary.    If  you  want  that,   then  perhaps  in  a  second  line  under  my  name  and  “19th  president  of  St.   Bonaventure  University”  brief  mention  of  my  recent  publication  of  my  Milton  book   (2008)  might/should  be  made?       I  have  gone  on  far  longer  than  I  had  intended,  but  I  had  much  to  say  and  it  had  to  be   said  really  very  right  this  time.           With  lasting  esteem,  great  pride,  and  profound  affection,     Brother  Bob                


Above my  portrait  of  Bob  next  to  the  Faithorne  portrait  in  a  17th  C.  Paradise  Lost     I  painted  a  portrait  of  Bob.  He  is  in  monk’s  robes  and  standing  in  a  library.  He  is  holding  a   copy  of  Milton’s  Paradise  Lost  his  finger  pointing  to  the  title.  Later  I  painted  the  hand  with   finger  closed.  I  gave  the  painting  to  Bob  as  a  gift,  but  I  used  a  giclee  print  of  the  painting  in   various  productions.    


From:  Robert  J.  Wickenheiser  <>   Subject:     Re:  Your  portrait  oil  sketch  ...guess  it's  done..   Date:     June  17,  2011  1:12:48  PM  EDT   To:     Yuko  Nii  <>         Dear  BT,     I'm  overwhelmed,  really  I  am!    I  never  expected  such  a  remarkable  portrait  –  of  course  it's  so   large  I  can't  print  it  to  show  Pat.         Oh  wow!    I  don't  have  any  words  to  say  all  that  I  would  like  to  say  and  should  say.    I  only  saw   this  today  since  I  had  my  third  operation  on  my  elbow  (this  a  rather  massive  one)  two  days   ago  and  when  I  got  home  I  simply  collapsed  on  my  chair.    This  is  so  wonderful,  and   especially  upon  my  return  home.    I'm  just  overwhelmed  and  love  everything  about  it,  most   of  all  that  it  has  been  done  by  you,  master  illustrator  and  aficionado  par  excellance  of  Milton.     The  finger  is  just  right  (glad  it  is  the  pointing  finger!).     Thank  you  beyond  measure.    Can  we  talk  this  weekend.     I'm  so  happy  with  what  you've  done,  all  the  more  so  because  I  never  expected  something   like  this  from  you  –  to  be  treasured  forever!     With  heartfelt  gratitude,   BB    


I had  finally  finished  the  Gold  Folio:  


From:  Robert  J.  Wickenheiser  <>   Subject:     Re:  The  Elephant  is  COMPLETE   Date:     July  6,  2011  3:43:22  PM  EDT   To:     Yuko  Nii  <>   Reply-­‐To:     Robert  J.  Wickenheiser       BT,     WOW  and  double  WOW.     I  am  so  very  impressed  and  I  believe  your  folio  will  stand  the  test  of  time  along  with  the   other  great  illustrated  editions  of  Paradise  Lost.    I've  said  that  and  more  in  my   Commentary.    I  have  also  reworked  my  commentary  to  include  some  of  the  important   recent  successes  that  very  much  warrant  inclusion.    Does  this  mean  my  revised   Commentary  cannot  be  used  in  the  Folio  edition.    I  surely  hope  not.    I  think  that  you  have   just  kept  this  between  use,  and  I  promise  to  get  the  revision  to  you  very  shortly.     More  later.    For  now  I  stand  at  the  head  of  your  admirers,  but  with  the  difference  that  I   know  WHY  your  illustrations  and  indeed  your  entire  illustrated  edition  rank  with  the   greatest  of  all  time  over  the  past  4+  centuries,  Blake  included,  but  Blake  is  by  no  means   my  primary  measure.    There  are  others,  to  be  sure,  and  they  include  Medina,  Cheron,   Hayman,  Richter,  and    a  host  of  others.     With  deepest  admiration  and  affection,   BB     PS    Is  that  my  copy  you  are  showing?  


I had  painted  a  picture  of  Raphael  and  the  Devil  debating  before  the  Tower  of  Truth     An  Italian  scholar  named  Dario  inquired  “why  is  Death  loomimg  behind  Raphael?”     From:  Dario   Subject:  Answering  a  question  from  the  Italian  artist/scholar  Dario  Re:  about   Raphael  and  Devil  Debating...   To:   Date:  Wednesday,  June  8,  2011,  12:57  PM     Terrance  “This  painting  represents  Raphael  Debating  with  The  Devil  Before  the  Tower   of  Truth.  “     Dear  Terrance     Very  intriguing,  as  usual.  One  curiosity:  why  is  Death  looming  behind  Raphael?  Looks  like   some  major  hint,  doesn't  it?  Dario  Rivarossa         Dear  Dario:       It  is  all  surreal,  like  your  own  work.    Things  appear  while  you  are  painting  and  next  thing   you  know...Death  rears  his  ugly  head!!       Well,  actually  all  these  guys  are  family.  Good  to  keep  fights  in  the  family.  Death  is  the   nephew  of  Raphael,  because  Satan  &  Raphael  are  brothers  (one  became  a  criminal  and  the   other  a  cop,  just  like  a  good  catholic  family,  right?),and  Satan  and  Sin  are  Death's   parents.      AND  Death  is  a  more  final  Truth  than  the  Devil!       I  could  go  on  and  on  and  on....!     Regards,  T.    


On Jun 8, 2011, at 2:17 PM, Robert J. Wickenheiser wrote: BT, You really do always amaze me, and I constantly learn from you, as in your answer here to the Italian artist/scholar Dario Re. I can't wait until I can use your viewpoint about "Things appear[ing] while you are painting and next thing you know...Death rears his ugly head!!" What a concept! And what a way in which to express the act of painting and how the act of illustrating itself joins together with the artist's own insights into the great epic poet Milton's design within his epic and the manner in which the artist is intending to capture it all. And since "death rears his ugly head" unexpectedly while painting and since "all these guys are [actually] family," better to keep everything in the family anyway. What a unique way of expressing your views and the act itself of your illustrating the great poet in a manner which captures the poet's innate presentation of Milton's "family" in PL. Your insights as one of Milton's great, great illustrators has provided me with vital insights as to how artists think and illustrate, no one in the present time (and farther back than that) nearly as brilliantly as you and with as much insight into the poet's own design and goals, but certainly some in ages gone by with a tremendous appreciation and understanding of what Milton is attempting to do and indeed accomplishes, as seen and visualized by the illustrator for others to see! You shine brilliantly in your knowledge and understanding of Milton as in your equally brilliant manner in which you convey Milton's achievements. No fears here that anyone in the family – Satan, Sin, or Death – will appear in any of your illustrations without your choosing to include them. Stay well, my brother! BB PS I hope everything is now cleared up about what I ultimately owe you and that I never, ever, intended to take advantage of you when I indicated how dearly I wanted one of your early folios (i.e, an early number, such as #2 after the Foundation).


-­‐-­‐-­‐ On  Wed,  6/8/11,  Yuko  Nii  <>  wrote:     From:  Yuko  Nii  <>   Subject:  Re:  Answering  a  question  from  the  Italian  artist/scholar  Dario  Re:  about  Raphael   and  Devil  Debating...   To:  "Robert  J.  Wickenheiser"  <>   Date:  Wednesday,  June  8,  2011,  2:44  PM     Dear  BB:     Thank  you  so  much  for  this  comment!  Yes,  this  is  what  one  has  when  totally  immersing   one's  self  in  one  of  the  greatest  philosophical  and  literary  works  of  humanity.  It  is   continually  spinning  off  meanings  one  never  saw  before.  And  that  is  why  it  engrosses   Milton  scholars  in  a  CONTINUING  debate  on  "what  Milton  really  meant"  in  this  and  that   passage.  There  is  no  FINAL  AND  ABSOLUTE  interpretation  to  most  things  in  Milton's   Paradise  Lost  because  it  has  infinite  responses  in  the  reader,  deliberately  presented  by   Milton  for  the  purpose  of  having  infinite  responses.  I  noted  in  the  Milton  lists  that  some   scholars  interpret  porions  of  his  writing  literally  and  some  allegorically.  Both  ways  are   fine,  looking  at  it  from  different  angles.  It  is  great  and  subtle  sea  of  poetry  that  never   yield's  a  bottom  or  a  landfall.  To  ride  it  is  being  the  Flying  Dutchman,  never  to  find  land   while  riding  this  sea.       BT    


Remarkably, Bob  said  I  was  the  best  friend  he  ever  had.  I  will  write  about  this  later.       From:     Robert  J.  Wickenheiser  <>     Subject:    Re:  One  of  my  other  surrealist    artists  is  doing  an  etching  of  John   Milton     Date:    June  8,  2011  2:55:18  PM  EDT     To:     Yuko  Nii     Dear  BT:     You  remain  superior  in  all  things  and  always  the  closest  friend  I  have  ever  had.     Thank  you,   BB  


On Jun  8,  2011,  at  3:13  PM,  Robert  J.  Wickenheiser  wrote:     Dear  BT:     And  thank  you  for  your  comment  in  return.    It,  like  all  your  comments,  remains  very  dear  to  me.     I  probably  disagree  with  you  for  the  first  time,  though,  in  one  important  respect:  by  leaving  yourself   open  to  supporting  a  virtually  endless  series  of  meanings  to  Milton's  great  epic,  you  allow  (although  I   know  you  don't  mean  or  intend  this)  a  virtually  free-­‐wheeling  and  anything-­‐goes  response  to  Milton;   hence,  such  seminar  topics  at  MLA  drove  me  away  as  "The  Menstrual  Cycle  in  PL,"  or  various  studies   of  Milton's  inability  to  understand  women,  regardless  of  the  age  in  which  Milton  lives  and  the   traditions  out  of  which  he  comes.    Moreover,  studies  like  "Freud  and  Milton"  (or  was  the  title  "A   Freudian  interpretation  of  Milton  and  his  PL")  left  me  with  an  inability  to  make  it  beyond  the  first   chapter.     I  know  you  don't  mean  to  leave  Milton  wide  open  to  any  and  all  interpretations,  but  rather  to  an   appreciation  of  endless  understandings  within  a  context  established  and  defined  by  Milton  in  relation   to  that  which  he  inherits;  to  an  appreciation  to  an  openness  on  Milton's  part  to  all  that  is  endless   whether  in  terms  of  philosophy,  theology,  religion,  societal  norms,  values,  and  a  great  deal  more.    It  is   in  these  areas  in  which  I  find  your  commentary  so  very  compelling  and  eye-­‐opening,  sometimes  in  its   very  simplicity  of  approach  and  other  times  in  the  manner  in  which  you  manage  to  open  the  great   mind  of  Milton  to  all  of  his  readers  as  well  as  to  insights  as  to  how  Milton  brings  them  to  bear  in  PL.     So  we  don't  really  disagree  at  all,  I  am  confident,  and  I  continue  to  marvel  as  your  capacity  to  teach  in   a  manner  which  draws  on  values  and  norms  we  both  care  deeply  about.     With  abiding  esteem  and  affection,   Bob     From:  Yuko  Nii  <>   Subject:  Re:  Answering  a  question  from  the  Italian  artist/scholar  Dario  Re:  about   Raphael  and  Devil  Debating...   To:  "Robert  J.  Wickenheiser"  <>   Date:  Wednesday,  June  8,  2011,  3:30  PM     Dear  BB:       Quite  right!  I  do  not  mean  "anything  goes."  And  yet  Milton's  PL  is  in  it's    way  "infinitely   enjoyable"    to  both  philosophers  and    afficianados  of  great  art.  BT    


-­‐-­‐-­‐ On  Sat,  6/11/11,  Yuko  Nii  <>  wrote:     From:  Yuko  Nii  <>   Subject:  Further  thoughts!   To:  "Robert  J.  Wickenheiser"  <>   Date:  Saturday,  June  11,  2011,  2:06  PM     “There  is  no  FINAL  AND  ABSOLUTE  interpretation  to  most  things  in  Milton's  Paradise  Lost   because  it  has  infinite  responses  in  the  reader,  deliberately  presented  by  Milton  for  the   purpose  of  having  infinite  responses.  I  noted  in  the  Milton  lists  that  some  scholars   interpret  portions  of  his  writing  literally  and  some  allegorically.  Both  ways  are  fine,   looking  at  it  from  different  angles.  It  is  great  and  subtle  sea  of  poetry  that  never  yield's  a   bottom  or  a  landfall.  To  ride  it  is  being  the  Flying  Dutchman,  never  to  find  land  while   riding  this  sea.”  Terrance  Lindall       My  comment  issued  spuriously  probably  could  have  been  better  expressed.  I  question  my   statement  about  “infinite  responses.”    I  was  merely  “waxing  poetic.”  It  evoked  this   response  from  a  highly  ranked  scholar  whom  I  admire:           “I  know  you  don't  mean  to  leave  Milton  wide  open  to  any  and  all  interpretations,  but   rather  to  an  appreciation  of  endless  understandings  within  a  context  established  and   defined  by  Milton  in  relation  to  that  which  he  inherits;  to  an  appreciation  to  an  openness   on  Milton's  part  to  all  that  is  endless  whether  in  terms  of  philosophy,  theology,  religion,   societal  norms,  values,  and  a  great  deal  more.    It  is  in  these  areas  in  which  I  find  your   commentary  so  very  compelling  and  eye-­‐opening,  sometimes  in  its  very  simplicity  of   approach  and  other  times  in  the  manner  in  which  you  manage  to  open  the  great  mind  of   Milton  to  all  of  his  readers  as  well  as  to  insights  as  to  how  Milton  brings  them  to  bear  in   PL..”  Robert  J.  Wickenheiser       I  quite  agree  with  Dr.  Bob  


Having finished  my  gold  folio,  I  sent  pictures  of  some  of  the  pages     From:  Yuko  Nii  <>   To:   Sent:  Tuesday,  July  5,  2011  11:04  AM   Subject:  The  Elephant  is  COMPLETE     Dear  Friends:     The  13  x  19  inch  pages  of  the  Elephant  Paradise  Lost  Folio,  with  commentary  by  Dr.  Robert   J.  Wickenheiser,  are  bound  archivally  between  glassine  sheets  within  aluminum  boards,   thus  assuring  preservation.  His  Eminence  (anonymous)  kindly  lent  me  some  gold  brocade   as  a  temporary  folio  cover.  His  Eminence  is  also  a  book  &  art  collector  and  scholar.  He   rather  liked  the  idea  that  the  gold  letters  IHS  are  on  the  cover  since,  he  said  “…is  it  not  He   rather  than  Satan  who  is  the  true  hero  of  the  story?”    Now  that  is  a  great  topic!  What  do  you   think?    Some  think  Satan  is  the  hero.     His  Eminence  said  also  that  this  book  with  its  15  border  paintings  is  indeed,  in  his   “humble”  opinion,  one  of  the  greatest  bound  folios  of  all  time  and  can  stand  next  to   anything  of  Blake  "as  an  equal  if  not  more."     A  few  pages  are  below.  And  now  i  am  off  to  a  summer  of  hot  dogs,  sodas,    and  river  fishing.   And  when  I  get  back  I  am  finally  going  to  read  the  RISE  AND  FALL  OF  THE  ROMAN  EMPIRE.   Terrance  





From:   Robert  J.  Wickenheiser  <>     Subject:    Re:  The  Elephant  is  COMPLETE     Date:    July  6,  2011  3:43:22  PM  EDT     To:     Yuko  Nii  <>     Reply-­‐To:     Robert  J.  Wickenheiser  <>  BT,     WOW  and  double  WOW.     I  am  so  very  impressed  and  I  believe  your  folio  will  stand  the  test  of  time  along  with  the   other  great  illustrated  editions  of  Paradise  Lost.    I've  said  that  and  more  in  my   Commentary.    I  have  also  reworked  my  commentary  to  include  some  of  the  important   recent  successes  that  very  much  warrant  inclusion.    Does  this  mean  my  revised   Commentary  cannot  be  used  in  the  Folio  edition.    I  surely  hope  not.    I  think  that  you  have   just  kept  this  between  use,  and  I  promise  to  get  the  revision  to  you  very  shortly.     More  later.    For  now  I  stand  at  the  head  of  your  admirers,  but  with  the  difference  that  I   know  WHY  your  illustrations  and  indeed  your  entire  illustrated  edition  rank  with  the   greatest  of  all  time  over  the  past  4+  centuries,  Blake  included,  but  Blake  is  by  no  means   my  primary  measure.    There  are  others,  to  be  sure,  and  they  include  Medina,  Cheron,   Hayman,  Richter,  and    a  host  of  others.     With  deepest  admiration  and  affection,   BB     PS    Is  that  my  copy  you  are  showing?    


From: Yuko  Nii  <>   Subject:  Re:  Answering  a  question  from  the  Italian  artist/scholar  Dario  Re:  about  Raphael   and  Devil  Debating...   To:  "Robert  J.  Wickenheiser"  <>   Date:  Wednesday,  June  8,  2011,  2:44  PM     Dear  BB:     Thank  you  so  much  for  this  comment!  Yes,  this  is  what  one  has  when  totally  immersing   one's  self  in  one  of  the  greatest  philosophical  and  literary  works  of  humanity.  It  is   continually  spinning  off  meanings  one  never  saw  before.  And  that  is  why  it  engrosses   Milton  scholars  in  a  CONTINUING  debate  on  "what  Milton  really  meant"  in  this  and  that   passage.  There  is  no  FINAL  AND  ABSOLUTE  interpretation  to  most  things  in  Milton's   Paradise  Lost  because  it  has  infinite  responses  in  the  reader,  deliberately  presented  by   Milton  for  the  purpose  of  having  infinite  responses.  I  noted  in  the  Milton  lists  that  some   scholars  interpret  porions  of  his  writing  literally  and  some  allegorically.  Both  ways  are   fine,  looking  at  it  from  different  angles.  It  is  great  and  subtle  sea  of  poetry  that  never  yield's   a  bottom  or  a  landfall.  To  ride  it  is  being  the  Flying  Dutchman,  never  to  find  land  while   riding  this  sea.       BT    


Raphael &  The  Devil  Debating  


Re: Answering  a  question  from  the  Italian  artist/scholar  Dario  Re:  about  Raphael  and   Devil  Debating...     Date:    June  8,  2011  3:13:51  PM  EDT     To:     Yuko  Nii     Dear  BT:     And  thank  you  for  your  comment  in  return.    It,  like  all  your  comments,  remains  very   dear  to  me.     I  probably  disagree  with  you  for  the  first  time,  though,  in  one  important  respect:  by   leaving  yourself  open  to  supporting  a  virtually  endless  series  of  meanings  to  Milton's   great  epic,  you  allow  (although  I  know  you  don't  mean  or  intend  this)  a  virtually  free-­‐ wheeling  and  anything-­‐goes  response  to  Milton;  hence,  such  seminar  topics  at  MLA   drove  me  away  as  "The  Menstrual  Cycle  in  PL,"  or  various  studies  of  Milton's  inability   to  understand  women,  regardless  of  the  age  in  which  Milton  lives  and  the  traditions   out  of  which  he  comes.    Moreover,  studies  like  "Freud  and  Milton"  (or  was  the  title  "A   Freudian  interpretation  of  Milton  and  his  PL")  left  me  with  an  inability  to  make  it   beyond  the  first  chapter.     I  know  you  don't  mean  to  leave  Milton  wide  open  to  any  and  all  interpretations,  but   rather  to  an  appreciation  of  endless  understandings  within  a  context  established  and   defined  by  Milton  in  relation  to  that  which  he  inherits;  to  an  appreciation  to  an   openness  on  Milton's  part  to  all  that  is  endless  whether  in  terms  of  philosophy,   theology,  religion,  societal  norms,  values,  and  a  great  deal  more.    It  is  in  these  areas  in   which  I  find  your  commentary  so  very  compelling  and  eye-­‐opening,  sometimes  in  its   very  simplicity  of  approach  and  other  times  in  the  manner  in  which  you  manage  to   open  the  great  mind  of  Milton  to  all  of  his  readers  as  well  as  to  insights  as  to  how   Milton  brings  them  to  bear  in  PL.     So  we  don't  really  disagree  at  all,  I  am  confident,  and  I  continue  to  marvel  as  your   capacity  to  teach  in  a  manner  which  draws  on  values  and  norms  we  both  care  deeply   about.     With  abiding  esteem  and  affection,   Bob    


-­‐-­‐ On  Sat,  6/11/11,  Yuko  Nii  <>  wrote:     From:  Yuko  Nii  <>   Subject:  Further  thoughts!   To:  "Robert  J.  Wickenheiser"  <>   Date:  Saturday,  June  11,  2011,  2:06  PM     “There  is  no  FINAL  AND  ABSOLUTE  interpretation  to  most  things  in  Milton's  Paradise  Lost   because  it  has  infinite  responses  in  the  reader,  deliberately  presented  by  Milton  for  the   purpose  of  having  infinite  responses.  I  noted  in  the  Milton  lists  that  some  scholars  interpret   portions  of  his  writing  literally  and  some  allegorically.  Both  ways  are  fine,  looking  at  it  from   different  angles.  It  is  great  and  subtle  sea  of  poetry  that  never  yield's  a  bottom  or  a  landfall.   To  ride  it  is  being  the  Flying  Dutchman,  never  to  find  land  while  riding  this  sea.”  Terrance   Lindall           My  comment  issued  spuriously  probably  could  have  been  better  expressed.  I  question  my   statement  about  “infinite  responses.”    I  was  merely  “waxing  poetic.”  It  evoked  this  response   from  a  highly  ranked  scholar  whom  I  admire:                 “I  know  you  don't  mean  to  leave  Milton  wide  open  to  any  and  all  interpretations,  but  rather  to   an  appreciation  of  endless  understandings  within  a  context  established  and  defined  by  Milton   in  relation  to  that  which  he  inherits;  to  an  appreciation  to  an  openness  on  Milton's  part  to  all   that  is  endless  whether  in  terms  of  philosophy,  theology,  religion,  societal  norms,  values,  and   a  great  deal  more.    It  is  in  these  areas  in  which  I  find  your  commentary  so  very  compelling   and  eye-­‐opening,  sometimes  in  its  very  simplicity  of  approach  and  other  times  in  the  manner   in  which  you  manage  to  open  the  great  mind  of  Milton  to  all  of  his  readers  as  well  as  to   insights  as  to  how  Milton  brings  them  to  bear  in  PL..”  Robert  J.  Wickenheiser           I  quite  agree  with  Dr.  Bob      


HE BLIND  MEN  AND  THE  ELEPHANT  AND  FLANNAGAN’S  MIRROR       Paradise  Lost  is  the  proverbial  elephant  here.  Each  Milton  scholar  with  his  or  her  limited   sensibilities  or  intellectual  capacities  bent  by  biases  as  to  what  he  or  she  wishes  to  read  into   things  sees  different  things  in  Paradise  Lost.  I,  for  one,  see  Satan’s  proposition  that  “The  mind   is  its  own  place  and  in  itself  can  create  heaven  or  hell”  as  expressing  the  philosophy  of   Idealism,  whether  or  not  Milton’s  personal  belief.  My  bias  is  that  no  one  can  prove  anything   behind  perception  that  might  be  noumenal.  Meanwhile,  Professor  Steve  Fallon,  one  of  the   foremost  authorities  on  Milton    has  written  Milton  Among  the  Philosophers,  which  looks  at   the  writer’s  materialism  in  light  of  17th  century  philosophical  debates.  I  am  not  quite  sure   what  Steve  means  about  materialism  since  I  have  not  yet  read  his  book,  but  I  understand   materialism  to  mean  that  the  only  thing  that  exists  is  matter;  that  all  things  are  composed  of   material  and  all  phenomena  (including  consciousness)  are  the  result  of  material  interactions.  I   take  it  by  the  expression  “Milton’s  materialism”  that  Steve  thinks  that  Milton  had  some   leanings  thereto.  Now  the  great  debate  might  begin…what  does  this  mean  in  the  context  of   Satan’s  great  declaration  and  what  Milton  actually  believed?    Perhaps  Milton  was  a  materialist,   but  then  where  resides  God,  angels  and  Satan  in  Milton’s  ontology?  According  to  the  Catholic   Encyclopedia,  materialism  denies  the  existence  of  both  deities  and  "souls”  and  It  is  therefore   incompatible  with  most  world  religions  including  Christianity,  Judaism  and  Islam.  Was  Milton   an  atheist?  Then  Satan  is  just  a  fairy  tale,  possibly  used  by  Milton  to  express  ideas  about   rebellion  against  unjust  tyranny,  etc.  It  perhaps  would  be  like  Aesop’s  fables  used  to  teach   about  ideas  of  right,  wrong,  injustice  and  the  foibles  of  human  nature.  Then  should  we  think  of   Milton  a  great  humanist,  wherein  he  is  teaching  us  about  how  humans  should  behave  toward   each  other  using  fabulous  tales  of  god’s  and  angels?           My  sense  of  Dr.  Wickenheiser’s  comment  is  that  he  believes  it  is  a  wrong  approach  to  think   that  Milton  can  be  interpreted  any  way  one  pleases.  I  agree  with  that  basic  proposition…and   yet  what  is  Milton’s  purpose  in  the  poem?  I  myself  take  it  as  the  greatest  art…and  I  use  ideas   in  it  to  make  comments  of  my  own  about  the  characters  in  the  story  and  about  good  and  evil,   right  and  wrong,  and  the  nature  of  reality  itself.  And  I  will  continue  to  do  so,  whatever  Milton   “really  intended.”  I  use  Milton's  great  poem  as  a  backdrop  to  make  my  own  artistic  and   philosophical  points.  I  do  maintain  that  Milton  was  artfully  ambiguous  enough  in  his  phrasing   that  one  can  think  in  two  or  three  ways  at  once  about  what  he  is  saying.  Someday  I  will  go   back  and  make  a  case  in  point.  In  other  words,  he  is  consciously  making  the  reader  think!  How   deliciously  enjoyable!  Of  course,  thinking  is  not  for  everyone.  So  the  poem  also  entertains  as  a   fantastic  tale  for  those  of  a  less  philosophical  bent!  A  lot  of  Milton  scholars  think  that  Milton’s   Paradise  Lost  is  only  their  own  scholarly  property  and  is  beyond  “mere  mortals.”    I  profoundly   disagree!  There  is  something  for  everyone  here.  Some  people  think  it  is  a  “religious”  poem  and   scrupulously  avoid  it.  Ridiculous!  Prejudices  abound!  What  is  most  true  about  it  is  that  it  is  a   great  tale  well  told!    


For physicists  working  in  the  realms  of  the  sub-­‐atomic,  things  are  becoming  more  and   more  ephemeral.  Like  looking  for  what  Milton  “meant”  or  “intended”  in  Paradise  Lost,   they  are  becoming  more  puzzled  by  what  the  substance  of  our  universe  really  is.   Materialism  has  become  idealism  if  we  look  very  carefully  at  what  physicists  are  saying.   Notions  of  "particles"  and  "waves"  have  moved  to  notions  of  "events."  The  strange   universe    is  like  the  proverbial  elephant  that  a  bunch  of  blind  men  (scientists)  have   stumbled  on.  One  feels  the  side  and  says  it’s  a  wall.  One  feels  the  trunk  and  calls  it  a   snake.  Now  if  you  think  that  among  men  that  in  the  valley  of  the  blind  the  one  eyed  man   is  king,  just  remember  the  O’Henry  story  about  the  valley  of  the  blind.  The  people  there   thought  his  eyes  were  tumors  and  drove  him  to  his  death!  If  one  man  could  really   surmise  and  state  what  Milton  really  meant,  a  pack  of  scholars  would  probably  put  him   to  the  stake.  And    if  you  think  that  scientists,  even  great  ones  are  great  thinkers,  just  read   Schrodingers  "HYPOTHESIS  OF  THE  REAL  WORLD"  as  he  struggles  with  the  illusive   "Mind/Body"  problem.    


Bob wanted  the  original  drawing  of  Raphael.     To  Robert    Wickenheiser   Sent:  Friday,  July  8,  2011  10:11  PM     Dear  BB:     Dear  BB     Oh  yes:    20  drawings  have  been  released.    They  are  pretty  expensive  though.  I  was  going  to   use  sale  of  them  to  finance  the  elephant.  Didn't  work.    I  am  nor  sure  that  you  can  afford  them.   When  and  where  would  you  get  the  money?       So,  Regarding  the  drawings  mentioned  in  your  email,  if  you  are  going  to  have  any  funds  soon:     Currently  you  owe  $XXXXX  for  the  set  of  mock-­‐ups  and  the  quarto.  You  wanted  the  final  artists   proof  of  the  elephant  40  pp  signed  in  pencil  (what  did  I  say...$XXXXX)  and  the  drawings  below   (I  was  asking  as  much  as  $10,000  each).  I  do  have  a  drawing  that  never  went  to  the  YN   Foundation.  It's  been  sitting  in  my  studio.  I  will  photograph  it  tomorrow.  It  is  large  (30  inches   wide?).  It  shows  Milton  reciting  and  Satan  coming  forth  out  of  Milton  forehead.  Satan  is  riding   the  Visionary  foal.  Dryden  is  down  in  the  corner  saying  that  Milton  is....I  forget.  So  here  is  the   summary:     You  Currently  owe                                                                                          $XXXX   Artist  proof    elephant  signed  13  x  19  40  pp      unbound            $XXXXX   1979  original  conceptual  drawing                                                                                                        $XXXX   TOTAL  $XXXXX     That's  a  lot  of  money  that  you  probably  do  not  have,  alas!  Anyway,  it  is  offered.  BT     From:  Terrance   To:  Robert  J.  Wickenheiser     Sent:  Friday,  July  8,  2011  12:14  PM     Dear  BB:  On  the  Raphael  drawing.  I  am  not  sure  that  Yuko  is  willing  to  sell  now.  We  really  do   not  need  the  money,  and  the  elephant  is  financed.  I  will  let  you  know.  BT       To  Terrance:   Dear  BT:  I  fully  understand.    Don't  ask  Yuko  if  it  is  going  to  be  difficult  to  do;  and  I  am  so  very   glad  the  elephant  is  financed  –  now  if  only  laggards  like  me  would  pay  up!      BB      


The Raphael  Drawing  


From: Terrance Lindall To: Robert J. Wickenheiser Sent: Sunday, November 20, 2011 4:14 PM BB: I have to do one or two better proofs on some pages for the artists proof elephant to make it the best possible for your collection. I even have to buy paper to do that. Can I send you the drawing first and the elephant proof in January?? BT From: Robert J. Wickenheiser <> BT: Sounds fine. Always, always, whatever works best for you! May I see a pix of the "1979 original conceptual drawing"?, as you suggested. Regards, BB The picture in question:


107 Â

My colleague  Bienvenido  Bones  Banez  did  a  wonderful  drawing:  


To Bob       From  Terrance:     This  drawing  by  Bien  is  truly  wonderful!  Glorious  Satan  leaps  for  joy  at  Adam  and  Eve   being  seduced.  This  is  by  my  colleague  Bienvenido  Bones  Banez,  jr.  It  was  given  to  the   Yuko  Nii  Foundation  for  the  Milton  collection.  Utterly  fantastic.  It  captures  the  idea   precisely.  I  call  his  art  "Fiero  Electric."  Notice  that  Adam  &  Eve  are  now  becoming   entwined  in  flames  of  Hell  and  snakes.  A  great  conceptual  point!!!!  The  theme  of  all  of   Ben’s  work  is  the  "World  of  666"  focusing  on  Satan  being  "Perfect  in  Prettiness."     He  is  a  mighty  Paradise  Lost  illustrator.       Bien  on  Wikipedia:“Bones”_Banez,_Jr.          









Dear BT,     First  of  all,  in  response  to  your  PS,  I  will  do  anything  you  want  me  to  do  at  the  WAH   Center.    Remember,  you  have  the  three  boxes  of  books  I  brought  you  for  you  to  sell   to  benefit  the  Foundation.    We  may  need  to  use  several  of  them  for  purposes  of   display  or  reference,  when  I  talk.    You  could  advertise  a  signing,  if  you  wish,  of  my   book  that  day,  which  might  help  sell  the  book  for  the  Foundation's  Benefit.     I  like  your  idea  about  a  series  of  illustrations,  at  your  suggestion,  so  that  he  does  a   terrific  job.    The  subjects  I  would  especially  like  illustrated,  if  not  asking  too  much,   include  Satan  rising  up;  Eve  seeing  herself  in  the  water;  Adam  and  Eve  in  the   Bower  of  Bliss;  the  Temptation;  and  the  Expulsion;  perhaps  the  Judgement  as  well.     I  don't  have  any  money;  you  know  that.    But  if  he  does  them  for  you,  and  then  you   say  I  was  really  taken  with  them  and  requested  that  they  be  included  in  my   collection  (which  you  could  tell  him  about  in  terms  of  its  range,  emphasis  on   illustrations,  etc.),  he  might  allow  the  cost  to  be  modest.    Your  thoughts  on  this.    If   he  is  LOYAL  to  you,  as  you  know  I  am  to  you,  then  money  won't  be  his  main   concern,  as  with  my  gift  of  my  books  to  you  to  sell  for  the  Foundation,  or  your   "gifts"  to  me  in  so  many  different  ways.     With  gratitude  for  always  thinking  of  me  and  never  telling  me  where  to  go  when   asking  you  for  your  advice  and  assistance,  as  here.     BB    


On Dec  5,  2011,  at  11:01  AM,  Robert  J.  Wickenheiser  wrote:       Dear  BT,     Your  "colleague  Bienvenido  Bones  Banez,  jr.,"  is  indeed  "a  mighty  Paradise  Lost   illustrator."    I  think  his  gift  to  the  Milton  collection  in  the  Yuko  Nii  Foundation  is  a  grand   gift  and  one  I'm  certain  the  Foundation  will  cherish  forever.     You  have  always  mentioned  "Bones"  to  me.    Would  he  do  an  illustration  for  me;  one  that   isn't  too  expensive,  but  reflective  of  his  profound  talent  as  an  illustrator,  in  particular  the   "mighty  Paradise  Lost  illustrator"  you  have  labeled  him.     I  may  be  all  wet  on  this,  but  didn't  he  once  talk  about  doing  a  portrait  of  Milton  for  me?     Warm  regards,   BB    


So I  was  finishing  up  my  second  copy  of  The  Gold  Folio  of  Paradise  Lost.  Bob  and  I  had   talked  on  the  phone  about  it  and  we  agreed  to  have  a  major  presentation  at  our  art  center   with  a  lecture  by  Bob  on  his  collecting  experiences  and  a  major  display  of  the  Milton   books  he  still  retained  in  his  collection  after  what  was  sent  to  the  University  of  South   Carolina.       We  decided  that  his  lecture  and  presentation  should  have  a  platform,  so  we  created  the   Williamsburg  Circle  of  International  Arts  &  Letters.  I  solicited  some  of  the  top  scholars  I   knew  to  be  members,  and  they  were  delighted.  


So we  made  Bob  Chairman  and  he  sent  fellow  members  this:     From:    Robert  J.  Wickenheiser  <>     Subject:  Welcome  from  your  Chair     Date:     February  4,  2012  7:37:41  AM  EST     To:     Terrance  Lindall  <>,  Yuko  Nii   <>,  Horace  Jeffery  Hodges  <>,  Dario   Rivarossa  <>,  Mark  Cohen  <>and  6   more…     Reply-­‐To:     Robert  J.  Wickenheiser  <>     BOB   Dear  Circle  Colleagues,       It  is  an  honor  for  me  to  write  to  you  as  Chair  and  tell  you  how  excited  I  am  about  all  of  you   agreeing  to  serve  on  the  Williamsburg  Circle  of  International  Arts  and  Letters  (WCIAL).     Someone  has  suggested  that  perhaps  the  letters  we  use  to  identify  our  body  be  simplified   to  WC  (Williamsburg  Circle);  there  is  great  merit  to  that  suggestion,  and  I  leave  it  to  the   membership  to  determine  just  what  initials  best  serve  our  purpose.    Clearly  our  name  and   mission  speak  for  themselves  and  volumes  about  what  we  can  accomplish  by  working   together  simply  by  being  who  we  are  and  standing  for  all  that  we  believe  in  when  it  comes   to  the  love  of  literature,  art,  philosophy,  theology,  and  music.       We  will  discuss  specific  items  at  our  first  meeting,  like  preference  for  the  use  of  initials   (WCIAL  viz  a  viz  WC),  how  often  we  should  meet,  and  the  like.    Further,  should  the  “Chair”   be  “Chair”  or  “Chairman”?    Should  the  “Chair”  be  “Chair/Chairman  and  President”?    And   there  will  be  yet  other  practical  questions  to  answer  and  matters  to  attend  to  as  a  one-­‐ time  affair  during  our  first  meeting  (even,  e.g.,  asking  could  the  profound  look  of  some  of   our  members  in  their  member  photos  threaten  the  young  rather  than  attract  them  to  our   cause  and  to  who  we  are  and  what  we  believe  in).    I  would  ask  each  of  you  to  think  of   matters  which  we  should  attend  to  by  way  of  organization,  identification,  etc.,  at  the  first   meeting  so  that  we  can  be  prepared  to  discuss  these  items  at  that  meeting  and  so  that  we   can  then  move  on  forever  more  to  matters  that  are  at  the  heart  of  why  we  exist,  that   constitute  what  we  care  most  about,  and  that  respond  to  the  vital  question  of  how  we  can   effectively  influence  not  only  the  young,  but  those  who  teach  and  have  responsibility  for   encouraging  the  young  to  study  and  what  it  is  to  which  they  should  devote  their  time  and   minds.      


I serve  as  Chair  of  this  remarkable  new  WAH  Center  venture  with  great  enthusiasm   and  with  the  spirited  hope  that  together  we  will  be  able  to  accomplish  much  in   accordance  with  our  mission  and  goals.    You  know  well  from  information  provided  us   by  Terrance  Lindall,  that  greatest  thinker  of  thinkers  and  illustrator  premiere  of  our   time  of  Milton’s  Paradise  Lost,  just  how  clear  our  mission  is  and  what  role  we  can   each  serve  individually  and  collectively  as  members  of  the  newest  Williamsburg   Circle.       The  role  I  intend  to  play  as  Chair  of  this  esteemed  body  is  to  call  meetings  (all  by   phone,  perhaps  one  in  person  at  the  WAH  Center  sometime  down  the  line)  as  and   when  appropriate,  and  that  can  be  done  at  the  request  of  any  member  made  directly   to  me  or  by  me  if  I  feel  that  we  have  gone  too  long  without  sharing  the  spirited   enthusiasm  and  knowledge  of  every  member  in  open  discussion  of  the  Circle.       As  Chair,  I  welcome  topics  for  discussion  from  any  of  our  members  at  any  time  in   advance  of  a  meeting  so  that  I  can  inform  the  members  of  what  topic  or  topics  will  be   the  focus  of  discussion  at  a  given  meeting.    During  our  meetings,  I  intend  to  ensure   that  everyone  has  an  opportunity  to  share  his  or  her  views,  to  keep  us  on  course  if  we   wander  too  far  astray,  and  to  try  and  keep  track  of  ideas  worthy  of  follow-­‐up   discussion  and  even  some  direct  action.      


As a  member  among  other  outstanding  members,  individually  and  collectively,  our   example  will  encourage  new  enthusiasm  among  those  who  see  and  read,  particularly  the   young.    We  can  then  hope  that  over  time  the  pursuit  of  a  continuing  study  of  humanities   will  become  a  constellation  in  the  psyches  of  those  we  touch  with  our  efforts.    High   schools  may  then  have  classes  in  classical  humanities  that  will  instill  values  (as  in   Ethics).    We  can  inspire  by  example!    But  we  cannot  inspire  by  example  unless  we  say   that  "these  men  and  women  are  great  examples,"  i.e,  that  here  is  the  name  of  one  of  the   world’s  greats  and  that  this  is  what  he  or  she  has  done  and  accomplished  in  an   everlasting  and  most  profound  way.       Here  is  what  Karen  Karbiener  has  discovered  by  adventuring  into  the  realms  of   nineteenth  century  American  literature  and  particularly  the  works  of  the  great  Walt   Whitman  (who  most  students,  along  with  their  teachers,  alas!  run  away  from  as  being   too  difficult  to  understand,  as  with  Milton,  and  even  Shakespeare,  not  to  mention  art  of   all  cultures  and  music  that  has  inspired  the  ages,  and  I  don’t  mean  Elvis  or  The  Beatles,   though  I  like  them  well  enough,  as  do  most).       Our  efforts,  energies,  devotions,  and  discoveries  will  encourage  a  young  man  or  woman   to  ask,  how  did  your  adventure  take  you  there?    Why?    And  to  what  effect  overall?       Know  that  you  are  and  can  be  a  potent  name  and  influence  upon  the  brightest  and  the   best,  the  eager  young  looking  for  a  road  to  follow.    Your  saying  “yes”  to  serving  on  the   Williamsburg  Council  will  influence  countless  young.    I  believe,  and  I  hope  you  believe,   that  we  can  have  this  kind  of  influence  on  the  young  today  and  tomorrow.       With  great  expectation  and  enthusiasm  for  our  Williamsburg  Circle,  and  with  highest   regard  for  the  remarkable  achievements  of  each  of  you  and  a  genuine  eagerness  to  serve   together  with  you  on  the  Williamsburg  Circle,  I  remain  most  humbly,       Bob  Wickenheiser   Chair  &  President               "Fidem  Fati  Virtue  Sequemur"   With  Courage  follows  the  promise  of  Destiny!       We  got  many  letters  and  emails  of  congratulations.  


February 10, 2012

Terrance Lindall Williamsburg Art & Historical Center 135 Broadway Brooklyn, NY 11211 Dear Mr. Lindall: Thank you for inviting Governor Cuomo to attend the event on April 14, 2012. He is honored to hear from you and appreciates that you have taken the time to extend this thoughtful invitation to him. My office will contact you or your staff in the near future to let you know if the Governor is able to participate in your event. If you have any questions in the meantime, please do not hesitate to call us at 518-474-4727. Thank you again for your gracious invitation. Warmest regards. Sincerely, Nicholas Weatherbee Director of Scheduling  


Dear Ms.  Nii,       Thank  you  for  your  email  about  the  Williamsburg  Art  &  Historical  Center’s  new   humanities  initiative,  the  Williamsburg  Circle  of  Arts  and  Letters.    I  am  always  delighted   to  learn  of  an  organization  devoted  to  the  humanities,  and  I  wish  you  all  the  best  with  this   exciting  endeavor.       Sincerely,   Drew  Faust,  President  of  Harvard  University       "The  circle  reminds  me  of  the  Round  Table,  the  WAH  Center  Camelot  Castle,  and  the   members  Knights\Ladies...our  quests  to  explore  and  challenge  the  the  intellectual  and   artistic  landscape  unfolding  like  a  self-­‐weaving  tapestry  in  our  brave  new  century.  I  love   your  mission  statement  and  your  idea  of  a  circle  of  diverse  minds,  talents,  and   perspectives  to  accomplish  your  mission  is  perfect.    Will  you  consider   creating\commissioning    a  round  table  for  the  group?    -­‐I  guess  you  know  who  would  be   Arthur  and  Guinevere..."  John  Geraghty     "I'm  honored  to  be  asked  to  join  your  group,  and  delighted  to  accept.      Thank  you  for  the   offer  and  please  keep  me  posted  on  events,  especially  those  that  I  can  pass  along  to  my   students  and  Whitmaniacs...     "I'm  currently  trying  to  organize  an  annual    "Whitman  Week"  in  NYC  around  Whitman's   birthday  (May  31-­‐-­‐  a  Gemini  of  course!),  with  the  centerpiece  being  the  annual  "Song  of   Myself"  marathon  (possibly  in  Brooklyn  Bridge  Park;  I'm  negotiating  with  Parks  reps   about  that).         "Congrats  on  your  many  successful  projects!    Here's  to  a  new  year  of  beautiful  art  and   great  company,"    Professor  Karen  Karbiener       You  have  put  together  a  very  fine  board  of  representatives  for  your  Williamsburg  Circle  of   Arts  and  Literature.       I  admire  your  hard  work  in  establishing  an  important  network  of  outstanding   professionals  in  a  community,  which  has  historical  importance  in  the  arts,  literature,  and   humanities.     It  is  time  that  you  receive  recognition  for  all  your  amazing  efforts.  Sending  all  best  wishes     Sincerely,  Robert  C.  Morgan       I  can't  be  there  [at  the  first  meeting  on  April  14th],  but  best  of  good  fortune.     Professor  Martin  Kemp,  Oxford     117  

Pictures from  the  Wickenheiser  lecture    &  presentation  April  2012  


The Williamsburg  Circle  Dinner  April  2012  

John Geraghty  and  family  

Yuko Nii  and  Juan  Figueroa  

Lindall, Banez  and  Professor  Kaplan    


So the  weekend  was  over.  It  was  an  outstanding  presentation.  I  include  here  his  notes  from   the  lecture.       Bob  and  I  spent  a  number  of  hours  together  before  and  after  the  event  with  me  signing   items  and  his  selecting  a  number  of  original  drawings  for  his  collection.     Then  it  was  ended    and  he  and  his  daughter  Kari  loaded  up  the  car  and  drove  off.    


Bo was sending many items to the University of South Carolina. He le me know what he was saying about it. From: Robert J. Wickenheiser <> Subject: Thought you might like to see what I have written to accompany the art going to USC Date: August 29, 2012 12:17:34 PM EDT To: Terrance Lindall <> Reply-To: Robert J. Wickenheiser <>

BT: Here's a sample of Yuko's page, I presume, although I like your rich background below very much:

Additionally, you use large color scripted initial letters, which I like, and various kinds of decorations on some pages analogous to here, but decorations mostly. I just think all of this would make the Commentary printing unique and closely related to your elephant folio.

Separate point:

Did you revise my commentary in the one you have so efficiently already made available. In any case, I plan to send you my FINAL Copy, which you can use if need be or just keep as "Final Copy."

Third point: I read on your "Elephant Folio" page that "Terrance Lindall has formatted a new print version of his Paradise Lost illustrated. It comes in three different versions: Soft cover, two different sizes of hand embellished gold appointed art productions [in hard back, I think]. Info:" I also saw the different looking formats in the video clip,

sooooo. .

.how much is each, and then, would you please reserve me two copies of each, for which I will make Â

121 Â


Here goes FYI:


illustration in code)

TERRANCE LINDALL –&– His Concerted Effort to Attract Contemporary Artists of Stature And of Great Potential to Join in Contributing Original Illustrations of Paradise Lost to The Robert J. Wickenheiser Collection at The University of South Carolina I have amassed a major collection of Terrance Lindall's illustrations of Milton's Paradise Lost throughout his career, which I will pass on to my Milton collection at the University over the years to come, with the assurance that my Will establishes they will in fact become part of the


TERRANCE LINDALL –&– His Concerted Effort to Attract Contemporary Artists of Stature And of Great Potential to Join in Contributing Original Illustrations of Paradise Lost to The Robert J. Wickenheiser Collection at The University of South Carolina I have amassed a major collection of Terrance Lindall's illustrations of Milton's Paradise Lost throughout his career, which I will pass on to my Milton collection at the University over the years to come, with the assurance that my Will establishes they will in fact become part of the collection. Over recent years, Terrance and I have become very close friends, brothers we call ourselves, and I want to devote more time than I have had thus far to studying and reflecting upon the great illustrations he has done of Paradise Lost, particularly in his unique quarto and elephant folio editions, which exist in only two copies each, mine and the copy belonging to the Yuko Nii Foundation. In addition, I have original drawings he did in the late 1970s, the comic book in which his illustrations of Paradise Lost first appeared in print, in 1980, and a great many other formats in which Terrance's illustrations appear (see my "Commentary" to Lindall's elephant folio). Were it not for our very close and unique friendship, I am certain I would not have the great many Terrance Lindall originals I do have and which I know will hold a special place of prominence and distinction in my collection. Nor, without Terrance, would so much of what has been happening with artists to whom he has introduced me and who admire Terrance as the foremost surrealist artist of our day. Terrance Lindall is that and a great deal more. I have no doubt that Lindall's original and unique illustrations of


AT . I have no doubt that Lindall's original and unique illustrations of Milton's Paradise Lost add a dimension to my Milton collection, with its emphasis on illustrated Milton, which would otherwise not be there. Moreover, because of Lindall, other contemporary artists have become friends and have developed a strong desire to contribute original illustrations in their own unique styles to my collection, many of whom are already included here; still others, while not yet personal friends, have decided because of the leading artists of our day who are contributing to my and the University's Milton collection, to focus their talents on illustrating Paradise Lost with the goal of joining their colleague artists in providing original illustrations of Paradise Lost by contemporary artists to the Wickenheiser Milton Collection at the University of South Carolina. These original illustrations of Paradise Lost by contemporary artists will undoubtedly add a special and unique dimension to the Milton collection, which no other Milton collection has. While the present collection has the breadth and scope such a major collection should have in order to be the world class collection it is, or as John Shawcross said of the collection – "[It is] one of the major collections of materials related to John Milton, editions and studies and artworks, in the world, indicating the breath and nature of Milton’s position in the literary, political, religious, and sociological world over the nearly three and a half centuries since his death" – the concentrated effort to acquire original illustrations of

Paradise Lost by contemporary artists will undoubtedly add a special and unique dimension to the collection, which no other Milton collection has or ever can have. For this, I am especially grateful to Terrance Lindall, who is not only the driving force behind attracting the kind and quality of artist called for in such a concerted effort as this, but he is ensuring that artists who wish to join with their colleagues in enhancing the Wickenheiser Milton Collection by contributing original illustrations of


Paradise Lost to it are also willing to do so for a nominal cost for each of their illustrations. Lindall has assured both important established and well-recognized artists as well as young and upcoming artists not only of the importance of their being a part of this united effort, but of the recognition each will receive over time by their having done so. As of now, I am passing on to the collection only one piece by Terrance Lindall, with more to follow in due course, as I have indicated and given my assurances. That piece, identified below, is also only indirectly related to Paradise Lost, i.e., it does not provide or incorporate an illustration of Milton's epic. Rather, it is one of Lindall's ____________, presented to me, with presentation inscription, dated ______. Lindall is undoubtedly the most noteworthy artist of our period who has devoted his life to illustrating Milton's great epic, as William Blake and John Martin did before him. Because of the internet, Lindall's illustrations are among the most well known of all of today's illustrators of Milton's Paradise Lost, and by the greatest variety of cultures; because of the internet they are perhaps the most well and most widely known of all illustrators of Milton's epic. In this, Lindall has helped to advance the awareness of Milton's great epic and of its importance in all of literature. Lindall is also known as broadly as he is because of his distinctive style in illustrating Paradise Lost and in his unique approach to Milton's epic. His illustrations are as popular and as important to our period as Blake's and Martin's were to theirs and DorĂŠ's to his. Along with these and other prominent illustrators of Milton's Paradise Lost, Lindall will always be remembered as the greatest illustrator of Milton's epic in our time (the late 20th and 21st centuries), and he is assured of being seen as one of the all-time-great illustrators of Milton's epic, with his place among the prominent illustrators of Milton down through the ages, from the illustrations by Â

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and he is assured of being seen as one of the all-time-great illustrators of Milton's epic, with his place among the prominent illustrators of Milton down through the ages, from the illustrations by Medina in the first illustrated edition of Paradise Lost in 1688 down to the present and into the future, well-acquitted by his unique style, by what he does and how he does it; as assured by his remarkable and awesome illustrations of Paradise Lost as he is well-established by the memorable ways and unique styles in which he illustrates and brings to life one of all of literature's greatest epics, reflecting our age in responding to that which is unique to Milton and in capturing the essence of Milton's epic for ours and all ages to come. √TITLE OF HIS WORK SIZE of work and then of mat and frame Description of frame INSCRIPTION, With Date Cost: WRRR (2010) [I believe the University may already have acquired a signed copy of this limited edition print]

********************************** Next listing: After you above, Beal will be listed first, then “Bones,” then Dario Rivarossa (by way of mention, since I am not passing his works on to the collection just yet either, as I am not passing on your works), followed by the others, whose art work I have from you great April fete. ROBERT BEAL


I was  able  to  help  Bob  with  the  appraisal  for  his  Milton  Collcetion:     From:    Robert  J.  Wickenheiser  <>     Subject:     Appraisal  for  U  of  SC     Date:     November  15,  2012  1:54:09  PM  EST     To:     Terrance  Lindall  <>     Reply-­‐To:     Robert  J.  Wickenheiser  <>     Dear  BT,     It  was  wonderful  talking  with  you  again  this  morning.    I  also  can't  tell  you  how  much  I   appreciate  your  willingness  to  help  me  and  the  U  of  SC  with  an  appraisal  for  the  IRS  of  the   art  work  you  helped  me  acquire  for  my  Milton  collection  there.     Attached  is  a  list  of  the  art  work  I  purchased  this  year  and  recently  gave  to  the  U  of  SC  for   my  Milton  collection  there,  most  everything  the  result  of  your  remarkable  efforts  to  help   me  acquire  the  largest  collection  of  contemporary  artists  who  have  illustrated  Milton  (i.e.,   Paradise  Lost).     Your  appraisal  can  be  easily  connected  to  my  listing,  indicating  that  you  know  the  artists,   were  the  main  source  in  these  artists  preparing  artistic  illustrations  of  Paradise  Lost  for   my  Milton  collection;  that  you  agree  with  the  information  I  provide  about  each  artist  and   with  my  description  of  each  work;  that  you  concur  with  the  payment  I  made  for  each   work,  especially  because  in  most  instances  you  helped  to  define  the  cost  or  recommended   an  appropriate  cost  to  me  (sometimes  greater  than  that  requested  by  the  artist);  and  that   in  the  case  of  your  own  work,  the  cost  is  what  I  paid  directly  to  you  as  a  special  rate,   knowing  my  limited  means  of  income.     I  think  everything  will  flow  readily  and  easily,  and  of  course  I  am  prepared  to  assist  you  in   any  way  I  can.     I  also  think  the  summary  I  provided  of  you  as  an  artist  along  with  your  own  information   which  you  suggested  you  would  provide  about  yourself  (as  founder,  director,  and  curator   of  a  worldwide  respected  art  museum  in  which  you  have  played  a  major  role  in  acquiring   important  and  unique  art  works  for),  by  underscoring  your  owe  role  in  assisting  artists  in   conjunction  with  the  museum,  while  assessing  their  and  other  art  work  regularly,  by   reference  to  your  own  standing  and  stature  as  an  artist,  and  by  pointing  to  the  large   number  of  articles  and  descriptions  of  you  as  an  artists  on  line  –  will  all  underscore  your   standing  as  one  qualified  to  assess  the  art  works  at  hand.     Once  again,  and  as  so  many  times  before,  I  really  can't  thank  you  enough!    Please  know   that  I  and  truly  grateful  beyond  words.     Fondly,   BB  


I wrote  to  the  members  of  the  Willimsburg  Circle.  I  had  presented  alecture  on   “satyan’s  peculiar  Grace.     From:  Yuko  Nii  <>   To:     Sent:  Tuesday,  February  26,  2013  3:37  PM     Subject:  An  answer  to  a  response  to  my  video:  Satan's  Peculiar  Grace  on  Youtube     Responding  to  Dr.  Hodges  emali  below:     Actually  I  am  soon  to  write  up  my  Tractatus  de  Intellectus  Emendatione.  It   expands  on  Satan's  Peculiar  Grace.     In  it  I  expound  on  the  nature  of  our  place  in  the  world,  what  the  world  is,  the   necessity  of  evil  and  the  million  other  things  I  have  been  talking  about  for  years.   The  new  idea  is  that  in  fact  "I"  am  and  will  always  be  the  original  Adam  (how?  read   my  tractatus).  I  have  experienced  the  paradise  of  the  ignorant  bliss  of  childhood   and  then  was  brought  "knowledge  of  good  and  evil"  by  my  experience  of  the  world   around  me  (the  world  is  the  apple  and  my  engaging  with  it  is  my  bite  and  taste  of   it)  .  Although  I  fell  from  grace  of  loving  all  people  around  me  because  of  what  I   perceived  as  evil,  I  eventually  became  reconciled    through  knowledge  itself  and   was  through  knowledge  elevated  to  "understanding.  "  I  came  to  realize  that  this  is   "the  best  of  all  possible  worlds."  I  have  been  redeemed  to  Paradise!     "Love  the  sinner,  hate  the  sin."  So  too,  Satan  should  be  loved!       "Love  the  sinner,  hate  the  sin"  is  from  St.  Augustine.  His  Letter  211  (c.  424)  contains   the  phrase  Cum  dilectione  hominum  et  odio  vitiorum,  which  translates  roughly  to   "With  love  for  mankind  and  hatred  of  sins."  The  phrase  has  become  more  famous   as  "love  the  sinner  but  hate  the  sin"  or  "hate  the  sin  and  not  the  sinner"  (the  latter   form  appearing  in  Mohandas  Gandhi’s  1929  autobiography).     Now  you  can  ague  that  Satan  is  a  special  case  and  should  be  hated.  But  I  argue   further  that  Satan  plays  an  important  role  in  God's  plan.       Terrance  


Bob Took  great  exception  to  the  premise;     "Robert  J.  Wickenheiser"  <>   Subject:  Re:  An  answer  to  a  response  to  my  video:  Satan's  Peculiar  Grace  on  Youtube   Date:  February  28,  2013  10:34:06  AM  EST   To:  Yuko  Nii  <>   Reply-­‐To:  "Robert  J.  Wickenheiser"  <>     BT:     St.  Augustine  (whose  name  I  bore  in  the  monastery)  did  indeed  say  "Love  the  sinner,  hate  the   sin,"  but  he  NEVER  intended  it  to  be  applied  to  Satan,  and  I  defy  you  to  find  a  passage  in   Augustine  in  which  he  makes  such  application  or  even  hints  at  it.    And  "With  love  for   mankind  and  hatred  of  sins"  does  not  in  any  way  refer  to  the  evil  fallen  angel  below,  called   Satan.     Fondly,   BB     I  responded:     On  Fri,  Mar  1,  2013  at  2:46  AM,  Yuko  Nii  <>  wrote:     Dear  Guys,     Bob  has  rightly  chastised  me  (see  below)!  But  the  dialogue/dialectic  is  engaged.  In  the  fires   of  the  the  dialectic  the  gold  of  Truth  will  be  revealed.  As  Milton  said  "Let  her  (Truth)  and   Falsehood  grapple;  who  ever  knew  Truth  put  to  the  worse,  in  a  free  and  open  encounter?"   Satan  get  thee  gone!     But  the  fact  is  that  most  evil  in  the  world,  although  INSPIRED  by  Satan  is  actually  performed   by  man.  Satan  offers  his  "color"  and  we  are  inspired  to  action!       We  do  not  have  to  fear  Satan.  We  just  have  to  be  vigilant  about  not  succumbing  to  our  own   base  inclinations..greed,  ambition,  hatred,  jealousy,  etc.  We  must  stand  just  like  Christ  on  the   mount  who  was  offered  the  world.       It  is  our  duty  to  be  knowledgable  about  the  repercussions  of  our  actions...if  bad,  the  result   will  not  be  good  even  for  the  one  whose  actions  result  in  some  perceived  gain  from  doing   injury  to  others.  And  for  the  leaders  and  thinkers,  it  is  their  duty  to  pass  on  this  knowledge.   Unfortunately  we  do  not  live  in  that  kind  of  world  with  philosopher  kings.  So  the  world  is   very  "colorful"  and  artists  like  Bien  or  writers  like  Jeffery  or  Carter  have  a  lot  of  material   with  which  to  work.  Thus  Satan  is  the  patron  saint  of  many  artists  and  writers.       Terrance     "No  man  knowingly  doe  evil"  Plato's  Socrates  in  The  Meno    


Professor Horace  Jeffery  Hodges  was  kind  enough  to  do  a  transcript  of  my  lecture:       Satan's  Peculiar  Grace"   Terrance  Lindall   WAH  Center     A  couple  of  weeks  ago,  Bienvenido  Bones  Banez  gave  an  extemporaneous  piano   recital,  "The  Satanic  Rhapsody,"  followed  by  Terrance  Lindall  expounding,  also   extemporaneously,  on  the  "peculiar  graces"  of  Satan  in  extrapolating  from  Bien's   now-­‐famous  dictum,  that  "Satan  gives  color  to  the  world!"     Bien's  statement  sounds  rather  disturbing,  initially,  but  Lindall  sets  it  within  the   context  of  the  quasi-­‐orthodox  position  known  as  the  felix  culpa,  or  "fortunate  fall."   The  basic  idea  is  that  without  Satan's  role  in  bringing  about  the  fall,  Christ  would   never  have  taken  on  flesh  to  take  on  humankind's  sins,  but  in  order  for  Satan  to   'cooperate'  with  God's  aims  -­‐-­‐  whatever  Satan's  intentions  -­‐-­‐  Satan  has  to  be  graced   by  God  with  certain  gifts,  Satan's  peculiar  graces.     Lindall  opens  with  a  gambit  that  plays  on  Steve  Fallon's  views  about  John  Milton's   peculiar  grace,  and  since  the  video  was  finally  put  up  on  YouTube,  I  took  the  time  to   transcribe  Lindall's  extemporaneous  talk:     Milton's  peculiar  grace  was  the  fact  that  he  always  wrote  about  himself  so  much,  and   of  course  he  was  the  great  inspiration  for  truth.  He  said  truth  on  any  battlefield   against  any  foe  will  prevail.     Now,  when  Bien  came  here  a  few  years  ago,  he  inspired  me  with  a  saying  of  his.  He   said,  "Satan  gives  color  to  the  world."  Well,  what  does  that  mean  exactly?  It  means   that  all  of  the  strife  and  everything  in  the  world  inspires  poets,  writers,  artists.  If  you   go  to  a  museum,  you'll  see  a  lot  of  that.  If  you  read  a  book,  books  from  the  sixteenth-­‐ century  on,  it's  all  about  conflict  and  war,  love  and  hatred,  and  all  these  things,   competition  -­‐-­‐  well,  that's  Satan-­‐inspired.     Can  you  imagine  if  this  were  God's  perfect  world,  if  you  had  everything  you  wanted,   good  food,  place  to  rest,  no  problems,  no  pain,  live  forever?  You  could  live  as   vegetables!  Imagine  that!  So,  Satan's  peculiar  grace  is  that  he  has  given  you   something  to  aspire  to,  to  compete  with.  He's  the  adrenaline  rush  in  your  blood,  and   he  also  gives  you  great  literature  talking  about  the  struggles  you  have,  and  so  that  is   Satan's  peculiar  grace.  It's  a  grace  given  to  you  by  Satan.      


Also, something  else  in  the  history  of  religious  philosophy,  there  was  something  called   the  "fortunate  fall."  Does  anybody  know  what  the  fortunate  fall  is?  Ah  (pointing  to  man  in   audience),  here's  one  scholar.  The  fortunate  fall  is  .  .  .  because  man  has  fallen,  we  have   been  given  the  grace  of  Christ  being  born  into  the  world,  and  Christ,  of  course,  is   sacrificing  himself  for  your  good,  supposedly.  He  has  taken  all  your  sins  upon  him[self],   that  you  might  be  redeemed.  That's  the  fortunate  fall  of  man,  the  fortunate  fall  of  Adam   and  Eve  from  the  garden.  They  had  to  be  redeemed,  and  Christ  did  that.  That's  the   fortunate  fall.     So,  just  recently,  I  came  up  with  a  hair-­‐raising  idea.  Well,  every  year  at  Christmas  -­‐-­‐  and  I   know  some  of  you  aren't  Christians  -­‐-­‐  but  every  year  at  Christmas,  we  should  thank  Satan   because  Satan  has  caused  Christ  to  be  born  into  the  world,  so  let's  thank  Satan  as  well  as   God  for  giving  us  Christ.     Of  course,  I  got  a  letter  from  a  professor  in  South  Korea  who  said,  "Why,  that's  hair-­‐ raising,  that's  nearly  heretical!"  And  of  course,  it's  not.  And  I'll  tell  you  why.  Everybody   should  be  thinking  about  ideas  and  things.  If  you're  Jewish  or  Catholic  or  Muslim  or   whatever,  you  should  actually  be  thinking  about  your  religion,  not  just  following  it,   because  I  do  believe  that  knowledge,  supposedly  given  to  man  when  Adam  and  Eve  bit   into  the  apple,  is  a  good  thing,  and  I  also  believe  .  .  .  I  also  believe  that,  ultimately,   knowledge  is  the  savior  of  mankind,  whether  you  believe  in  a  mythology  of  religion  or   whether  you  believe  that  religion  is  exactly  the  truth  of  the  world,  I  believe  man  will  be   redeemed  through  knowledge.     And  it's  coming  to  understand  yourself.  Accommodate  yourself  to  the  world.   Accommodate  yourself  peaceably  with  other  men.  And  that's  our  struggle  right  now,   accommodating  ourselves  with  the  different  cultures  around  the  world,  the  different   religions,  accommodating  ourselves  to  build  a  better  world.  And  that's  whatYuko's  idea  is   all  about:  Peace,  Harmony,  and  Unity.  And  that's  her  idea.  It  comes  from  a  Japanese   concept,  of  wah,  which  is  what  WAH  means,  WAH  Center.  And  we  created  recently  the   Williamsburg  Circle  of  International  Arts  and  Letters,  which  is  a  very  intellectual   organization.  We  have  people  on  it  like  Arthur  Danto,  the  famous  art  critic,  probably  the   most  outstanding  art  critic  or  commentator  of  the  twentieth  century.  He's  now  ninety   years  old.  We  also  have  the  former  president  of  St.  Bonaventure  University,  who's   probably  the  foremost  Milton  scholar,  apart  from  Steve  Fallon,  and  he  formed  the  largest   Milton  collection  in  the  world,  of  which  of  course  I'm  part.  But  it's  an  outstanding   scholarly  group.     Bien  is  one  of  the  members,  and  so,  it's  not  a  thing  [only]  about  knowledge.  We're   pursuing  knowledge,  we're  finding  out  about  how  literature  intersects  with  the  arts.  And   you  can  look  it  up  on  the  internet.      


Meanwhile, do  you  have  any  questions?       There  were  questions  and  Lindall's  further  extrapolations  on  his  concept  of  Satan's   peculiar  graces,  but  I  didn't  have  time  or  energy  to  transcribe  those.  After  I  first   watched  the  video,  I  wrote  Lindall  a  note:   Good  talk,  Terrance.  Your  gestures  show  the  peculiar  grace  of  good  public  speakers.  I   was  especially  impressed  that  you  could  speak  well  extemporaneously  despite  the   distractions  of  people  walking  through,  people  talking,  and  infants  crying.   And  I  asked:   Is  there  a  transcript?   There  wasn't.  There  is  now  .  .  .     Great  transcript,  Jeff!  You  have  done  a  wonderful  service  to  all  of  us  and  you  have   served  Terrance  well.  Wish  I  had  been  able  to  be  in  the  audience  to  challenge  Terrance   on  some  of  his  statements;  I'm  sure  it  was  an  exciting  night:  great  talk  and  great  piano   concert  by  BIen.  Robert  J.  Wickenheiser     At  5:51  AM,    Horace  Jeffery  Hodges  said...   Thank  you,  Professor  Wickenheiser.  I'm  glad  that  you  took  the  trouble  to  comment.   Also,  I'm  glad  to  see  that  you're  doing  well.      


My Good  friend  Bienvenido    was  sending  a  new  painting  to  the  Yuko  Nii   Foundation.     From:  Bien  Banez  <>   To:  Yuko  Nii  <>;     Sent:  Wednesday,  March  6,  2013  4:39  PM   Subject:  Fw:  The  GREATEST  living  visionary  artist  in  the  world…and  maybe  of  all   time     Dear  Sir  Terrance  Lindall  &  Ma'am  Yuko  Nii,                                                                          We  hope  this  coming  week  its  our  big  surprise  and  hopefully  this   coming  March  10  ,  11,  12,  13...  2013/  the  FedEx  will  be  there  at  WAH  Center  Address....   we  are  waiting...  my  artists  friend  from  Davao    told  me..  .today  will  be  process  for   delivery....  And  I  am  excited  to  see  my  original  masterpiece  will  be  show  (Two  Man  Show   with  Master  Terrance  Lindall  &  Bones  Banez)  -­‐  WAH  Center  Museum  /  University   Carolina  with  Dr.  Wickenheiser/  and  hopefully  in  MoMa  5th.  Avenue  and  go  forward  666   Art  World!!!                              Your  Brother  Bienvenido  Bones  Banez,  Jr.                              WAH  Center  Forever             Bob,  when  he  saw  Bien’s  painting  knew  it  was  one  of  the  greatest  paintings  he  had  ever   seen.  It  was  huge  too  about  6  x  8  feet.    Bob  wanted  Bien  to  ship  it  to  him  instead  of  me.    


From: Yuko  Nii  <>   To:  Robert  J.  Wickenheiser  <>     Cc:  Bien  Banez  <>     Sent:  Sunday,  March  10,  2013  4:50  PM   Subject:  Re:  The  GREATEST  living  visionary  artist  in  the  world…and  maybe  of  all  time     Dear  Brother  Bob:     I  think  your  desire  for  Bien's  great  masterwork  has  turned  his  head  a  bit.  He  is  torn  by  his   desire  to  have  it  in  your  collection,  yet  he  cannot  ignore  my  influence  in  making  him   renowned  in  a  way.  It's  a  devil  of  a  choice.     I  would  not  have  had  him  ship  it  to  us  at  the  WAH  unless  it  was  for  our  collection.  Now  I   think  he  is  in  a  quandary  about  the  whole  thing.  I  am  cross  copying  this  to  Bien  so  he  can   express  himself  more  clearly  on  this.     My  own  feeling  is  that  his  masterwork  should  be  at  the  WAH  because  we  support  his   efforts  with  a  continuing  presentation  of  his  work  in  New  York  City,  the  art  capital  of  the   world,  and  at  the  WAH,  which  is    becoming  a  force  in  NYC  culture.  Besides,  I  am  the   master  theorist  on  his  surrealism.  If  his  work  is  in  your  collection,  it  will  be  in  a  world   renowned  collection,  but  is  would  not  get  the  individual  attention  that  it  would  in  our   collection  that  holds  many  of  his  important  works.  I  am  not  sure  how  you  feel  about  this.     I  encourage  Bien  to  produce  a  major  masterwork  for  you  specific  to  Paradise  Lost.  Bt  he   needs  to  have  the  tome  to  focus  on  it  and  work  on  the  one  piece  for  a  year  or  so  to  make  it   absolutely  great.  He  is  distracted  right  now  with  a  job  and  other  things,  but  i  am  amazed   he  still  produces  powerful  work  at  the  same  time.  Maybe  he  can  create  a  8  x  10,   temptation  and  death  of  Adan  and  Eve  with  WAR  in  Heaven  and  Stan's  rule  in  hell  to  be   the  great  mural  in  your  collection.  Bien  is  a  young  fellow  and  WILL  produce  even  greater   work  than  we  have  seen.  Yuko  &  I  are  watching  his  career  with  GREAT  interest.     Brother  Terrance    


Bob understood  and  he  replied:       On  Mar  11,  2013,  at  9:28  AM,  Robert  J.  Wickenheiser  wrote:       Subject:     Re:  The  GREATEST  living  visionary  artist  in  the   world…and  maybe  of  all  time       Cc:     Bien  Banez  <>Dear  Brother  Terrance,     I  agree  entirely  with  everything  you  say  and  believe  strongly  with  you  and  Yuko  that   this  great  work  belongs  in  your  collection  at  the  WAH.    I  made  my  comment  without   realizing  quite  what  I  was  saying  and  because  I  admire  Bien's  work  so  very  much.     Please,  therefore,  Bien,  if  I  may  direct  my  request  to  you  as  a  "cc"  here,  don't   interrupt  continuing  to  exhibit  your  awesome  work  at  the  WAH  Center  and  also   making  it  part  of  the  Bienvenido  Bones  Banez  collection  at  the  Center.    This   remarkable  piece  of  art,  like  all  of  your  remarkable  work,  belongs  together  in  the   Bien  Banez  collection  at  the  WAH  Center.     If  you  can  manage  to  find  time  to  produce  one  or  two  pieces  for  my  Milton   Collection  and  for  the  2015  exhibit  being  held  in  conjunction  with  that  collection  at   the  University  of  South  Carolina,  I  would  be  most  grateful  –  eternally  so!!!     The  suggestions  Terrance  makes  are  very  good  ones,  and  if  you  could  produce  one   or  two  of  these  in  your  own  great  style  for  my  collection  and  for  the  exhibit  I  would   be  more  appreciative  than  I  could  possibly  say;  even  if  you  can  only  produce  one   great  work  for  my  collection  your  would  enhance  the  collection  immensely  in  the   manner  that  your  earlier  three  great  works  already  do.    Of  course,  these  earlier   works  of  yours  will  be  exhibited  and,  as  I  have  told  you  on  many  occasions,  mean  a   great  deal  to  my  collection  and  to  me.     So  follow  Terrance's  lead  here  and  know  that  I  am  in  complete  concurrence  with   him,  as  I  know  you  are.     I  very  much  look  forward  to  seeing  both  of  you  again  sometime  soon.    Meanwhile,   I'll  put  aside  working  on  my  next  book  and  go  to  the  hospital  for  my  next  operation   on  the  bottom  part  of  the  spine  –  apparently,  as  my  neurosurgeon  says,  as  extensive   as  my  earlier  operation,  but  more  painful  –  something  I  have  had  enough  of  and  can   do  without.     My  warmest  regards  to  you  both  along  with  my  very  highest  esteem  and  admiration,   Bob    


Bob had  had  surgery  on  his  neck  and  backbone  earlier  in  the  year.  He  suffered  from   some  peripheral  nerve  disease  possibly  caused  by  pinched  nerves  in  the  spinal  column.   Peripheral  Neuropathy  symptoms  usually  start  with  numbness,  prickling  or  tingling  in   the  toes  or  fingers.  It  may  spread  up  to  the  feet  or  hands  and  cause  burning,  freezing,   throbbing  and/or  shooting  pain  that  is  often  worse  at  night.    The  pain  can  be  either   constant  or  periodic,  but  usually  the  pain  is  felt  equally  on  both  sides  of  the  body—in   both  hands  or  in  both  feet.  Some  types  of  peripheral  neuropathy  develop  suddenly,  while   others  progress  more  slowly  over  many  years.  Many  of  the  absences  in  our   conversations  were  due  to  his  having  to  recover.  He  was  now  due  fro  a  second  surgery.     After  the  second  surgery  he  had  to  undergo  extensive  therapy  at  a  clinic  and  he  hated  it.   Meanwhile  he  was  working  on  a  catalogue  for  his  George  Herbert  collection,  the  greatest   of  its  kind  in  the  world.  He  also  wanted  me  to  help  him  develop  his  art  collection.     From:    Robert  J.  Wickenheiser  <>     Subject:     Re:  Guess  I  better  let  you  guys  know  about  the  Fall     Date:     July  31,  2013  8:40:01  AM  EDT     To:     Yuko  Nii  <>     Reply-­‐To:     Robert  J.  Wickenheiser   BT:     I'd  rather  we  modify  your  suggestion  a  bit.    Have  artists  (I  don't  mean  Robert  Beal  or   Dario  "d")  send  a  jpeg  image  for  you  to  select,  along  with  price.    You  are  my  guide,  as  we   began  with  all  of  this,  and  the  role  you  play  is  vital.    This  way  you  continue  to  play  that   role,  your  influence*  draws  other  artists  into  wanting  to  participate  in  our  exhibit,  etc.,   and  you  can  then,  as  last  time,  tell  them/me  that  their  price  is  too  high  or  okay  as  is;  you   can  also  play  middle  man,  as  it  were,  for  other  things,  such  as,  should  I  even  keep  or  want   it,  and  if  not,  then  so  report  to  the  artist,  telling  some  that  you  expected  better,  when   appropriate  (there  were  one  or  two,  I  believe,  last  time  round  about  whom  you  felt   this.    [*e.g.,  Your  artist  friend  in  Wisconsin  who  had  all  of  these  ideas  and  from  whom  I   already  bought  one  work  for  $150,  which  I  haven't  see,  but  which  I  bought  on  your   recommendation  –  you  can  contact  her  directly  and  urge  her  to  follow  through  on  her   ideas  about  others  illustrating  scenes  in  PL.]     I  need  you  to  help  draw  this  along,  so  that  we  get  good  illustrations  from  fine   contemporary  artists  –  your/our  original  goal.    You  still  have  that  "pool"  of  funds  to  draw   upon,  as  you  suggested  we  use  to  both  urge  and  buy  great  works  by  great  contemporary   artists.     Sooooo.  .  .  .the  ball  is  in  your  hands,  PLEASE.     I  really  have  looked  forward  to  working  with  you  on  this  after  I  finish  Herbert,  which  is   coming  along  and  will  be  done  in  time  for  us  to  move  on  the  2015  exhibition,  which  the   University  and  Elizabeth,  the  Director,  are  supporting  all  the  way!     BB     137  

So Bob  wanted  to  create  the  largest  collection  of  artists  who  would  do  paintings  of  Paradise   Lost  for  his  collection.  He  wanted  me  to  have  an  open  call.  Unfortunately,  that  would  mean  I   would  have  to  devote  a  lot  of  my  time  to  building  his  collection.  But  my  duties  for  my  art   center  would  suffer  and  Yuko  was  quite  clear  that  I  could  not  do  that.     From:  Yuko  Nii  <>   To:  Robert  J.  Wickenheiser  <>     Sent:  Monday,  August  5,  2013  3:06  PM   Subject:  Re:  Guess  I  better  let  you  guys  know  about  the  Fall     Dear  Bob:     Thank  you  very  much  for  the  clear  explanation!     Our  policy  is  that  neither  I  nor  Terry  curate  shows  outside  of  the  WAH  center.  The  shows   we  create  are  intended  to  attract  people  to  the  WAH  Center,  not  somewhere  else.  It  does  not   make  sense  for  any  organization  to  put  out  a  lot  of  energy  developing  someone  else's   project  when  they  still  have  a  lot  of  work  to  develop  their  own  organization.       Terry  says  he  never  intended  to  develop  your  contemporary  art  collection  by  curating  a   show  at  SCU.  He  thought  that  artists  could  submit  their  artworks  through  an  Open  Call  with   the  artist's  submission  fee  of  between  $25  -­‐$30  for  up  to  three  entries,  the  works  to  be   exhibited  at  the  WAH  Center.  You  would  then  buy  from  the  exhibition,  giving  the  WAH   Center  it's  normal  commission  of  40  %,  just  like  we  do  to  any  other  exhibitions.  That  would   have  been  fair  for  all  the  work  the  WAH  Center  has  to  do  to  put  up  an  exhibit.  Another   options  is:  You  can  also  rent  our  space  to  have  your  own  exhibition  for  the  fair  fee  of   $3,500/mo.  The  WAH  Center  cannot  afford  free  services  and  offer  free  space.     Terry  has  done  a  lot  of  favors  to  you  in  the  past,  often  times  without  my  knowledge  (for   example  giving  you  50%  discount  for  what  normally  he  charges,  which  is  a  big  saving  to   you)  and  you  have  done  good  to  Terry  in  the  past,  but  there  is  a  limit  how  much  Terry  can   go  on  doing,  especially  since  Terry  has  expressed  to  you  that  his  time  and  energy  are   limited  at  this  critical  time  for  the  WAH  Center's  future,  and  he  can  no  longer  satisfy  your   need  by  extending  beyond  what  he  can  do.       While  you  haven't  even  paid  your  current  debt  to  us  (see  below),  you  are  going  to  buy  more   artworks  for  your  own  collection  at  this  time,  and  might  not  pay  us  for  the  drawings  you   purchased  from  us  over  a  year  ago.  In  other  words,  we  have  to  sacrifice  for  your  own   gain.    Very  good  friends  show  &  treat  each  other  with  fairness  and  respect  even  in  a   business  relationship.  Then  a  real  friendship  will  be  established.     Please  know  that  the  matters  between  you  and  Terry  are  not  personal  matters.  They  are   related  to  the  WAH  Center's  or  the  Yuko  Nii  Foundations'  business  matters,  and  I  have  to   know  what  is  going  on.             With  Warmest  Regards,  Yuko    


From:  Robert  J.  Wickenheiser  <>     Subject:     Re:  Guess  I  better  let  you  guys  know  about  the  Fall     Date:     August  5,  2013  3:52:37  PM  EDT     To:     Yuko  Nii  <>       Dear  Yuko,     I  have  always  understood  what  you  state  here  about  use  of  the  WAH  Center,  and  I  have   always  paid  whatever  price  I  was  asked  to  pay  for  any  paintings  displayed  at  the  exhibit  in   2011.     I  also  did  not  mean  to  imply  that  Terrance  would  curate  the  exhibition  in  2015,  only  share   with  me  in  talking,  introducing,  etc.    The  University  will  curate  and  prepare  the  exhibit.    Of   course,  I  understand  now  that  Terrance  will  not  be  able  to  attend  the  conference  in  any   capacity.     Since  I  was  told  I  had  up  to  10  years  to  pay  what  I  still  owe,  I  felt  that  purchasing  important   Milton  illustrations  now  was  most  important,  especially  since  Terrance  asked  to  have  a   "pool"  of  funds  available  to  help  "buy"  for  me.    This  "pool"  of  funds,  which  does  not  exist,   was  never  intended  to  exist,  only  to  be  something  Terrance  could  allude  to  should  he  need   to  do  so.    I  realize  that  this,  too,  is  no  longer  something  Terrance  has  time  to  do.     I  will  try  to  send  something  toward  what  I  owe  you  as  soon  as  I  possibly  can.    With  major   medical  expenses  still  to  be  paid,  I  haven't  purchased  anything  over  the  past  year  and   money  is  tight,  so  I  make  no  promise  as  to  when  I  will  send  a  payment.    I  will  try  to  do  so   soon,  if  at  all  possible.     I  have  never  tried  to  take  advantage  of  you  and  certainly  am  not  trying  to  do  so  now.    I   have  also  always,  and  I  mean  always,  appreciated  Terrance's  enormous  kindnesses  to  me.     I  have  also  always  tried  to  respond  whenever  I  have  been  asked  to  help  the  WAH  Center  in   any  way,  and  sometimes  this  has  meant  my  writing  rather  long,  and  carefully  written,   pieces  in  response  to  questions  Terrance  has  asked  me.    One  such  example  if  my  response   to  selling  your  air  rights  and  not  actually  to  "sell"  the  rights  forever,  and  to  get  more  than   you  were  originally  offered,  substantially  more.     There  have  been  no  secrets  between  Terrance  and  me  or  me  and  Terrance;  nothing  has   been  kept  from  you.    I  must  admit,  though,  that  I  never  thought  he  could  no  long  spend   time  with  me  on  Milton  in  any  way,  but  I  accept  your  premise  and  your  decision.     I  wish  you  and  Terrance  well,  and  I  only  wish  that  your  recent  financial  success  were  not   precluding  any  relationship  between  Terrance  and  me.    I  have  always  valued  his  friendship   and  advice,  and  I  have  thought  of  him  as  that  special  brotherly  friend  that  one  seldom  finds   in  life.     Affectionately,   Bob    


I had  printed  an  8  ½  x  11  full  color  catalog  of  my  gold  folio  with  explanation  of  the   illustrations.  Of  course  Bob  bought  some  for  his  collection  and  they  sold  rather  well   ending  up  in  major  Milton  collections.  But  he  always  had  an  eye  for  improving  my   publishing  efforts:     From:    Robert  J.  Wickenheiser  <>     Subject:     Re:  Your  publication  "ESSAYS  OF  TERRANCE  LINDALL"  has   been  added  to  a  stack     Date:     November  25,  2013  1:36:34  PM  EST     To:     Yuko  Nii  <>     Reply-­‐To:     Robert  J.  Wickenheiser     Dear  BT:     I  didn't  realize  you  were  gong  to  reprint  the  cover,  which  thereby  allows  you  to   redesign  it.    At  any  rate,  I  recall  saying  that  I  thought  you  should  have  kept  some   elements  of  your  first  draft.     Let's  begin  with  this.    The  final  cover  does  not  indicate  in  any  way  that  this  is  John   Milton's  Paradise  Lost,  as  you  draft  cover  had.    The  use  of  "The  Gold  Illuminated   Elephant  Folio"  is  nice,  but  says  little  to  those  who  do  not  know  what  this  is  all  about.     So,  I  would  lessen  the  size  of  the  photo  (which  you  might  consider  changing  itself)  to   allow  for  some  additional  text.       I  turned  "Synopsized  And  Illustrated"  around,  to  emphasize  the  importance  of  the   illustrations   This  damn  new  change  in  texting  by  is  awful;  in  any  case,  I  meant  to   provide  a  little  space  between  the  bottom  two  listings.     I  know  you  love  your  cover  of  your  Elephant  Folio,  as  do  I,  but  there's  much  to  be  said   for  the  importance  of  changing  that  photo  to  your  illustrated  title  page  of  your   Elephant  Folio.    That  shows  the  style  and  design  of  the  illustrated  epic  by  the  artist   (you);  it  also  underscores  that  this  is,  in  fact,  an  illustrated  edition  of  Paradise  Lost.     BACK  COVER:  I  think  you  should  reproduce  your  present  front  cover,  with  the  photo   of  the  cover  of  your  Elephant  Folio,  along  with  the  same  text  there,  on  the  back  cover,   and  place  the  "ad"  you  presently  have  on  your  back  cover  on  the  inside  of  the  back   cover.     Use  the  present  coloring  on  both  the  front  and  back  covers,  unless  you  need  to  change   the  coloring  of  the  front  cover  because  of  the  use  of  your  illustrated  title  page.  


I would  suggest  changing  the  order  of  your  first  few  pages:  begin  with  "About  The  Elephant   Folio"  on  the  first  page  where  you  now  have  your  copyright.    Move  your  emblem  and   copyright  to  the  verso  of  the  first  page.    Put  Yuko'a  Introduction  on  the  recto  of  the  next   page  and  place  "This  is  a  signed  and  numbered  edition.  .  ."  [in  a  darker  blue    print]  on  the   verso  of  Yuko'a  Introduction.         In  the  manner  of  the  all  great  publications,  use  the  blank  next  page  (across  from  the  signed   and  number  page)  as  a  half-­‐title:  (You'll  have  to  create  one,  but  you  could  just  use  some   kind  of  elegant  type  and  repeat  a  portion  of  the  title  page:  first  two  lines  here  in  an  elegant   type;  the  second  two  lines  also  in  an  elegant  type,  but  less  so  than  the  first  two  lines.             Last  suggested  change:  I  believe  strongly  that  your  title  page  should  be  on  the  recto  side  of   the  page,  not  the  verso,  as  is  presently  the  case.    I've  come  to  realize  that  apparently  no   heavily  colored  image  is  printed  on  one  side  of  the  page  of  another  heavily  colored  image,   so  I'm  not  quite  sure  how  you  can  do  this.    But  I  would  love  to  see  your  "Esse  est  percipi.  .  ."   page  and  your  title  page  reversed:  i.e.,  the  one  moved  across  to  the  recto  of  the  page  before   and  your  title  page  moved  across  the  page  (thereby  on  the  verso  of  the  next  page),  but   appearing  as  the  first  page  of  your  great  work,  as  all  title  page  are  placed!     If  your  image  to  image  printing  on  two  side  of  the  same  page  is  a  problem,  then  I  would;   suggest  you  add  a  page,  leaving  the  present  side  on  which  your  title  page  appears  empty   and  the  new  page  beginning  as  the  title  page  with  "Esse.  .  ."  on  the  verso,  and  then   proceeding  accordingly;  or  putting  "Esse.  .  ."  on  the  blank  page  across  from  the  title  page  on   the  recto  of  the  new  page,  with  the  vero  empty;  the  rest  follows  as  you  have  it.    There  are   variations  on  this  theme,  if  you  will,  e.g.,  you  could  add  a  new  statement  or  something  else   on  the  blank  new  page  on  the  verso  of  the  title  page.    However  you  do  this,  I  urge  trying  to   place  the  title  page  on  the  recto  side  of  the  beginning  of  your  great  illustrated  and   synopsized  presentation  here.     I  think  that's  the  sum  of  my  suggestions.    Do  with  them  as  you  wish,  but  make  your  front   cover  meaningful  and  do  not  waste  any  space  within.     BB        


Needless to  say,  I  followed  his  very  suggestion:     Old  cover  vs  new  cover:  


I had  a  number  of  proof  pages  of  the  13  x  19  inch  Gold  folio,  so  I  decided  to  create   another  folio.         On  Thursday,  December  5,  2013  1:46  PM,  Yuko  Nii  <>   wrote:   Proof  Pages  from  the  Paradise  Lost  Elephant  Folio     All  that  expensive  Crane  paper  13  x  19  inches  as  proofs  only.  Ridiculous!  Might  as  well   embellish  them.  Was  going  to  sell  them  $100  each  just  as  prints,  but  I  decided  it  was  fun   to  do  drawings  on  them  and  sell  for  $1000.  Not  too  many,  maybe  20  or  so,  because  I  was   careful  to  do  it  perfectly  first  try  for  the  final  folio.       Terrance     Robert  J.  Wickenheiser  <>     Subject:     Re:  Elephant  proof  sheets     Date:     December  6,  2013  7:27:43  AM  EST     To:     Yuko  Nii  <>     Reply-­‐To:     Robert  J.  Wickenheiser  <>     Dear  BT,     You  are  ever  surpassing  yourself  as  Milton's  greatest  artist.    I  no  longer  can  afford  you,   but  I  would  still  love  to  add  some  of  your  new  work  to  my  collection  –  perhaps  first  at  the   2015  exhibition  (which  you  suggested  and  which  I  humbly  beg  you  PLEASE  to  join  me  in   hosting,  giving  a  talk,  sharing  with  students,  etc.).     I  sent  revisions  of  your  Gold  Illuminated  Elephant  Folio  to  you  yesterday  (Priority  mail),   following  your  request  regarding  order,  providing  some  suggested  revisions  of  text,   etc.    My  cover  note  will  speak  for  itself  along  with  the  pages  clipped  together  with  notes   thereon.     Let  me  know  what  you  think.    I  spent  a  day  and  a  half  working  on  everything  –  but  such  is   my  gratitude,  my  eternal  gratitude!,  to  you  as  friends,  Milton  illustrator,  savior  in  many   ways,  and  the  list  goes  on,  and  on.     I've  spoken  again  with  Robert  Beal  and  he  is  out  of  commission  for  a  while,  but  his   addition  to  his  house,  in  which  he  worked  and  did  his  etchings,  remained  untouched,  as   did  (thank  God!)  a  package  he  had  prepared  to  mail  to  me  after  the  holidays.     More  anon!   BB  


A Proof  Page  Embellished  


I had  offered  to  do  an  original  oil  painting  for  Bob,  but  he  was  diligently  working  on  his   Herbert  catalog  and  had  to  wait  to  raise  the  money.         From:    Robert  J.  Wickenheiser  <>     Subject:     Re:  Elephant  proof  sheets     Date:     December  6,  2013  3:35:29  PM  EST     To:     Yuko  Nii  <>     Reply-­‐To:     Robert  J.  Wickenheiser     Dear  BT,     I'm  really  sorry  that  you  must  devote  your  talents  to  fund-­‐raising.    You  are  an  artist,  not  a   fund-­‐raiser,  although  you  can  raise  funds  as  well  as  anyone  I  know.     I  haven't  forgotten  your  offer  to  do  a  painting  for  my  collection  for  $30,000,  which  would   also  include  a  set  of  your  new  illustrations/drawings  in  originals,  but  I  cannot  turn  my   attention  to  raising  that  until  I  finish  my  Herbert  book  and  work  out  details  with  my   publisher.    I'm  fairly  confident  that  I  can  raise  that  #30,000,  so  please  go  back  and  review   your  offer.     I  also  plan  to  pay  off  the  rest  of  my  debt  next  year.     Of  course  we  can  provide  you  a  medium  for  selling  your  drawings  at  the  Exhibition.    I   have  no  doubt  that  Elizabeth  will  be  as  happy  about  it  as  I  am.    Your  work  would  lend  a   great  new  dimension  to  the  exhibition,  put  you  in  the  center,  as  I  have  always  wanted,  and   allow  you  an  opportunity  to  explain  what  you  are  doing  now  and  what  is  available  for  sale   –  there,  where  I  believe  many  will  want  to  avail  themselves  of  this  wonderful  opportunity,   and  on-­‐line  from  the  WAH  Center  and  you  directly  afterwards.     So  PLEASE  plan  on  joining  me  and  us,  and  know  that  I  will  do  everything  I  possibly  can  to   assist  you  in  successfully  engaging  others  in  buying  your  great  new  illustrations  of   Milton's  PL,  to  my  disheartenment,  certainly,  but  far  more  to  my  joy  over  your   accomplishments  and  my  continued  support  of  Milton's  greatest  illustrator   EVER!!    Standing  should  to  shoulder  beside  you  will  mean  more  to  me  than  you  can  ever   know.     Warmest  regards  always,   BB    


In 2014  Cambridge  University  Press  used  my  art  for  the  cover  of  their  Paradise  Lost   Companion,  edited  by  Professor  Louis  Schwartz.  I  was  elated.  It  was  like  getting  a  Nobel   Prize.  I  sent  signed  copies  to  Bob.    


Throughout 2014  I  was  involved  with  major  construction  on  our  cornice  at  the  art   center.  Bob  kindly  offered  a  lot  of  advice  on  raising  money  for  it.     Bob  was  working  hard  to  recover  from  his  surgeries.     In  2015  I  heard  less  and  less  from  Bob.  He  .was  in  and  out  of  clinics  and  hospitals.   Once  he  had  to  be  “mercy  Lifted  by  helicopter  of  a  hospital  in  Buffalo.  I  got  an   email  from  his  wife  pat:     On  November  7th  in  the  evening  I  was  giving  a  speech  at  the  art  center  when  my   cell  phone  rang.  I  answered  and  it  was  Bob.  I  told  him  I  would  call  him  back.  So   Bienvenido  and  I  went  to  a  quiet  place  and  called  back.  Bob,  Bien  and  I  chatted  a   bit  and  I  said  we  could  talk  next  week.  That  was  the  last  I  heard  from  him.       I  got  an  email  from  his  wife  Pat:     11/25/15   Oh  Terrence  Bob  is  not  doing  well.  Back  in  he  hospital  with  a  breathing  machine  -­‐ not  ventilator,  but  miserable.  I  agree  with  him  this  is  no  way  to  live.  His  heart  has   just  given  out-­‐not  an  attack  but  congestive  heart  failure.  If  he  could  have  at  least   had  these  past  few  months  feeling  good  and  being  able  to  finish  his  book  instead  of   battling  all  these  health  problems.  Not  sure  how  much  longer  he  will  hand  on.  Pat   Next  dau  I  got  an  email  from  his  daughter:     11/26/15     Dear  Terrance      This  is  Kathryn,  his  daughter.    I  wanted  to  let  you  know  that  dad  died  yesterday  at   3:45  p.m..    Dad  went  peacefully.    His  funeral  is  Tuesday  (12/2).    Have  a  Happy  and   Healthy    Thanksgiving!     Best,   Kathryn     He  never  did  create  a  great  collection  of  contemporary  artists  on  the  subject  of     Paradise  Lost.  Perhaps  I  will  do  it  at  some  point  in  his  memory.        


On November  7th  in  the  evening  I  was  giving  a  speech  at  the  art  center  when  my  cell   phone  rang.  I  answered  and  it  was  Bob.  I  told  him  I  would  call  him  back.  So  Bienvenido   and  I  went  to  a  quiet  place  and  called  back.  Bob,  Bien  and  I  chatted  a  bit  and  I  said  we   could  talk  next  week.  That  was  the  last  I  heard  from  him.  He  died  two  weeks  later.  His   death  was  a  great  loss  for  me  personally  and  for  the  Milton  community  of  scholars.       He  never  did  create  a  great  collection  of  contemporary  artists  on  the  subject  of     Paradise  Lost.  Perhaps  I  will  do  it  at  some  point  in  his  memory.    


COLLECTING MILTON (WAH CENTER – 4/14/12) Robert J. Wickenheiser First of all, I want to thank: the wonderful and ever-inspiring Yuko Nii ● ●

The great artist and Milton illustrator and my very close friend, Terrance Lindall Also want to introduce and publicly thank my daughter, Kari, our eldest daughter; she drove me here and helped me bring my exhibits and handouts (which she also had done for me); she’s a gem! And I would like to introduce two very close and dear friends: Priscilla & Jay Cunningham, art aficionados and life-long supporters of art!

Now to Collecting, and especially Collecting John Milton – I will gladly answer questions at the end if you have any. First of all: collect out of love // passion // and instinctively! Collecting, like love, is the one time your heart may well tell you what to do, with your mind following!! I really began collecting when I was 6 or 7, and I’ll bet many of you did as well. First it was special rocks (which usually looked better in the water than out of it); then it was arrowheads (I grew up in ND), but I could never find any. Then it was buttons – which I collected throughout my grade school years. I had such a great collection, that my mother began confiscating my best buttons for her sewing needs. In high school it was stamps, both US and world; I should have done that in grade school and I would have learned geography far more easily and with far more fun in doing so. In terms of books, in my case: I discovered as a grad student at the U of MN that complete editions of poets could be found in wonderful 19th century editions, in leather bindings, and acquired more cheaply than modern editions (which were often only selections) at regular weekend estate sales. What a treat: go book hunting with my wife, Pat, who introduced me to the estate sales and find poets and writers in complete and fine editions for very reasonable prices!


I focused my collecting on Milton, and several other favorite authors/poets: George Herbert, John Bunyan, Francis Thompson, and Gerard Manley Hopkins – and sometimes other authors (especially 17th century lyric poets and poets and novelists I was studying in grad school) because of their availability in fine 19th century editions and bindings). I’ve never lost my love for fine bindings!! When at Princeton all of the preceding led to my humiliation: Reception of International Bibliophiles at Mary Hyde’s estate (later Lady Eccles, title given her by Queen Elizabeth). [TELL STORY] But back to the estate sales, where, among other fine books, I found Herbert’s Latin poems in full and even an edition with a facsimile page of a Latin poem in Herbert’s hand in the Williams MS at the Williams Library in London – I had the good fortune to study the actual MS in Herbert’s hand over two summers only three and four years later. Anyway, because I could get hold of Herbert’s Latin poems in 19th century editions, I decided that I would do my Ph.D. dissertation on the influence of Herbert’s Latin poems and epigrams on his English lyrics. I BEGAN CARING DEEPLY ABOUT MILTON as a grad student, but I knew that if I did my dissertation on Milton, I would probably far exceed the 4 years I had allowed myself to get my MA and PhD. My Herbert dissertation was well received and served me well later. Fortunately, for me, // two years after I arrived to teach at Princeton in 1970, I was called upon to teach THE Milton course at Princeton University after the retirement of Milton scholar Maurice Kelley. I raised the number of students in the course from 6 to 85, 3rd largest after Chaucer and Shakespeare. I was fortunate to receive grants covering my trips and summer stays in England (London & the Provinces) from 1969 to 1984. I used my time well. I also learned that JOHN RUSKIN was right! As he said: We ought not to get books too cheaply. No book I believe, is ever worth half as much to its reader as one that has been coveted for a year at a book stall; and bought out of saved half-pence, and perhaps a day or two’s fasting.


In my own case, when I was in England and on a grant (a number of summers and one semester and a summer), I would live on cereal for breakfast and dinner, skip lunch, and I would then have the money I had saved during the week to spend on books over the weekend. What great, great fun that was!! After 35 years of collecting Milton, my collection went to the University of South Carolina, where it bears my name and is partially on display in a special room in Rare Books & Special Collections. I have, of course, continued to add to the collection: perhaps almost another 1,000 books since the collection went to South Carolina 2006. My Milton Collection has been described by the noted Milton scholar John Shawcross in the following way: “Wickenheiser’s collection is one of the major collections of materials related to John Milton – editions and studies and artworks – in the world, indicating the breath and nature of Milton’s position in the literary, political, religious, and sociological world over the nearly three and a half centuries since his death.” I NEVER dreamed that my Milton collection might ever reach this stature!! And no one should ever begin collecting by thinking that they are going to gather together a great collection. Focus on what you love; on what you want to collect; and just keep doing your collecting with your main focus always before you!! Time will tell what your collection has become. And never collect for value. No one knows what will be coveted 25 or more years down the line. Collecting is fun. Being with other collectors, booksellers and newly developed friends is fun. So have fun in your collecting and in whatever you collect. But once my collection grew as it did, I knew that I wanted to bring together as complete a collection of editions of Milton, illustrations, including originals, as possible, // and when I began to see that this was happening, I wanted to keep the collection together, no matter what the cost, as one collection, available for ease of use and exhibit to students and scholars of Milton, of aspects of the book, of illustrators, of the development of the book, and a great deal more. Fortunately, the University of South Carolina believed as I did, and so did my latest and newest friend, Bill Richter, so that together we all made it happen. For me, it has been a wonderful dream come true.


My collecting led me to find great books and great illustrations, most often, because I was knowledgeable enough to know how special something was, often more so than the dealer, and this meant obtaining some great and inexpensive finds. My emphasis in collecting Milton led me on a number of occasions to Develop Important “COLLECTIONS WITHIN MY MILTON COLLECTION AS A WHOLE.” 3 examples – each with handouts!

1. First & Foremost: The different FIRST EDITION TITLE PAGES of PL: [Very complicated, though need not be!!] I have 5 of the 6 (1667 [2], 1668 [1 of two], & 1669 [2]). [Ref. to title page means to whole editions!!] [See photo handouts: color front of editions & b&w text from backside]

2. Then there is the 1688 FOLIO, with 3 different publisher’s imprints – each important, all necessary for a complete collection. (Terrance Lindall has kindly placed his copy on exhibit.) The 3 different publisher’s imprints: Since both Tonson and Bentley owned half the copyright, the edition was a joint venture, with each owner having a title page of his own, with publisher’s imprint so indicating, (presumably for distribution to subscribers attracted by each). “Printed by Miles Flesher, for Jacob Tonson, 1688” is Tonson’s title page – in rare contemporary black morocco; large paper copy. “Printed by Miles Flesher, for Richard Bentley, 1688” is Bentley’s title page, contemporary calf; large paper copy. “Printed by Miles Flesher, for Richard Bentley. . .and Jacob Tonson, 1688” is the joint trade title page; in contemporary calf, but small copy and not nearly as nice as previous two. [BUT what are you going to do: you take what you can get!!] [See photo handouts!!]


NOTE: The 1688 PL Folio is one of the most desirable of English books for collectors, and this for a number of reasons; two main ones: • 1st folio edition; also 1st illustrated edition of PL; and also 4th edition of PL • 1st important English publication to rival earlier publications on the continent Until now, one had to look to the continent for great publishing and first class editions, respected for the quality of the edition; its printing; its illustration; its total publication!

ADDITIONALLY. With respect to ensuring that as full a scholarly side of Milton through the ages be available, along with all editions and all illustrators through the ages, LET ME CITE SOME SELECTIONS from my 18th Century Miltoniana (a very extensive part of my collection, as with 17th, 19th and 20th century Miltoniana; in the 20th century a distinction is made between Miltoniana and Criticism, a life of Milton, e.g., viz a viz a study of his works; my criticism collection is also very extensive – well over 1300 books). ANOTHER EXAMPLE of a “COLLECTION WITHIN MY MILTON COLLECTION AS A WHOLE” relates to WILLIAM LAUDER & HIS charge that Milton plagiarized PL; Lauder even involved the great Dr. Johnson. [See photo handout!!] ALSO, again in 18th century Miltoniana (couldn’t resist!) 3 IMPORTANT LIVES OF MILTON: (1) Life of John Milton by John Toland, 2nd & enlarged edition, 1761, in Hollis binding – 1st in 1699 (also in collection); (2) The Life of Milton by William Hayley, London, 1796, 1st separate edition, 1st appeared in Boydell 3-vol. folio edition in 1794 – this a presentation copy signed “From the author” on front pastedown; and (3) Lives of the Most Eminent English Poets by Samuel Johnson, London, 1782. (1st London edition; 1779 1st Irish edition, but London edition considered true first!) [See photo handout!!] NOTE: “COLLECTIONS WITHIN MY MILTON COLLECTION AS A WHOLE” differ from my attempt to COLLECT EVERY EDITION of Milton’s works, and then, if at all possible, in the 1st, 2nd, 3rd, whatever number of editions appeared, and certainly those editions which provided new material; also, where appropriate, in different states: so 1st ed., 1st state, etc.


For Example: History of Britain (Photo of binding and of Frontispiece and Title Page) Also on same page: “On Shakespeare” (from 1632, 2nd Shakespeare folio) – tell story of how I found the rare leaf in the basement of Fletcher’s in Cecil Court, with the help of Mike Papantonio! [See photo handout!!] With respect to History of Britain Have: 1st edition, 1st issue (1670); 1st edition, 2nd issue (1671); 2nd edition, 1st issue (1677); 2nd edition, 2nd issue (1678); 3rd edition (1695) ALL editions are RARE; 3rd in 1695 considered rarest! OR – again with respect to my attempt to COLLECT EVERY EDITION of Milton’s works: Poems: 1st edition in 1644; 2nd in 1678 (considered main text); 3rd in 1681; etc. – on through 18th century, when Poems were often published along with PR & SA. Paradise Lost: 1st edition in 1667, 1668, &1669; 2nd edition in 1674 (again, considered main text); 3rd in 1678; 4th and 1st folio in 1688; on through 18th century and Tonson’s editions; then Hayman editions; etc. Paradise Regain’d & Samson Agonistes: 1st edition, 1st issue in 1671; 1st edition, 2nd issue in 1671; 2nd in 1680; 3rd and 1st folio edition in 1688, often joined with 1688 PL or in 1690’s with editions of Poetical Works; – on well into the 18th century Tonson editions. In the 18th century: PL, SA and Poems, together with On Education became the norm for an edition. [You get the idea with respect to my collecting all earliest editions of Milton in every edition!] In the 19th century I would try to get 1st, 2nd, 3rd, etc. editions of each edition of each of Milton’s works, individually and collectively; illustrated and non-illustrated; less numbers of editions in 20th century per se, far more Press Books, except for 20th and early 21st century texts in numerous editions – and then I focused on varying editions or revised editions or editions with something new added to them!]


An important NOTE: In saying that I endeavored to COLLECT EVERY EDITION of John Milton, let me clarify! My first and continuing focus has been and remains on collecting illustrated Milton, whether editions or originals, and especially Paradise Lost. By 1976, my Milton collection had grown so dramatically (through the help of Bob Taylor and Mike Papantonio, and then through the help of key booksellers who wanted to see their special copy of Milton end up in my collection or just help my collection grow), that I said to both Bob and Mike that I believed I was perhaps the last person who could ever hope to add every edition of Milton ever published, from the 16th century to the present. They looked at me as if I were crazy, but I told them that I had gotten off to such a great start that I thought I could do what no one else had done, and do it with such a focused purpose and end-goal in mind! MY 3rd EXAMPLE of “COLLECTIONS WITHIN MY MILTON COLLECTION AS A WHOLE” involves three well-known illustrators: William Blake, John Martin, and Gustave Dore. • WILLIAM BLAKE (1757-1827) [See photo handout!!] 1906 Lyceum Press 4to edition (1st appearance of Blake’s full set of illustrations for PL, completed in 1807, one illus. for each book, now in the Huntingdon) Several copies: in regular quarter linen binding; unbound (rare, as issued); and a special copy, one of a few only, printed on vellum, with extra set of progressive plates, start to finish, in a handsome binding by the Doves Bindery, with letters from T. J. Cobden-Sanderson, co-founder of the Doves Press and Doves Binder, laid in. 1940 Heritage Press edition, with the first appearance of the other set of Blake’s illustrations (nine in number), completed in 1808, now in the Boston Museum of Fine Arts; Various other editions: including limited edition in 1947 by American Studio Books, Published by Studio Publications, with very large prints (poster size); The 2003 Folio Society edition with Blake prints; The Arion Press publication in 2004 of the set of Blake drawings in the Huntington, printed to size, and including Blake’s larger drawing of Satan, Sin, & Death, probably executed in 1806; Plus: Blake’s Milton, Trianon Press edition in 1967.


• JOHN MARTIN (1789-1854) In 1825 the American Publisher Septimus Prowett commissioned John Martin to produce 24 mezzotint illustrations of Paradise Lost. Martin’s mezzotint illustrations appeared in various ways: (1) in individual plates – proof and non-proof, large and small; (2) in Parts: and (3) in a variety of book formats. The MEZZOTINT is a printing process in which soft steel rather than copper plates are used AND the engravings are produced by being designed directly on the plates, without the aid of preparatory sketches Martin was the first to illustrate PL with illustrations in the mezzotint medium. Through the mezzotint Martin brought all of his creative genius to bear in illustrating PL, masterfully uniting brilliant highlights and starkly contrasting dark shadows and dense blacks to give shape and form to scenes of vastness in Milton’s epic totally enthralling to the viewer and to express his imagery in illustrations that are unique and never forgotten once seen. Perhaps best seen in the very rare Martin mezzotint plate in “proof state before letters” I’ve placed ON EXHIBIT: “Eve Tempts Adam.” See contrast most clearly and as artist would in checking his prints before publication of any other plates, proof or non-proof.] The publication of Martin’s illustrations is complex: 1825–1827: First published in TWELVE ORIGINAL PARTS, with the 24 large plates in “Proof” state; VERY RARE!! [Know of only 2 complete sets, including mine, and several incomplete.] During this same period: PLATES WERE SOLD AS SINGLES before any editions were ready for publication – large and small plates; proof and non-proof; and some rare plates in “proof state before letters” (as the one I have placed on exhibit; my set of “proof” plates are with my collection at the University of South Carolina] In 1827 a variety of editions were published (considered one of the most complex publishing ventures ever done:


AN IMPERIAL FOLIO EDITION, with the 24 large plates in “Proof” state, limited to 50 copies – of which only two are known to exist today; AN IMPERIAL QUARTO EDITION, with the 24 large plates; A SECOND IMPERIAL QUARTO EDITION, with “Proof” impressions of the 24 small plates, limited to 50 copies; AN IMPERIAL OCTAVO EDITION, with the 24 small plates. [See additional photo handouts!!] I WAS FORTUNATE TO OBTAIN A BEAUTIFUL COPY OF EACH Also of later editions: 1833 (when the plates passed on to TILT and a new edition, the 2 edition, was printed from the original plates) and 1848 (when the plates passed on to WASHBOURNE and a new edition was printed from the original plates). nd

And also of a “curious” pictorial revival, as Thomas Balston, the great bibliographer and biographer of John Martin, calls it: an 1876/1875 edition by BICKERS AND SON with stunning photographs of Martin’s mezzotint illustrations. TWO COPIES OF 1876 BICKERS AND SON EDITION ON EXHIBIT: one to show the photos and the second to show the elegant cloth binding the publisher provided this enterprise – in red and green cloth gilt extra, with ILLUSTRATION IN GILT OF SATAN ON ORB on front cover. • GUSTAV DORE (1832-1883) (French) The great bookseller and collector, Percy Muir, said of Doré: “No other foreign illustrator and few native ones of the period so completely captured the English fancy.” That fascination with Doré, as with Blake and Martin, continues on through today. As was common in the 19th century: 1865–1866: Doré’s illustrations of Milton’s PL were first published in TWENTY-FOUR ORIGINAL PARTS. Relatively Rare!


1866: The first edition of PL with Doré’s illustrations of Milton’s epic appeared in a beautiful FOLIO EDITION. My copy beautifully bound in contemporary morocco. [See photo handouts!!] A great many editions of Doré’s illustrations of Milton’s PL have followed in various editions. In PARTS and EDITIONS, 1870, and again in PARTS and EDITION in 1905 (both of which are in the collection), as are numerous editions between 1866 and 1890, again, all of which are in the collection. The 20th century has kept Doré alive down to the present, with his illustrations appearing in large and small editions of Paradise Lost. (I have endeavored to include ALL of these editions in my collection, always in as fine a condition as possible.) Alas! I’m only able to show you some very late 19th century editions of Doré in beautiful publisher’s decorated cloth bindings. [See photo handouts!!] Also: An early 20th cen. binding of Doré is on exhibit. A great many other illustrated works by Doré appeared in the late 19th century, and all were enormously popular. Perhaps no illustrations, however, were as popular in the 19th century as his illustrations for THE BIBLE which first appeared in a large 4to edition in the 1860s. I was fortunate to have two different copies of the first edition of DORE’S BIBLE. ************************************************ ************************************************ Regarding ADDITIONAL HANDOUTS: [Review photo handouts as I distribute each!!] ●

1645 Poems. 1st edition, 1st issue.


Paradise Lost, Jacob Tonson, 1711. 1st 12mo edition. Addison’s copy. [Another copy of my own is on display] Paradise Regain’d, J. Tonson, 1713. 1st 12mo edition. [I once had 8 copies of this ed.!] [Another copy of my own is on display]

Poetical Works, Jacob Tonson, 1720. Illustrations by Louis Cheron, one by James Thornhill. The text of PL in Vol. 1 is the 11th edition, without a title page. ●

Paradise Lost, Dublin, 1724, Illustrations by James Gwim. 1st Irish Edition

Paradise Lost, The Twelfth Edition, Tonson, 1727. 12mo. This edition bound 4to, in 2 volumes, with copious notes in a neat contemporary hand in English, Latin, Hebrew, & Greek, most probably by someone looking to do a special edition with notes. I determined based on. . .[see #623 & #23] that most likely. Never worked with this, but wish I had. ●

Paradise Lost, Boughton, nr. Chester, 1733-35. Folio.

Transcribed by Mrs. Katherine Howard, between December 3, 1733, and May 17, 1735, for her daughter “to read often when I am one.” ●

Il Paradiso Perduto, Parigi, 1742. Folio.

While this is the 1st folio edition, it is the second edition – often unknown, that it was first published in a 2-vol. 12mo edition in 1740 (copy also in the collection). Both are very rare; 17 40 edition the rarest. ●

Paradise Lost, 1749, Newton Variorum edition. 1st variorum edition. (Plate in b & w).

On exhibit: A beautiful set of Newton’s variorum edition, formerly belonging to Dr. A. S. W. Rosenbach, passed on to me via John Fleming, Dr. R’s assistant, – called the finest set ever and the envy of many who would love to have it! Also on exhibit: A beautiful volume in a presentation gift binding!

Paradise Lost, Glasgow: Andrew Foulis, 1770. An extremely fine copy – one of finest!


Paradise Lost, Philadelphia, Robert Bell, 1677, AND Paradise Regain’d, Philadelphia, Robert Bell, 1677. 2 vols. Rare.

First American ed. of PL 1. Interesting that at the height of the American Revolution, Milton’s PL is being printed in Philadelphia. 2. Rare, we as I have said. Here’s where knowledge comes in when collecting! Early on, I ordered Vol. 1, PL, when I saw it available, thinking I could maybe pick up Vol. 2 later. When I received my copy, after studying it, I returned it because it had only 11 of the 12 Books. I didn’t know that this was how it was printed and that Bk. XII appeared in Vol. 2, PR. What a mistake on my part!! I learned my lesson, but fortunately was able to obtain a copy of the rare set later on. Le Paradis Perdu, Paris, 1792, with color illustrations by Jean-Frédéric Schall, in an exquisite red morocco binding (c. 1830) for Ferdinand-Louis-Phillipe; formerly the J. R. Abbey copy, with his bookplate, and exhibited as such; featured in Cohen-de Ricci (708). [Tell story about Pat discovering this while searching with me for Milton and Herbert, but at that time especially Milton, in a large barn on Abbey grounds a short ways outside of London. (Again got there on a Sunday through the good graces and invitation of Mike Papantonio and Bob Taylor.)] ●

PW, London, Printed By W. Bulmer And Co., For John And Josiah Boydell, 1794-97. 3 vols. Folio, contemporary blue morocco. 28 engraved illustration plates after R. Westall (First Appearance). Called “One of the major achievements of English Book production!” – and this just a little over 100 years after England’s 1st great achievement with the publication of the 1688 PL. ●

Child’s writing sheet with illustrations for each Book of PL. Dated November 9, 1801. Very rare. Percy Muir had been a friend, a great bookseller and a great collector as well as writer, and so I was especially proud to obtain this copy from his wife after he died. ●

19th Century decorated publisher’s cloth bindings on illustrated Milton editions, c.1860 on. ●

Paradise Lost. New York: Edward Arnold. 1896. Folio, limited edition of 150 copies with first appearance of 12 illustrations etched by William Strang – each mounted within thick matting paper and signed by Strang.


I’ve talked about and given you only a smattering of editions, with an emphasis on PL and on illustrations. To show that the collection is very diversified, here is 1858 Routledge edition of Comus, with illustrations engraved by Dalziel. In two states. [See handouts!!] [Also on exhibit!] ●

Also from Comus, a 20th century Press production with correction upheld by Milton!! Visiak: “Stet!” & “At Milton’s demand” – in Visiak’s hand and with his initials. ●

AND: ANTHOLOGIES: Large and diversified number in collection & reason for this. [See handouts as e.g.’s!!]

************************************************ ************************************************ Collected ORIGINALS, whenever I could, and that took me into the world of art and art dealers. Some befriended me, as did booksellers, and through them I was able to obtain some very nice and rare originals. As exciting as collecting Milton, especially illustrated Milton (in books now!), and simply book collecting itself are – collecting in the art world is really just another form of collecting, although far MORE EXPENSIVE. [Some HANDOUTS to show you what I mean!!] First, FRANCIS HAYMAN (mid-18th century) Two original watercolor paintings: 1. SATAN, SIN AND DEATH 2. SATAN RALLYING HIS COHORTS Drawn sometime in the 1740s or even the 1750s; each 6 5/8” x 3 ¾” on a 9 ¼” x 5 ¾” page. These have apparently never been published. Hayman’s illustrations for the great 1849 Thomas Newton Variorum Edition, published by Tonson, are considered among some of the finest 18th century illustrations of Paradise Lost.


GEORGE ROMNEY (mid- to late 18th century) Original pencil sketch of THE FALL OF THE REBEL ANGELS, 5 ½” x 9 ¼”, c. 1790s. The main composition is dominated by the large figure of Satan on the right side. Another study of Satan is added in the top right-hand corner. [You’ll find this information on a handout to be distributed shortly on Turner as #28] WILLIAM HOGARTH (1697-1794) Beneath the Romney is a 1792 etching of SATAN, SIN AND DEATH by Thomas Rowlandson, 14” x 12 ½”, engraved by J. Ogborne AFTER William Hogarth. [You’ll find this information on a handout to be distributed shortly on Turner as #29] HENRY RICHTER (late 18th century) 12 Original Drawings by Henry Richter in 1894, 1895, 1896. 1 in watercolor 11 in wash of scenes in PL 9 were used for the plates in the 1794 edition – illustrations engraved and edition edited by John Richter, Henry’s father. 3 were rejected [See photo handouts!!] RICHARD WESTALL (18th – 19th Century) MILTON COMPOSING PARADISE LOST. Drawn & Engraved by R. Westall, c. 1810. Hand-colored aquatint, 12 ½” x 28 ½”, titled and signed in the plate. Very fine plate with exceptional hand-coloring, believed almost certainly to have been done by Westall himself. [You’ll find this information on a handout to be distributed shortly on Turner as #31]


HENRY FUSELI (1741-1825) Read John Shawcross on my three engravings for PL being the only known to have survived and provide the source for knowing the subject matter of these three Fuseli illustrations. [See photo handouts!!] [To mention John Martin again – moving along in chronological order!] JOHN MARTIN (1789-1854) I have also placed, as I said earlier, a Martin mezzotint plate, small size, in “proof state before letters” ON EXHIBIT: “Eve Tempts Adam.” J. M. W. TURNER (earlier part of 19th Century) THE EXPULSION FROM PARADISE (5 ½” x 8”): Engraver’s Large Paper Proof Before All Letters by Turner. The later lettered version of this engraving was issued in John Macrone’s edition of The Poetical Works of John Milton, edited by Sir Egerton Brydges – a beautiful edition. FORE-EDGE or EDGE PAINTINGS [See photo handouts!!] TERRANCE LINDALL – And OH YES, then there is Terrance Lindall, of course, whom it has been my great fortune to know and also to have broadly represented in my Milton collection through a great many originals in a great many formats and style. Terrance, I cannot tell you how grateful and how proud I am to have your spectacular illustrations, which make you the greatest illustrator of Paradise Lost in our time and rank you among the very finest and most visionary of all time! ************************************************ ************************************************


You can see everything I handout out here and much more as well as read important details on a great variety of Milton editions (nearly 3,000) and related books and items in my book, copies of which Terrance Lindall has made available for gentle use or purchase. N.B. ALL proceeds from all purchases go directly and only to the WAH Center ************************************************ ************************************************ Some brief final thoughts on collecting per se! A collector needs to have real persistence, love of his chosen goal or goals, knowledge of his or her subject (the more the better – that’s what kept me ahead of everyone else), along with trust in some special booksellers, serendipity every now and then, and always some luck, especially in being in the right place at the right time. Importance of booksellers – still vital, but has changed from my early years (then at the end of the golden age of book collecting, in my opinion). Trust the bookseller and pay his price; don’t haggle. You’ll be better for it in the long run. Rarity & Scarcity Condition (And Relation to Rarity & Scarcity) I’ve been fortunate to get unusually nice copies, but sometimes you simply have to take what you can get; if you don’t, you may never get!! So if something is very rare and available in only a tacky copy, and it is a book that fits “your business,” as it were, even though you would really love another better copy, BUY IT NONETHELESS. This way, if another, better copy comes along, you can get that and no harm done – sell your first copy to recoup some of your outlay; OR, if one doesn’t, you have a copy which because of rarity, others will covet!! Contemporary binding vs. Later binding! Know the difference.


Binders: Some contemporary bindings rebound in 19th and early 20th century, as became the custom, because of great binders like Zahnsdorf, Sangorski & Suttcliffe, and many more. [SEE my 5 first title pages: one in contemporary binding!] Is there still Serendipity (as in my finding the leaf of the 1632 2nd Shakespeare folio with Milton’s sonnet on Shakespeare –Milton’s 1st published work, and included in this important folio when Milton was only 24 years of old. Why was he included? Collecting today! Changed rather dramatically because of the INTERNET and EBAY. NO CATALOGUES (except from the more expensive bookshops). BOOKSELLERS have also changed: more selling out of the home; few shops per se (true in America and in England.

************************************************ ************************************************ EXHIBITS: I have placed a number of things from my private holdings of Milton, which I hope you will take a moment to look at. Except for the original drawings by George Romney and by John Martin, the fore-edge paintings, the unique bindings on Newton’s variorum edition, the Cosway binding on Hilaire Belloc’s Life of Milton, and the various bindings (which are duplicates by and large), everything on display (including the medals and the Russian stamps) is in my Milton collection at the University of South Carolina. Regarding WHAT IS ON EXHIBIT: NOTE 1: Some of the special items pictured and described in my book are described, as you’ll see, by that page being laid next to the item on display. NOTE 2: All items on display are copies which belong to me; most are duplicates of what is in the collection.


2nd edition of Paradise Lost (1674) with Dole Portrait after Faithorne (1st appeared in 1670 History of Britain, photo of copy in my collection I passed around earlier); the 2nd edition considered to be the most final text of Milton’s, published in the same year that Milton died; Bound With a 1st edition of Paradise Regain’d (1671), with 1670 license leaf Paradise Lost, 1705, 7th edition, with Faithorne portrait and with 1688 illustrations reduced; 1st octavo edition

Paradise Lost, 1707, 8th edition, octavo, with 1688 illustrations reduced

Paradise Lost, 1711, 11th edition

Paradise Regain’d, 1713, 5th edition

Paradise Lost, 1719; 10th edition and 1st edition with Addison’s comments on PL, with own title page, 1719. Newton 1749 Variorum Edition (former Dr. A. S. W. Rosenbach copy; called finest set ever!) Second Copy of Newton 1749 Variorum Edition (Vol. 1, in a PRESENTATION BINDING] Bindings In addition to the 18th century bindings on 1749 Newton Variorum Edition – Virtually Unmatchable!! A fine early 19th century 3-volume set (1810) in contemporary red morocco – A lovely Romantic binding A display of beautiful 19th century morocco and leather bindings – I have a great many more! A Cosway Binding on Milton by Hillair Belloc [Discuss origin of name]


Also Cosway style binding on each of two copies of my own book on my Milton Collection, now under my name in a special room in Rare Books & Special Collection at the University of South Carolina A sampling of 19th century Publisher’s Decorated Cloth Bindings – I have a great many more! Included are the 2 wonderful publisher’s decorated cloth bindings on the 1876 edition of Milton’s Poetical Works by Bickers And Son, with one of the two open to a photograph of a mezzotint illustration by John Martin 50 years earlier. ●

Gauphered edges: gilt edges with designs – on 2 beautiful Victorian leather bindings

3 fore-edge paintings displayed; Eve available, along with several others. The holder is too small for the size of the book on which Eve appears.

An elegant binding on Paradise Regained, 1924, with illustrations by Thomas Lowinsky, with an extra set of the illustrations printed on vellum in a pocket at the back. The binding consists of numerous inlaid morocco pieces in various colors, done by the famous and very talented Genoa of Italy. ●

Included among Milton Ephemera: A display of 5 medals from the 18th to the late 21st century – from England and one from Russia – together with a copy of the page from my book showing the medals in my collection showing both sides of the medal. These medals are my own. The collection at USC has its own group. Rare – even though I managed to find two copies of each.

A display of various cards from England, France, German, Cuba, and the United States: with various images of Milton, primarily tobacco, cigarette, and tea cards, dating from the late nineteenth century to the 1960s – together with a copy of the page from my book showing the various cards in my collection Always were rare, but they have become much rarer in the past 20 years or so.

These cards would be found in small packs of cigarettes, e.g., // or tobacco, or tea, or even ice cream sometimes, // as baseball cards, first, and then other sports cards are found in packets of gum throughout the 20th century and now also in the 21st century. Included is a Pepsin Gum Cello Pinback (1896)


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AND WITH THAT I THANK YOU FOR BEING SUCH AN ATTENTIVE AUDIENCE!! QUESTIONS, if there are any and if there is time, and if you aren’t already too bored by what I have had to say. You can also see me privately, with a question, or to see Eve and other fore-edge bindings besidess those on exhibit! ************************************************ ************************************************

The Wickenheiser/Lindall Emails 2008-2015  
The Wickenheiser/Lindall Emails 2008-2015  

Robert J. Wickenheiser was an outstanding scholar and collector, an inspirational leader, whose encouragement led Terrance Lindall to go on...