The Gold Illuminated Scroll


This signed 50 inch wide (an exact size facsimile of the original) Giclee print on canvas by the foremost illustrator of Paradise Lost of the 20th Century will, over the centuries, come to stand with other great prints throughout history. Why? Because it is by an artist/philosopher whose thinking on art and the human condition has already made an impact. This print illuminates his unique idea on the nature of “God’s Perfect Mercy.” Inquiries welcome.

Copies are now in some of the world's foremost collections including: 

1) Huntington Library in California, Gift Purchased by Distinguished Professor Joseph Wittreich, noted Milton scholar and collector. The Huntington’s highlights include one of the world’s most extensive collections of William Blake material. Most notably Blake's original illustrations for Milton’s Paradise Lost.

2) The University of Pennsylvania Rare Book Collection, Gift Purchased by Distinguished Professor Joseph Wittreich, noted Milton scholar and collector. The U of Penn holds over 560 exemplars of books printed in Europe from movable type before 1501. Sixty-six of these titles are the only recorded copies in North America.

3) The University of Kentucky, Gift Purchased by Distinguished Professor Joseph Wittreich, noted Milton scholar and collector. The U of Kentucky collections include many famous artists.

4) The Alexander Turnbull Milton Library of the National Trust of Zealand

5) The collection of Robert J. Wickenheiser, one of the world’s formost collectors of Milton books and original illustrations for Milton’s works.

6) The Thomas Cooper Rare Book Library at the University of South Carolina

7) Professor John John Geraghty, another notable collector of Milton books.


A 46 inch wide version (slightly smaller than the original) on archival paper and signed and numbered by the artist is still available. 


Lindall’s art for Paradise Lost appears on the 2008 cover of Complete Poetry and Essential Prose of John Milton, Random House 2008. Edited by William Kerrigan, John Rumrich and Stephen M. Fallon Format: Hardcover, 1392 pages ISBN: 978-0-679-64253-4 (0-679-64253-6) THIS EDITION IS CALLED “THE DEFINITIVE MILTON OF OUR TIME” (NOW IN IT’S SECOND PRINTING)

Holt Rinehart & Winston is using another Lindall Paradise Lost image in a 2009 high school textbook, which will have a first run of 370,000. Title: Elements of Literature, Sixth Course ISBN No.: 9780030368820

Oxford’s major exhibit “CITIZEN MILTON” at the Bodleian Library, Oxford has one of Lindall’s paintings on their web-site for their exhibit honoring Milton’s 400th birthday, on the page Exhumations and Destinies: ‘For Books are not absolutely Dead Things’ 

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 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.

Starting from the right side, the opening panel shows an angel wrestling with a snake over the Garden of Eden, 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 of 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 that starts off small and by the 19th century becomes an ocean in which we see Captain Nemo's 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 sacrificing himself through his act of 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, at rest from his labors, 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. Robert Wickenheiser, a real life great collector of Milton related books and art, is represented here as 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 helped sustain, preserve and reestablish Milton's reputation until the end of time.

In 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!

The perfection of God’s creation is that all possibilities are ACTUALIZED, all opposites must be manifest in God’s creation. Lindall says it would not be a perfect creation if all possibilities were not manifested…it would be incomplete. It is ironic then that Perfect Evil is a manifestation of, or part of, God’s work. Leibniz knew this and yet called ours the “best of all possible worlds,” this in the glare of the evils in the world. Milton and Leibniz (Milton’s contemporary) have FAITH that, in the end, “All’s well that ends well,” and that in fact all will indeed end well! All who subscribe to the book of Christian, Muslim, Jewish traditions have this enduring faith. Thus Goodness wins out over Evil, and evil is even purged from Evil’s Perfect Advocate, Satan, through God’s Perfect Mercy.

The chorus at the end of Samson Agonistes makes this realized to the reader with the quote:


“ All is best, though we oft doubt, [ 1745 ]

What th' unsearchable dispose

Of highest wisdom brings about,

And ever best found in the close.

Oft he seems to hide his face,

But unexpectedly returns [ 1750 ]”

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:

What scolars and collectors are saying about the scroll:

"Thanks...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, Milton Collector & 19th President of St. Bonaventure University

“Thank you Terrance. I…am grateful for all you are doing. It is an amazing project. You are creating a great legacy…” Professor John Geraghty[33]

“…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 . I visited the ancient monastery and chapel of Hopovo, and the brilliant colors of the figures crowding into the inner sanctum recall your powerful sunsets and energetic (yet static) figures.” Professor Karen Karbiener, Department of English, New York University

The Yuko Nii Foundation is working with Dr. Robert J. Wickenheiser to produce full-scale facsimiles of this scroll. 

What makes a multiple print historically important? Surely, it is superlative artistic technique, stunning imagery and a concept that elevates human thought and aspirations.

For example Melencolia I, an engraving by Albrecht Durer, has been the subject of more modern interpretation than almost any other print. It exemplifies the pursuit of knowledge and art through inspiration, the qualities that make man more than animal and akin to angels.

Rembrandt’s greatest and most dramatic print is the Three Crosses, a work that has all the power of a painting. It shows the deepest moment of Christ’s suffering and the point and purpose of his life in redeeming mankind.

If available, a copy of either of those masterworks would sell for far in excess of one million dollars.
Below is a photo of the Giclee print on paper among choice volumes in the collection of Professor John Geraghty: all the 17th century editions ol Paradise Lost (1669, 1674, 1678, 1688, 1691, and 1695). John digitalizes his collection at

We believe this signed 50 inch wide Giclee print on canvas by the foremost illustrator of Paradise Lost of the 20th Century will, over the centuries, come to stand with other great prints throughout history. Why? Because it is by an artist/philosopher whose thinking on art and the human condition has already made an impact. This print illuminates his unique idea on the nature of “God’s Perfect Mercy.”

A 46 inch wide version (slightly smaller than the original) on archival paper and signed and numbered by the artist is still available. 

Yuko Nii Foundation
c/o WAH Center
135 Broadway
Brooklyn, New York 11211
(718) 486-6012