Volume 14 · Issue 1

BLAKE/AN ILLUSTRATED QUARTERLY INDEX TO VOLUME XII

Compiled by Thomas L. Minnick, The Ohio State University

The first number in the reference is the whole number of the issue (#45-48); the second is the page within the issue. Thus 47: 193 signifies whole number 47, page 193.

AUTHORS

Bentley, E. B., Vision in Fiction: Two Novels About William Blake, 47:209-210.

Bentley, G. E., Jr., Echoes of Blake’s Grave Designs in 1838, 47:207-209.

Bentley, G. E., Jr., “The Eternal Wheels of Intellect”: Dissertations on William Blake, 48:224-243.

Bentley, G. E., Jr., The First Printed Reference to the Publication of Job: Disraeli (?) in The Star Chamber (1826), 45:69-70.

Bentley, G. E., Jr., “New” Blake Engravings after Blake’s Designs, 1837, 1859, 1861, 47:204.

Bentley, G. E., Jr., The Selling of Blake’s Night Thoughts Designs in the 1870s, 45:70-71.

Bindman, David, A New Blake Drawing in the Boston Museum of Fine Art, 47:205-206.

Bouwer, Izak, and Paul McNally, “The Mental Traveller”: Man’s Eternal Journey, 47:184-192.

Butlin, Martin, An Illustration to Robert Bage, 47:202.

Cheskin, Arnold, The Echoing Greenhorn: Blake as Hebraist, 47:178-183.

Clarke, Mary, The Job Ballet, 45:18-25.

Deck, Raymond H., Jr., Another Early Printing of Blake’s “Night,” 45:69.

Deck, Raymond H., Jr., “Blake, William” in the New American Cyclopedia (1861), 45:68-69.

Dörrbecker, Detlef W., and Marta Slowiková, Some Minor Additions to Bentley’s “Blake Among the Slavs,” 47:198.

Dörrbecker, Detlef W., see also Minnick, Thomas L.

England, Martha W., rev. of Davie, 47:215-217.

Erdman, David V., The Four Zoas: New Text for Pages 5, 6, & 7, Night the First, 46:96-99.

Erdman, David V., Night the Seventh: The Editorial Problem, 46:135-139.

Essick, Robert N., Blake in the Marketplace, 1976-77, 45:26-38.

Essick, Robert N., The Figure in the Carpet: Blake’s Engravings in Salzmann’s Elements of Morality, 45:10-14.

Fine, Ruth E., rev. of Butlin and Tate Gallery Exhibition, 45:42-55.

Franson, J. Karl, The Serpent-Driving Female’s in Blake’s Comus 4, 47:164-177.

Frost, Everett C., rev. of The Story of Job (ballet), 46:155-158.

Gabriella, Katharyn R., Los’s Visit [poem], 48:266.

Graziano, Frank, The Last Judgement [poem], 45:40-41.

Hagstrum, Jean H., rev. of Bindman, 45:64-67.

Harding, Gunnar, trans. from the Swedish by Gunnel Tottie, Two Poems, 45:39-40.

Heppner, Christopher, Another Cumberland Bibliography Addendum, 48:261-262.

Heppner, Christopher, Another “New” Blake Engraving: More About Blake & William Nicholson, 47:193-197.

Heppner, Christopher, Blake and The Seaman’s Recorder: The Letter and the Spirit in a Problem of Attribution, 45:15-17.

Hilton, Nelson, A Note on Cowper and A Poison Tree, 47:203.

Hilton, Nelson, The Sweet Science of Atmospheres in The Four Zoas, 46:80-86.

Hoagwood, Terence Allan, The Four Zoas and “The Philosophick Cabbala,” 46:87-90.

Irwin, David, rev. of Burke, 47:212-214.

James, G. Ingli, Some Not-So-Familiar Visionary Heads, 48:244-249.

Johnson, Mary Lynn, and Brian Wilkie, The Spectrous Embrace in The Four Zoas, VIIa, 46:100-105.

Kilgore, John, The Order of Nights VIIa and VIIb in Blake’s The Four Zoas, 46:107-113.

Kilgore, John, rev. of Ostriker, 48:268-270.

La Belle, Jenijoy, Blake and Morland: The First State of “The Industrious Cottager,” 48:258-261.

Lefebvre, Mark S., A Note on the Structural Necessity of Night VIIb, 46:134.

Lincoln, Andrew, The Four Zoas: The Text of Pages 5, 6, & 7, Night the First, 46:91-95.

Lincoln, Andrew, rev. of Wilkie and Johnson, 48:264-266.

Lincoln, Andrew, The Revision of the Seventh and Eighth Nights of The Four Zoas, 46:115-133.

Magno, Cettina, The Four Zoas for Italy, 46:140-141.

McNally, Paul, see Bouwer, Izak.

Mellor, Anne K., rev. of Kroeber and Walling, 48:267-268.

Minnick, Thomas L., with the assistance of Detlef W. Dörrbecker, A Checklist of Recent Blake Scholarship, 46:142-149.

Napora, Joe, Trickster’s Song [poem], 45:39.

Nurmi, Martin K., rev. of Howard and Franson, 45:56-57.

Paley, Morton D., Mr. Blake’s Spectacles, at the Fitzwilliam Museum, Cambridge [poem], 45:39.

Paley, Morton D., rev. of Altick, 48:271-273.

Peattie, R. W., William Michael Rossetti’s Aldine Edition of Blake, 45:4-9.

Shroyer, R. J., Mr. Jacko “Knows What Riding Is” in 1785: Dating Blake’s Island in the Moon, 48:250-256.

Slowiková, Marta, see Dörrbecker, Detlef W.

Spencer, Jeffry, rev. of Marqusee, 46:154.

Tillotson, Marcia, rev. of Wollstonecraft, Wardle, and Tomalin [rev. art.], 45:58-64.

Wark, Robert R., rev. of Paley, 47:211-212.

Watarai, Kazumitsu, A Bibliography of William Blake in Japan, 1969-1977, 47:198-201.

Weber, Dwight E., William Blake’s Visions of the Daughters of Albion: A Poem Based on Doubt, 47:203-204.

Wilkie, Brian, see Johnson, Mary Lynn.

Wilton, Andrew, rev. of Lister, 46:150-154.

TITLES

Another Cumberland Bibliography Addendum, 48:261-252.

Another Early Printing of Blake’s “Night,” 45:69.

Another “New” Blake Engraving: More About Blake & William Nicholson, 47:193-197.

A Bibliography of William Blake in Japan, 1969-1977, 47:198-201.

Blake and Morland: The First State of “The Industrious Cottager,” 48:258-261.

Blake and The Seaman’s Recorder: The Letter and the Spirit in a Problem of Attribution, 45:15-17.

Blake in the Marketplace, 1976-77, 45:26-38.

“Blake, William” in the New American Cyclopedia (1861), 45:68-69.

A Checklist of Recent Blake Scholarship, 46:142-149.

Echoes of Blake’s Grave Designs in 1838, 47:207-209.

The Echoing Greenhorn: Blake as Hebraist, 47:178-183.

“The Eternal Wheels of Intellect”: Dissertations on William Blake, 48:224-243.

The Figure in the Carpet: Blake’s Engravings in Salzmann’s Elements of Morality, 45:10-14.

The First Printed Reference to the Publication of Job: Disraeli (?) in The Star Chamber (1826), 45:69-70.

The Four Zoas and “The Philosophick Cabbala,” 46:87-90.

The Four Zoas for Italy, 46:140-141.

The Four Zoas: New Text for Pages 5, 6, & 7, Night the First, 46:96-99.

The Four Zoas: The Text of Pages 5, 6, & 7, Night the First, 46:91-95.

An Illustration to Robert Bage, 47:202.

The Job Ballet, 45:18-25.

The Last Judgement [poem], 45:40-41.

Los’s Visit [poem], 48:266.

“The Mental Traveller”: Man’s Eternal Journey, 47:184-192.

Mr. Blake’s Spectacles, at the Fitzwilliam Museum, Cambridge [poem], 45:39.

Mr. Jacko “Knows What Riding Is” in 1785: Dating Blake’s Island in the Moon, 48:250-256.

A New Blake Drawing in the Boston Museum of Fine Art, 47:205-206.

“New” Blake Engravings after Blake’s Designs, 1837, 1859, 1861, 47:204.

Night the Seventh: The Editorial Problem, 46:135-139.

A Note on Cowper and A Poison Tree, 47:203.

A Note on the Structural Necessity of Night VIIb, 46:134.

The Order of Nights VIIa and VIIb in Blake’s The Four Zoas, 46:107-113.

The Revision of the Seventh and Eighth Nights of The Four Zoas, 46:115-133.

The Selling of Blake’s Night Thoughts Designs in the 1870s, 45:70-71.

The Serpent-Driving Females in Blake’s Comus 4, 47:164-177.

Some Minor Additions to Bentley’s “Blake Among the Slavs,” 47:198.

Some Not-So-Familiar Visionary Heads, 48:244-249.

The Spectrous Embrace in The Four Zoas, VIIa, 46:100-105.

The Sweet Science of Atmospheres in The Four Zoas, 46:80-86.

Trickster’s Song [poem], 45:39.

Two Poems [Song of Innocence, An Evening at Home with William Blake], 45:39-40.

Vision in Fiction: Two Novels about William Blake, 47:209-210.

William Blake’s Visions of the Daughters of Albion: A Poem Based on Doubt, 47:203-204.

William Michael Rossetti’s Aldine Edition of Blake, 45:4-9.

WORKS REVIEWED

Altick, Richard D., The Shows of London, 48:271-273.

Bindman, David, Blake as an Artist, 45:64-67.

Burke, Joseph, English Art 1714-1800, 47:212-214.

Butlin, Martin, William Blake, 45:42-55.

Davie, Donald, A Gathered Church: The Literature of the English Dissenting Interest, 47:215-217.

Franson, John Karl, ed., Milton Reconsidered: Essays in Honor of Arthur E. Barker, 45:56-57.

Howard, John, Blake’s Milton: A Study in Selfhood, 45:56-57.

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Johnson, Mary Lynn, see Wilkie, Brian.

Kroeber, Karl, and William Walling, eds., Images of Romanticism: Verbal and Visual Affinities, 48:267-268.

Lister, Raymond, ed., The Letters of Samuel Palmer, 46:150-154.

Lister, Raymond, Samuel Palmer, A Biography, 46:150-154.

Marqusee, Michael, introd., The Book of Job Illustrated by William Blake, 46:154.

Ostriker, Alicia, ed., William Blake: The Complete Poems, 48:268-270.

Paley, Morton D., William Blake, 47:211-212.

Tomalin, Claire, The Life and Death of Mary Wollstonecraft, 45:58-64.

Walling, William, see Kroeber, Karl.

Wardle, Ralph M., ed., Godwin & Mary: Letters of William Godwin and Mary Wollstonecraft, 45:58-64.

Wilkie, Brian, and Mary Lynn Johnson, Blake’s Four Zoas: The Design of a Dream, 48:264-266.

Wollstonecraft, Mary, Letters Written during a Short Residence in Sweden, Norway, and Denmark, ed. Carol Poston, 45:58-64.

Wollstonecraft, Mary, Mary, A Fiction, ed. Gary Kelly, 45:58-64.

Wollstonecraft, Mary, A Vindication of the Rights of Woman, ed. Miriam Brody Kramnick, 45:58-64.

ILLUSTRATIONS

45

Plate 34 in C. G. Salzmann, Elements of Morality (1791), III, facing p. 23. First state, Blake after Chodowiecki, 11.

Plate 38 in Salzmann, Elements of Morality (1791), III, facing p. 68. First state, Blake after Chodowiecki, 12.

“Beggar’s Opera, Act III,” Blake after Hogarth, 1788. Detail, fourth state (1790), 12.

“Moore and Co’s Advertisement,” designed and engraved by Blake, c. 1797. Detail, 12.

Plate 28 in Salzmann, Elements of Morality (1791), facing p. 104. First state, tentatively attributed to Blake as designer and engraver, 13.

Frontispiece in Mary Wollstonecraft, Original Stories from Real Life, 1791. Second state, designed and engraved by Blake, 14.

[E. Blake’s] Signature on plate of “Lord Byron in a Storm,” The Seaman’s Recorder, II, 1, 16.

[E. Blake’s] Signature on plate of “M^r. H. Kemble, as Massaniello,” West’s Theatrical Characters, 16.

[E. Blake’s] Signature on plate of “M^r. Huntley, as Bagzed,” West’s Theatrical Characters, 16.

[E. Blake’s] Signature on plate of Nelson’s monument, frontispiece to The Seaman’s Recorder, Vol. II, 17.

[W. Blake’s] Signature on plate 21 of Vol. III of The Antiquities of Athens, 1791, 17.

Backdrop design for Job, Gwen Raverat, 18.

Toy theater model for Job, Gwen Raverat design, 19.

Notebook sketches, Ninette de Valois, 19.

Job television production, Harold Turner as Satan, 19.

Job original production programme, 5 July 1931, 20-21.

Michael Somes^[e] as Job, later production, 22.

Studio picture of Anton Dolin for a later Raverat production, 22.

Joy Newton, original production, 23.

Original production of Job, 24.

Robert Helpmann as Satan, 25.

Blake, “The Virgin Hushing the Young Baptist as He Approaches Jesus,” tempera, 27.

Blake, “The Good Farmer,” recto, pencil, black ink, and grey wash, 28.

Blake, “The Good Farmer,” verso, pencil, black ink, and grey wash, 29.

Blake, “Saint Augustine Converting King Ethelbert of Kent,” watercolor, 33.

Blake, “The Gambols of the Ghosts,” pencil, 34.

Louis Schiavonetti after Blake, “The Descent of Man into the Vale of Death,” 35.

Blake, There is No Natural Religion, series a, copy G¹, p1, 3, 37.

Blake, Satan Calling Up His Legions, c. 1805, 46.

Blake, Satan Calling Up His Legions, c. 1800-1809, 47.

Blake, Moses Indignant at the Golden Calf, 48.

Blake, The Christ Child Asleep on the Cross, 49.

Blake, The Flight into Egypt, 49.

Title page of Godwin’s Memoirs of the Author of a Vindication of the Rights of Woman, 1798, 61.

John Opie, Mary Wollstonecraft, 62.

Etching, after Opie, Mary Wollstonecraft, 62.

Portrait of Mary Wollstonecraft, 63.

Portrait of Joseph Johnson the printer, 63.

46

The Four Zoas, p. 27, detail, 86.

Vala or The Four Zoas, p. 29, 81.

The Four Zoas, fragment, p. 144, 92.

The Four Zoas, p. 5, 94.

The Four Zoas, p. 6, 94.

The Four Zoas, p. 7, 95.

The Four Zoas, p. 7, detail, 98.

The Four Zoas, p. 91, 106.

The Four Zoas, p. 86, 117.

The Four Zoas, p. 112, 114.

The Four Zoas, p. 55, 124.

The Four Zoas, p. 98, detail, 128.

The Four Zoas, p. 116, 131.

The Four Zoas, p. 115, 132.

The Four Zoas, p. 82, detail, 133.

The Four Zoas, p. 98, detail, 139.

Samuel Palmer, “View of the Serpentara,” drawing, 151.

Photographs of the Clark and Bowler Thames Television production of The Story of Job [ballet], 155, 156, 157, 158.

47

Blake, “The Brothers Meet the Attendant Spirit in the Wood,” Comus 4, Huntington series, 165.

Blake, “Comus with his Revellers,” Comus 1, Huntington, 166; also Boston, 1, 166.

Blake, “Comus, Disguised as a Rustic,” Comus 2, Huntington, 167; Boston, 167.

Blake, “The Brothers Observed by Comus Plucking Grapes,” Comus 3, Huntington, 168; Boston, 168.

Blake, “The Brothers Meet the Attendant Spirit in the Wood,” Comus 4, Huntington, 169; Boston, 170.

Blake, “The Magic Banquet with the Lady Spellbound,” Comus 5, Huntington, 171; Boston, 171.

Blake, “The Brothers Driving Out Comus,” Comus 6, Huntington, 172; Boston, 172.

Blake, “Sabrina Disenchanting the Lady,” Comus 7, Huntington, 173; Boston, 173.

Blake, Comus 8, Huntington, 175; Boston, 176.

Blake, Enoch, detail, 179.

Blake’s letter to his brother James, 30 January 1803, detail, 179.

Blake, Milton, p1. 15, detail, 180.

Tables of the Law, from the Collection of the Jewish Museum, New York, 180.

Blake, Job’s Evil Dreams, detail, 181.

Blake, Laocoön, detail, 182.

Titlepage, William Nicholson, Introduction to Natural Philosophy (1782), 194. With enlargement (detail) of Blake’s vignette, 194.

Enlargement of Blake’s signature from Nicholson titlepage, 195.

Figure illustrating “Theory of the Rainbow” from Nicholson, 1782, I, 281, 195.

Titlepage vignette for Nicholson, Introduction to Natural Philosophy, 5th ed, 1805, 196.

Figure of a Camera Obscura from Nicholson, 1782, I, 368, 197.

Blake, Illustration to Robert Bage’s Hermsprong, c. 1820, 202.

After Blake, “Death’s Door,” 204.

Blake, Goliath cursing David, drawing, 205.

Blake, Goliath cursing David, verso, 206.

Blake, Goliath cursing David, watercolor, 206.

Initial letter, “Christ with the keys of Hell and Death” from Pictorial Edition of the Book of Common Prayer, p. 192, 207.

Louis Schiavonetti after Blake, “Christ Descending into the Grave,” 207.

Chapter Heading from Rubens’ “Resurrection” from Pictorial Edition of the Book of Common Prayer, p. 199, 208.

Blake, titlepage design for Blair’s Grave engraved by Schiavonetti, 208.

Blake, design fro “The Death of the Good Old Man,” Blair’s Grave (1808), 208.

Titlepage to Heygate, William Blake: or, The English Farmer, 1848, 209.

Frontispiece by N. D. Sears to Heygate, William Blake (1848), 209.

Fermin Rocker, design for The Gates of Paradise, 209.

48

Blake, “Nebuchadnezar/Coin as seen in a Vision,” 245.

Blake, “Socrates,” 210.

Blake, “Rd. Coeur de LION,” 211.

Blake, “Caractacus,” 212.

Blake, “King Edward the first as he now exists,” 249.

“The Downfall of Taste & Genius or The World as it goes,” 252-253.

Blake after George Morland, “The Industrious Cottager,” first state, 258.

Blake after George Morland, “The Industrious Cottager,” second state, 259.

Blake, “The Little Girl Lost,” Songs of Innocence and of Experience, copy N, detail, 260.

Blake, Illustrations of The Book of Job, pl. 6, detail, 260.

Datura Arobria, 262.

Diagram of a Mexican sun altar, 262.

Thomas Rowlandson, The Wonderful Pig, 1785, 273.