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BLAKE/AN ILLUSTRATED QUARTERLY INDEX TO VOLUME 15

The first number in the reference is the whole number of the issue (nos. 57-60); the second is the page within the issue. Thus, 59:143 signifies whole number 59, page 143.

AUTHORS

Adams, Hazard, rev. of Raine, From Blake to A Vision, 60:187-188.

Bentley, G. E., Jr., rev. of Keynes, 59:138-139.

Bentley, G. E., Jr., rev. of Poetry of William Blake, 59:148.

Bogan, James, Blake’s Jupiter Olympus in Rees’ Cyclopaedia, 60:156-163.

Butlin, Martin, A New Acquisition for the Tate and A New Addition to the Blake Catalogue, 59:132-133.

Butlin, Martin, A Newly Discovered Watermark and A Visionary’s Way with his Dates, 59:101-103.

Crossan, Greg, Blake’s Maiden Queen in “The Angel,” 59:133-134.

Davidson, Peter, The Music of the Ancients, 58:98-100.

Dörrbecker, Detlef W., Fuseli, The Swiss, and The British: Some Recent Publications, 57:53-56.

Dörrbecker, Detlef W., Innocence Lost & Found: An Untraced Copy Traced, 59:125-131.

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

Edwards, Gavin, rev. of Simpson, 60:179-183.

Erdman, David V., A Book to Eat, 60:170-175.

Erdman, David V., Let the Dead Ardours Live!, 57:58-59.

Essick, Robert N., New Information on Blake’s Illuminated Books, 57:4-13.

Essick, Robert N., Songs Copy h, 57:59-60.

Essick, Robert N., and Michael C. Young, Blake’s “Canterbury” Print: The Posthumous Pilgrimage of the Copperplate, 58:78-82.

Ferber, Michael, Mars and The Planets Three in America, 59:136-137.

Gleckner, Robert F., Blake’s Swans, 60:164-169.

Harding, Anthony J., rev. of Westbrook, 58:97-98.

Helms, Randel, Another Source for Blake’s Orc, 60:198-199.

Heppner, Christopher, Blake and the Novelists, 60:198.

Herrstrom, David Sten, Blake’s Transformations of Ezekiel’s Cherubim Vision in Jerusalem, 58:64-77.

Hilton, Nelson, rev. of Damrosch, 60:192-196.

Hilton, Nelson, rev. of Reiman, Erasmus Darwin, 57:36-48.

Hilton, Nelson, The Shock of the New Blake, 58:103.

La Belle, Jenijoy, Blake’s Insanity: An Unrecorded Early Reference, 58:100-101.

Lange, Thomas V., A Rediscovered Colored Copy of Young’s Night Thoughts, 59:134-136.

Lindberg, Bo Ossian, rev. of Essick, 59:140-148.

Lyle, Janice, rev. of Irwin, 60:176-178.

Mann, Paul, rev. of Bottrall, 60:197.

Minnick, Thomas L., and Detlef W. Dörrbecker, Blake and His Circle: A Checklist of Recent Scholarship, 58:83-93.

Norvig, Gerda S., rev. of Klonsky, 60:184-187.

Nurmi, Martin K., rev. of Raine, Blake and the New Age, 57:51-52.

Page, Judy, rev. of Reiman, James Montgomery, 57:28-35.

Paley, Morton D., A Victorian Blake Facsimile, 57:24-27.

Punter, David, rev. of Bennett, 60:189-192.

Reiman, Donald H., revs. of Baird and Ryskamp and of King and Ryskamp editions of Cowper, 59:149-151.

Salemi, Joseph S., Emblematic Tradition in Blake’s The Gates of Paradise, 59:108-124.

Summerfield, H., Blake and The Names Divine, 57:14-22.

Winn, James A., rev. of Fairchild, 58:94-96.

Wittreich, Joseph A., Jr., rev. of Reiman, William Hayley, 57:48-50.

Worrall, David, rev. of The Ghost of Abel [a play], 57:56-57.

Young, Michael C., see Essick, Robert N.

TITLES

Another Source for Blake’s Orc, 60:198-199.

Blake and His Circle: A Checklist of Recent Scholarship, 58:83-93.

Blake and The Names Divine, 57:14-22.

Blake and the Novelists, 60:198.

Blake’s “Canterbury” Print: The Posthumous Pilgrimage of the Copperplate, 58:78-82.

Blake’s Insanity: An Unrecorded Early Reference, 58:100-101.

Blake’s Jupiter Olympus in Rees’ Cyclopaedia, 60:156-163.

Blake’s Maiden Queen in “The Angel,” 59:133-134.

Blake’s Swans, 60:164-169.

Blake’s Transformations of Ezekiel’s Cherubim Vision in Jerusalem, 58:64-77.

A Book to Eat, 60:170-175.

Emblematic Tradition in Blake’s The Gates of Paradise, 59:108-124.

Fuseli, the Swiss, and the British: Some Recent Publications, 57:53-56.

Innocence Lost & Found: An Untraced Copy Traced, 59:125-131.

Let the Dead Ardours Live!, 57:58-59.

Mars and the Planets Three in America, 59:136-137.

The Music of the Ancients, 58:98-100.

A New Acquisition for the Tate and A New Addition to the Blake Catalogue, 59:132-133.

New Information on Blake’s Illuminated Books, 57:4-13.

A Newly Discovered Watermark and A Visionary’s Way with his Dates, 59:101-103.

A Rediscovered Colored Copy of Young’s Night Thoughts, 59:134-136.

The Shock of the New Blake, 58:103.

Songs Copy h, 57:59-60.

A Victorian Blake Facsimile, 57:24-27.

WORKS REVIEWED

Baird, John D., and Charles Ryskamp, eds., The Poems of William Cowper, Vol. I: 1748-1782, 59:149-151.

Bennett, Betty T., ed., British War Poetry in the Age of Romanticism: 1793-1815, 60:189-192.

Bottrall, Margaret, “A Lecture on William Blake’s Songs of Innocence and Experience,” 60:197.

Damrosch, Leopold, Jr., Symbol and Truth in William Blake’s Myth, 60:192-196.

Essick, Robert N., William Blake Printmaker, 59:140-148.

Fairchild, B. H., Such Holy Song: Music as Idea, Form, and Image in the Poetry of William Blake, 58:94-96.

The Ghost of Abel [a play], 57:56-57.

Irwin, David, John Flaxman 1755-1826, Sculptor, Illustrator, Designer, 60:176-178.

Keynes, Geoffrey, ed., The Letters of William Blake with Related Documents, 59:138-139.

King, James, and Charles Ryskamp, eds., The Letters and Prose Writings of William Cowper, Vol. I: “Adelphi” and Letters, 1750-1781, 59:149-151.

Klonsky, Milton, William Blake: The Seer and His Visions, 60:184-187.

Poetry of William Blake, 59:148.

Raine, Kathleen, Blake and the New Age, 57:51-52.

Raine, Kathleen, From Blake to A Vision, 60:187-188.

Reiman, Donald H., ed., The Garland Facsimiles of the Poetry of Erasmus Darwin, 57:36-48.

Reiman, Donald H., ed., The Garland Facsimiles of the Poetry of James Montgomery, 57:28-35.

Reiman, Donald H., ed., The Garland Facsimiles of the Poetry of William Hayley, 57:48-50.

Simpson, David, Irony and Authority in Romantic Poetry, 60:179-183.

Westbrook, Mike, Bright as Fire [jazz recording], 58:97-98.

ILLUSTRATIONS

57 (Volume 15, number 1)

“The Shepherd” from Songs of Innocence and of Experience, copy BB, 5

“A Divine Image” from Songs of Innocence and of Experience, copy BB, 5

Europe, copy c, pl. 4, 6

Europe, copy c, pl. 9, 6

Europe, copy c, pl. 15, 7

Milton, pl. 13, 7

Milton, copy B, pl. 13, 9

Milton, copy D, pl. 13 (16 in copy D), 9

The First Book of Urizen, copy H, pl. 1, 10

The First Book of Urizen, copy H, pl. 4, 10

The First Book of Urizen, copy H, pl. 25, 10

The Book of Ahania, copy Bb, pl. 1, 11

The Book of Ahania, copy Bb, pl. 1, 11

“The Shepherd,” design only on wove paper, 12

“Spring,” design only on wove paper, 12

The Fall of Man (1807), 16

Epitome of James Hervey’sMeditations among the Tombs,” 17

Christ Offers to Redeem Man (1807), 18

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Satan’s and Raphael’s Entries into Paradise (1807), 18

Illustrations for The Book of Job (1825), pl. 2, 19

Illustrations for The Book of Job (1825), pl. 17, 19

America, pl. 13, from 1876 Works, 25

Freehand drawing of an enlarged detail from pl. 18, copy F, 26

Europe, pl. 17, from the 1876 Works (where it is numbered 15), 26

William Muir’s advertisement for The Edition of the Works of William Blake, 27

The Portland Vase (Blake’s engraving for Erasmus Darwin), 42

The Portland Vase, the First Compartment, the Second Compartment, and the Handles and Bottom of the Vase, 43

“The Tornado,” 44

Table of Contents of Erasmus Darwin, The Temple of Nature, 44

Hull, William Hayley, 1800 (Mansell Collection), 48

“The Dead ardours,” 58

58 (Volume 15, number 2)

“Ezekiel’s Wheels” or “Ezekiel’s Vision of the Whirlwind,” 67

Blake’s Paradigm of Ezekiel’s Cherubim Vision in Jerusalem, and Jerusalem, Chapter 1, First Transformation (after the proem), 69

John Parkhurst’s engraving of the Cherubim, 71

Jerusalem, pl. 22 (copy A), and pl. 41[46] (copy A), 73

“Chaucer’s Canterbury Pilgrims,” photograph of the copperplate with the negative reversed, 80-81

Pages from (title page of) Leveridge’s music for Macbeth, 99

The Evening Hymn in a contemporary hymnbook, 100

“Newton,” 102

59 (Volume 15, number 3)

“What is Man?,” frontispiece, The Gates of Paradise, 110

“Amygdalus,” Alciati, Emblemata cum Commentariis (1621), 110

“I found him beneath a tree,” The Gates of Paradise, pl. 1, 110

“Amoris semen mirabile,” Ayres, Emblemata Amatoria (1683), 111

“Thou waterest him with tears,” The Gates of Paradise, pl. 2, 111

“Hei mihi quod vidi,” Peacham, Minerva Britanna (1612), 111

“He struggles into life,” The Gates of Paradise, pl. 3, 112

“Melancholia,” Peacham, Minerva Britanna (1612), 112

“On Cloudy Doubts and Reasoning Cares,” The Gates of Paradise, pl. 4, 112

“In Astrologos,” Alciati, Emblematum Liber (1531), 113

“That end in endless Strife,” The Gates of Paradise, pl. 5, 113

“Cholera,” Peacham, Minerva Britanna (1612), 113

“Furor et rabies,” Whitney, A Choice of Emblemes (1586), 114

“Alas!,” The Gates of Paradise, pl. 7, 114

“Paupertatem summis ingeniis obesse ne prouehantur,” Whitney, A Choice of Emblemes (1586), 114

“Verbum emissum non est reuocabile,” Whitney, A Choice of Emblemes (1586), 115

“My Son! My Son!,” The Gates of Paradise, pl. 8, 115

“Pour quoy uoit . . . ,” Perrière, Le Theatre des bons engins (1539), 115

“I want! I want!,” The Gates of Paradise, pl. 9, 116

“Inanis Impetus,” Alciati, Emblematum Liber (1531), 116

“Help! Help!,” The Gates of Paradise, pl. 10, 116

“Auri sacra fames quid non?,” Whitney, A Choice of Emblemes (1586), 117

“Does thy God O Priest take such vengeance as this?,” The Gates of Paradise, pl. 12, 117

“Impar coniugium,” Whitney, A Choice of Emblemes (1586), 117

“Regulus Attilius,” Whitney, A Choice of Emblemes (1586), 118

“The Traveller hasteth in the Evening,” The Gates of Paradise, pl. 14, 118

“Superest quod supra est,” Whitney, A Choice of Emblemes (1586), 118

“Death’s Door,” The Gates of Paradise, pl. 15, 119

“Melior est mors quam vita,” Holbein, Dance of Death (1538), 119

“Spiritus meus attenuabitur,” Holbein, Dance of Death (1538), 119

“I have said to the Worm: Thou art my mother and my sister,” The Gates of Paradise, pl. 16, 120

“Flateurs de court . . . ,” Perrière, Le Theatre des bons engins (1539), 120

“Puce et poulz . . . ,” Perrière, Le Theatre des bons engins (1539), 121

“Icon Peccati,” Peacham, Minerva Britanna[e] (1612), 121

“To The Accuser,” 122

“Veritas inuicta,” Whitney, A Choice of Emblemes (1586), 123

“The Shepherd,” Songs of Innocence, Copy Y, 127

“The Little Black Boy,” pl. 2, Songs of Innocence, Copy Y, 127

“The Little Boy Found,” Songs of Innocence, Copy Y, 129

“A Cradle Song,” pl. 2, Songs of Innocence, Copy Y, 129

“Every Man also gave him a Piece of Money,” c. 1821-3, 133

“God the Father with Attendant Angels,” verso of above, 133

Engraved title-page to the second Night (of Young’s Night Thoughts), 135

60 (Volume 15, number 4)

Rees Cyclopaedia, “Sculpture,” pl. 1, and “Jupiter Olympius,” 157

“Jupiter” from Joseph Spence, Polymetis, and the Marbury Hall Zeus, 159

“Jupiter Olympius” pedestal and key to the pedestal, 160

Blake’s drawing for Rees’ sculpture plate, 161 and 163

“Jupiter Olympus” by John Flaxman, 161

Jerusalem 62, Copy D, 171

Angel of the Revelation, 171

The Four Zoas, p. 16, 172

Jerusalem 99, Copy J, 172

Jerusalem 99, detail, Copy J, 173

Bernard Picart’s “Enceladus burried under Mount AEthna,” p. 3 in The Temple of the Muses (1733), 173

Jerusalem 37 [41], 174

Dürer, The Angel of the Apocalypse, 174

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