CORRIGENDA & ADDENDA
Blake Records, Second Edition
A number of corrigenda and addenda to the second edition of Blake Records (Yale UP, 2004) were noticed too late to be incorporated in the book—indeed, though I did not know it, the text had already been printed (5 December 2003), though the index was only then being set in type and the dust jacket had not even been seen in proof. It may be useful, therefore, to record the corrigenda and addenda here:
P. ix: Before “Between pages . . .” add:
End-papers: The end-papers are Blake’s engraving of The Canterbury Pilgrims (1810), Second State (35.6 × 97.05 cm, Fitzwilliam Museum) tinted, probably by Blake, to conform to his tempera.
P. 263: Add footnote to “and ‘Blake’”:
Hunt made amends by listing Blake among “Eminent Living Artists” in The Literary Pocket Book, Or, A Companion to the Lover of Nature and Art 1819 [ed. Leigh Hunt] (London: C. & J. Ollier, 1818), I, 167 (“Blake, W. Poetry”); . . . 1820 (1819), II, 169 (“Blake, W. Poetical Subjects”); . . . 1822 (1821), IV, 156 (“Blake, W. Visions”—and under Line Engravers as “Blake, W.”); and . . . 1823 (1822), V, 148 (“Blake, W. Visions”).
P. 295: Add to first footnote (*):
As “The Ancient Britons” was exhibited in a room only 8′ 5″ high, its dimensions may have been c. 8′ × 12′.
P. 295: Add: ↤ 1. According to R. N. Essick, “Blake in the Marketplace, 2003,” Blake 37.4 (spring 2004): 126. The letter was offered privately to him by the dealer Nick Lott in May 2003.
Louis Schiavonetti wrote to the publishers Messrs Cadell & Davies on 30 January 1810 discussing an engraving commission and referred in passing to “Blake’s Portrait for Mr. Cromek”1 which he had engraved for Blair’s Grave (1808).
P. 736, 1. 5: To the date of “The Post-Office Annual Directory (1812)” add:
“1809,”
P. 739, 1. 12: Delete “opening on Broad Street.”
P. 739fn (*): Instead of “One of the rooms was large enough for Blake’s ‘Ancient Britons’, fourteen by ten feet, to be exhibited in—see 1809-10” read:
The dimensions of the rooms, with ceilings 8′ 5″ high, and the arrangement of the pictures in Blake’s exhibition (1809) are deduced persuasively if not conclusively by Troy RC Patenaude, “‘The glory of a Nation’: Recovering William Blake’s 1809 exhibition”, British Art Journal, IV (2003), 52-63.