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(Incidentally, Ruthven Todd suggests that “it may be doubted whether he [Blake] used his paper in the soaked condition common among modern copper-plate printers” ; rather it would be removed “from its wrappings at least two weeks before starting on the job” and left “lying beside the press to absorb the natural dampness of the printing-shop” [ “Techniques” (1973 ed.) 30].) (...) London: British Library, 2000. Todd, Ruthven. “The Techniques of William Blake's Illuminated Printing.” (...) Los Angeles: Hennessey and Ingalls, 1973. 19-44. Todd. William Blake the Artist. London: Studio Vista, 1971.

., “Both Turk and Jew”: Notes on the Poetry of Henry Fuseli, with Some Translations, 64:206-11 Bentley, G. E., Jr., Ruthven Todd’s Blake Papers at Leeds, 62:72-81 Bindman, David, An Afterword on William Blake: His Art and Times, 64:224-25 Butlin, Martin, A Concordance Between William Rossetti’s Annotated Lists, W. (...) An Examination of America, Plates 4 and 9, Copy B, 64:219-23 The Norton Critical Edition of Blake: Addenda and Corrigenda, 62:107-10 Observations on Blake’s Paintings and Drawings (Based on Butlin’s Catalogue Raisonné), 61:4-6 Ruthven Todd’s Blake Papers at Leeds, 62:72-81 The Scholars and A Grain of Sand, 64:225 Some Drawings Related to Blake’s Night Thoughts Designs: The Coda Sketch and Two Pictures Not Previously Connected with the Series, 61:7-11 Some Sexual Connotations, 63:166-71 Two Forged Plates in America Copy B, 64:212-16 WORKS REVIEWED Abitbol, Joëlle, trans., The Everlasting Gospel/L’évangile eternal [by William Blake], 62:128-29 Bindman, David, William Blake: His Art and Times, 64:226-32 Brogan, T. (...) Looking Down,” 56 John Linnell, Portrait of Blake, 56 Tracing or copy, perhaps by Adam White, after Blake’s “The Egyptian Taskmaster,” 56 “Two Figures Confront Each Other Over a Body,” 58 “Three Tabernacles/The Lamb of God,” 46 “The Church Yard,” 58 “Death,” “Mirth,” and “Hope,” 59 Standing figure, perhaps Samson pulling down the pillars of the temple, 62 62 (Volume 16, number 2) Ruthven Todd, Botanical drawings and notes, 74-76 The Good Farmer, recto and verso, Essick Collection, 88 Searching Among the Dead on a Battlefield, 92 Ugolino: “Does thy God, O Priest, Take such Vengeance as This?

., rev. of Bentley, 55:148-61 Ostriker, Alicia, rev. of Todd, 55:129-31 Paley, Morton D., John Trivett Nettleship and his “Blake Drawings,” 56:185-94 Paley, Morton D., rev. of Harrison, 54:104-05 Read, Dennis M., A New Blake Engraving: Gilchrist and the Cromek Connection, 54:60-64 Simpson, David, rev. of Phillips, 55:121-27 Strickland, Edward, John Dennis and Blake’s Guinea Sun, 54:36 Todd, Ruthven, “Poisonous Blues” and Other Pigments, 53:31-34 Trawick, Leonard, rev. of Wittreich, 54:100-02 Trowbridge, Hoyt, rev. of Jackson, 55:143-45 Vaughan, William, rev. of Wilton, Watercolours, 56:218-19 Warner, Nicholas O., Blake’s Moon-Ark Symbolism, 54:44-59 Watarai, Kazumitsu, see Minnick, Thomas L. (...) Phillips, Michael, ed., Interpreting Blake, 55:121-27 Quilligan, Maureen, The Language of Allegory: Defining the Genre, 55:135-37 Stuart, Simon, New Phoenix Wings: Reparation in Literature, 56:224-28 Todd, Janet, ed., A Wollstonecraft Anthology, 55:129-31 Toomey, Deirdre, see Bindman, David Tyson, Gerald P., Joseph Johnson: A Liberal Publisher, 55:145-47 Wilton, Andrew, British Watercolours 1750-1850, 56:218-19 Wilton, Andrew, Constable’s ‘English Langscape Scenery’, 55:128-29 Wittreich, Joseph Anthony, Jr., Visionary Poetics: Milton’s Tradition and His Legacy, 54:100-02 ILLUSTRATIONS 53 (Vol. 14, no. 1) Blake, Frontispiece to Innocence, Songs of Innocence and of Experience, copy D, 6 Blake, “Every Man also Gave Him a Piece of Money,” 8 Blake, “The Miracle of the Loaves and Fishes,” 9 Blake, “Saint Paul Shaking off the Viper,” 4 John Flaxman, “Slay-good,” 16 John Flaxman, “Come thou Blessed,” 23 John Flaxman, “Monument to George Steevens,” 24 John Flaxman, “Self-Portrait,” 25 John Flaxman, “Study of a woman and child,” 27 John Flaxman, “A sleeping man,” 28 John Flaxman, “Deliver the Captive,” 29 John Flaxman, “Ulysses terrified by the Ghosts,” 30 56 (Vol. 14, no. 2) Blake, “The Angelic Boat Wafting Over the Souls for Purgation,” 45 Blake, detail, Jerusalem 18, 46 Blake, Jerusalem 20, 47 Blake, details, Jerusalem 24 and 39, 49 Blake, “Noah’s Ark,” 50 Anonymous, “Le retour de la coulombe a l’àrche,” 51 Anonymous, “Christ Calming the Sea,” 52 Anonymous, “The City of Dis,” 52 Blake, Jerusalem 25 and 33, 54 Assyrian Winged Moon on Assyrian Cylinder, 55 Blake, “Tauri Lunati,” 56 Blake, “Epitome of James Hervey’s ‘Meditations Among the Tombs’,” 57 Blake, “Joshua Crossing Jordan,” 58 Cromek after Blake, Frontispiece to Malkin’s A Father’s Memoirs of His Child, 62 Blake’s own engraving of his design for the frontispiece to Malkin’s Memoirs, 63 Domenico Cunigo after Michelangelo, Frescoes on the Sistine Ceiling engraved in outline, 68-9 Michelangelo, Creation of Adam, 70 Blake, Elohim Creating Adam, 70 Michelangelo, Creation of Eve, 71 Blake, Satan exulting over Eve, 71 Michelangelo, The Fall and the Expulsion, 72 Blake, God Judging Adam, 73 Blake, House of Death, 74 Blake, Nebuchadnezzar, 74 Blake, The Good and Evil Angels, 75 Michelangelo, Creation of the Sun and Moon, 75 Blake, Lamech and His Two Wives, 78 Blake, Naomi Entreating Ruth and Orpah, 78 Blake, Pity, 79 Blake, Hecate, 79 Michelangelo, Erythraean Sibyl, 80 Blake, Newton, 81 Blake, Christ Appearing to the Apostles, 82 Michelangelo, Head of one of the ignudi, 83 Wood engraved illustrations from The People’s Almanac, 1834 and 1836, 94 Blake’s design for Stedman’s Narrative, vol.

Fingers can smear ink thinly over glass, too, or over a blank linoleum block (imitating Todd’s method, above). 6. SOMETHING TO PRINT ON Blake printed on good paper. (...) The opening section reprints technical recipes contemporary with and relevant to Blake. Also reprints Todd (below), with slightly revised notes. Essick, Robert N. (...) A conventional account, not very well organized or presented. Illustrated. Todd, Ruthven. “The Techniques of William Blake’s Illuminated Printing.”

Niemeyer, professor emeritus of English at Union, on the award committee are William B. Todd of the University of Texas, editor of the Papers of the Bibliographical Society of America; Walker Cowen, director of the University Press of Virginia; Ernest C.

Although some discussions of Blake’s derivation of the “Druid” serpent temples from William Stukeley are cited, there is no mention of why we know that Blake, who never mentions Stukeley, was nonetheless indebted to him: Ruthven Todd’s discovery (in Tracks in the Snow [1946] 48-49) that the serpent temple of Jerusalem 100 is based on one of the engravings in Stukeley’s Abury. In the discussion of Blake’s engraving after Fuseli of The Fertilization of Egypt (157-59) Todd’s article “Two Blake Prints and Two Fuseli Drawings,” 2 would have been pertinent to the question of “collaboration between draughtsmen and engravers” (157n), as that design is one of the two discussed.

The impression recently bequeathed to the Brotherton Library, University of Leeds, by Ruthven Todd was given to Todd by Charles Sessler in 1947. 14 There is of course no record of this gift in Sessler’s sales accounts; the impression may have been an additional, ninety-second restrike or the one returned by “Wells” on 10 June 1941 and not resold. (...) We thank Professor Christopher Heppner for his assistance with the McGill collection. 14 According to Todd, “A Tentative Note on the Economics of The Canterbury Pilgrims,” Blake: An Illustrated Quarterly, 11 (1977), 31.

YOU COULD DO THE NATION, BLAKE, AND YOURSELF A FAVOUR: FIND THE PICTURE Drawn by MARTIN READ Inspired by Ruthven Todd Phrased from “Blake Records” edited by G.E.

Reviewed by Joseph Viscomi with Margaret LaFrance As Ruthven Todd points out, “no one can fully understand the Songs divorced of their setting.” 1 Some fine, hand-colored facsimiles have made it possible to read Blake’s illuminated poetry as graphic art consisting of text and illustration in complex relations. (...) Illustrations of Blake’s poetry struck Ruthven Todd as “the most horrible of all things”—though, admittedly, he had the “whimsical drawings of some cheery, chintzy girl, who is ‘so fond of Blake as he inspires her so much.’ From such nightmares as these, Good Lord, Deliver us!” (Todd, Songs of Innocence and of Experience, p. viii).

Berlin: Duncker and Humbolt, 1969), 783-94. 13 On the frontispiece, see Ruthven Todd, “Two Blake Prints and Two Fuseli Drawings with some possibly pertinent speculations,” Blake Newsletter, 5 (Winter, 1971-72), 173-81. (...) Alas, a careful comparison of the two editions against Blake’s comments does not confirm or deny Gilchrist’s story, and it must therefore remain in the limbo of unsubstantiated anecdote. 16 Alexander Gilchrist, Life of William Blake, ed. Ruthven Todd, rev. ed. (London: Dent, and New York: Dutton, 1945), p. 54.