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That Fuseli gave Blake a free hand when he was working up the sketch is probable, but this notion doesn’t reveal how close they were, how often they met, and indeed how Fuseli treated his engravers (on their relationship, see Todd). The exhibition label, in short, made a bold and unsubstantiated claim. (...) Oxford: Clarendon Press, 1980. Todd, Ruthven. “Two Blake Prints and Two Fuseli Drawings.”

“Sullen Moloch” is reproduced in Ruthven Todd’s William Blake The Artist (London, 1971). I wish to call attention briefly to three last motives from Zoroastrian and Mithraic statuary and bas-reliefs which may have influenced Blake’s illuminations of Jerusalem. (...) I particularly wish to call attention, again, to the cincture about the waist of Ormazd and its two swirling appendages, for there is a precise analogue to this structure in plate 100 of Jerusalem. I believe Ruthven Todd was the first to notice that the serpent temple, in front of which we see Los or Urthone, his Spectre and Emanation (illus. 17), is quite similar to a drawing of a Druid temple at Averbury, reproduced (or “reconstructed”) in Stukeley’s Abury, A British Druid Temple (1743). 14 Surely it is also clear that we have here another direct influence, for Blake’s serpent temple is exactly like Ormazd’s serpentine girdle, as it is shown in Bryant and in the photographs of the ruins of Persepolis. 14 Ruthven Todd, Tracks in the Snow (London, 1946), pp. 31 ff.

There is nothing else I know of in Western art since the Reformation which conveys such deep religious feeling in form, colour and composition, as do these temperas, some of the finest of which are still in private collections. Ruthven Todd’s catalogue {should} will help in tracing these.

Rossetti, “Annotated Lists of Blake’s Paintings, Drawings, and Engravings,” in Alexander Gilchrist, Life of William Blake, “Pictor Ignotus” (London: Macmillan, 1906) 428, and Martin Butlin, The Paintings and Drawings of William Blake (Oxford: Clarendon, 1981) 1: 475; on the 1817 date of Stothard’s engraving, see Alexander Gilchrist, Life of William Blake, ed. Ruthven Todd (London: Everyman, 1945; hereafter cited as Life) 253-55 and Dictionary of National Biography (London: Oxford UP, 1917, hereafter cited as DNB) 18: 1322. (...) Blake’s and Schiavonetti’s versions of “Death’s Door” are reproduced by Todd 76-77 and by Eaves 920-21. Essick also suggests that Cromek turned to Schiavonetti because he found Blake’s use of perspective faulty in another drawing (“A Preliminary Design for Blake’s Grave” Blake Studies 4 [1972]: 11). 15 BR 468. Even Gilchrist, who was mainly responsible for the blackening of Cromek’s character, admits that the change was “a happy choice of engravers on Cromek’s part; . . . indeed, Schiavonetti’s engravings introduced Blake’s designs to a wider public than himself could ever have done” (Life 219). Todd 84 suggests that in refusing to work in a more acceptable style Blake “may have been more blameworthy than has usually been admitted.”

It is a major contribution to the literature on Blake, and the first serious study of Blake’s engraving and etching techniques since Todd’s and Hayter’s works of the 1940s. In my view it is the best work on the subject so far published. (...) I agree that this second offset process, suggested by Hayter and Todd in their attempt at reconstructing Blake’s methods, 10 is to some degree hypothetical. (...) We still do not know if he wrote the text directly on the copper backwards, or if he used an offset process similar to that reconstructed by Todd and Hayter, and also, it should be noted, similar to the transfer process Blake used for etching on a wax ground.

Lowry was the inventor of a ruling machine used for engraving, which Blake apparently used in his Dante engravings; see Ruthven Todd, “Blake’s Dante Plates,” TLS, 29 August 1968, p. 928. (...) Cock and Co. in William B. Todd, A Directory of Printers and Others in Allied Trades: London and Vicinity 1800-1840 (London: Printing Historical Society, 1972). 6 DNB.

Hilles” (p. 201), was bequeathed by Professor Hilles to Yale in 1976. (4) The prospectus for Blair’s Grave “presumably naming Blake as the engraver” (which is referred to in Blake’s letter of 27 November 1805) is “not . . . known” to Sir Geoffrey (p. 119 n. 1), though he cites (p. 208) the article in Modern Philology (1971) in which this prospectus was reprinted. (5) The receipt of 9 September 1806, said merely to have belonged to Ruthven Todd “In 1942” (p. 207), was sold at Parke Bernet on 23 May 1979, lot 1 ($2,500) and offered in 1980 in The Rendells Catalogue 152, lot 3 ($25,000.00). (6) The untraced (indeed, unmentioned) address leaf for Blake’s letter to Ozias Humphry [May 1809] has been in the Huntington Library since 1926. (7) The letter of 26 July 1826 “Now in the possession of Mrs.

Martin has remained no more than a name, referred to as “Mark Martin,” “one Mark Martin,” or “a certain Mark Martin.” 4 Commenting upon Linnell’s recollection, Miner observed that, although Martin appears to have retired to France in 1821, “he seems to have retained ownership of the property; at any rate a ‘Mark Martin’ continued to pay the rates as late as 1829.” 5 No subsequent biographer has discussed Martin or identified the business he must have left off in order to retire. Ruthven Todd observed that “it is not known whether the ground floor [of no. 17] was then used commercially as it has been for at least a century.” 6 However, Peter Ackroyd first suggested that the Blake’s two rooms would have been situated “no doubt above some kind of commercial establishment.” 7 In this essay I demonstrate that both Miner and Ackroyd were correct. 2. (...) Osborn, Archivist, Westminster Public Libraries, for this information” (549n32). 6. Todd 63. 7. Ackroyd 248-49. The Blakes’ Previous Landlord(s?)

Life of William Blake. Ed. Ruthven Todd. Rev. ed. London: J. M. Dent, 1945. Graves, Algernon.

[Pp. 107-30 are “William Blake: The Power of the Imagination,” originally published, as were the other seven sections of this book, as a pamphlet.] 111 Todd, Ruthven. “‘Poisonous Blues,’ and Other Pigments.” (...) Frosch, Blake/An Illustrated Quarterly, 14 (1981), 224-28; and by Pamela Dembo Van Schaik, Unisa [University of South Africa] English Studies, 18 (1980), 57. 224 Todd, Janet M., ed. A Wollstonecraft Anthology. Reviewed by Alicia Ostriker, Blake/An Illustrated Quarterly, 14 (1981), 129-31. 225 Tyson, Gerald P.