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Bound in a notebook with presentation inscription from Ruthven Todd to W. Graham Robertson, 14 July 1942. 6. Millboard block made by W. (...) Unrelated pen and pencil sketches on verso. 11 11 For reproduction and discussion see Ruthven Todd, “Two Blake Prints and Two Fuseli Drawings,” Blake Newsletter 5 (Winter 1971-72), pp. 173-81. 2.

For information on the 1968 printing, see Ruthven Todd, “Blake’s Dante Plates—Revised Version,” Book Collecting and Library Monthly no. 6 (Oct. 1968): 164-71, reprinted as a pamphlet, Blake’s Dante Plates, “with addition” dated 7 Oct. 1968.

My only quarrel with Lister, in this respect, is that he sides with Ruthven Todd, Stanley William Hayter and Joan Miro in their solution to the problem of how Blake’s relief etching was really achieved.

To print the plates of Milton on glossy paper is to radically alter the appearance of the original—and for no discernible reason. The late Ruthven Todd once wrote in a letter that he had had a terrible nightmare about Blake.

SH, 1 May 1975, #328, with 5 other vols. (Todd, £14). Argosy, July 1974 cat. 627, #81, disbound ($50). (...) Now in the author’s collection. Todd, Ruthven. Typescript, presented by Todd to Robertson, of a catalogue of the latter’s Blake collection. 1942.

Relief etching printed in colors of a poem by Ruthven Todd; one of the Miró-Todd plates following Blake’s techniques. SNY, 12 Nov. 1976, #366, illus. ($1200); another print by Miró of a poem by Todd using Blake’s relief etching method, #367 ($550).

.: Harvard University Press, 1968), pp. 65-66. 9 Alexander Gilchrist, Life of William Blake, ed. Ruthven Todd (London: J. M. Dent and Sons Ltd., 1942), p. 146, quotes a letter dated 8 Nov. 1801 from Hayley to the Rev.

Given the interpretive problem of many differences among various copies of the illuminated texts, reference to the studies by Myra Glazer-Schotz and by her and Gerda Norvig would have been appropriate. 6 Also deserving of reference is Graham Pechey’s essay on The Marriage, one of the best on that work. 7 Since Joseph Viscomi’s excellent study of Blake’s relief-etching technique supercedes Ruthven Todd’s, John Wright’s, and even Robert Essick’s, it should have been mentioned in note 1 of Chapter 4 (184). 8 Finally, Morris Eaves’s discussion of Blake’s audience is among the very best and in several ways complements Behrendt’s. 9 6 Myra Glazer-Schotz, “Blake’s Little Black Boys: On the Dynamics of Blake’s Composite Art,” Colby Library Quarterly 16 (1980): 220-36; Myra Glazer-Schotz and Gerda Norvig, “Blake’s Book of Changes: On Viewing Three Copies of the Songs of Innocence and of Experience,” Blake Studies 9 (1980): 100-21. 7 Graham Pechey, “The Marriage of Heaven and Hell: A Text and its Conjuncture,” Oxford Literary Review 3 (1979): 54-76. 8 Joseph Viscomi, The Art of William Blake’s Illuminated Prints (Manchester, Eng.: Manchester Etching Workshop, 1983). 9 Cited above in n. 2.