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S. Matthews,” as does Todd in his Dell edition (keeping things straight in his Blake the Artist). (...) To Todd’s ear, even Blake’s “lyrical poems are often rough and pay little attention to the niceties of prosody” (p. 21). (...) The non-verbal emphasis of Todd’s excellent William Blake the Artist is evident from its title.

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.

Burlington Magazine, 115 (1973), 669-672. Todd, Ruthven. “The Identity of ‘Hereford’ in Jerusalem with Observations on Welsh Matters.”

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.

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.

*A Query from Ruthven Todd Ruthven Todd is now gathering material for a final working over of his edition of Gilchrist’s biography of Blake. (...) Contributors will be credited in print for their assistance. Todd’s address is Ca’n Bieló, Galilea, Mallorca, Spain.

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.

A Tentative Note on the Economics of The Canterbury Pilgrims by Ruthven Todd The printing of intaglio plates was never a driving impulse with William Blake, despite The Book of Ahania and The Book of Los.

., The Visionary Hand: Essays for the Study of William Blake’s Art and Aesthetics (Los Angeles: Hennessey and Ingalls, 1973), Part I: “Blake’s Techniques of Relief Etching: Sources and Experiments,” pp. 7-44 (includes Ruthven Todd’s essay “The Techniques of William Blake’s Illuminated Printing” originally published in The Print Collector’s Quarterly, 29 (Nov. 1948), here published with Todd’s revisions of the notes and new illustrations and (p. 44) the editor’s list of sources for other brief descriptions of the relief etching process); John W.

“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.