William Blake: A Study of His Life and Art Work

by Irene Langridge

INDEX

Academy, Royal, Blake attends the schools of, [6], [50].
Academy, Royal, Exhibits at, [8], [14], [43].
Academy, Royal, A grant from, [50].
Accusers, The Three, [121].
Ahania, The Book of, [23], [120].
America, [23];
described, [107];
a cancel-sheet for, [121].
Ancient of Days, The, [56], [112].
Apprenticeship to Basire, [5], [20].
Atonement, The, [191].
Ballads on Animals, illustrations to Hayley’s, [31], [137].
Bard, The, [164].
Basire, Blake apprenticed to, [5];
his influence, [150].
Bathsheba at the Bath, [167].
Blake, Robert, [4], [15], [133];
his death, [15].
Blake, William, birth, [3];
family history, [4];
birthplace, [3];
his brothers and sister, [4];
marriage, [9];
suggested as tutor to the royal family, [22];
his last sketch, [56];
death, [56];
lived at Green Street, [11];
Broad Street, [14];
Poland Street, [15];
Lambeth, [21];
Felpham, [24];
South Molton Street, [29];
Temple, [50];
his hatred of oppression, [16];
visions of his brother, [17];
his kind-heartedness, [22];
trial for sedition, [29];
influence over younger men, [47], [52];
his circle of friends, [48], [52], [54];
his surroundings in later years, [50];
his appearance, [51], [54];
German eulogy, [54];
learns Italian, [54];
his poverty, [82];
his exhibition, [40];
criticisms on painting and poetry, [40];
his artistic affinities, [41];
his aim in art, [7];
his literary affinities, [37];
views on contemporary artists, [20], [46];
justifies his mode of representation, [165];
his inability to depict Christ, [145], [190];
his intuitive system of belief, [61];
his detachment from his age, [61];
his view of humanity, [65], [66].
Bouchier, Catherine, married to Blake, [9];
her character, [10];
her death, [56];
her assistance in printing, [83].
Calvert, Edward, friendship with Blake, [52].
Canterbury Pilgrims, The (Blake’s), designed, [37];
completed, [38];
exhibited, [40].
See [Stothard, Thomas].
Canterbury Pilgrims, The (Engraving), issued, [44];
discussed, [176].
Coleridge, S. T., meeting with Blake, [47].
Cowper, engravings for Hayley’s Life of, [31].
Cromek, R. H., his relations with Blake, [35-37], [39].
Dante, illustrations to the Divina Commedia of, [54];
discussed, [180].
David delivered out of Deep Waters, [190].
Death of Earl Godwin, [8].
Death’s Door, development of the design of, [91], [96].
Descriptive Catalogue of Blake’s exhibition, [40], [77], [82], [165], [172], [178], [192].
Designs, The Large Book of, [120].
Designs, The Small Book of, [120].
Education, Blake’s early, [4].
Ellis and Yeats, Commentary on Blake, [1], [3], [16], [22], [30], [49], [57], [60], [71].
Elohim Creating Adam, The, [171].
Europe, [23];
described, [110].
Exhibitions of Blake’s works, (1809), [40];
(1904), [159].
Felpham, residence at, [24], [179];
early enjoyment of, [25];
subsequent unhappiness at, [27].
Flaxman, J., introduction to, [8];
aid from, [12], [23];
correspondence with, [25].
Flight into Egypt, The, [167].
French Revolution, The, [17].
Fresco, Blake’s use of the term, [38].
Fuseli, Blake’s friendship with, [8], [17], [50];
his appreciation of Blake, [11], [38], [50].
Gates of Paradise, The, [23];
described, [93].
Ghost of Abel, The, [17].
Ghost of a Flea, [49].
Gilchrist’s Life of Blake, [1], [9], [32], [50], [51], [55].
Glad Day, [179].
Gothic influences, [5], [151].
Grave, The, Blake’s illustrations to Blair’s: sold to Cromek, [35];
published, [39];
discussed, [140];
described, [143];
Blake’s introductory verses, [141].
Hayley, Blake’s introduction to, [23];
life at Felpham, [24-31];
illustrations to his Ballads, [31];
to his life of Cowper, [31];
letters to, [32].
Hecate, [168].
Humphrey, Ozias, Blake’s relations with, [38].
Hunt, Leigh, inept criticisms by, [42].
Ideas of Good and Evil, [30].
Irish ancestry suggested for Blake, [3].
Jerusalem, [31], [34];
discussed, [123];
described, [127].
Job, The Book of, drawings for, [54];
discussed, [148];
described, [151];
sold, [148].
Joseph of Arimathea, [6].
Judgment of Paris, The, [172].
Lamb, Charles, appreciative criticisms by, [99], [179].
Lamech and his Two Wives, [168], [169].
Laocoon, [50].
Last Judgment, The, [38].
Lazar House, The, [188].
Le Brun, Blake’s early aversion to her work, [6].

Lenore, illustrations to Bürger’s, [137].
Linnell, John, Blake’s friendship with, [47], [54], [150];
and the Book of Job, [149].
Little Tom the Sailor, [179].
Los, The Book of, [23];
described, [122].
Los, The Song of, [23];
described, [121].
Madness, his alleged, [73].
Malkin’s Memorials of his child, illustrated by Blake, [38].
Marriage of Heaven and Hell, The, [17];
discussed, [90];
quoted, [101].
Mathew, the Rev. Henry, an early friend, [11-14].
Michael Angelo, his influence on Blake, [4], [6], [78], [141], [171], [187].
Milton, [31];
discussed, [130];
described, [133].
MS. Notebook, Blake’s, references to, [6], [11], [26], [30], [38], [45], [46], [81], [82].
Mystical views, Blake’s, are misunderstood, [72-79];
explained by Smetham, [75].
Mythological characters, Blake’s, [71], [105], [112], [117].
National Gallery, works by Blake in the, [189].
Nativity, The, [161], [162].
Nebuchadnezzar, [22].
Nelson, The Spiritual Form of, etc., [185].
Night Thoughts, designs for Young’s, [23];
described, [137].
Oberon, Titania, and Puck, [169].
Paine, Tom, Blake’s acquaintance with, [17].
Pars’ drawing-classes, Blake attends, [4].
Pitt guiding Behemoth, The Spiritual Form of, [192].
Poetic Genius, his theory of the, [67], [68].
Poetical Sketches, [12].
Prices now brought by Blake’s work, [100], [107], [110], [113], [121], [130], [148].
Prices received by Blake, [21], [35], [38], [100], [149].
Processes employed by Blake, [38], [82], [91], [150], [166], [168], [179], [186], [187].
Procession from Calvary, [191].
Raphael, early love for, [6].
Religious views, [57-71], [102].
Religious views, Swedenborg, [57], [58];
pantheism, [62];
Blake’s beliefs, [62];
the necessity of contraries, [65];
“art in religion,” [67].
Reynolds, Sir Joshua, his advice to Blake, [19].
Reynolds, Sir Joshua, Blake’s MS. notes on Reynolds’ Discourses, [6], [19], [79].
River of Life, The, [163], [169].
Robinson, Henry Crabb, his relations with Blake, [2], [40], [45], [47], [51], [54], [63], [73].
Rossetti, D. G., appreciations of Blake, [12], [40], [185].
Rossetti, D. G., owns Blake’s MS. Notebook, [30].
Rubens, early comments on, [6].
Rylands, proposal to apprentice Blake to, [4].
Satan Watching Adam and Eve, [161].
Satan, Sin, and Death, [172].
Satan Triumphing over Eve, [171].
Satan’s Three Accusers, [121].

Schiavonetti, Lewis, engraves the drawings for the Grave, [36], [140], [145].
Shakespeare, designs to illustrate, [37].
Shields, Mr. Frederick J., [52], [138], [183], [185].
“Single Vision” of Bacon and Newton, [92].
Songs of Experience, [97];
described, [98].
Songs of Innocence, [16];
described, [83].
Stothard, Thomas Blake’s introduction to, [8];
quarrel with, [37], [40], [42], [43].
Stothard, his Canterbury Pilgrims, [37];
exhibited, [38];
described, [176].
Swedenborg, his influence, [38], [57].
Swinburne, Mr. A. C., criticisms by, [11], [45], [62], [95], [104], [105], [115].
Tales for Children, [91].
Tathams, Blake’s friendship with the, [52], [56], [113].
Technique, his deficiency in, [78].
Thel, The Book of, [17];
described, [87].
There is no Natural Religion, [115].
Three Maries with the Angel at the Sepulchre, [161].
Tiriel, [89].
Urizen, The Book of, [23];
described, [116].
Vegetative Life, what Blake meant by the, [2], [64], [127].
Virgil’s Pastorals, woodcuts for, [49];
described, [146].
Vision of Queen Katherine, [173].
Visionary Heads, drawn by Blake, [48].
Visions of the Daughters of Albion, [23];
described, [104].
Visions of Blake; in childhood, [2];
in later years, [17].
Water-colour sketches, [187], [188].
Westminster Abbey, drawings in, [5].
Whore of Babylon, The, [187].
Wise and Foolish Virgins, The, [169].
Wollstonecraft, Mary, acquaintance with, [17];
designs for her Tales, [91].
Women, his views on the position of, [70].

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