Notes

1. The Marriage of Heaven and Hell, plate 20 (E 42).

2. Kari Kraus. “'Once Only Imagined': An Interview with Morris Eaves, Robert N. Essick, and Joseph Viscomi.” Studies in Romanticism 41 (2002): 182-83.

3. I first saw an example of Cinq personages in the Hayter retrospective exhibition held at the Whitechapel Art Gallery, London, in November 1957, where it was no. 168; an impression of the print has been included in most if not all subsequent major exhibitions devoted to Hayter's work.

4. Annotations to The Works of Sir Joshua Reynolds (1798) xcvii (E 641).

5. “William Blake's Separate Color Prints: An Investigation of Examples in the National Gallery of Art, Washington, D.C.,” in Conservation Research: Studies in the History of Art, to be published by the National Gallery of Art, note 5. Further recent research on Blake's color-printing techniques in his large color prints can be found in Noa Cahaner McManus and Joyce H. Townsend, “The Large Colour Prints: Methods and Materials” and Piers Townshend and Joyce H. Townsend, “The Conservation of a Large Colour Print: Satan Exulting over Eve” in Joyce H. Townsend, ed., William Blake: The Painter at Work (London: Tate, 2003).