William Blake (1757-1827) is considered one of the most singular and brilliant talents that England has ever produced. Celebrated now for the originality of his thinking, painting and verse, he shocked contemporaries by rejecting all forms of organized worship even while adhering to the truth of the Bible. But how did he come to equate Christianity with art? How did he use images and paint to express those radical and prophetic ideas about religion which he came in time to believe? And why did he conceive of Christ himself as an artist: in fact, as the artist, par excellence? These are among the questions which Naomi Billingsley explores in her subtle and wide-ranging new study in art, religion and the history of ideas. Suggesting that Blake expresses through his representations of Jesus a truly distinctive theology of art, and offering detailed readings of Blake's paintings and biblical commentary, she argues that her subject thought of Christ as an artist-archetype. Blake's is thus a distinctively 'Romantic' vision of art in which both the artist and his saviour fundamentally change the way that the world is perceived.

Samuel Johnson is not only famous for his English Dictionary, and as the subject of Boswell's great biography; he was also the author of many different kinds of books - biographies, essays, literary criticism, poetry - and a regular though anonymous contributor to newspapers, magazines and to books by others. There was a little of the business of authors that he did not know, or about which he did not express a judgement. This bibliography by the distinguished Johnson scholar, the late J.D. Fleeman, records Johnson's literary output in chronological order, illuminating not only his multifarious writings but also the development of his career and reputation as a professional writer. It reveals the range of his work and the variety of his anonymous contributions (some of them first identified by Fleeman). Detailed analysis of the works examined sheds light on the practices of the 18th century book trade, and indentified editions, early and late, many of which are valuable and unjustly neglected. The bibliography also lists new editions up to 1984, the bicentenary of Johnson's death, charting the course of his posthumous literary reputation.