Three years after the publication of Gregory's translation of Lowth, Blake engraved The Marriage of Heaven and Hell. In that time the French Revolution had begun. Blake greeted it with his poem ‘The French Revolution’, cast in the prophetic Hebrew verse and imagery which Lowth had described to a wide readership, e.g.:

Blake must have known Lowth. There is no documentary evidence for it, but the internal evidence of The Marriage of Heaven and Hell alone is overwhelming. The ‘Memorable Fancy’ which is printed from it here occupies its plates 12 and 13. Plate 4, ‘The Voice of the Devil’, was subversive biblical interpretation. Plates 7 to 10, ‘Proverbs of Hell’, took the further step of biblical imitation. Plate II played off ‘the ancient poets’, who showed that ‘all deities reside in the human breast’ (Lowth not much radicalised), against that conventional target of Enlightenment biblical criticism, priestly system.

A third influence on The Marriage of Heaven and Hell, along with Lowth and revolution, was Swedenborg. But this was an influence exerted at the point of being disowned by means of satire. Blake turned Swedenborg's airy equilibriums into contraries, his vertical and static apocalyptic manner into the horizontal of current apocalyptic history. Lowth's legacy is much more active and central.