Jerusalem, Plate 14, "One hair nor particle of dust...."
1804 to 1820
30
Print made by William Blake, 1757–1827
Jerusalem, Plate 28, "Jerusalem / Chap. 2...."
1804 to 1820
31
Print made by William Blake, 1757–1827
Jerusalem, Plate 4, "Jerusalem / Chap. 1...."
1804 to 1820
32
Print made by William Blake, 1757–1827
Jerusalem, Plate 92, "What do I see!...."
1804 to 1820
33
Print made by William Blake, 1757–1827
Jerusalem, Plate 15, "And Hand & Hyle...."
1804 to 1820
34
Print made by William Blake, 1757–1827
Jerusalem, Plate 62, "Repose on me...."
1804 to 1820
35
William Blake, 1757–1827
Pl. 5: A Serpent Attacking Buoso Donata ['...He ey'd the serpent and the serpent him.' Hell; Canto xxv. line 82.]
1827
36
William Blake, 1757–1827
Pl. 6: The Pit of Disease ['...Then two I mark'd that sat Propp'd 'gainst each other,' Hell; Canto xxix. line 71.]
1827
37
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 1, Frontispiece
1793
38
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 14, "So Cried He...."
1793
39
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 16, "In the Flames Stood...."
1793
40
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 18, "Over the Hills...."
1793
41
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 5, "A | Prophecy | The Guardian Prince of Albion...."
1793
42
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 6, "Appear to the Americans...."
1793
43
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 7, "Albions Angel stood...."
1793
44
Print made by William Blake, 1757–1827
Jerusalem, Plate 32, "Leaning against the pillars...."
1804 to 1820
45
Print made by William Blake, 1757–1827
Jerusalem, Plate 6, "His Spectre driv'n...."
1804 to 1820
46
William Blake, 1757–1827
pl. 1: The Circle of the Lustful [' ...and like a corpse fell to the ground' Hell; Canto v. line 137.]
1827
47
William Blake, 1757–1827
Pl. 3: Baffled Devils Fighting [' ... so turn'd/ His talons on his comrade.' Hell; Canto xxii. line 135]
1827
48
William Blake, 1757–1827
Pl. 2: Ciampolo Tormented by the Devils ['...seiz'd on his arm, / And mangled bore away the sinewy part.' Hell; Canto xxii. line 70.]
1827
49
William Blake, 1757–1827
Pl. 4: The Six-Footed Serpent Attacking Agnolo Brunelleschi ['...lo! a serpent with six feet/ Springs forth on one,'Hell; Canto xxv. line 45.]
1827
50
William Blake, 1757–1827
Pl. 7: The Circle of Traitors: Dante Striking Against Bocca degli Abati ['...'Wherefore dost bruise me?' weeping he/ exclaim'd.' Hell; Canto xxxii. line 79.]
1827
51
William Blake, 1757–1827
Mary Magdalen at the Sepulchre
ca. 1805
52
William Blake, 1757–1827
The Parable of the Wise and Foolish Virgins
ca. 1825
53
William Haygarth, active 1810–1816
Crater of Vesuvius
1816
54
James Ward, 1769–1859
A Human Skeleton
undated
55
James Ward, 1769–1859
A Human Skeleton
undated
56
George Fennell Robson, 1788–1833
Tryfan, Carnarvonshire
1826
57
Richard Parkes Bonington, 1802–1828
Portia and Bassanio
ca. 1826
58
John Frederick Lewis, 1804–1876
Seated Turk
between 1840 and 1841
59
John Frederick Lewis, 1804–1876
Study of a Lion and Study of a Lioness' Head
ca. 1820
60
John Frederick Lewis, 1804–1876
Sheik Hussein of Gebel Tor and His Son
between 1842 and 1843
61
John Frederick Lewis, 1804–1876
A Frank Encampment in the Desert of Mount Sinai. 1842 - The Convent of St. Catherine in the Distance
1856
62
John Frederick Lewis, 1804–1876
Study of a Lioness
ca. 1824
63
Print made by Conrad Gessner, 1764–1826
Cavalry Charging
1801
64
John Hamilton Mortimer, 1740–1779
Caliban, from The Tempest
1775
65
John Hamilton Mortimer, 1740–1779
Lear, from King Lear, Act III, Scene ii
1776
66
Thomas Girtin, 1775–1802
Saint Cuthbert's Holy Island
1797
67
Print made by William Ward, 1766–1826
The Dragon Arum, 1801, from Robert John Thornton, the 'Temple of Flora', 1799-1812
December 1, 1801
68
James Ward, 1769–1859
Study of a Plunging Eagle
undated
69
David Roberts, 1796–1864
The Great Temple of Amon Karnak, The Hypostyle Hall
1838
70
Robert Hills, 1769–1844
Tree Study
between 1800 and 1805
71
Anthony Vandyke Copley Fielding, 1787–1855
A View of Snowdon from the Sands of Traeth Mawr, taken at the Ford Between Pont Aberglaslyn and Tremadoc