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Images |
 Slave Medallion produced by Josiah Wedgwood, copied from the seal of the Anti-Slavery Society, 1787. |
 William Blake, “The Little Black Boy,” Songs of Innocence and Experience, copy AA, 1826 (Fitzwilliam Museum) |
 William Blake, Urizen (also titled by critics “The Ancient of Days” or “God Creating the Universe), Europe: A Prophecy, copy E, 1794 (Library of Congress) |
 William Blake, “The Emanation of the Giant Albion,” copy E, c. 1821 (Yale Center for British Art) |
William Blake, “London,” Songs of Innocence and Experience, copy Z, 1826 (Library of Congress) |
 William Blake, from The Song of Los, copy B, 1795 (Library of Congress) |
William Blake, title page to The Marriage of Heaven and Hell, copy D, c. 1795 |
William Blake, title page to Milton: A Poem, copy C, c. 1811 (New York Public Library) |
William Blake, “The Chimney Sweeper” (Experience version), Songs of Innocence and Experience, copy Z, 1826 (Library of Congress) |
William Blake, “The Tyger,” Songs of Innocence and Experience, copy Z, 1826 (Library of Congress) |
William Blake, Urizen, The First Book of Urizen, copy A |
 William Blake, Los, The Book of Urizen, copy G, c. 1818 (Library of Congress) |
 William Blake, The Body of Abel Found by Adam and Eve, 1825 (Tate Gallery) |
 William Blake, Glad Day. |
 View of Ullswater, Looking Towards Patterdale, engraved from a drawing by Thomas Allom, 1832 |
 Derwent Water, from the Castle Head, Cumberland, engraved from a drawing by Thomas Allom, 1832 |
 Blea Tarn, Westmorland, engraved from a drawing by Thomas Allom, 1833 |
 Windermere Lake, from Low Wood Inn, engraved from a drawing by Thomas Allom, 1833 |
 The Lower Fall at Rydal, Westmorland, engraved from a drawing by Thomas Allom, 1833 |
Grasmere Lake and Village, Westmorland, engraved from a drawing by Thomas Allom, 1833 |
Lowdore Cataract, Cumberland, engraved from a drawing by Thomas Allom, 1833 |
Stickle Tarn, Langdale Pikes, from Pavey Ark, Westmorland, engraved from a drawing by Thomas Allom, 1833 |
Thomas Rowlandson, “Dr. Syntax Tumbling into the Water,” The Tour of Doctor Syntax in Search of the Picturesque (London, 1812) |
John Martin, The Bard, 1817 (Laing Art Gallery, Newcastle-upon-Tyne, England) |
 Joseph Wright of Derby, Ullswater, c. 1794-95 (Wordsworth Trust) |
John William Waterhouse, La Belle Dame Sans Merci, c. 1893 (Hessisches Landesmuseum, Darmstadt, Germany) |
 William Blake, Newton, 1795/c.1805 (Tate Gallery) |
Thomas Rowlandson, “Dr. Syntax Sketching the Lake,” The Tour of Doctor Syntax in Search of the Picturesque (London, 1812) |
Caspar David Friedrich, Cemetery at Dusk, 1824-26 (Gemälde Gallerie, Dresden) |
John Constable, Dedham Vale: from CGFA |
Central scene of the east frieze of the Parthenon: The sacred robe of Athena held up by cult officials, and Athena and Hephaistos, c. 432-432 BCE (British Museum) |
Young cow and herdsmen from the south frieze of the Parthenon: scene from a procession of sacrificial victims, c. 438-432 BCE (British Museum) |
John Constable, Harwich Lighthouse, 1820 (Tate Gallery, London) |
John Constable, The Hay-Wain, 1821 (National Gallery, London) |
Eugène Delacroix, Liberty Leading the People, 1830 (Musée du Louvre) |
John Constable, Malvern Hall, Malvern Hall, 1809 (Tate Gallery, London) |
John Martin, Manfred and the Witch of the Alps, 1837 (Whitworth Art Gallery, University of Manchester, England) |
Gustav Doré, illustration for Coleridge’s Rime of the Ancient Mariner |
Gustav Doré, illustration for Coleridge’s Rime of the Ancient Mariner |
Gustav Doré, illustration for Coleridge’s Rime of the Ancient Mariner |
Gustav Doré, illustration for Coleridge’s Rime of the Ancient Mariner |
Caspar David Friedrich, The Moon Rising over the Sea, 1823. |
Caspar David Friedrich, Mountain Landscape with Rainbow, 1809. |
John Martin, Pandemonium, 1841. |
Sir George Beaumont, Peele Castle in a Storm, c. 1806 (private collection) |
Caspar David Friedrich, The Polar Sea, 1823-1824 (Kunsthalle, Hamburg, Germany) |
Ullswater, from Yew Crag, engraved from a drawing by M. E. Nutter, 1832 |
Derwent Water, from the foot of Castle Hill, engraved from a drawing by M. E. Nutter, 1832 |
Derwent Water, from the foot of Barrow, engraved from a painting by T. C. Hoffland, 1833 |
Ullswater, from the Matterdale Road, engraved from a painting by T. C. Hoffland, 1834 |
Head of Buttermere, engraved from a painting by R. Wilson, 1834 |
Hawes Water, engraved from a painting by R. Wilson, 1834 |
John Constable, Salisbury Cathedral, 1823, (Victoria and Albert Museum, London) |
 John Constable, Helvellyn, 1806 (Wordsworth Trust) |
John Constable, Stour Valley and Dedham Village, 1814 (Museum of Fine Arts, Boston) |
Caspar David Friedrich, The Tree of Crows, 1822 (Louvre, Paris, France) |
J. M. W. Turner, Slavers throwing overboard the Dead and Dying - Typhon coming on ("The Slave Ship"), 1840 (Museum of Fine Arts, Boston) |
J. M. W. Turner, The Burning of the Houses of Parliament, 1834, (Cleveland Museum of Art) |
J. M. W. Turner, Buttermere Lake: A Shower, 1798 (Tate Gallery at London) |
J. M. W. Turner, Keelman Heaving in Coals by Night (The National Gallery of Art at Washington D.C.) |
J. M. W. Turner, Sunrise Between Two Headlands (Tate Gallery at London) |
Caspar David Friedrich, Two Men by the Sea at Moonrise, 1817 (Nationalgalerie, Berlin) |
Detail of the Borghese Vase: high relief of Dionysus, maenads, satyr, Roman, c. 40-30 BCE (Louvre) |
The Portland Vase, perhaps from Rome, CE 5-25 |
The Townley Vase, Roman, 2nd century CE (British Museum) |
Keats's tracing* of the Sosibios Vase, (Keats-Shelley Memorial House, Rome) |
Caspar David Friedrich, Village Landscape in Morning Light, 1822. |
Caspar David Friedrich, Wanderer Looking over the Sea of Fog, 1818 (Kunsthalle, Hamburg, Germany) |
John Constable, The White Horse, 1819. |
 Caspar David Friedrich, Abbey in the Oakwood, 1809-1810 (Nationalgalerie, Berlin) |