Romanticism and Illustration - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-v

Figures

pp vi-x

Notes on Contributors

pp xi-xiv

Acknowledgements

pp xv-xvi

Editors’ Introduction

pp 1-22

Part I - Illustrating Poetry

pp 23-196

1 - The Ends of Illustration: Explanation, Critique, and the Political Imagination in Blake’s Title-pages for Genesis

pp 25-46

2 - ‘With a Master’s Hand and Prophet’s Fire’: Blake, Gray, and the Bard

pp 47-69

3 - Seeing History: Illustration, Poetic Drama, and the National Past

pp 70-93

4 - ‘Fuseli’s Poetic Eye’: Prints and Impressions in Fuseli and Erasmus Darwin

pp 94-118

5 - Henry Fuseli’s Accommodations: ‘Attempting the Domestic’ in the Illustrations to Cowper

pp 119-142

6 - Reading the Romantic Vignette: Stothard Illustrates Bloomfield, Byron, and Crabbe for The Royal Engagement Pocket Atlas

pp 143-170

7 - Intimate Distance: Thomas Stothard’s and J. M. W. Turner’s Illustrations of Samuel Rogers’s Italy

pp 171-196

Part II - The Business of Illustration

pp 197-287

8 - Illustration, Terror, and Female Agency: Thomas Macklin’s Poets Gallery in a Revolutionary Decade

pp 199-220

9 - Maria Cosway’s Hours: Cosmopolitan and Classical Visual Culture in Thomas Macklin’s Poets Gallery

pp 221-242

10 - Artists’ Street: Thomas Stothard, R. H. Cromek, and Literary Illustration on London’s Newman Street

pp 243-266

11 - The Development of Magazine Illustration in Regency Britain – The Example of Arliss’s Pocket Magazine 1818–1833

pp 267-287

Coda: Romantic Illustration and the Privatization of History Painting

pp 288-302

Bibliography

pp 303-322

Index

pp 323-326