{"id":175,"date":"2018-10-17T05:33:47","date_gmt":"2018-10-17T05:33:47","guid":{"rendered":"http:\/\/theparadiselostlibrary.com\/?page_id=175"},"modified":"2018-11-28T04:26:35","modified_gmt":"2018-11-28T04:26:35","slug":"fuselis-artwork","status":"publish","type":"page","link":"http:\/\/theparadiselostlibrary.com\/index.php\/painters-illustrators\/henry-fuseli-1741-1825\/fuselis-artwork\/","title":{"rendered":"Fuseli’s Artwork"},"content":{"rendered":"

\u201cOur friend Fuseli is going on with more than usual spirit \u2014 like Milton he seems quite at home in hell \u2014 his Devil will be the hero of the poetic series; for, entre nous, I rather doubt whether he will produce an Eve to please me in any of the situations, which he has selected, unless it be after the fall.\u201d<\/strong><\/p>\n

\u2014 Mary Wollstonecraft, 1792<\/strong><\/p>\n

 <\/p>\n

WORKS<\/u><\/strong><\/p>\n

Milton<\/strong><\/p>\n

Book I of Paradise Lost<\/em><\/strong><\/p>\n

Book II of Paradise Lost<\/em><\/strong><\/p>\n

Book III of Paradise Lost<\/em><\/strong><\/p>\n

Book IV of Paradise Lost<\/em><\/strong><\/p>\n

Book V of Paradise Lost<\/em><\/strong><\/p>\n

Book VI of Paradise Lost<\/em><\/strong><\/p>\n

Book VIII of Paradise Lost<\/em><\/strong><\/p>\n

Book IX of Paradise Lost<\/em><\/strong><\/p>\n

Book X of Paradise Lost<\/em><\/strong><\/p>\n

Book XI of Paradise Lost<\/em><\/strong><\/p>\n

Book XII of Paradise Lost<\/em><\/strong><\/p>\n

Miscellaneous<\/strong><\/p>\n

 <\/p>\n

[Lines from Milton\u2019s Paradise Lost<\/em> are matched with Fuseli\u2019s Milton Gallery pictures according to the excerpts included in the gallery\u2019s catalogue, as cited in John Knowles, The Life and Writings of Henry Fuseli<\/em>, 3 vols. (London: Henry Colburn and Richard Bentley, 1831), I, pp. 205\u201316, 231\u201332. Lines from Milton\u2019s Paradise Lost<\/em> are matched with engravings after Fuseli\u2019s pictures for F. J. Du Roveray\u2019s 1802 edition of Paradise Lost<\/em> according to the lines listed on the illustrations in the two-volume edition itself.]<\/strong><\/p>\n

 <\/p>\n

MILTON<\/u><\/strong><\/p>\n

Milton When a Boy Instructed by His Mother<\/em><\/strong>
\n(Milton Gallery #38)<\/strong><\/p>\n

Date<\/strong>
\n1799\u20131800
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 91.7 cm
\nWidth: 72.4 cm
\nLocation<\/strong>
\nWalker Art Gallery<\/a>, Liverpool<\/p>\n

 <\/p>\n

Milton when a Boy, instructed by his Mother<\/em><\/strong>
\n(After Milton Gallery #38)<\/strong><\/p>\n

Engraver<\/strong>
\nJohn Perry, after Henry Fuseli
\nDate<\/strong>
\n1820
\nMedium<\/strong>
\nStipple and etching
\nDimensions<\/strong>
\nHeight:\u00a0 55.7 cm
\nWidth:\u00a0 40 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London<\/p>\n

 <\/p>\n

Milton, when a youth<\/em><\/strong>
\n(Milton Gallery #39)<\/strong><\/p>\n

Date<\/strong>
\nca. 1796\u201399
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 128 cm
\nWidth: 103 cm
\nLocation<\/strong>
\nNational Gallery of Victoria<\/a>, Melbourne<\/p>\n

 <\/p>\n

The Return of Milton\u2019s First Wife, Mary Powell, Imploring his Pardon<\/em><\/strong><\/p>\n

Date<\/strong>
\n1799\u20131801
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 87.5 cm
\nWidth: 112 cm
\nLocation<\/strong>
\nWalker Art Gallery<\/a>, Liverpool<\/p>\n

 <\/p>\n

Milton Dictating to His Daughter<\/em><\/strong>
\n(Milton Gallery #40)<\/strong><\/p>\n

Date<\/strong>
\n1794
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 121.2 cm
\nWidth: 118.7 cm
\nLocation<\/strong>
\nArt Institute of Chicago<\/a><\/p>\n

 <\/p>\n

Milton Dictating to his Daughter<\/em><\/strong>
\n(After Milton Gallery #40)<\/strong><\/p>\n

Engraver<\/strong>
\nMoses Haughton, Jr., after Henry Fuseli
\nDate<\/strong>
\n1806
\nMedium<\/strong>
\nStipple
\nDimensions<\/strong>
\nHeight: 59.8 cm
\nWidth: 46 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\n[See also the Digital Commonwealth<\/a>]<\/p>\n

 <\/p>\n

BOOK \u00a0I \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cThis first Book proposes, first in brief, the whole Subject, Man\u2019s disobedience, and the loss thereupon of Paradise wherein he was plac\u2019t:<\/em> Then touches the prime cause of his fall, the Serpent, or rather<\/em> Satan in the Serpent; who revolting from God, and drawing to his side many Legions of Angels, was by the command of God driven out of Heaven with all his Crew into the great Deep.<\/em>\u00a0\u00a0 Which action past over, the Poem hastes into the midst of things, presenting Satan with his Angels now fallen into Hell,<\/em> describ\u2019d here, not in the Centre<\/em> (for Heaven and Earth may be suppos\u2019d as yet not made, certainly not yet accurst) but in a place of utter darkness, fitliest call\u2019d<\/em> Chaos: Here<\/em> Satan with his Angels lying on the burning Lake, thunder-struck and astonisht, after a certain space recovers, as from confusion, calls up him who next in Order and Dignity lay by him; they confer of thir miserable fall.<\/em>\u00a0 \u00a0Satan awakens all his Legions, who lay till then in the same manner confounded; They rise, thir Numbers, array of Battle, thir chief Leaders nam\u2019d, according to the Idols known afterwards in<\/em> Canaan and the Countries adjoining.<\/em>\u00a0\u00a0 To these<\/em> Satan directs his Speech, comforts them with hope yet of regaining Heaven, but tells them lastly of a new World and new kind of Creature to be created, according to an ancient Prophecy or report in Heaven;<\/em> for that Angels were long before this visible Creation, was the opinion of many ancient Fathers.\u00a0\u00a0 To find out the truth of this Prophecy, and what to determine thereon he refers to a full Council.\u00a0\u00a0 What his Associates thence attempt.<\/em>\u00a0\u00a0 Pandemonium the Palace of<\/em> Satan rises, suddenly built out of the Deep: The infernal Peers there sit in Council.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book I of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

Satan Risen from the Flood, Beelzebub Rising<\/em><\/strong>
\n(Milton Gallery #1)<\/strong><\/p>\n

Date<\/strong>
\n1797\u201399
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 442 cm
\nWidth: 366 cm
\nLocation<\/strong>
\nStratfield Haye, Berks., H. G.
\nThe Duke of Wellington
\n[See Gert Schiff, Johann Heinrich F\u00fcsslis Milton-Galerie<\/em> (Zurich\/Stuttgart: Schweizerisches Institut f\u00fcr Kunstwissenschaft, No. 4, 1963), p. 48; Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 25; Luisa Cal\u00e8, Fuseli\u2019s Milton Gallery: \u201cTurning Readers into Spectators\u201d<\/em> (New York: Oxford University Press, [2006] 2008), no. 1.]
\nPL<\/em> Lines<\/strong>
\n\u201cForthwith upright he rears from off the Pool
\nHis mighty Stature; on each hand the flames
\nDriv\u2019n backward slope thir pointing spires, and roll\u2019d
\nIn billows, leave i\u2019 th\u2019 midst a horrid Vale.\u2026
\n\u2026Him follow\u2019d his next Mate,
\nBoth glorying to have scap\u2019t the Stygian<\/em> flood
\nAs Gods\u2026\u201d
\n(Paradise Lost<\/em>, Book I, 221\u201324, 238\u201340)<\/p>\n

 <\/p>\n

Satan Rousing his Legions<\/em><\/strong>
\n(Milton Gallery #2)<\/strong><\/p>\n

Date<\/strong>
\n1799\u20131800
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 396 cm
\nWidth: 366 cm
\nLocation<\/strong>
\nStratfield Haye, Berks., H. G.
\nThe Duke of Wellington
\n[See Gert Schiff, Johann Heinrich F\u00fcsslis Milton-Galerie<\/em> (Zurich\/Stuttgart: Schweizerisches Institut f\u00fcr Kunstwissenschaft, No. 4, 1963), p. 46; Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 25; Luisa Cal\u00e8, Fuseli\u2019s Milton Gallery: \u201cTurning Readers into Spectators\u201d<\/em> (New York: Oxford University Press, [2006] 2008), no. 2.]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026on the Beach
\nOf that inflamed Sea, he stood and call\u2019d
\nHis Legions, Angel Forms, who lay intrans\u2019t
\nThick as Autumnal Leaves that strow the Brooks
\nIn Vallombrosa,<\/em>.\u2026
\nHe call\u2019d so loud, that all the hollow Deep
\nOf Hell resounded.\u2026
\nAwake, arise, or be for ever fall\u2019n.
\nThey heard, and were abasht, and up they sprung\u2026\u201d
\n(Paradise Lost<\/em>, Book I, 299\u2013303, 314\u201315, 330\u201331)<\/p>\n

 <\/p>\n

Satan Rousing his Legions<\/em><\/strong>
\n(After Milton Gallery #2)<\/strong><\/p>\n

Engraver<\/strong>
\nPeltro William Tomkins, after Henry Fuseli
\nDate<\/strong>
\n1803
\nMedium<\/strong>
\nStipple and etching
\nDimensions<\/strong>
\nHeight: 18.8 cm
\nWidth: 11.9 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nBritish Museum (2)<\/a>
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026on the Beach
\nOf that inflamed Sea, he stood and call\u2019d
\nHis Legions, Angel Forms, who lay intrans\u2019t
\nThick as Autumnal Leaves that strow the Brooks
\nIn Vallombrosa,<\/em>.\u2026
\nHe call\u2019d so loud, that all the hollow Deep
\nOf Hell resounded.\u2026
\nAwake, arise, or be for ever fall\u2019n.
\nThey heard, and were abasht, and up they sprung\u2026\u201d
\n(Paradise Lost<\/em>, Book I, 299\u2013303, 314\u201315, 330\u201331)<\/p>\n

 <\/p>\n

Satan calling up his Legions<\/em><\/strong><\/p>\n

Date<\/strong>
\n1802
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 91 cm
\nWidth: 71 cm
\nLocation<\/strong>
\nThe Kunsthaus Z\u00fcrich<\/a>
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026on the Beach
\nOf that inflamed Sea, he stood and call\u2019d
\nHis Legions, Angel Forms, who lay intrans\u2019t
\nThick as Autumnal Leaves that strow the Brooks
\nIn Vallombrosa,<\/em>.\u2026
\nHe call\u2019d so loud, that all the hollow Deep
\nOf Hell resounded.\u2026
\nAwake, arise, or be for ever fall\u2019n.
\nThey heard, and were abasht, and up they sprung\u2026\u201d
\n(Paradise Lost<\/em>, Book I, 299\u2013303, 314\u201315, 330\u201331)<\/p>\n

 <\/p>\n

Satan calling up his Legions<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nWilliam Bromley, after Henry Fuseli
\nDate<\/strong>
\n1802
\nMedium<\/strong>
\nEtching and engraving
\nDimensions<\/strong>
\nHeight: 22.9 cm
\nWidth: 15.2 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201cAwake, arise, or be for ever fall\u2019n.\u201d
\n(Paradise Lost<\/em>, Book I, 330)<\/p>\n

 <\/p>\n

The Shepherd\u2019s Dream<\/em><\/strong><\/p>\n

Date<\/strong>
\n1793
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 154.3 cm
\nWidth: 215.3 cm
\nHeight (framed): 178.4 cm
\nWidth (framed): 239.5 cm
\nDepth (framed): 10.7 cm
\nLocation<\/strong>
\nTate Britain<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026Faery Elves,
\nWhose midnight Revels, by a Forest side
\nOr Fountain some belated Peasant sees,
\nOr dreams he sees, while over-head the Moon
\nSits Arbitress, and nearer to the Earth
\nWheels her pale course; they on thir mirth and dance
\nIntent, with jocund Music charm his ear;
\nAt once with joy and fear his heart rebounds.\u201d
\n(Paradise Lost<\/em>, Book I, 781\u201388)<\/p>\n

 <\/p>\n

BOOK \u00a0II \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cThe Consultation begun,<\/em> Satan debates whether another Battle be to be hazarded for the recovery of Heaven: some advise it, others dissuade: A third proposal is preferr\u2019d, mention\u2019d before by<\/em> Satan, to search the truth of that Prophecy or Tradition in Heaven concerning another world, and another kind of creature equal or not much inferior to themselves, about this time to be created: Thir doubt who shall be sent on this difficult search:<\/em> Satan thir chief undertakes alone the voyage, is honor\u2019d and applauded.\u00a0\u00a0 The Council thus ended, the rest betake them several ways and to several employments, as thir inclinations lead them, to entertain the time till<\/em> Satan return.\u00a0\u00a0 He passes on his Journey to Hell Gates, finds them shut, and who sat there to guard them, by whom at length they are op\u2019n\u2019d, and discover to him the great Gulf between Hell and Heaven; with what difficulty he passes through, directed by<\/em> Chaos, the Power of that place, to the sight of this new World which he sought.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book II of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

Satan and Death Separated by Sin<\/em><\/strong><\/p>\n

Date<\/strong>
\n1776
\nMedium<\/strong>
\nPen and brown ink with grey and brown wash, over graphite
\nDimensions<\/strong>
\nHeight: 26.2 cm
\nWidth: 37.7 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\n[See also The Ashmolean Museum of Art and Archeology<\/a>, Oxford]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026and now great deeds
\nHad been achiev\u2019d, whereof all Hell had rung,
\nHad not the Snaky Sorceress that sat
\nFast by Hell Gate, and kept the fatal Key,
\nRis\u2019n, and with hideous outcry rush\u2019d between.\u2026
\nShe finish\u2019d, and the subtle Fiend his lore
\nSoon learn\u2019d, now milder\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 722\u201326, 815\u201316)<\/p>\n

 <\/p>\n

Satan encount\u2019ring Death, Sin interposing<\/em><\/strong>
\n[Copy of Milton Gallery #5 (ca. 1793\u201396)]<\/strong><\/p>\n

Date<\/strong>
\n1799\u20131800
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 67.31 cm
\nWidth: 58.42 cm
\nHeight (framed): 82.55 cm
\nWidth (framed): 73.66 cm
\nDepth (framed): 8.89 cm
\nLocation<\/strong>
\nLos Angeles County Museum of Art<\/a>
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026and now great deeds
\nHad been achiev\u2019d, whereof all Hell had rung,
\nHad not the Snaky Sorceress that sat
\nFast by Hell Gate, and kept the fatal Key,
\nRis\u2019n, and with hideous outcry rush\u2019d between.\u2026
\nShe finish\u2019d, and the subtle Fiend his lore
\nSoon learn\u2019d, now milder\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 722\u201326, 815\u201316)<\/p>\n

 <\/p>\n

Satan and Death Separated by Sin<\/em><\/strong><\/p>\n

Date<\/strong>
\n1802
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 91.3 cm
\nWidth: 71.1 cm
\nLocation<\/strong>
\nBayerische Staatsgem\u00e4ldesammlungen, Neue Pinakothek<\/a>, Munich
\nPL<\/em> Lines<\/strong>
\n\u201cSo spake the grisly terror, and in shape,
\nSo speaking and so threat\u2019ning, grew tenfold
\nMore dreadful and deform: on th\u2019 other side
\nIncens\u2019t with indignation Satan<\/em> stood
\nUnterrifi\u2019d, and like a Comet burn\u2019d.\u2026
\nSo frown\u2019d the mighty Combatants, that Hell
\nGrew darker at thir frown, so matcht they stood;
\nFor never but once more was either like
\nTo meet so great a foe: and now great deeds
\nHad been achiev\u2019d, whereof all Hell had rung,
\nHad not the Snaky Sorceress that sat
\nFast by Hell Gate, and kept the fatal Key,
\nRis\u2019n, and with hideous outcry rush\u2019d between.
\nO Father, what intends thy hand, she cri\u2019d,
\nAgainst thy only Son? What fury O Son,
\nPossesses thee to bend that mortal Dart
\nAgainst thy Father\u2019s head?\u201d
\n(Paradise Lost<\/em>, Book II, 704\u201308, 719\u201330)<\/p>\n

 <\/p>\n

Satan and Death Separated by Sin<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nJames Neagle, after Henry Fuseli
\nDate<\/strong>
\n1802
\nMedium<\/strong>
\nEtching and engraving
\nDimensions<\/strong>
\nHeight: 22.8 cm
\nWidth: 15.2 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201cO Father, what intends thy hand, she cri\u2019d,
\nAgainst thy only Son?\u201d
\n(Paradise Lost<\/em>, Book II, 727\u201328)<\/p>\n

 <\/p>\n

Two Nude Heroic Studies<\/em> <\/strong>
\n[After a preparatory study for Satan and Death Separated by Sin<\/em> (1802)]<\/strong><\/p>\n

Etcher<\/strong>
\nRobert Balmanno, after Henry Fuseli
\nDate<\/strong>
\n1809
\nMedium<\/strong>
\nEtching
\nDimensions<\/strong>
\nHeight: 20.7 cm
\nWidth: 31.8 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026Incens\u2019t with indignation Satan<\/em> stood
\nUnterrifi\u2019d, and like a Comet burn\u2019d\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 707\u201308)<\/p>\n

 <\/p>\n

Satan and the Birth of Sin<\/em><\/strong>
\n(Milton Gallery #6)<\/strong><\/p>\n

Date<\/strong>
\nca. 1795
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 142.55 cm
\nWidth: 118.74 cm
\nHeight (framed): 176.84 cm
\nWidth (framed): 153.67 cm
\nDepth (framed): 12.7 cm
\nLocation<\/strong>
\nDallas Museum of Art<\/a>
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026All on a sudden miserable pain
\nSurpris\u2019d thee, dim thine eyes, and dizzy swum
\nIn darkness, while thy head flames thick and fast
\nThrew forth, till on the left side op\u2019ning wide,
\nLikest to thee in shape and count\u2019nance bright,
\nThen shining heav\u2019nly fair, a Goddess arm\u2019d
\nOut of thy head I sprung\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 752\u201358)<\/p>\n

 <\/p>\n

Satan Defying the Powers of Heaven<\/em> <\/strong>
\n[Preparatory study for Satan and the Birth of Sin<\/em> (ca. 1795)?]<\/strong><\/p>\n

Date<\/strong>
\nca. 1790s
\nMedium<\/strong>
\nGraphite, black chalk, and brown and gray wash on laid paper
\nDimensions<\/strong>
\nHeight: 42.2 cm
\nWidth: 27.7 cm
\nLocations<\/strong>
\nNational Gallery of Art<\/a>, Washington, D.C. \u00a0 [Recto<\/em>]
\nNational Gallery of Art<\/a>, Washington, D.C. \u00a0 [Verso<\/em>]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026All on a sudden miserable pain
\nSurpris\u2019d thee, dim thine eyes, and dizzy swum
\nIn darkness, while thy head flames thick and fast
\nThrew forth, till on the left side op\u2019ning wide,
\nLikest to thee in shape and count\u2019nance bright,
\nThen shining heav\u2019nly fair, a Goddess arm\u2019d
\nOut of thy head I sprung\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 752\u201358)<\/p>\n

 <\/p>\n

The Birth of Sin<\/em><\/strong>
\n(After Milton Gallery #6)<\/strong><\/p>\n

Engraver<\/strong>
\nAbraham Raimbach, after Henry Fuseli
\nDate<\/strong>
\n1796\u20131863
\nMedium<\/strong>
\nEtching and engraving
\nDimensions<\/strong>
\nHeight: 8.4 cm
\nWidth: 4 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026All on a sudden miserable pain
\nSurpris\u2019d thee, dim thine eyes, and dizzy swum
\nIn darkness, while thy head flames thick and fast
\nThrew forth, till on the left side op\u2019ning wide,
\nLikest to thee in shape and count\u2019nance bright,
\nThen shining heav\u2019nly fair, a Goddess arm\u2019d
\nOut of thy head I sprung\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 752\u201358)<\/p>\n

 <\/p>\n

The Birth of Sin<\/em>\u00a0\/\u00a0The Shepherd\u2019s Dream<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nAndrew Duncan, after Henry Fuseli
\nDate<\/strong>
\n1821
\nMedium<\/strong>
\nEtching and engraving
\nDimensions<\/strong>
\nHeight: 10 cm (Sheet)
\nWidth: 13.5 cm (Sheet)
\nHeight: 7.8 cm (Birth of Sin<\/em> image)
\nWidth: 5 cm (Birth of Sin<\/em> image)
\nHeight: 5 cm (Shepherd\u2019s Dream<\/em> image)
\nWidth: 6 cm (Shepherd\u2019s Dream<\/em> image)
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026All on a sudden miserable pain
\nSurpris\u2019d thee, dim thine eyes, and dizzy swum
\nIn darkness, while thy head flames thick and fast
\nThrew forth, till on the left side op\u2019ning wide,
\nLikest to thee in shape and count\u2019nance bright,
\nThen shining heav\u2019nly fair, a Goddess arm\u2019d
\nOut of thy head I sprung\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 752\u201358)<\/p>\n

\u201c\u2026Faery Elves,
\nWhose midnight Revels, by a Forest side
\nOr Fountain some belated Peasant sees,
\nOr dreams he sees, while over-head the Moon
\nSits Arbitress, and nearer to the Earth
\nWheels her pale course; they on thir mirth and dance
\nIntent, with jocund Music charm his ear;
\nAt once with joy and fear his heart rebounds.\u201d
\n(Paradise Lost<\/em>, Book I, 781\u201388)<\/p>\n

 <\/p>\n

Sin pursued by Death<\/em><\/strong>
\n(Milton Gallery #7)<\/strong><\/p>\n

Date<\/strong>
\n1794\u201396
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 119 cm
\nWidth: 132 cm
\nLocation<\/strong>
\nThe Kunsthaus Z\u00fcrich<\/a>
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026I fled, and cri\u2019d out Death;<\/em>.\u2026
\nI fled, but he pursu\u2019d\u2026
\n\u2026and swifter far,
\nMee overtook\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 787, 790\u201392)<\/p>\n

 <\/p>\n

Study for Sin pursued by Death<\/em><\/strong><\/p>\n

Date<\/strong>
\n1796
\nMedium<\/strong>
\nGraphite on oiled paper
\nDimensions<\/strong>
\nHeight: 15 cm
\nWidth: 21.6 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026I fled, and cri\u2019d out Death;<\/em>.\u2026
\nI fled, but he pursu\u2019d\u2026
\n\u2026and swifter far,
\nMee overtook\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 787, 790\u201392)<\/p>\n

 <\/p>\n

Sin pursued by Death<\/em><\/strong>
\n(After Milton Gallery #7)<\/strong><\/p>\n

Engraver<\/strong>
\nMoses Haughton, Jr., after Henry Fuseli
\nDate<\/strong>
\n1804
\nMedium<\/strong>
\nStipple and aquatint
\nDimensions<\/strong>
\nHeight: 47.2 cm
\nWidth: 58.7 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nBritish Museum (2)<\/a>
\nThe Metropolitan Museum of Art<\/a>, New York
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026I fled, and cri\u2019d out Death;<\/em>.\u2026
\nI fled, but he pursu\u2019d\u2026
\n\u2026and swifter far,
\nMee overtook\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 787, 790\u201392)<\/p>\n

 <\/p>\n

The Night-Hag Visiting Lapland Witches<\/em><\/strong>
\n(Milton Gallery #8)<\/strong><\/p>\n

Date<\/strong>
\n1796
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 101.6 cm
\nWidth: 126.4 cm
\nLocation<\/strong>
\nThe Metropolitan Museum of Art<\/a>, New York
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026follow the Night-Hag, when call\u2019d
\nIn secret, riding through the Air she comes
\nLur\u2019d with the smell of infant blood, to dance
\nWith Lapland<\/em> Witches, while the laboring Moon
\nEclipses at thir charms.\u201d
\n(Paradise Lost<\/em>, Book II, 662\u201366)<\/p>\n

 <\/p>\n

Satan leaving the Gate of Hell, guarded by Sin and Death<\/em><\/strong><\/p>\n

Date<\/strong>
\n1821
\nMedium<\/strong>
\nPencil with grey wash, brown wash and yellow wash
\nDimensions<\/strong>
\nHeight: 39.8 cm
\nWidth: 30.1 cm
\nLocation<\/strong>
\nAuckland Art Gallery Toi o T\u0101maki<\/a>, Auckland
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026At last his Sail-broad Vans
\nHe spreads for flight, and in the surging smoke
\nUplifted spurns the ground\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 927\u201329)<\/p>\n

 <\/p>\n

Satan Departing from the Court of Chaos<\/em><\/strong><\/p>\n

Date<\/strong>
\n1781\u201382
\nMedium<\/strong>
\nPen and brown ink, brush and brown, reddish-brown, and black washes, with touches of red watercolor and white chalk, on paper
\nDimensions<\/strong>
\nHeight: 38.7 cm
\nWidth: 50 cm
\nLocation<\/strong>
\nThe Morgan Library & Museum<\/a>, New York
\nPL<\/em> Lines<\/strong>
\n\u201cHe ceas\u2019d; and Satan<\/em> stay\u2019d not to reply,
\nBut glad that now his Sea should find a shore,
\nWith fresh alacrity and force renew\u2019d
\nSprings upward like a Pyramid of fire
\nInto the wild expanse, and through the shock
\nOf fighting Elements, on all sides round
\nEnviron\u2019d wins his way\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 1010\u201316)<\/p>\n

 <\/p>\n

Satan Bursts from Chaos<\/em><\/strong>
\n(Milton Gallery #11)<\/strong><\/p>\n

Date<\/strong>
\n1794\u201396
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 126 cm
\nWidth: 101 cm
\nLocation<\/strong>
\nPrivate collection, Zurich
\n[See the Swiss Institute for Art Research<\/a>, Zurich]
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201cHe ceas\u2019d; and Satan<\/em> stay\u2019d not to reply,
\nBut.\u2026
\nSprings upward like a Pyramid of fire\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 1010\u201311, 1013)<\/p>\n

 <\/p>\n

Odysseus between Scylla and Charybdis<\/em><\/strong>
\n(Milton Gallery #12)<\/strong><\/p>\n

Date<\/strong>
\n1794\u201396
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 126 cm
\nWidth: 101 cm
\nLocation<\/strong>
\nAargauer Kunsthaus<\/a>, Aarau
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026harder beset.\u2026
\n[Than] when Ulysses<\/em> on the Larboard shunn\u2019d
\nCharybdis,<\/em> and by th\u2019 other whirlpool steer\u2019d.
\nSo he with difficulty and labor hard
\nMov\u2019d on, with difficulty and labor hee\u2026\u201d
\n(Paradise Lost<\/em>, Book II, 1016, 1019\u201322)<\/p>\n

 <\/p>\n

BOOK \u00a0III \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cGod sitting on his Throne sees<\/em> Satan flying towards this world, then newly created; shows him to the Son who sat at his right hand; foretells the success of<\/em> Satan in perverting mankind; clears his own Justice and Wisdom from all imputation, having created Man free and able enough to have withstood his Tempter; yet declares his purpose of grace towards him, in regard he fell not of his own malice, as did<\/em> Satan, but by him seduc\u2019t. The Son of God renders praises to his Father for the manifestation of his gracious purpose towards Man; but God again declares, that Grace cannot be extended towards Man without the satisfaction of divine Justice; Man hath offended the majesty of God by aspiring to Godhead, and therefore with all his Progeny devoted to death must die, unless some one can be found sufficient to answer for his offense, and undergo his Punishment.\u00a0\u00a0 The Son of God freely offers himself a Ransom for Man: the Father accepts him, ordains his incarnation, pronounces his exaltation above all Names in Heaven and Earth; commands all the Angels to adore him; they obey, and hymning to thir Harps in full Choir, celebrate the Father and the Son.\u00a0\u00a0 Meanwhile<\/em> Satan alights upon the bare convex of this World\u2019s outermost Orb; where wand\u2019ring he first finds a place since call\u2019d The Limbo of Vanity; what persons and things fly up thither; thence comes to the Gate of Heaven, describ\u2019d ascending by stairs, and the waters above the Firmament that flow about it: His passage thence to the Orb of the Sun; he finds there<\/em> Uriel the Regent of that Orb, but first changes himself into the shape of a meaner Angel; and pretending a zealous desire to behold the new Creation and Man whom God had plac\u2019t there, inquires of him the place of his habitation, and is directed; alights first on Mount<\/em> Niphates.\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book III of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

Uriel observes Satan on his flight to the earth<\/em><\/strong><\/p>\n

Date<\/strong>
\n1802
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 91.5 cm
\nWidth: 71.5 cm
\nLocation<\/strong>
\nPrivate collection
\n[See the Swiss Institute for Art Research<\/a>, Zurich]
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201cThus said, he turn\u2019d, and Satan<\/em> bowing low,
\nAs to superior Spirits is wont in Heav\u2019n,
\nWhere honor due and reverence none neglects,
\nTook leave, and toward the coast of Earth beneath,
\nDown from th\u2019 Ecliptic, sped with hop\u2019d success,
\nThrows his steep flight in many an Aery wheel,
\nNor stay\u2019d, till on Niphates\u2019<\/em> top he lights.\u201d
\n(Paradise Lost<\/em>, Book III, 736\u201342)<\/p>\n

 <\/p>\n

Uriel observes Satan on his flight to the earth<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nCharles Warren, after Henry Fuseli
\nDate<\/strong>
\n1802
\nMedium<\/strong>
\nEtching and engraving
\nDimensions<\/strong>
\nHeight: 22.9 cm
\nWidth: 15.1 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201cDown from th\u2019 Ecliptic, sped with hop\u2019d success,
\nThrows his steep flight in many an Aery wheel\u2026\u201d
\n(Paradise Lost<\/em>, Book III, 740\u201341)<\/p>\n

 <\/p>\n

BOOK \u00a0IV \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cSatan now in prospect of<\/em> Eden, and nigh the place where he must now attempt the bold enterprise which he undertook alone against God and Man, falls into many doubts with himself, and many passions, fear, envy, and despair; but at length confirms himself in evil, journeys on to Paradise, whose outward prospect and situation is described, overleaps the bounds, sits in the shape of a Cormorant on the Tree of Life, as highest in the Garden to look about him.\u00a0\u00a0 The Garden describ\u2019d;<\/em> Satan\u2019s first sight of<\/em> Adam and<\/em> Eve; his wonder at thir excellent form and happy state, but with resolution to work thir fall; overhears thir discourse, thence gathers that the Tree of Knowledge was forbidden them to eat of, under penalty of death; and thereon intends to found his Temptation, by seducing them to transgress: then leaves them a while, to know further of thir state by some other means.\u00a0\u00a0 Meanwhile<\/em> Uriel descending on a Sun-beam warns<\/em> Gabriel, who had in charge the Gate of Paradise, that some evil spirit had escap\u2019d the Deep, and past at Noon by his Sphere in the shape of a good Angel down to Paradise, discovered after by his furious gestures in the Mount.<\/em>\u00a0\u00a0 Gabriel promises to find him ere morning.\u00a0\u00a0 Night coming on,<\/em> Adam and<\/em> Eve discourse of going to thir rest: thir Bower describ\u2019d; thir Evening worship.<\/em>\u00a0\u00a0 Gabriel drawing forth his Bands of Night-watch to walk the round of Paradise, appoints two strong Angels to<\/em> Adam\u2019s Bower, lest the evil spirit should be there doing some harm to<\/em> Adam or<\/em> Eve sleeping; there they find him at the ear of<\/em> Eve, tempting her in a dream, and bring him, though unwilling, to<\/em> Gabriel; by whom question\u2019d, he scornfully answers, prepares resistance, but hinder\u2019d by a Sign from Heaven, flies out of Paradise.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book IV of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

Study for Adam and Eve, first observed by Satan<\/em><\/strong><\/p>\n

Date<\/strong>
\n1796\u201399
\nMedium<\/strong>
\nPen and sepia on pencil
\nDimensions<\/strong>
\nHeight: 30.6 cm
\nWidth: 18.5 cm
\nLocation<\/strong>
\nThe Kunsthaus Z\u00fcrich
\n[See Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 38; Luisa Cal\u00e8, Fuseli\u2019s Milton Gallery:\u00a0 \u201cTurning Readers into Spectators\u201d<\/em> (New York: Oxford University Press, [2006] 2008), no. 11.]
\nPL<\/em> Lines<\/strong>
\n\u201cUnder a tuft of shade that on a green
\nStood whispering soft, by a fresh Fountain side
\nThey sat them down.\u2026
\nNor gentle purpose, nor endearing smiles
\nWanted, nor youthful dalliance as beseems
\nFair couple, linkt in happy nuptial League,
\nAlone as they.\u2026
\n\u2026aside the Devil turn\u2019d
\nFor envy, yet with jealous leer malign
\nEy\u2019d them askance\u2026\u201d
\n(Paradise Lost<\/em>, Book IV, 325\u201327, 337\u201340, 502\u201304)<\/p>\n

 <\/p>\n

Adam and Eve<\/em><\/strong>
\n(Milton Gallery #13)<\/strong><\/p>\n

Date<\/strong>
\n1796\u201399
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 73 cm
\nWidth: 54 cm
\nLocation<\/strong>
\nIris & B. Gerald Cantor Center for Visual Arts at Stanford University<\/a>
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201cUnder a tuft of shade that on a green
\nStood whispering soft, by a fresh Fountain side
\nThey sat them down.\u2026
\nNor gentle purpose, nor endearing smiles
\nWanted, nor youthful dalliance as beseems
\nFair couple, linkt in happy nuptial League,
\nAlone as they.\u2026
\n\u2026aside the Devil turn\u2019d
\nFor envy, yet with jealous leer malign
\nEy\u2019d them askance\u2026\u201d
\n(Paradise Lost<\/em>, Book IV, 325\u201327, 337\u201340, 502\u201304)<\/p>\n

 <\/p>\n

Satan Starts from the Touch of Ithuriel\u2019s Spear<\/em><\/strong><\/p>\n

Date<\/strong>
\n1776
\nMedium<\/strong>
\nPen and brown ink with brown and grey wash, over graphite
\nDimensions<\/strong>
\nHeight: 28 cm
\nWidth: 41 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nThe Cleveland Museum of Art<\/a>
\n[See also Christie\u2019s<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201cHim thus intent Ithuriel<\/em> with his Spear
\nTouch\u2019d lightly;.\u2026
\n\u2026up he starts
\nDiscover\u2019d and surpris\u2019d. As when a spark
\nLights on a heap of nitrous Powder,.\u2026
\n\u2026the Smutty grain
\nWith sudden blaze diffus\u2019d, inflames the Air:
\nSo started up in his own shape the Fiend.
\nBack stepp\u2019d those two fair Angels half amaz\u2019d
\nSo sudden to behold the grisly King\u2026\u201d
\n(Paradise Lost<\/em>, Book IV, 810\u201311, 813\u201315, 817\u201321)<\/p>\n

 <\/p>\n

Satan Starts from the Touch of Ithuriel\u2019s Spear<\/em><\/strong><\/p>\n

Date<\/strong>
\n1779
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 230.5 cm
\nWidth: 276.3 cm
\nLocation<\/strong>
\nStaatsgalerie Stuttgart<\/a>
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201cHim thus intent Ithuriel<\/em> with his Spear
\nTouch\u2019d lightly;.\u2026
\n\u2026up he starts
\nDiscover\u2019d and surpris\u2019d. As when a spark
\nLights on a heap of nitrous Powder,.\u2026
\n\u2026the Smutty grain
\nWith sudden blaze diffus\u2019d, inflames the Air:
\nSo started up in his own shape the Fiend.
\nBack stepp\u2019d those two fair Angels half amaz\u2019d
\nSo sudden to behold the grisly King\u2026\u201d
\n(Paradise Lost<\/em>, Book IV, 810\u201311, 813\u201315, 817\u201321)<\/p>\n

 <\/p>\n

Satan Starts from the Touch of Ithuriel\u2019s Spear<\/em><\/strong><\/p>\n

Date<\/strong>
\n1802
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 91.4 cm
\nWidth: 71 cm
\nLocation<\/strong>
\nPrivate collection
\n[See the Swiss Institute for Art Research<\/a>, Zurich]
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201cHim thus intent Ithuriel<\/em> with his Spear
\nTouch\u2019d lightly;.\u2026
\n\u2026up he starts
\nDiscover\u2019d and surpris\u2019d. As when a spark
\nLights on a heap of nitrous Powder,.\u2026
\n\u2026the Smutty grain
\nWith sudden blaze diffus\u2019d, inflames the Air:
\nSo started up in his own shape the Fiend.
\nBack stepp\u2019d those two fair Angels half amaz\u2019d
\nSo sudden to behold the grisly King\u2026\u201d
\n(Paradise Lost<\/em>, Book IV, 810\u201311, 813\u201315, 817\u201321)<\/p>\n

 <\/p>\n

Satan Starting from the Touch of Ithuriel\u2019s Spear<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nAnker Smith, after Henry Fuseli
\nDate<\/strong>
\n1802
\nMedium<\/strong>
\nEtching and engraving on chine appliqu\u00e9
\nDimensions<\/strong>
\nHeight: 22.6 cm
\nWidth: 15.2 cm (platemark)
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nBritish Museum (2)<\/a>
\nVictoria and Albert Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026up he starts
\nDiscover\u2019d and surpris\u2019d.\u201d
\n(Paradise Lost<\/em>, Book IV, 813\u201314)<\/p>\n

 <\/p>\n

Satan Starts from the Touch of Ithuriel\u2019s Spear<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nLouis Marie Normand, after Henry Fuseli
\nDate<\/strong>
\n1823
\nMedium<\/strong>
\nEtching on creme paper
\nDimensions<\/strong>
\nHeight: 29.6 cm
\nWidth: 23 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nVictoria and Albert Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201cHim thus intent Ithuriel<\/em> with his Spear
\nTouch\u2019d lightly;.\u2026
\n\u2026up he starts
\nDiscover\u2019d and surpris\u2019d. As when a spark
\nLights on a heap of nitrous Powder,.\u2026
\n\u2026the Smutty grain
\nWith sudden blaze diffus\u2019d, inflames the Air:
\nSo started up in his own shape the Fiend.
\nBack stepp\u2019d those two fair Angels half amaz\u2019d
\nSo sudden to behold the grisly King\u2026\u201d
\n(Paradise Lost<\/em>, Book IV, 810\u201311, 813\u201315, 817\u201321)<\/p>\n

 <\/p>\n

Satan Musing on his Works (Satan discovering his fate in the scale aloft, flying from Gabriel and the Angelic Squadron)<\/em><\/strong>
\n[Fragment of Milton Gallery #15 (1796\u201399)]<\/strong><\/p>\n

Date<\/strong>
\n1790\u20131800
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 87 cm
\nWidth: 77 cm
\nLocation<\/strong>
\nPrivate collection, New York
\n[See Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 40.]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026On th\u2019 other side Satan<\/em> alarm\u2019d
\nCollecting all his might dilated stood.\u2026
\n\u2026The Fiend lookt up and knew
\nHis mounted scale aloft: nor more; but fled
\nMurmuring, and with him fled the shades of night.\u201d
\n(Paradise Lost<\/em>, Book IV, 985\u201386, 1013\u201315)<\/p>\n

 <\/p>\n

BOOK \u00a0V \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cMorning approacht,<\/em> Eve relates to<\/em> Adam her troublesome dream; he likes it not, yet comforts her: They come forth to thir day labors: Thir Morning Hymn at the Door of thir Bower.\u00a0\u00a0 God to render Man inexcusable sends<\/em> Raphael to admonish him of his obedience, of his free estate, of his enemy near at hand; who he is, and why his enemy, and whatever else may avail<\/em> Adam to know.<\/em>\u00a0\u00a0 Raphael comes down to Paradise, his appearance describ\u2019d, his coming discern\u2019d by<\/em> Adam afar off sitting at the door of his Bower; he goes out to meet him, brings him to his lodge, entertains him with the choicest fruits of Paradise got together by<\/em> Eve; thir discourse at Table:<\/em> Raphael performs his message, minds<\/em> Adam of his state and of his enemy; relates at<\/em> Adam\u2019s request who that enemy is, and how he came to be so, beginning from his first revolt in Heaven, and the occasion thereof; how he drew his Legions after him to the parts of the North, and there incited them to rebel with him, persuading all but only<\/em> Abdiel a Seraph, who in Argument dissuades and opposes him, then forsakes him.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book V of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

The Dream of Eve<\/em><\/strong>
\n(Milton Gallery #16)<\/strong><\/p>\n

Date<\/strong>
\n1796\u201399
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 102 cm
\nWidth: 96 cm
\nLocation<\/strong>
\nBourg, London
\n[See Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 41.]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026One shap\u2019d and wing\u2019d like one of those from Heav\u2019n.\u2026
\n\u2026Forthwith up to the Clouds
\nWith him I flew, and underneath beheld
\nThe Earth outstretcht immense.\u2026
\n\u2026suddenly
\nMy Guide was gone, and I, methought, sunk down,
\nAnd fell asleep;\u2026\u201d
\n(Paradise Lost<\/em>, Book V.55, 86\u201388, 90\u201392)<\/p>\n

 <\/p>\n

The Dream of Eve<\/em><\/strong>
\n(After Milton Gallery #16)<\/strong><\/p>\n

Engraver<\/strong>
\nMoses Haughton, Jr., after Henry Fuseli
\nDate<\/strong>
\n1804
\nMedium<\/strong>
\nStipple and aquatint
\nDimensions<\/strong>
\nHeight: 56.6 cm
\nWidth: 48.2 cm (platemark)
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nBritish Museum (2)<\/a>
\nVictoria and Albert Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026One shap\u2019d and wing\u2019d like one of those from Heav\u2019n.\u2026
\n\u2026Forthwith up to the Clouds
\nWith him I flew, and underneath beheld
\nThe Earth outstretcht immense.\u2026
\n\u2026suddenly
\nMy Guide was gone, and I, methought, sunk down,
\nAnd fell asleep;\u2026\u201d
\n(Paradise Lost<\/em>, Book V.55, 86\u201388, 90\u201392)<\/p>\n

 <\/p>\n

BOOK \u00a0VI \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cRaphael continues to relate how<\/em> Michael and<\/em> Gabriel were sent forth to Battle against<\/em> Satan and his Angels.\u00a0\u00a0 To first Fight describ\u2019d:<\/em> Satan and his Powers retire under Night: He calls a Council, invents devilish Engines, which in the second day\u2019s Fight put<\/em> Michael and his Angels to some disorder; but they at length pulling up Mountains overwhelm\u2019d both the force and Machines of<\/em> Satan: Yet the Tumult not so ending, God on the third day sends<\/em> Messiah his Son, for whom he had reserv\u2019d the glory of that Victory: Hee in the Power of his Father coming to the place, and causing all his Legions to stand still on either side, with his Chariot and Thunder driving into the midst of his Enemies, pursues them unable to resist towards the wall of Heaven; which opening, they leap down with horror and confusion into the place of punishment prepar\u2019d for them in the Deep:<\/em> Messiah returns with triumph to his Father.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book VI of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

The Triumphant Messiah<\/em><\/strong><\/p>\n

Date<\/strong>
\n1802
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 90 cm
\nWidth: 70 cm
\nLocation<\/strong>
\nPrivate collection
\n[See Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 89.]
\nPL<\/em> Lines<\/strong>
\n\u201cThe overthrown he rais\u2019d, and as a Herd
\nOf Goats or timorous flock together throng\u2019d
\nDrove them before him Thunder-struck, pursu\u2019d
\nWith terrors and with furies to the bounds
\nAnd Crystal wall of Heav\u2019n, which op\u2019ning wide,
\nRoll\u2019d inward, and a spacious Gap disclos\u2019d
\nInto the wasteful Deep; the monstrous sight
\nStruck them with horror backward, but far worse
\nUrg\u2019d them behind; headlong themselves they threw
\nDown from the verge of Heav\u2019n, Eternal wrath
\nBurn\u2019d after them to the bottomless pit.\u201d
\n(Paradise Lost<\/em>, Book VI, 856\u201366)<\/p>\n

 <\/p>\n

The Triumphant Messiah<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nCharles Warren, after Henry Fuseli
\nDate<\/strong>
\n1802
\nMedium<\/strong>
\nEtching and engraving
\nDimensions<\/strong>
\nHeight: 23 cm
\nWidth: 15.1 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026headlong themselves they threw
\nDown from the verge of Heav\u2019n\u2026\u201d
\n(Paradise Lost<\/em>, Book VI, 864\u201365)<\/p>\n

 <\/p>\n

The Falling Satan<\/em><\/strong><\/p>\n

Date<\/strong>
\n1801\u201302
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 174 cm
\nWidth: 121 cm
\nLocation<\/strong>
\nLa Tour-de-Peilz, Switzerland
\n[See Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 91.]
\nPL<\/em> Lines<\/strong>
\n\u201cThe overthrown he rais\u2019d, and as a Herd
\nOf Goats or timorous flock together throng\u2019d
\nDrove them before him Thunder-struck, pursu\u2019d
\nWith terrors and with furies to the bounds
\nAnd Crystal wall of Heav\u2019n, which op\u2019ning wide,
\nRoll\u2019d inward, and a spacious Gap disclos\u2019d
\nInto the wasteful Deep; the monstrous sight
\nStruck them with horror backward, but far worse
\nUrg\u2019d them behind; headlong themselves they threw
\nDown from the verge of Heav\u2019n, Eternal wrath
\nBurn\u2019d after them to the bottomless pit.\u201d
\n(Paradise Lost<\/em>, Book VI, 856\u201366)<\/p>\n

 <\/p>\n

BOOK \u00a0VIII \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cAdam inquires concerning celestial Motions, is doubtfully answer\u2019d, and exhorted to search rather things more worthy of knowledge:<\/em> Adam assents, and still desirous to detain<\/em> Raphael, relates to him what he remember\u2019d since his own Creation, his placing in Paradise, his talk with God concerning solitude and fit society, his first meeting and Nuptials with<\/em> Eve, his discourse with the Angel thereupon; who after admonitions repeated departs.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book VIII of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

The Creation of Eve<\/em><\/strong>
\n(Milton Gallery #17)<\/strong><\/p>\n

Date<\/strong>
\n1793
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 307 cm
\nWidth: 207 cm
\nLocation<\/strong>
\nThe Hamburger Kunsthalle, Hamburg
\n[See Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026Abstract as in a trance methought I saw,
\nThough sleeping, where I lay, and saw the shape
\nStill glorious before whom awake I stood;
\nWho stooping op\u2019n\u2019d my left side, and took
\nFrom thence a Rib.\u2026
\nUnder his forming hands a Creature grew,
\n\u2026so lovely fair,
\nThat what seem\u2019d fair in all the World, seem\u2019d now
\nMean, or in her summ\u2019d up\u2026\u201d
\n(Paradise Lost<\/em>, Book VIII, 462\u201366, 470\u201373)<\/p>\n

 <\/p>\n

The Creation of Eve<\/em><\/strong>
\n(After Milton Gallery #17)<\/strong><\/p>\n

Engraver<\/strong>
\nMoses Haughton, Jr., after Henry Fuseli
\nDate<\/strong>
\n1803
\nMedium<\/strong>
\nStipple and etching
\nDimensions<\/strong>
\nHeight: 29.3 cm
\nWidth: 22.2 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nBritish Museum (2)<\/a>
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026Abstract as in a trance methought I saw,
\nThough sleeping, where I lay, and saw the shape
\nStill glorious before whom awake I stood;
\nWho stooping op\u2019n\u2019d my left side, and took
\nFrom thence a Rib.\u2026
\nUnder his forming hands a Creature grew,
\n\u2026so lovely fair,
\nThat what seem\u2019d fair in all the World, seem\u2019d now
\nMean, or in her summ\u2019d up\u2026\u201d
\n(Paradise Lost<\/em>, Book VIII, 462\u201366, 470\u201373)<\/p>\n

 <\/p>\n

The Creation of Eve<\/em><\/strong>
\n(After Milton Gallery #17)<\/strong><\/p>\n

Engraver<\/strong>
\nJohn Dadley, after Henry Fuseli
\nDate<\/strong>
\n1807
\nMedium<\/strong>
\nLine- and stipple-engraving
\nDimensions<\/strong>
\nHeight: 13.9 cm
\nWidth: 8.8 cm
\nLocations<\/strong>
\nRoyal Academy of Arts<\/a>, London
\nVictoria and Albert Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026Abstract as in a trance methought I saw,
\nThough sleeping, where I lay, and saw the shape
\nStill glorious before whom awake I stood;
\nWho stooping op\u2019n\u2019d my left side, and took
\nFrom thence a Rib.\u2026
\nUnder his forming hands a Creature grew,
\n\u2026so lovely fair,
\nThat what seem\u2019d fair in all the World, seem\u2019d now
\nMean, or in her summ\u2019d up\u2026\u201d
\n(Paradise Lost<\/em>, Book VIII, 462\u201366, 470\u201373)<\/p>\n

 <\/p>\n

BOOK \u00a0IX \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cSatan having compast the Earth, with meditated guile returns as a mist by Night into Paradise, enters into the Serpent sleeping.<\/em>\u00a0\u00a0 Adam and<\/em> Eve in the Morning go forth to thir labors, which<\/em> Eve proposes to divide in several places, each laboring apart:<\/em> Adam consents not, alleging the danger, lest that Enemy, of whom they were forewarn\u2019d, should attempt her found alone:<\/em> Eve loath to be thought not circumspect or firm enough, urges her going apart, the rather desirous to make trial of her strength;<\/em> Adam at last yields: The Serpent finds her alone; his subtle approach, first gazing, then speaking, with much flattery extolling<\/em> Eve above all other Creatures.<\/em>\u00a0\u00a0 Eve wond\u2019ring to hear the Serpent speak, asks how he attain\u2019d to human speech and such understanding not till now; the Serpent answers, that by tasting of a certain Tree in the Garden he attain\u2019d both to Speech and Reason, till then void of both:<\/em> Eve requires him to bring her to that Tree, and finds it to be the Tree of Knowledge forbidden: The Serpent now grown bolder, with many wiles and arguments induces her at length to eat; she pleas\u2019d with the taste deliberates awhile whether to impart thereof to<\/em> Adam or not, at last brings him of the Fruit, relates what persuaded her to eat thereof:<\/em> Adam at first amaz\u2019d, but perceiving her lost, resolves through vehemence of love to perish with her; and extenuating the trespass, eats also of the Fruit: The effects thereof in them both; they seek to cover thir nakedness; then fall to variance and accusation of one another.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book IX of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

Study for Eve at the Forbidden Tree<\/em><\/strong><\/p>\n

Date<\/strong>
\n1794\u201396
\nMedium<\/strong>
\nPen and wash
\nDimensions<\/strong>
\nHeight: 52 cm
\nWidth: 34 cm
\nLocation<\/strong>
\nThe Kunsthaus Z\u00fcrich
\n[See Franziska Lentzsch, ed. Fuseli: The Wild Swiss<\/em> (Z\u00fcrich: Scheidegger & Spiess, 2005), p. 228; Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 45.]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026her rash hand in evil hour
\nForth reaching to the Fruit, she pluck\u2019d, she eat.\u2026
\n\u2026Back to the Thicket slunk
\nThe guilty Serpent\u2026\u201d
\n(Paradise Lost<\/em>, Book IX, 780\u201381, 784\u201385)<\/p>\n

 <\/p>\n

The Serpent tempting Eve (Satan\u2019s First Address to Eve)<\/em><\/strong>
\n(Milton Gallery #42)<\/strong><\/p>\n

Date<\/strong>
\n1802
\nMedium<\/strong>
\nOil on panel
\nDimensions<\/strong>
\nHeight: 30.2 cm
\nWidth: 23.8 cm
\nLocation<\/strong>
\nAuckland Art Gallery Toi o T\u0101maki<\/a>, Auckland
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026Eve<\/em> separate he spies,
\nVeil\u2019d in a Cloud of Fragrance, where she stood,
\nHalf spi\u2019d, so thick the Roses bushing round
\nAbout her glow\u2019d, oft stooping to support
\nEach Flow\u2019r of slender stalk.\u2026
\nHee bolder now, uncall\u2019d before her stood;
\nBut as in gaze admiring.\u2026
\nHis gentle dumb expression turn\u2019d at length
\nThe Eye of Eve<\/em>\u2026\u201d
\n(Paradise Lost<\/em>, Book IX, 424\u201328, 523\u201324, 527\u201328)<\/p>\n

 <\/p>\n

The Temptation of Eve<\/em><\/strong>
\n(After Milton Gallery #42)<\/strong><\/p>\n

Engraver<\/strong>
\nJohn Sharpe, after Henry Fuseli
\nDate<\/strong>
\n1805
\nMedium<\/strong>
\nStipple and etching
\nDimensions<\/strong>
\nHeight: 13.1 cm
\nWidth: 8.5 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026Eve<\/em> separate he spies,
\nVeil\u2019d in a Cloud of Fragrance, where she stood,
\nHalf spi\u2019d, so thick the Roses bushing round
\nAbout her glow\u2019d, oft stooping to support
\nEach Flow\u2019r of slender stalk.\u2026
\nHee bolder now, uncall\u2019d before her stood;
\nBut as in gaze admiring.\u2026
\nHis gentle dumb expression turn\u2019d at length
\nThe Eye of Eve<\/em>\u2026\u201d
\n(Paradise Lost<\/em>, Book IX, 424\u201328, 523\u201324, 527\u201328)<\/p>\n

 <\/p>\n

Adam resolved to share the fate of Eve; The Guardian Angels leave the Garden of Eden<\/em><\/strong>
\n(After Milton Gallery #20)<\/strong><\/p>\n

Engraver<\/strong>
\nMoses Haughton, Jr., after Henry Fuseli
\nDate<\/strong>
\n1806
\nMedium<\/strong>
\nStipple engraving with aquatint
\nDimensions<\/strong>
\nHeight: 57.2 cm
\nWidth: 46.5 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nBritish Museum (2)<\/a>
\nBritish Museum (3)<\/a>
\nAuckland Art Gallery Toi o T\u0101maki<\/a>, Auckland
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026if Death
\nConsort with thee, Death is to mee as Life;
\nSo forcible within my heart I feel
\nThe Bond of Nature draw me to my own,
\nMy own in thee, for what thou art is mine;
\nOur State cannot be sever\u2019d, we are one,
\nOne Flesh; to lose thee were to lose myself.
\nSo Adam,<\/em> and thus Eve<\/em> to him repli\u2019d.
\nO glorious trial of exceeding Love,
\nIllustrious evidence, example high!.\u2026
\nSo saying, she embrac\u2019d him, and for joy
\nTenderly wept\u2026\u201d
\n(Paradise Lost<\/em>, Book IX, 953\u201362, 990\u201391)<\/p>\n

\u201cUp into Heav\u2019n from Paradise in haste
\nTh\u2019 Angelic Guards ascended, mute and sad
\nFor Man\u2026\u201d
\n(Paradise Lost<\/em>, Book X, 17\u201319)<\/p>\n

 <\/p>\n

BOOK \u00a0X \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cMan\u2019s transgression known, the Guardian Angels forsake Paradise, and return up to Heaven to approve thir vigilance, and are approv\u2019d, God declaring that the entrance of<\/em> Satan could not be by them prevented.\u00a0\u00a0 He sends his Son to judge the Transgressors, who descends and gives Sentence accordingly; then in pity clothes them both, and reascends.<\/em>\u00a0\u00a0 Sin and<\/em> Death sitting till then at the Gates of Hell, by wondrous sympathy feeling the success of<\/em> Satan in this new World, and the sin by Man there committed, resolve to sit no longer confin\u2019d in Hell, but to follow<\/em> Satan thir Sire up to the place of Man: To make the way easier from Hell to this World to and fro, they pave a broad Highway or Bridge over<\/em> Chaos, according to the Track that<\/em> Satan first made; then preparing for Earth, they meet him proud of his success returning to Hell; thir mutual gratulation.<\/em>\u00a0\u00a0 Satan arrives at<\/em> Pandemonium, in full assembly relates with boasting his success against Man; instead of applause is entertained with a general hiss by all his audience, transform\u2019d with himself also suddenly into Serpents, according to his doom giv\u2019n in Paradise; then deluded with a show of the forbidden Tree springing up before them, they greedily reaching to take of the Fruit, chew dust and bitter ashes.\u00a0\u00a0 The proceedings of<\/em> Sin and<\/em> Death; God foretells the final Victory of his Son over them, and the renewing of all things; but for the present commands his Angels to make several alterations in the Heavens and Elements.<\/em>\u00a0\u00a0 Adam more and more perceiving his fall\u2019n condition heavily bewails, rejects the condolement of<\/em> Eve; she persists and at length appeases him: then to evade the Curse likely to fall on thir Offspring, proposes to<\/em> Adam violent ways, which he approves not, but conceiving better hope, puts her in mind of the late Promise made them, that her Seed should be reveng\u2019d on the Serpent, and exhorts her with him to seek Peace of the offended Deity, by repentance and supplication.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book X of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

Sin and Death bridging chaos meet Satan on his return from Earth<\/em><\/strong>
\n[Preparatory study for Milton Gallery #22?]<\/strong><\/p>\n

Date<\/strong>
\nca. 1790s?
\nMedium<\/strong>
\nPencil and wash
\nDimensions<\/strong>
\nHeight: 30.8 cm
\nWidth: 38.2 cm
\nLocation<\/strong>
\nPrivate collection
\n[See Artnet<\/a>]
\n[See also Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 46.]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026The aggregated Soil
\nDeath with his Mace petrific, cold and dry,
\nAs with a Trident smote,.\u2026
\n\u2026and the Mole immense wrought on
\nOver the foaming deep high Archt, a Bridge
\nOf length prodigious.\u2026
\n\u2026when behold
\nSatan<\/em> in likeness of an Angel bright.\u2026
\n\u2026Sin, his fair
\nEnchanting Daughter, thus the silence broke.
\nO Parent, these are thy magnific deeds\u2026\u201d
\n(Paradise Lost<\/em>, Book X, 293\u201395, 300\u201302, 326\u201327, 352\u201354)<\/p>\n

 <\/p>\n

Death and Sin bridging the \u201cWaste\u201d of Chaos and met by Satan on his return from Earth<\/em><\/strong><\/p>\n

Date<\/strong>
\nca. 1819\u201321
\nMedium<\/strong>
\nPencil, pen and watercolor
\nDimensions<\/strong>
\nHeight: 39.3 cm
\nWidth: 31.5 cm
\nLocation<\/strong>
\nAuckland Art Gallery Toi o T\u0101maki<\/a>, Auckland
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026The aggregated Soil
\nDeath with his Mace petrific, cold and dry,
\nAs with a Trident smote,.\u2026
\n\u2026and the Mole immense wrought on
\nOver the foaming deep high Archt, a Bridge
\nOf length prodigious.\u2026
\n\u2026when behold
\nSatan<\/em> in likeness of an Angel bright.\u2026
\n\u2026Sin, his fair
\nEnchanting Daughter, thus the silence broke.
\nO Parent, these are thy magnific deeds\u2026\u201d
\n(Paradise Lost<\/em>, Book X, 293\u201395, 300\u201302, 326\u201327, 352\u201354)<\/p>\n

 <\/p>\n

BOOK \u00a0XI \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cThe Son of God presents to his Father the Prayers of our first Parents now repenting, and intercedes for them: God accepts them, but declares that they must no longer abide in Paradise; sends<\/em> Michael with a Band of Cherubim to dispossess them; but first to reveal to<\/em> Adam future things:<\/em> Michael\u2019s coming down.<\/em>\u00a0\u00a0 Adam shows to<\/em> Eve certain ominous signs; he discerns<\/em> Michael\u2019s approach, goes out to meet him: the Angel denounces thir departure.<\/em>\u00a0\u00a0 Eve\u2019s Lamentation.<\/em>\u00a0\u00a0 Adam pleads, but submits: The Angel leads him up to a high Hill, sets before him in vision what shall happ\u2019n till the Flood.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book XI of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

The Vision of the Lazar House<\/em><\/strong>
\n(After Milton Gallery #24 [1791\u201393])<\/strong><\/p>\n

Engraver<\/strong>
\nMoses Haughton, Jr., after Henry Fuseli
\nDate<\/strong>
\n1813
\nMedium<\/strong>
\nStipple engraving
\nDimensions<\/strong>
\nHeight: 60.8 cm
\nWidth: 71.5 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026Immediately a place
\nBefore his eyes appear\u2019d, sad, noisome, dark,
\nA Lazar-house it seem\u2019d, wherein were laid
\nNumbers of all diseas\u2019d, all maladies.\u2026
\nD\u00e6moniac Frenzy, moping Melancholy
\nAnd Moon-struck madness, pining Atrophy,
\nMarasmus.\u2026
\nDire was the tossing, deep the groans.\u2026
\nAnd over them triumphant Death his Dart
\nShook, but delay\u2019d to strike, though oft invok\u2019t\u2026\u201d
\n(Paradise Lost<\/em>, Book XI, 477\u201380, 485\u201387, 489, 491\u201392)<\/p>\n

 <\/p>\n

The Vision of the Deluge<\/em><\/strong>
\n(Milton Gallery #25)<\/strong><\/p>\n

Date<\/strong>
\n1796\u20131800
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 158 cm
\nWidth: 119 cm
\nLocation<\/strong>
\nPrivate collection
\n[See the Swiss Institute for Art Research<\/a>, Zurich]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026the thick\u2019n\u2019d Sky
\nLike a dark Ceiling stood; down rush\u2019d the Rain
\nImpetuous.\u2026
\n\u2026Sea cover\u2019d Sea,
\nSea without shore.\u2026
\nHow didst thou grieve then, Adam,<\/em> to behold
\nThe end of all thy Offspring\u2026
\nDepopulation\u2026\u201d
\n(Paradise Lost<\/em>, Book XI, 742\u201344, 749\u201350, 754\u201356)<\/p>\n

 <\/p>\n

BOOK \u00a0XII \u00a0OF \u00a0PARADISE \u00a0LOST<\/em><\/u><\/strong><\/p>\n

\u201cThe Angel<\/em> Michael continues from the Flood to relate what shall succeed; then, in the mention of<\/em> Abraham, comes by degrees to explain, who that Seed of the Woman shall be, which was promised<\/em> Adam and<\/em> Eve in the Fall; his Incarnation, Death, Resurrection, and Ascension; the state of the Church till his second Coming.<\/em>\u00a0\u00a0 Adam greatly satisfied and recomforted by these Relations and Promises descends the Hill with<\/em> Michael; wakens<\/em> Eve, who all this while had slept, but with gentle dreams compos\u2019d to quietness of mind and submission.<\/em>\u00a0\u00a0 Michael in either hand leads them out of Paradise, the fiery Sword waving behind them, and the Cherubim taking thir Stations to guard the Place.<\/em>\u201d<\/p>\n

\u2014 John Milton, \u201cThe Argument,\u201d Book XII of Paradise Lost<\/em> (1674 edition)<\/p>\n

 <\/p>\n

The Dismission of Adam and Eve from Paradise<\/em><\/strong>
\n(Milton Gallery #27)<\/strong><\/p>\n

Date<\/strong>
\n1796\u201399
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 150.8 cm
\nWidth: 73 cm
\nLocation<\/strong>
\nThe Museum of Fine Arts<\/a>, Houston
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026In either hand the hast\u2019ning Angel caught
\nOur ling\u2019ring Parents, and to th\u2019 Eastern Gate
\nLed them direct, and down the Cliff as fast
\nTo the subjected Plain; then disappear\u2019d.
\nThey looking back, all th\u2019 Eastern side beheld
\nOf Paradise, so late thir happy seat,
\nWav\u2019d over by that flaming Brand, the Gate
\nWith dreadful Faces throng\u2019d and fiery Arms:
\nSome natural tears they dropp\u2019d\u2026\u201d
\n(Paradise Lost<\/em>, Book XII, 637\u201345)<\/p>\n

 <\/p>\n

The Expulsion from Paradise<\/em><\/strong><\/p>\n

Date<\/strong>
\n1802
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 92 cm
\nWidth: 71 cm
\nLocation<\/strong>
\nPrivate collection
\n[See Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 87.]
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026In either hand the hast\u2019ning Angel caught
\nOur ling\u2019ring Parents, and to th\u2019 Eastern Gate
\nLed them direct, and down the Cliff as fast
\nTo the subjected Plain; then disappear\u2019d.
\nThey looking back, all th\u2019 Eastern side beheld
\nOf Paradise, so late thir happy seat,
\nWav\u2019d over by that flaming Brand, the Gate
\nWith dreadful Faces throng\u2019d and fiery Arms:
\nSome natural tears they dropp\u2019d\u2026\u201d
\n(Paradise Lost<\/em>, Book XII, 637\u201345)<\/p>\n

 <\/p>\n

The Expulsion from Paradise<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nAnker Smith, after Henry Fuseli
\nDate<\/strong>
\n1802
\nMedium<\/strong>
\nEtching and engraving
\nDimensions<\/strong>
\nHeight: 22.7 cm
\nWidth: 15.1 cm
\nLocations<\/strong>
\nBritish Museum<\/a>, London
\nBritish Museum (2)<\/a>
\n[See also Akg-images<\/a>]
\nPL<\/em> Lines<\/strong>
\n\u201cSome natural tears they dropp\u2019d, but wip\u2019d them soon;
\nThe World was all before them\u2026\u201d
\n(Paradise Lost<\/em>, Book XII, 645\u201346)<\/p>\n

 <\/p>\n

The Dismission of Adam and Eve from Paradise<\/em><\/strong><\/p>\n

Engraver<\/strong>
\nMoses Haughton, Jr., after Henry Fuseli
\nDate<\/strong>
\n1805
\nMedium<\/strong>
\nStipple engraving
\nDimensions<\/strong>
\nHeight: 52.5 cm (sheet)
\nWidth: 39.0 cm (sheet)
\nLocations<\/strong>
\nArt Gallery of New South Wales<\/a>, Sydney
\nBritish Museum<\/a>, London
\nPL<\/em> Lines<\/strong>
\n\u201c\u2026In either hand the hast\u2019ning Angel caught
\nOur ling\u2019ring Parents, and to th\u2019 Eastern Gate
\nLed them direct, and down the Cliff as fast
\nTo the subjected Plain; then disappear\u2019d.
\nThey looking back, all th\u2019 Eastern side beheld
\nOf Paradise, so late thir happy seat,
\nWav\u2019d over by that flaming Brand, the Gate
\nWith dreadful Faces throng\u2019d and fiery Arms:
\nSome natural tears they dropp\u2019d\u2026\u201d
\n(Paradise Lost<\/em>, Book XII, 637\u201345)<\/p>\n

 <\/p>\n

MISCELLANEOUS\u00a0 MILTONIC\u00a0 ILLUSTRATIONS<\/u><\/strong><\/p>\n

Head of Satan<\/em><\/strong><\/p>\n

Date<\/strong>
\nca. 1790
\nMedium<\/strong>
\nOil on canvas
\nDimensions<\/strong>
\nHeight: 53 cm
\nWidth: 33.7 cm
\nLocation<\/strong>
\nAgnew\u2019s, London
\n[See Gert Schiff, Johann Heinrich F\u00fcsslis Milton-Galerie<\/em> (Zurich\/Stuttgart: Schweizerisches Institut f\u00fcr Kunstwissenschaft, No. 4, 1963), p. 43; Christopher Becker and Claudia Hattendorff, Johann Heinrich F\u00fcssli: Das Verlorene Paradies<\/em> (Stuttgart: Staatsgalerie Stuttgart, 1997), p. 39.]<\/p>\n

 <\/p>\n

Satan<\/em> <\/strong>
\n[Head of Satan<\/em>]<\/strong><\/p>\n

Engraver<\/strong>
\nThomas Holloway, after Henry Fuseli
\nDate<\/strong>
\n1790
\nMedium<\/strong>
\nEngraving
\nDimensions<\/strong>
\nHeight: 18 cm
\nWidth: 13.7 cm
\nLocation<\/strong>
\nBritish Museum<\/a>, London<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cOur friend Fuseli is going on with more than usual spirit \u2014 like Milton he seems quite at home in hell \u2014 his Devil will be the hero of the poetic series; for, entre nous, I rather doubt whether he will produce an Eve to please me in any of the situations, which he has… <\/p>\n

Read more Fuseli’s Artwork<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":157,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-175","page","type-page","status-publish","entry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/pages\/175","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/comments?post=175"}],"version-history":[{"count":19,"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/pages\/175\/revisions"}],"predecessor-version":[{"id":755,"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/pages\/175\/revisions\/755"}],"up":[{"embeddable":true,"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/pages\/157"}],"wp:attachment":[{"href":"http:\/\/theparadiselostlibrary.com\/index.php\/wp-json\/wp\/v2\/media?parent=175"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}