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Period 18th century
Remove constraint Period: 18th centurySubject Terms literary theme
Remove constraint Subject Terms: literary themeSearch Results
1
- The Farmer's Wife and the Raven
- 1786
- Not on view
2
- The Beggar's Opera
- 1729
- Not on view
3
- 'The Triumph of Mercy,' from Collins' 'Ode To Mercy'
- 1788 to 1790
- Not on view
4
- 'The Vicar of Wakefield,' Vol. II, Chap. III: The Return of Olivia
- 1786
- Not on view
5
- 'The Vicar of Wakefield,' Vol. I, Chap. VIII: Dining in the Hayfields' (Surprised by Mr. Thornhill's Chaplain)
- 1786
- Not on view
6
- Valentine rescuing Silvia from Proteus, from Shakespeare's "The Two Gentlemen of Verona," Act V, Scene 4, the Outlaws' Cave
- 1792
- Not on view
7
- Cymon and Iphigenia
- ca. 1766
- Not on view
8
- The Return of Othello, 'Othello,' Act II, Scene II
- ca. 1799
- Not on view
9
- Prospero, Miranda and Ariel, from "The Tempest," Act I, scene ii
- ca. 1799
- Not on view
10
- Olivia, Maria and Malvolio from "Twelfth Night," Act III, Scene iv
- 1789
- Not on view
11
- Shylock and Tubal from "The Merchant of Venice"
- 1767 to 1769
- Not on view
12
- Mrs. Cibber as Cordelia
- ca. 1755
- Not on view
13
- Virgil's Tomb by Moonlight, with Silius Italicus
- 1779
- Not on view
14
- Henry Woodward as Petruchio in Catherine and Petruchio, a version by Garrick of "The Taming of the Shrew"
- between 1773 and 1774
- Not on view
15
- Portia and Shylock, from Shakespeare's "The Merchant of Venice", IV, i
- ca. 1778
- Not on view
16
- Edward Shuter, John Beard, and John Dunstall in Isaac Bickerton's "Love in a Village"
- 1767
- Not on view
17
- Prospero, Miranda and Ariel, from "The Tempest"
- ca. 1780
- Not on view
18
- David Garrick and George Anne Bellamy in "Romeo and Juliet", Act V, Scene iii
- 1753
- Not on view
19
- Jaques and the Wounded Stag: 'As You Like It,' Act II, Scene I
- 1790
- Not on view
20
- Cordelia Championed by the Earl of Kent, from Shakespeare's "King Lear," I, i
- between 1770 and 1780
- Not on view
21
- Falstaff with the Body of Hotspur
- ca. 1786
- Not on view
22
- The Cave of Despair
- 1772
- Not on view
23
- Louis-Francois Roubiliac Modelling His Monument to Shakespeare
- between 1760 and 1761
- Not on view
24
- Mrs. Cibber as Cordelia
- 1755
- Not on view
25
- The Harlowe Family, from Samuel Richardson's "Clarissa"
- between 1745 and 1747
- Not on view
26
- The Ghost of Clytemnestra Awakening the Furies
- 1781
- Not on view
27
- Gulliver Taking His Final Leave of the Land of the Houyhnhnms
- 1769
- Not on view
28
- The revelation of Olivia's betrothal, from "Twelfth Night," Act V, Scene i
- ca. 1790
- Not on view
29
- Rinaldo and Armida
- 1771
- Not on view
30
- Scene from Shakespeare's "Henry IV, Part I"
- 1746
- Not on view
31
- Study for 'The Red Cross Knight'
- ca. 1793
- Not on view
32
- Gulliver Addressing the Houyhnhnms
- 1769
- Not on view
33
- The Farmer's Wife and the Raven
- 1788
34
- Mr. Garrick in the Character of Richard III
- 1746
35
- Hudibras Vanquished by Trulla
36
- Mr. Garrick in the Character of Richard the Third - "Richard III," Act V, Scene VII
- 1746
37
- Romeo and Juliet, Act IV, Scene V
- 1799
38
- Night the First. On Life, Death and Immortality; Title Page
- ca. 1797
39
- 'Disease invades the chastest temperence' (Page 10)
- ca. 1797
40
- 'The present moment terminates our sight' (Page 13)
- ca. 1797
41
- 'Tis greatly wise to talk with our past hours' (Page 31)
- ca. 1797
42
- 'Like that, the dial speaks; and points to thee' (Page 33)
- ca. 1797
43
- 'This King of Terrors is the Prince of Peace' (Page 63)
- ca. 1797
44
- The Christian Triumph; Title Page
- ca. 1797
45
- 'Swift on His Downy Pinion Flies from Woe' (Page 1)
- ca. 1797
46
- 'What, though my soul fantastick measures trod' (Page 4)
- ca. 1797
47
- 'Its favours here are trials, not rewards' (Page 12)
- ca. 1797
48
- Night the Second. On Time, Death and Friendship; Title Page
- ca. 1797
49
- 'Emblem of that which shall awake the dead' (Page 19)
- ca. 1797
50
- 'As if the sun could envy, check'd his beam' (Page 49)
- ca. 1797
51
- 'Trembling each gulp, lest death should snatch the bowl' (Page 57)
- ca. 1797
52
- 'Angels should paint it, angels ever there' (Page 40)
- ca. 1797
53
- 'One radiant mark, – the death-bed of the just' (Page 41)
- ca. 1797
54
- My Son! My Son!; Plate 10
- 1793
55
- III. "Then Thel astonish'd view'd the Worm upon its dewy bed..." (Plate 6)
- 1789
56
- III, "But he that loves the lowly, pours his oil upon my head..." (Plate 7)
- 1789
57
- 'Teaching, we learn; and giving, we retain' (Page 35)
- ca. 1797
58
- 'Love, and love only, is the loan for love' (Page 37)
- ca. 1797
59
- Night the Third. Narcissa; Title Page
- ca. 1797
60
- 'Where sense runs savage broke from reason's chain' (Page 46)
- ca. 1797
61
- 'The vale of death! that hush'd cimmerian vale' (Page 54)
- ca. 1797
62
- 'Ungrateful, shall we grieve their hovering shades' (Page 55)
- ca. 1797
63
- Visions, Frontispiece (Plate 1)
- 1793
64
- Title Page, Visions of the Daughters of Albion (Plate 2)
- 1793
65
- Visions. "Enslav'd, the Daughters of Albion weep..." (Plate 4)
- 1793
66
- IV. "None could have other than natural or organic thoughts..." (Plate 6)
- ca. 1788
67
- "Therefore God becomes as we are..." (Plate 9)
- ca. 1788
68
- "Albions Angel stood beside the Stone of night, and saw..." (Plate 7)
- 1793
69
- Title Page, The Book of Thel (Plate 2)
- 1789
70
- I, "Why should the mistress of the vales of Har, utter a sigh..." (Plate 4)
- 1789
71
- IV. "The eternal gates terrific porter lifted the northern bar..." (Plate 8)
- 1789
72
- "Fell thirst and famine scowl A baleful smile upon their baffled guest..." (Design 61)
- between 1797 and 1798
73
- "Headlong, from the mountain's height, Deep in the roaring tide he plung'd to endless night." (Design 65)
- between 1797 and 1798
74
- The Three Fatal Sisters (Design 67)
- between 1797 and 1798
75
- Sigtryg with the Silken Beard (Design 69)
- between 1797 and 1798
76
- The Bard Weaving Edwards Fate (Design 55)
- between 1797 and 1798
77
- "Hark, how each giant -oak, and desert-cave, Sigh to the torrent's awful voice beneath!..." (Design 57)
- between 1797 and 1798
78
- Elizabeth. "Girt with many a Baron bold..." (Design 63)
- between 1797 and 1798
79
- "O'er thy country hangs The scourge of Heav'n..." (Design 59)
- between 1797 and 1798
80
- II. "O little Cloud the virgin said, I charge thee tell to me..." (Plate 5)
- 1789
81
- III, "But he that loves the lowly, pours his oil upon my head..." (Plate 7)
- 1789
82
- 'Till death, that mighty hunter, earths them all' (Page 70)
- 1797
83
- 'Draw the dire steel? – ah no! – the dreadful blessing' (Page 73)
- 1797
84
- 'The Sun beheld it – No, the shocking scene' (Page 75)
- 1797
85
- 'The thunder, if in that the Almighty dwells' (Page 80)
- 1797
86
- 'Is lost in love! thou great Philanthropist' (Page 87)
- 1797
87
- 'But for the blessing wrestle not with heaven' (Page 88)
- 1797
88
- 'That touch, with charm celestial heals the soul' (Page 90)
- 1797
89
- 'If angels tremble, 'tis at such a sight' (Page 93)
- 1797
90
- "Oft did the harvest to their sickle yield..." (Design 109)
- between 1797 and 1798
91
- "Somevillage-Hampden, that with dauntless breast, The little tyrant of his fields withstood..," (Design 111)
- between 1797 and 1798
92
- "Ambition this shall tempt to rise, The whirl the wretch from high..." (Design 19)
- between 1797 and 1798
93
- "An ancient pile of building stands... there Employed the power of Fairy hands" (Design 25)
- between 1797 and 1798
94
- The Purple Year awaking from the Roots of Nature (Design 3)
- between 1797 and 1798
95
- "We the reins to slaughter give..." (Design 73)
- between 1797 and 1798
96
- "Leaning from her golden cloud, The venerable Marg'ret see!..." (Design 99)
- between 1797 and 1798
97
- Songs of Innocence, Frontispiece (Plate 1)
- 1789
98
- A Dream (Plate 4)
- 1789
99
- The Little Girl Found (Plate 6)
- 1789
100
- "Midst the tide, Two angel forms were seen to glide..." (Design 7)
- between 1797 and 1798