Canto iv hi-res stock photography and images

William Blake, (artist), British, 1757 - 1827, Mary Ann Flaxman, (artist after), British, 1768 - 1833, Canto IV, Verse 328, W. Hayley's 'The Triumphs of Temper', (series), 1803, engraving Stock Photo

RM2DCETX9–William Blake, (artist), British, 1757 - 1827, Mary Ann Flaxman, (artist after), British, 1768 - 1833, Canto IV, Verse 328, W. Hayley's 'The Triumphs of Temper', (series), 1803, engraving

Canto IV, Verse 328. Dated: 1803. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: William Blake after Mary Ann Flaxman. Stock Photo

RMPKY7NF–Canto IV, Verse 328. Dated: 1803. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: William Blake after Mary Ann Flaxman.

Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, with graphite, on gray laid paper, incised for transfer and perimeter mounted on ivory laid paper, 143 × 90 mm Stock Photo

RM2A2K26Y–Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, with graphite, on gray laid paper, incised for transfer and perimeter mounted on ivory laid paper, 143 × 90 mm

224 Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans) Stock Photo

RMMYG40N–224 Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans)

Franz Bayros Illustration from Dante's 'Divine Comedy', Paradise, Canto IV. Stock Photo

RM2AYJ26R–Franz Bayros Illustration from Dante's 'Divine Comedy', Paradise, Canto IV.

Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans) Stock Photo

RMJ0944T–Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans)

RMJG39PG–Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans)

Battle of Aljubarrota, Canto IV. The Lusiads, epic poem by Luis Vaz de Camoes (c. 1524 – 20 June 1580), Portuguese writer. Liebig collectors card, 1950 Stock Photo

RMJF8YMK–Battle of Aljubarrota, Canto IV. The Lusiads, epic poem by Luis Vaz de Camoes (c. 1524 – 20 June 1580), Portuguese writer. Liebig collectors card, 1950

William Blake after Mary Ann Flaxman, Canto IV, Verse 328, 1803, Canto IV, Verse 328; 1803 date Stock Photo

RM2AEP62H–William Blake after Mary Ann Flaxman, Canto IV, Verse 328, 1803, Canto IV, Verse 328; 1803 date

Dante's purgatory, part of his Divina Commedia / Divine Comedy. Illustration by Gustave Doré. Canto IV lines 100-102 'And there were some, who in the shady place / Behind the rock were standing, as a man / Through idleness might stand' Dante Alighieri: mid-May to mid-June 1265 - September 13/14, 1321. Stock Photo

RMFJR41J–Dante's purgatory, part of his Divina Commedia / Divine Comedy. Illustration by Gustave Doré. Canto IV lines 100-102 'And there were some, who in the shady place / Behind the rock were standing, as a man / Through idleness might stand' Dante Alighieri: mid-May to mid-June 1265 - September 13/14, 1321.

Canto IV. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J04P6A–Canto IV. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

Dante Alighieri, La Divina Commedia, L'Inferno (The Divine Comedy, Hell) - Canto IV (4): illustration by Gustave Doré for lines 89-91 'So I beheld united the bright school / Of him the monarch of sublimest song, / That o'er the others like an eagle soars' Dante, Italian poet, c. 29 May 1265 – 13/14 September 1321. Doré, French artist, 6 January 1832 – 23 January 1883 Stock Photo

RMFJR2NA–Dante Alighieri, La Divina Commedia, L'Inferno (The Divine Comedy, Hell) - Canto IV (4): illustration by Gustave Doré for lines 89-91 'So I beheld united the bright school / Of him the monarch of sublimest song, / That o'er the others like an eagle soars' Dante, Italian poet, c. 29 May 1265 – 13/14 September 1321. Doré, French artist, 6 January 1832 – 23 January 1883

'Ellen beheld as in a dream, / Then, starting, scarce suppressed a scream.' (Canto IV, stanza 16) Stock Photo

RM2RN33P5–'Ellen beheld as in a dream, / Then, starting, scarce suppressed a scream.' (Canto IV, stanza 16)

Virgil introducing Dante to the poets of antiquity, Homer, Horace, Ovid and Lucan, in illustration of Canto IV. Divina Commedia. Italy, N. (Tuscany, Siena?); between 1444 and c. 1450. Source: Yates Thompson 36, f.7v. Language: Italian. Stock Photo

RMR5FXPE–Virgil introducing Dante to the poets of antiquity, Homer, Horace, Ovid and Lucan, in illustration of Canto IV. Divina Commedia. Italy, N. (Tuscany, Siena?); between 1444 and c. 1450. Source: Yates Thompson 36, f.7v. Language: Italian.

Illustration at Canto IV of Tasso's 'Gerusalemme Liberata', Antonio Tempesta, 1565 - 1630 print Idraote is at Armida and Satan in front of the Hellepoort. In the background on the left, Armida is in the camp of the Christian fighters. Italian verses by Tasso in two columns in Submarge. paper etching (scenes from) specific works of literature: Tasso, Gerusalemme Liberata. knight. militant proselytizing: religious war, crusade, etc.. devil(s) and demons: Satan Stock Photo

RM2WEH5HF–Illustration at Canto IV of Tasso's 'Gerusalemme Liberata', Antonio Tempesta, 1565 - 1630 print Idraote is at Armida and Satan in front of the Hellepoort. In the background on the left, Armida is in the camp of the Christian fighters. Italian verses by Tasso in two columns in Submarge. paper etching (scenes from) specific works of literature: Tasso, Gerusalemme Liberata. knight. militant proselytizing: religious war, crusade, etc.. devil(s) and demons: Satan

Pasteis de Belem shop interior in Belem Lisbon, Portugal, Europe KATHY DEWITT Stock Photo

RMT95A7N–Pasteis de Belem shop interior in Belem Lisbon, Portugal, Europe KATHY DEWITT

RM2FN91C9–Canto IV, Verse 328, 1803.

RF2B8Y42C–Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, with graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 144 × 89 mm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

The castellated and domestic architecture of Scotland, from the twelfth to the eighteenth century . ans to be made of the buildings as they stood, and from thesethe plans annexed are copied, and they give a good idea of a countrymansion of the time. Changes made since at various times have entirely altered the appear-ance of the edifice both inside and outside, and it now looks like a square * The Lord of the Isles, canto iv. t We have to thank Mr. Railton for the drawings and description of this castle. FOURTH PERIOD — 244 — CAPRINGTON CASTLE block of the Tudor Period, castellated and surroun Stock Photo

RM2AM40C3–The castellated and domestic architecture of Scotland, from the twelfth to the eighteenth century . ans to be made of the buildings as they stood, and from thesethe plans annexed are copied, and they give a good idea of a countrymansion of the time. Changes made since at various times have entirely altered the appear-ance of the edifice both inside and outside, and it now looks like a square * The Lord of the Isles, canto iv. t We have to thank Mr. Railton for the drawings and description of this castle. FOURTH PERIOD — 244 — CAPRINGTON CASTLE block of the Tudor Period, castellated and surroun

Dante Divina Commedia - Hell - Dante meets the great ancient poets - illustration by Gustave Dorè Stock Photo

RM2DE086P–Dante Divina Commedia - Hell - Dante meets the great ancient poets - illustration by Gustave Dorè

TAPIZ DE LA PAZ DE LOS PIRINEOS - LUIS XIV Y FELIPE IV RATIFICAN EL MATRIMONIO DE LUIS XIV Y LA INFANTA MARIA TERESA - 1660. Author: Charles Le Brun (1619-1690). Location: FRENCH EMBASSY, MADRID, SPAIN. Stock Photo

RMP4EMTM–TAPIZ DE LA PAZ DE LOS PIRINEOS - LUIS XIV Y FELIPE IV RATIFICAN EL MATRIMONIO DE LUIS XIV Y LA INFANTA MARIA TERESA - 1660. Author: Charles Le Brun (1619-1690). Location: FRENCH EMBASSY, MADRID, SPAIN.

RM2A2K273–Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, with graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 144 × 89 mm

260 Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans) Stock Photo

RMPC081J–260 Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans)

RM2BDKPTJ–Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans).

Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets) Stock Photo

RMJ090WR–Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets)

RMJG39PH–Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets)

desiring hope The Vision of Hell Dante Alighieri Gustave Doré divine comedy suffering punishment afterlife Religion incarnation Stock Photo

RMC7XXG1–desiring hope The Vision of Hell Dante Alighieri Gustave Doré divine comedy suffering punishment afterlife Religion incarnation

Hubert François Gravelot. Study for Lucain's La Pharsale , Canto IV. 1756–1773. France. Pen and black ink, with graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper Stock Photo

RM2AHNX45–Hubert François Gravelot. Study for Lucain's La Pharsale , Canto IV. 1756–1773. France. Pen and black ink, with graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper

Illustration to Canto IV, Stanza XXI, 'The Tartan Plaid she first decried/And shrieked till all the Rocks replied'. The Lady of the Lake ... The fifth edition. London, 1810. Source: 83.k.2, opposite page 173. Language: English. Author: SCOTT, WALTER. Smith, A. Stock Photo

RMR5B0Y0–Illustration to Canto IV, Stanza XXI, 'The Tartan Plaid she first decried/And shrieked till all the Rocks replied'. The Lady of the Lake ... The fifth edition. London, 1810. Source: 83.k.2, opposite page 173. Language: English. Author: SCOTT, WALTER. Smith, A.

RM2WFJ1HP–Illustration at Canto IV of Tasso's 'Gerusalemme Liberata', Antonio Tempesta, 1565 - 1630 print Idraote is at Armida and Satan in front of the Hellepoort. In the background on the left, Armida is in the camp of the Christian fighters. Italian verses by Tasso in two columns in Submarge. print maker: Italyafter own design by: ItalyVaticaanstadItaly paper etching (scenes from) specific works of literature: Tasso, Gerusalemme Liberata. knight. militant proselytizing: religious war, crusade, etc.. devil(s) and demons: Satan

Canto IV, Verse 294, published 1803. Stock Photo

RM2FN91DF–Canto IV, Verse 294, published 1803.

RF2B8Y428–Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, with graphite, on gray laid paper, incised for transfer and perimeter mounted on ivory laid paper, 143 × 90 mm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

Childe Harold's pilgrimage : a romaunt . )—and what is writ, is writ;Would if were worthier ! but I am not nowThat which 1 have been—and my visions HitLess palpably before me—and the glowWhich in my spirit dwelt is fluttering, faint, and low. 282 childe harolds pilgrimage CANTO iv CLXXXVI. Farewell ! a word that must be, and hath been—A sound which makes us linger ;—yet—farewell!Ye, who have traced the Pilgrim to the sceneWhich is his last, if in your memories dwellA thought which once was his, if on ye swellA single recollection, not in vainHe wore his sandal-shoon and scallop-shell;Farewell Stock Photo

RM2AWFRR0–Childe Harold's pilgrimage : a romaunt . )—and what is writ, is writ;Would if were worthier ! but I am not nowThat which 1 have been—and my visions HitLess palpably before me—and the glowWhich in my spirit dwelt is fluttering, faint, and low. 282 childe harolds pilgrimage CANTO iv CLXXXVI. Farewell ! a word that must be, and hath been—A sound which makes us linger ;—yet—farewell!Ye, who have traced the Pilgrim to the sceneWhich is his last, if in your memories dwellA thought which once was his, if on ye swellA single recollection, not in vainHe wore his sandal-shoon and scallop-shell;Farewell

Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, over graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 140 × 87 mm Stock Photo

RM2A2K26X–Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, over graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 140 × 87 mm

259 Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans) Stock Photo

RMMWC35R–259 Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans)

RM2BDKPWB–Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets).

RMDBRK2K–Canto IV 65.37.67

Bright school monarch of sublimest song wise The Vision of Hell Dante Alighieri Gustave Doré divine comedy suffering punishment Stock Photo

RMC7XXG4–Bright school monarch of sublimest song wise The Vision of Hell Dante Alighieri Gustave Doré divine comedy suffering punishment

RM2AHNX4G–Hubert François Gravelot. Study for Lucain's La Pharsale , Canto IV. 1756–1773. France. Pen and black ink, with graphite, on gray laid paper, incised for transfer and perimeter mounted on ivory laid paper

Paradiso, Canto IV. Heaven of the Moon. Miniature shows Daniel interpreting Nebuchadnezzar's dream; Moses, St. John the Evangelist and St. John the Baptist in a glory of seraphim; the angels Raphael, Gabriel and Michael. Divine Comedy. Italy [Tuscany]; circa 1450. Source: Yates Thompson 36, f.135. Language: Italian. Author: DANTE ALIGHIERI. GIOVANNI DI PAOLO. Stock Photo

RMR5AREC–Paradiso, Canto IV. Heaven of the Moon. Miniature shows Daniel interpreting Nebuchadnezzar's dream; Moses, St. John the Evangelist and St. John the Baptist in a glory of seraphim; the angels Raphael, Gabriel and Michael. Divine Comedy. Italy [Tuscany]; circa 1450. Source: Yates Thompson 36, f.135. Language: Italian. Author: DANTE ALIGHIERI. GIOVANNI DI PAOLO.

Illustration at Canto IV of Tasso's 'Gerusalemme Liberata', Antonio Tempesta, 1565 - 1630 print Ornamental decorative frame with a surface with eight Italian verses at the top. At the bottom of a performance at Canto IV of Tasso's 'Gerusalemme Liberata'. Idraote stands for the Hellepoort at Armida and Satan. In the background on the right, Armida is in the camp of the Christian fighters. Italy paper etching (scenes from) specific works of literature: Tasso, Gerusalemme Liberata. knight. militant proselytizing: religious war, crusade, etc.. ornaments art. ornament cartouche Stock Photo

RM2WFKY41–Illustration at Canto IV of Tasso's 'Gerusalemme Liberata', Antonio Tempesta, 1565 - 1630 print Ornamental decorative frame with a surface with eight Italian verses at the top. At the bottom of a performance at Canto IV of Tasso's 'Gerusalemme Liberata'. Idraote stands for the Hellepoort at Armida and Satan. In the background on the right, Armida is in the camp of the Christian fighters. Italy paper etching (scenes from) specific works of literature: Tasso, Gerusalemme Liberata. knight. militant proselytizing: religious war, crusade, etc.. ornaments art. ornament cartouche

Canto IV, 16th century. From Jerusalem Delivered II by Tasso. Stock Photo

RM2T6BTPG–Canto IV, 16th century. From Jerusalem Delivered II by Tasso.

Study for Vignette in Fontenelle’s (attr.) Les Amours de Mirtil, Canto IV, c. 1761, Hubert François Gravelot, French, 1699-1773, France, Black chalk, on gray laid paper, laid down on ivory laid paper, 115 × 72 mm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photo

RF2B8XYHM–Study for Vignette in Fontenelle’s (attr.) Les Amours de Mirtil, Canto IV, c. 1761, Hubert François Gravelot, French, 1699-1773, France, Black chalk, on gray laid paper, laid down on ivory laid paper, 115 × 72 mm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

Illustration at Canto IV of TASSO's 'Gerusalemme Liberata'; Jerusalem is relieved (part 2); Gerusalemme Liberata (part 2). Idraote is at Armida and Satan for the herlepoort. In the background left, Armida is in the camp of the Christian fighters. Italian rules by tasso in two columns in undermarge. Stock Photo

RM2G4JMJY–Illustration at Canto IV of TASSO's 'Gerusalemme Liberata'; Jerusalem is relieved (part 2); Gerusalemme Liberata (part 2). Idraote is at Armida and Satan for the herlepoort. In the background left, Armida is in the camp of the Christian fighters. Italian rules by tasso in two columns in undermarge.

The ancient world, from the earliest times to 800 AD . building, Agrippa was an early friend of Augustus and a faithful assistantthrough his whole life. He was an able soldier and an ardent builder In hispatronage of art and architecture he filled a place like that of Maecenas inliterature (§ 571, note). Agrippas generalship won the battle of Actium. Hebecame the son-in-law of Augustus, and, except for his death shortly beforethat of the Emperor, he would probably have succeeded to his power.1 Read the picture in Byrons Chllde Harold, canto iv. §623] ARCHITECTURE 511 umental columns. The fines Stock Photo

RM2AN5NR4–The ancient world, from the earliest times to 800 AD . building, Agrippa was an early friend of Augustus and a faithful assistantthrough his whole life. He was an able soldier and an ardent builder In hispatronage of art and architecture he filled a place like that of Maecenas inliterature (§ 571, note). Agrippas generalship won the battle of Actium. Hebecame the son-in-law of Augustus, and, except for his death shortly beforethat of the Emperor, he would probably have succeeded to his power.1 Read the picture in Byrons Chllde Harold, canto iv. §623] ARCHITECTURE 511 umental columns. The fines

RM2A2JYMK–Study for Vignette in Fontenelle’s (attr.) Les Amours de Mirtil, Canto IV, c. 1761, Hubert François Gravelot, French, 1699-1773, France, Black chalk, on gray laid paper, laid down on ivory laid paper, 115 × 72 mm

RMMX9H67–260 Gustave Doré - Dante Alighieri - Inferno - Plate 11 (Canto IV - Limbo, the Viruous Pagans)

RMPMR5J3–Blake Dante Hell IV Canto.

RMHKR976–Blake Dante Hell IV Canto

Hubert François Gravelot. Study for Vignette in Fontenelle's (attr.) Les Amours de Mirtil , Canto IV. 1761–1773. France. Black chalk, on gray laid paper, laid down on ivory laid paper Stock Photo

RM2AHT5DG–Hubert François Gravelot. Study for Vignette in Fontenelle's (attr.) Les Amours de Mirtil , Canto IV. 1761–1773. France. Black chalk, on gray laid paper, laid down on ivory laid paper

Doctrine of Free Will. Divine Comedy. Italy [Tuscany]; circa 1450. [Miniature only] Paradiso, Canto IV. Heaven of the Moon. Beatrice propounds the doctrine of free will. Plate points to a soul returning to a star; bent tree. Two examples of strength of will; St. Lawrence on the grid-iron, and Mucius Scaevola placing his hand in a flame, before Porcene. Alcmeon slaying his mother in fulfilment of a vow made to his father Image taken from Divine Comedy. Originally published/produced in Italy [Tuscany]; circa 1450. . Source: Yates Thompson 36, f.136. Language: Italian. Author: DANTE ALIGHIERI. Stock Photo

RMR54HFA–Doctrine of Free Will. Divine Comedy. Italy [Tuscany]; circa 1450. [Miniature only] Paradiso, Canto IV. Heaven of the Moon. Beatrice propounds the doctrine of free will. Plate points to a soul returning to a star; bent tree. Two examples of strength of will; St. Lawrence on the grid-iron, and Mucius Scaevola placing his hand in a flame, before Porcene. Alcmeon slaying his mother in fulfilment of a vow made to his father Image taken from Divine Comedy. Originally published/produced in Italy [Tuscany]; circa 1450. . Source: Yates Thompson 36, f.136. Language: Italian. Author: DANTE ALIGHIERI.

Study for Lucain's "La Pharsale", Canto IV, c. 1766. Stock Photo

RM2HFG8H4–Study for Lucain's "La Pharsale", Canto IV, c. 1766.

RF2B8Y424–Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, over graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 140 × 87 mm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

RM2G4JK09–Illustration at Canto IV of TASSO's 'Gerusalemme Liberata'; Jerusalem is relieved (part 2); Gerusalemme Liberata (part 2). Idraote is at Armida and Satan for the herlepoort. In the background left, Armida is in the camp of the Christian fighters. Italian rules by tasso in two columns in undermarge.

Dictionary of Greek and Roman geography . e Porta S.Sebastiano, though it does not properly belong toour subject, demands, from the magnificence of itsconstruction, as well as from Byrons well-knownlines {Childe Harold, canto iv.), a passing word ofnotice here. The remaining part of the district, or that form-ing the 12th Regio, and lying to the V. of theVia Appia, does not present many monuments ofinterest. The most striking one, the Thermae An-toninianae, or baths of Caracalla, will be spoken ofunder its proper head. We have already treated ofthe Bona Dea Subsasanea and of the Isium. Closet Stock Photo

RM2AWEW47–Dictionary of Greek and Roman geography . e Porta S.Sebastiano, though it does not properly belong toour subject, demands, from the magnificence of itsconstruction, as well as from Byrons well-knownlines {Childe Harold, canto iv.), a passing word ofnotice here. The remaining part of the district, or that form-ing the 12th Regio, and lying to the V. of theVia Appia, does not present many monuments ofinterest. The most striking one, the Thermae An-toninianae, or baths of Caracalla, will be spoken ofunder its proper head. We have already treated ofthe Bona Dea Subsasanea and of the Isium. Closet

Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, over graphite, on pale gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 155 × 91 mm Stock Photo

RM2A2K270–Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, over graphite, on pale gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 155 × 91 mm

224 Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets) Stock Photo

RMMYG419–224 Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets)

Hubert François Gravelot. Study for Lucain's La Pharsale , Canto IV. 1756–1773. France. Pen and black ink, over graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper Stock Photo

RM2AHNX3C–Hubert François Gravelot. Study for Lucain's La Pharsale , Canto IV. 1756–1773. France. Pen and black ink, over graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper

Paradiso, Canto, XIX. Heaven of Jupiter. Miniature shows ten crowned heads who have been condemned by the eagle, including Albert of Austria, Philip IV of France and Charles II of Naples. Above them is the Book of Judgement. Divine Comedy. Italy [Tuscany]; circa 1450. Source: Yates Thompson 36, f.163. Language: Italian. Author: DANTE ALIGHIERI. GIOVANNI DI PAOLO. Stock Photo

RMR5EF0F–Paradiso, Canto, XIX. Heaven of Jupiter. Miniature shows ten crowned heads who have been condemned by the eagle, including Albert of Austria, Philip IV of France and Charles II of Naples. Above them is the Book of Judgement. Divine Comedy. Italy [Tuscany]; circa 1450. Source: Yates Thompson 36, f.163. Language: Italian. Author: DANTE ALIGHIERI. GIOVANNI DI PAOLO.

RM2HFG8H3–Study for Lucain's "La Pharsale", Canto IV, c. 1766.

RF2B8Y429–Study for Lucain’s La Pharsale, Canto IV, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, over graphite, on pale gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 155 × 91 mm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

Illustration at Canto IV of TASSO's 'Gerusalemme Liberata'; Jerusalem relieves (part 3); Gerusalemme Liberata (part 3). Ornamental decorative frame with a plane with eight Italian fresh rules at the top. At the bottom of a representation at Canto IV of TASSO's 'Gerusalemme Liberata'. Idraote is at Armida and Satan for the Hellpoort. In the background, Armida is in the camp of the Christian fighters. Stock Photo

RM2G4JFKE–Illustration at Canto IV of TASSO's 'Gerusalemme Liberata'; Jerusalem relieves (part 3); Gerusalemme Liberata (part 3). Ornamental decorative frame with a plane with eight Italian fresh rules at the top. At the bottom of a representation at Canto IV of TASSO's 'Gerusalemme Liberata'. Idraote is at Armida and Satan for the Hellpoort. In the background, Armida is in the camp of the Christian fighters.

The churches of London: a history and description of the ecclesiastical edifices of the metropolis . cromby, a spirited composition,(by Westmacott)—Lord Collingwood, (Westmacott)—Earl Howe, (Flaxman)—Elliott, Lord Heathfield, (Rossi)—Sir John Moore, (Bacon)—Captain Faulkner, (Rossi) —Captain Rundell Burges, (Banks)—Sir W. Hoste, (Camp-bell)—Major General Gillespie, (Chantrey) and others. In the north transept, the principal are those to thememory of Lord Rodney, (Rossi)—Captains Mosse andRiou, (Rossi)—Captain Blagdon Westcott, (Banks)— 1 Childe Harold. Canto IV. stanza 158. ST. PAULS CATHEDRAL Stock Photo

RM2AM3H66–The churches of London: a history and description of the ecclesiastical edifices of the metropolis . cromby, a spirited composition,(by Westmacott)—Lord Collingwood, (Westmacott)—Earl Howe, (Flaxman)—Elliott, Lord Heathfield, (Rossi)—Sir John Moore, (Bacon)—Captain Faulkner, (Rossi) —Captain Rundell Burges, (Banks)—Sir W. Hoste, (Camp-bell)—Major General Gillespie, (Chantrey) and others. In the north transept, the principal are those to thememory of Lord Rodney, (Rossi)—Captains Mosse andRiou, (Rossi)—Captain Blagdon Westcott, (Banks)— 1 Childe Harold. Canto IV. stanza 158. ST. PAULS CATHEDRAL

Jean Honoré Fragonard, (artist), French, 1732 - 1806, Bradamante Tries to Catch Hold of the Hippogryph, Ariosto's Orlando Furioso: canto IV, 43, (series), 1780s, black chalk with brown and gray wash on laid paper, overall: 38.6 x 24.6 cm (15 3/16 x 9 11/16 in Stock Photo

RM2DC92H1–Jean Honoré Fragonard, (artist), French, 1732 - 1806, Bradamante Tries to Catch Hold of the Hippogryph, Ariosto's Orlando Furioso: canto IV, 43, (series), 1780s, black chalk with brown and gray wash on laid paper, overall: 38.6 x 24.6 cm (15 3/16 x 9 11/16 in

259 Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets) Stock Photo

RMMWC377–259 Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets)

Hubert François Gravelot. Study for Lucain's La Pharsale , Canto IV. 1756–1773. France. Pen and black ink, over graphite, on pale gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper Stock Photo

RM2AHNX44–Hubert François Gravelot. Study for Lucain's La Pharsale , Canto IV. 1756–1773. France. Pen and black ink, over graphite, on pale gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper

Canto 32. Dante and Virgil walk across the frozen lake Caina within the first Ring of the Ninth Circle of Hell, where those punished for the betrayal of family are frozen up to their necks in ice. An image from Dante's 'Inferno'. I. A dozen specimens of Gustave DoreÌ from his Inferno of Dante, Fairy Tales of Perrault, and Captain Castagnette of Manuel. London, [1866]. Source: 1871.e.20 plate IV. Stock Photo

RMR5J79A–Canto 32. Dante and Virgil walk across the frozen lake Caina within the first Ring of the Ninth Circle of Hell, where those punished for the betrayal of family are frozen up to their necks in ice. An image from Dante's 'Inferno'. I. A dozen specimens of Gustave DoreÌ from his Inferno of Dante, Fairy Tales of Perrault, and Captain Castagnette of Manuel. London, [1866]. Source: 1871.e.20 plate IV.

RM2HFG8KW–Study for Lucain's "La Pharsale", Canto IV, c. 1766.

William Blake after Mary Ann Flaxman, British (1757-1827), Canto IV, Verse 328, 1803, engraving. Reimagined Stock Photo

RFRAWYCB–William Blake after Mary Ann Flaxman, British (1757-1827), Canto IV, Verse 328, 1803, engraving. Reimagined

Childe Harold's pilgrimage, a romaunt . CLXXVL Upon the blue Symplegades: long years —Long, though not very many, since have doneTheir work on both; some suffering and some tearsHave left us nearly where we had begun:Yet not in vain our mortal race hath run.We have had our reward — and it is here;That we can yet feel gladdened by the sun.And reap from earth, sea, joy almost as dearAs if there were no man to trouble what is clear. 232 CHILDE HAROLDS CANTO IV. CLXXVII. Oh! that the Desert were my dwelling-place,With one fair Spirit for my minister,That I might all forget the human race.And, hati Stock Photo

RM2AKNXEG–Childe Harold's pilgrimage, a romaunt . CLXXVL Upon the blue Symplegades: long years —Long, though not very many, since have doneTheir work on both; some suffering and some tearsHave left us nearly where we had begun:Yet not in vain our mortal race hath run.We have had our reward — and it is here;That we can yet feel gladdened by the sun.And reap from earth, sea, joy almost as dearAs if there were no man to trouble what is clear. 232 CHILDE HAROLDS CANTO IV. CLXXVII. Oh! that the Desert were my dwelling-place,With one fair Spirit for my minister,That I might all forget the human race.And, hati

Mary Ann Flaxman, British, 1768 - 1833, Canto IV, Verse 328, 1803, W. Hayley's 'The Triumphs of Temper', engraving, Keynes 1921, no. 125, State d, William Blake, British, 1757 - 1827 Stock Photo

RM2YJN0RY–Mary Ann Flaxman, British, 1768 - 1833, Canto IV, Verse 328, 1803, W. Hayley's 'The Triumphs of Temper', engraving, Keynes 1921, no. 125, State d, William Blake, British, 1757 - 1827

260 Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets) Stock Photo

RMPC081R–260 Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets)

View of a cave at Bealach na BàGoblin's cave and Beal Nam Bo (title object) Property Type: photo page Item number: RP-F 2001-7-263-6 Inscriptions / Brands: inscription, recto printed: ' 'Where is the Douglas? - he is gone, And Ellen sits on the greystone Fast by the Cave, and makes her moan '- Canto iv. 9.' Manufacturer : Photographer: anonymous place manufacture: Bealach na Bà Dating: about 1861 - or for 1871 Material: paper Technique: albumen print dimensions: photo: H 101 mm × W 76 mmToelichtingFoto front page 110. Subject: cave, grotto where: Bealach na Bà Stock Photo

RM2B6R454–View of a cave at Bealach na BàGoblin's cave and Beal Nam Bo (title object) Property Type: photo page Item number: RP-F 2001-7-263-6 Inscriptions / Brands: inscription, recto printed: ' 'Where is the Douglas? - he is gone, And Ellen sits on the greystone Fast by the Cave, and makes her moan '- Canto iv. 9.' Manufacturer : Photographer: anonymous place manufacture: Bealach na Bà Dating: about 1861 - or for 1871 Material: paper Technique: albumen print dimensions: photo: H 101 mm × W 76 mmToelichtingFoto front page 110. Subject: cave, grotto where: Bealach na Bà

Study for Vignette in Fontenelle's (attr.) "Les Amours de Mirtil", Canto IV, c. 1761. Stock Photo

RM2HFG8BY–Study for Vignette in Fontenelle's (attr.) "Les Amours de Mirtil", Canto IV, c. 1761.

RFRA63XR–William Blake after Mary Ann Flaxman, British (1757-1827), Canto IV, Verse 328, 1803, engraving. Reimagined

Childe Harold's pilgrimage : a romaunt . re of heaven.Floats oer this vast and wondrous monument,And shadows forth its glory. There is givenUnto the things of earth, which Time hath bent, 254 childe harolds pilgrimage CANTO IV.. COLISEUM A spirits feeling, and where lie hath leantHis hand, but broke his scythe, there is a pcnwrAnd magic in the ruind battlement,For which the palace of the present hourMnst yield its pomp, and wait till ages are its dower. CANTO IV. childe harolds pilgrimage 2.r> cxxx. Oh Time ! the beautifier of the dead,Adorner of the ruin, comforterAnd only healer when the Stock Photo

RM2AWFXKH–Childe Harold's pilgrimage : a romaunt . re of heaven.Floats oer this vast and wondrous monument,And shadows forth its glory. There is givenUnto the things of earth, which Time hath bent, 254 childe harolds pilgrimage CANTO IV.. COLISEUM A spirits feeling, and where lie hath leantHis hand, but broke his scythe, there is a pcnwrAnd magic in the ruind battlement,For which the palace of the present hourMnst yield its pomp, and wait till ages are its dower. CANTO IV. childe harolds pilgrimage 2.r> cxxx. Oh Time ! the beautifier of the dead,Adorner of the ruin, comforterAnd only healer when the

Mary Ann Flaxman, British, 1768 - 1833, Cadell & Davies (publisher), Illustration for Canto IV, published 1788, W. Hayley's 'The Triumphs of Temper': facing p.90, etching and engraving on wove paper, design size: 10.3 x 6.8 cm (4 1, 16 x 2 11, 16 in.), William Sharp, British, 1749 - 1824, Thomas Stothard, British, 1755 - 1834, William Blake, British, 1757 - 1827 Stock Photo

RM2YJN3BJ–Mary Ann Flaxman, British, 1768 - 1833, Cadell & Davies (publisher), Illustration for Canto IV, published 1788, W. Hayley's 'The Triumphs of Temper': facing p.90, etching and engraving on wove paper, design size: 10.3 x 6.8 cm (4 1, 16 x 2 11, 16 in.), William Sharp, British, 1749 - 1824, Thomas Stothard, British, 1755 - 1834, William Blake, British, 1757 - 1827

RMMX9H63–260 Gustave Doré - Dante Alighieri - Inferno - Plate 12 (Canto IV - Limbo, Dante is accepted as an equal by the great Greek and Roman poets)

Gezicht op bergen in de Trossachs Pass of the Trossachs (titel op object) View of mountains in the Trossachs Pass of the Trossachs (title object) Property Type: photo page Item number: RP-F 2001-7-260-12 Inscriptions / Brands: inscription, recto, printed: 'All in Trossachs' glen was still, Noontide was sleeping on the hill. Canto IV Stanza XX.' Manufacturer : Photographer: anonymous place manufacture: Trossachs Dating: ca. 1861 - or for 1871 Material:. Photo paper Technique: albumen print dimensions: photo: H 103 mm × W 80 mmToelichtingFoto front page 304. Subject: mountain where: Trossachs Stock Photo

RM2B6PDN3–Gezicht op bergen in de Trossachs Pass of the Trossachs (titel op object) View of mountains in the Trossachs Pass of the Trossachs (title object) Property Type: photo page Item number: RP-F 2001-7-260-12 Inscriptions / Brands: inscription, recto, printed: 'All in Trossachs' glen was still, Noontide was sleeping on the hill. Canto IV Stanza XX.' Manufacturer : Photographer: anonymous place manufacture: Trossachs Dating: ca. 1861 - or for 1871 Material:. Photo paper Technique: albumen print dimensions: photo: H 103 mm × W 80 mmToelichtingFoto front page 304. Subject: mountain where: Trossachs

Sketches for scenes 1 and 2 of the cartoon for cotton printing The History of Henry IV LHistoire de Henri IV. Scene from Voltaire's epic, 'Henriade'. Henry IV seated in a landscape near the Port of Dieppe, with his friend, Duplessis-Mornay, converses with a holy hermit (Canto I, lines 229-232). Stock Photo

RM2BF1E4M–Sketches for scenes 1 and 2 of the cartoon for cotton printing The History of Henry IV LHistoire de Henri IV. Scene from Voltaire's epic, 'Henriade'. Henry IV seated in a landscape near the Port of Dieppe, with his friend, Duplessis-Mornay, converses with a holy hermit (Canto I, lines 229-232).

1642-1892Legends of Woburn, now first written and preserved in collected form ..to which is added a chrono-indexical history of Woburn . ome said twas rum).Conspired to kill poor Thomas Dunn. Canto IV.Poor Tom was taken home that day,A fever wasted him awayTo skin and bones; but that Great Power,Who watches through each silent hour.And weaves our webs of human lifeUnknown to us, through many a strife,Into his instruments for good, 61 Had so decreed that poor Tom should,Through grace divine, and wise gift free,Recover, and example be.To warn all others to abstainFrom all excess that causes pain Stock Photo

RM2AX63RY–1642-1892Legends of Woburn, now first written and preserved in collected form ..to which is added a chrono-indexical history of Woburn . ome said twas rum).Conspired to kill poor Thomas Dunn. Canto IV.Poor Tom was taken home that day,A fever wasted him awayTo skin and bones; but that Great Power,Who watches through each silent hour.And weaves our webs of human lifeUnknown to us, through many a strife,Into his instruments for good, 61 Had so decreed that poor Tom should,Through grace divine, and wise gift free,Recover, and example be.To warn all others to abstainFrom all excess that causes pain

Mary Ann Flaxman, British, 1768 - 1833, Cadell & Davies (publisher), Canto IV, Verse 294, 1803, W. Hayley's 'The Triumphs of Temper': facing p.145, etching and engraving on wove paper, design size: 10.3 x 8 cm (4 1, 16 x 3 1, 8 in.), Keynes 1921, no. 125, William Blake, British, 1757 - 1827, Mary Ann Flaxman, British, 1768 - 1833, William Blake, British, 1757 - 1827 Stock Photo

RM2YJN0RN–Mary Ann Flaxman, British, 1768 - 1833, Cadell & Davies (publisher), Canto IV, Verse 294, 1803, W. Hayley's 'The Triumphs of Temper': facing p.145, etching and engraving on wove paper, design size: 10.3 x 8 cm (4 1, 16 x 3 1, 8 in.), Keynes 1921, no. 125, William Blake, British, 1757 - 1827, Mary Ann Flaxman, British, 1768 - 1833, William Blake, British, 1757 - 1827

. Русский: Illustration by Franz Bayros (1866-1924) from Dante's 'Divine Comedy' . before 1947. Franz Bayros 35 Franz Bayros Illustration from Dante's 'Divine Comedy', Paradise, Canto IV Stock Photo

RMMYXJYX–. Русский: Illustration by Franz Bayros (1866-1924) from Dante's 'Divine Comedy' . before 1947. Franz Bayros 35 Franz Bayros Illustration from Dante's 'Divine Comedy', Paradise, Canto IV

William Blake after Mary Ann Flaxman, British (1757-1827), Canto IV, Verse 328, 1803, engraving Stock Photo

RMEDYN8C–William Blake after Mary Ann Flaxman, British (1757-1827), Canto IV, Verse 328, 1803, engraving

Sketches for Scenes Four and Five of Cartoon for Cotton Printing LHistoire de Henri IV. Island scene from Voltaire's epic, La Henriade. Henri the IV before his tent on the field of battle, outside the walls of Paris, counsels the Chevalier d'Aumale before his duel with Henri, Vicomte de Turenne (Canto X, lines 48-49). Stock Photo

RM2BF1E69–Sketches for Scenes Four and Five of Cartoon for Cotton Printing LHistoire de Henri IV. Island scene from Voltaire's epic, La Henriade. Henri the IV before his tent on the field of battle, outside the walls of Paris, counsels the Chevalier d'Aumale before his duel with Henri, Vicomte de Turenne (Canto X, lines 48-49).

Sketch for Scene 3 of cartoon for cotton printingThe History of Heny IV LHistoire de Henri IV. Research in ProgressOne scene from Voltaire's epic 'Henriade' showing Henry IV in the Battle of Ivry, in which the Duke of Mayenne is defeated and the Earl of Egmont slain (Canto VIII, lines 180-181). Sketch for Scene 3 of cartoon for cotton printingThe History of Heny IV LHistoire de Henri IV Stock Photo

RM2BD1RGC–Sketch for Scene 3 of cartoon for cotton printingThe History of Heny IV LHistoire de Henri IV. Research in ProgressOne scene from Voltaire's epic 'Henriade' showing Henry IV in the Battle of Ivry, in which the Duke of Mayenne is defeated and the Earl of Egmont slain (Canto VIII, lines 180-181). Sketch for Scene 3 of cartoon for cotton printingThe History of Heny IV LHistoire de Henri IV

Sketches for scene 1 and 2 of the cartoon for cotton printing The History of Henry IV LHistoire de Henri IV. Research in ProgressScene from Voltaire's epic 'Henriade'. The entrance of Henry IV into Paris, approaching on horseback the Cathedral of Notre Dame, his subjects kneeling before him. (Canto X, lines 512-514). Sketches for scene 1 and 2 of the cartoon for cotton printing The History of Henry IV LHistoire de Henri IV Stock Photo

RM2BD0FT8–Sketches for scene 1 and 2 of the cartoon for cotton printing The History of Henry IV LHistoire de Henri IV. Research in ProgressScene from Voltaire's epic 'Henriade'. The entrance of Henry IV into Paris, approaching on horseback the Cathedral of Notre Dame, his subjects kneeling before him. (Canto X, lines 512-514). Sketches for scene 1 and 2 of the cartoon for cotton printing The History of Henry IV LHistoire de Henri IV

Cartoon for Printed Textile The History of Henri IV LHistoire de Henri IV. Research in ProgressScenes from the life of Henri IV (1553-1610), King of France, as described in Voltaire's 'Henriade': scene 1, upper left: Henri and his friend, Duplessis-Mornay, are seated near the port of Dieppe, conversing with a holy hermit (Canto, lines 229-232); scene 2, Cartoon for Printed Textile The History of Henri IV LHistoire de Henri IV Stock Photo

RM2BCWEWY–Cartoon for Printed Textile The History of Henri IV LHistoire de Henri IV. Research in ProgressScenes from the life of Henri IV (1553-1610), King of France, as described in Voltaire's 'Henriade': scene 1, upper left: Henri and his friend, Duplessis-Mornay, are seated near the port of Dieppe, conversing with a holy hermit (Canto, lines 229-232); scene 2, Cartoon for Printed Textile The History of Henri IV LHistoire de Henri IV

Childe Harold's pilgrimage : a romaunt . LAUSANNE CANTO THE FOURTH. Visto ho Toscana, Lombardia, Romagna,Quel Monte che divide, e quel clie serraItalia, e un mare e 1 altro, clie la bagua. Ariosto, Satira. INTRODUCTION TO CANTO IV. Thk first Canto of Cliilde Harold treats chiefly of Spain, the second of Greece, the thirdof the Rhine and Switzerland. In the autumn of 1816 Lord Byron removed to Italy, and itis to Italy that lie devoted the fourth Canto,—which in the opinion of many is the noblesteffort of his genius. It was begun at Venice in June 1817, and there finished in January1818; and hav Stock Photo

RM2AWG5HP–Childe Harold's pilgrimage : a romaunt . LAUSANNE CANTO THE FOURTH. Visto ho Toscana, Lombardia, Romagna,Quel Monte che divide, e quel clie serraItalia, e un mare e 1 altro, clie la bagua. Ariosto, Satira. INTRODUCTION TO CANTO IV. Thk first Canto of Cliilde Harold treats chiefly of Spain, the second of Greece, the thirdof the Rhine and Switzerland. In the autumn of 1816 Lord Byron removed to Italy, and itis to Italy that lie devoted the fourth Canto,—which in the opinion of many is the noblesteffort of his genius. It was begun at Venice in June 1817, and there finished in January1818; and hav

. High resolution scan of engraving by Gustave Doré illustrating Canto IV of Divine Comedy, Inferno, by Dante Alighieri. Caption: Homer, the Classic Poets . 30 January 2008. scanned, post-processed, and uploaded by Karl Hahn 174 DVinfernoHomerClassicPoets m Stock Photo

RMMWBFXE–. High resolution scan of engraving by Gustave Doré illustrating Canto IV of Divine Comedy, Inferno, by Dante Alighieri. Caption: Homer, the Classic Poets . 30 January 2008. scanned, post-processed, and uploaded by Karl Hahn 174 DVinfernoHomerClassicPoets m

RMH4KW34–William Blake after Mary Ann Flaxman, British (1757-1827), Canto IV, Verse 328, 1803, engraving

Scene from La Gerusalemme Liberata, Canto IV (title on object), Illustrations for La Gerusalemme liberata (series title), Ornamental border with flowers, plants, a hunting scene and an eagle., print maker: Martin Schedel, after drawing by: Giovanni Battista Piazzetta, publisher: Giambattista Albrizzi, 1745, paper, etching, height 290 mm × width 200 mm × height 381 mm × width 254 mm Stock Photo

RM2JE1ANY–Scene from La Gerusalemme Liberata, Canto IV (title on object), Illustrations for La Gerusalemme liberata (series title), Ornamental border with flowers, plants, a hunting scene and an eagle., print maker: Martin Schedel, after drawing by: Giovanni Battista Piazzetta, publisher: Giambattista Albrizzi, 1745, paper, etching, height 290 mm × width 200 mm × height 381 mm × width 254 mm

Preliminary study for cartoon for printed cotton The History of Henry the IV LHistoire de Henri IV. Research in ProgressSix islands show scenes from Voltaire's epic 'Henriade': upper left: Henry IV before his tent on the field of battle, outside the walls of Paris , counseling the Chevalier d'Aumale before his duel with Henry, Viscount of Tourenne (Canto X, lines 48-49); upper Preliminary study for cartoon for printed cotton The History of Henry the IV LHistoire de Henri IV Stock Photo

RM2BCWEXC–Preliminary study for cartoon for printed cotton The History of Henry the IV LHistoire de Henri IV. Research in ProgressSix islands show scenes from Voltaire's epic 'Henriade': upper left: Henry IV before his tent on the field of battle, outside the walls of Paris , counseling the Chevalier d'Aumale before his duel with Henry, Viscount of Tourenne (Canto X, lines 48-49); upper Preliminary study for cartoon for printed cotton The History of Henry the IV LHistoire de Henri IV

. A selection of posthumous poems. fcJfikjiO&CrfoAEA Sfar A mr^cdkiA2S^.^c^. Canto IV. When Phoebus from the slumbring east arose, And bathed his burning beard in oceans wave, The busy tribes awaking from repose, His fiery car its bright effulgence gave : Uprising like a flood of liquid gold, On wheels of sunbeams bright his chariot rolled. Then the blest human pair first woke from sleep, Morn, to their eyes displayed a thousand charms; Fair paradise around—their bosoms leap. For joy,—delight each happy spirit warms,— Sounds, as of music, melt upon the ear, With songs of birds, and streamlets Stock Photo

RM2AFXTKK–. A selection of posthumous poems. fcJfikjiO&CrfoAEA Sfar A mr^cdkiA2S^.^c^. Canto IV. When Phoebus from the slumbring east arose, And bathed his burning beard in oceans wave, The busy tribes awaking from repose, His fiery car its bright effulgence gave : Uprising like a flood of liquid gold, On wheels of sunbeams bright his chariot rolled. Then the blest human pair first woke from sleep, Morn, to their eyes displayed a thousand charms; Fair paradise around—their bosoms leap. For joy,—delight each happy spirit warms,— Sounds, as of music, melt upon the ear, With songs of birds, and streamlets

RMMX8DJ5–. High resolution scan of engraving by Gustave Doré illustrating Canto IV of Divine Comedy, Inferno, by Dante Alighieri. Caption: Homer, the Classic Poets . 30 January 2008. scanned, post-processed, and uploaded by Karl Hahn 174 DVinfernoHomerClassicPoets m

RM2JDXE61–Scene from La Gerusalemme Liberata, Canto IV (title on object), Illustrations for La Gerusalemme liberata (series title), Ornamental border with flowers, plants, a hunting scene and an eagle., print maker: Martin Schedel, after drawing by: Giovanni Battista Piazzetta, publisher: Giambattista Albrizzi, 1745, paper, etching, height 290 mm × width 200 mm × height 381 mm × width 254 mm

Childe Harold's pilgrimage : a romaunt . a home by a remoter sea, CANTO IV. childe harolds pilgrimage 197 IX. Perhaps I loved it well; and should I layMy ashes in a soil which is not mine,My spirit shall resume it—if we mayUnbodied choose a sanctuary. I twineMy hopes of being remember d in my lineWith my lands language : if too fond and farThese aspirations in their scope incline,—?If my fame should be, as my fortunes are,(If hasty growth and blight, and dull Oblivion bar X. My name from out the temple where the deadAre honourd by the nations—let it be—And light the laurels on a loftier head ! Stock Photo

RM2AWG50T–Childe Harold's pilgrimage : a romaunt . a home by a remoter sea, CANTO IV. childe harolds pilgrimage 197 IX. Perhaps I loved it well; and should I layMy ashes in a soil which is not mine,My spirit shall resume it—if we mayUnbodied choose a sanctuary. I twineMy hopes of being remember d in my lineWith my lands language : if too fond and farThese aspirations in their scope incline,—?If my fame should be, as my fortunes are,(If hasty growth and blight, and dull Oblivion bar X. My name from out the temple where the deadAre honourd by the nations—let it be—And light the laurels on a loftier head !

RMMYDKK2–. High resolution scan of engraving by Gustave Doré illustrating Canto IV of Divine Comedy, Inferno, by Dante Alighieri. Caption: Homer, the Classic Poets . 30 January 2008. scanned, post-processed, and uploaded by Karl Hahn 150 DVinfernoHomerClassicPoets m

RM2JDYY0Y–Scene from La Gerusalemme Liberata, Canto IV (title on object), Illustrations for La Gerusalemme liberata (series title), Ornamental border with flowers, plants, a hunting scene and an eagle., print maker: Martin Schedel, after drawing by: Giovanni Battista Piazzetta, publisher: Giambattista Albrizzi, 1745, paper, etching, height 290 mm × width 200 mm × height 381 mm × width 254 mm

St Nicholas [serial] . if to be less fair to meDoth hint a covert slur,Cried Jan, thou art a cravenAnd a common cockle-bur! • A cockle-bur ? cried Launcelot, With fury in his eye. Thou painted waxen jig-a-bob,Apologize or die ! With which he launched a swinging blow That touched a tender spot;Whereat Herr Jan straightway beganTo thump Sir Launcelot. Canto IV.Soon each for lack of breath gave back,And sprang upon his horse, Girt up his gear and couched his spear To lay his foe a corse;And with mad roars, like two wild boars, They hurtled down the wind;So swiftly, too, their good steeds flew The Stock Photo

RM2AJ6M78–St Nicholas [serial] . if to be less fair to meDoth hint a covert slur,Cried Jan, thou art a cravenAnd a common cockle-bur! • A cockle-bur ? cried Launcelot, With fury in his eye. Thou painted waxen jig-a-bob,Apologize or die ! With which he launched a swinging blow That touched a tender spot;Whereat Herr Jan straightway beganTo thump Sir Launcelot. Canto IV.Soon each for lack of breath gave back,And sprang upon his horse, Girt up his gear and couched his spear To lay his foe a corse;And with mad roars, like two wild boars, They hurtled down the wind;So swiftly, too, their good steeds flew The

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