The Overthrow of Apollo and the Pagan Gods, watercolour from William Blake's illustrations of On the Morning of Christ's Nativity ( 1809 )

William Blake's depiction of Nebuchadnezzar.

Job and his tormentors, one of William Blake's William Blake's Illustrations of the Book of Job | illustrations of Job.

William Blake's image of the Minotaur to illustrate Inferno XII

This unusual association of the Minotaur with Centaurs, not made in any Classical source, is shown visually in William Blake's rendering of the Minotaur ( illustration ) as a kind of taurine centaur himself.

The line " Some are born to sweet delight, some are born to endless night " from " End of the Night " is a quote from William Blake's poem " Auguries of Innocence ".

The book takes the form of Huxley ’ s recollection of a mescaline trip that took place over the course of an afternoon, and takes its title from William Blake's poem The Marriage of Heaven and Hell.

Harold Raymond, at his publisher Chatto and Windus, said of the manuscript, “ You are the most articulate guinea pig that any scientist could hope to engage .” The title was taken from William Blake's poem The Marriage of Heaven and Hell:

The title refers to William Blake's The Marriage of Heaven and Hell.

He collaborated with Edwin Ellis on the first complete edition of William Blake's works, in the process rediscovering a forgotten poem " Vala, or, the Four Zoas ".

Years later, and moments before his death, Gull has an extended mystical experience, where his spirit travels through time, observing the crimes of the London Monster, instigating or inspiring a number of other killers ( Peter Sutcliffe, Ian Brady ), causing Netley's death, as well as serving as the inspiration for both Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde and William Blake's painting " The Ghost of a Flea ".

This was the inspiration for William Blake's mystical hymn Jerusalem.

William Blake's watercolour and relief etching entitled " The Ancient of Days " is one such example.

During the filming, the character of Albert Fosdike, " Shorty " Blake's brother-in-law, was recast after actor William Hartnell turned up late for his first day of shooting.

When he learns Blake's full name, Nobody decides Blake is a reincarnation of William Blake, a poet whom he idolizes but of whom accountant Blake himself is ignorant.

One of William Blake's illustrations of On the Morning of Christ's Nativity | Blake's illustrations of On the Morning of Christ's Nativity, the On the Morning of Christ's Nativity | poem by John Milton

Fearful Symmetry is a phrase from William Blake's poem The Tyger ( Tyger, tyger, burning bright / In the forests of the night, / What immortal hand or eye / Could frame thy fearful symmetry ?).

Hunter was the basis for the character " Jack Tearguts " in William Blake's unfinished satirical novel, An Island in the Moon.

He connects this feeling to William Blake's poem The Tyger, which is quoted piecemeal throughout the entire novel:

William Blake's Vision of the Last Judgment 1808

< center > Illustrated Map of Pony Express Route in 1860 </ center >< center > by William Henry Jackson </ center >< center > ~ Courtesy the Library of Congress ~</ center >< center > The Pony Express mail route, April 3, 1860 – October 24, 1861 ; Reproduction of Jackson illustration issued to commemorate the 100th anniversary of Pony Express founding on April 3, 1960.

Leslie illustration of Act 4, Scene 3 from the The Illustrated London News | Illustrated London News, 3 Nov. 1886 ; engraved by William Luson Thomas

Henry Courtney Selous | H. C. Selous ' illustration of Sly and the Hostess in the Induction ; from The Plays of William Shakespeare: The Comedies, edited by Charles Cowden Clarke and Mary Cowden Clarke ( 1830 )

William Quiller Orchardson's illustration of Sly and the Lord in the Induction, engraved by Charles William Sharpe ; from the Imperial Edition of The Works of Shakespere, edited by Charles Knight ( publisher ) | Charles Knight ( 1876 )

" Use of rockets from boats "-An illustration from William Congreve's book.

Two of the Pendle witches, tried at Lancaster in 1612, in an illustration from William Harrison Ainsworth's 1849 novel, The Lancashire Witches ( novel ) | The Lancashire Witches.

He depicted the widow in his illustration of the poem Schoolmistress by William Shenstone.

Her illustration projects in the late 1890s included The Illustrated Verses of William Butler Yeats, a book on the actress Ellen Terry by Bram Stoker, and two of her own books, Widdicombe Fair and Fair Vanity.

She also continued her illustration work, taking on projects for William Butler Yeats and his brother, the painter Jack Yeats.

H. C. Selous ' illustration of Talbot engaging in battle in Act 4, Scene 6 ; from The Plays of William Shakespeare: The Historical Plays, edited by Charles Cowden Clarke and Mary Cowden Clarke ( 1830 )

Henry Courtney Selous | H. C. Selous ' illustration of the Cade Rebellion in Act 4, Scene 2 ; from The Plays of William Shakespeare: The Historical Plays, edited by Charles Cowden Clarke and Mary Cowden Clarke ( 1830 )

H. C. Selous ' illustration of the father and son tragedy in Act 2, Scene 5 ; from The Plays of William Shakespeare: The Historical Plays, edited by Charles Cowden Clarke and Mary Cowden Clarke ( 1830 )

The obverse scene is derived from Randolph Caldecott's front cover illustration for The Diverting History of John Gilpin ( based on a 1782 poem by William Cowper ), in which Gilpin is astride a runaway horse.

Trickster subplot in The Relapse: Tom Fashion, pretending to be Lord Foppington, parleys with Sir Tunbelly Clumsey in a 19th-century illustration by William Powell Frith.

18th century illustration of William York, age 10, murdering Susan Matthew, age 5, on 13 May 1748, from The Newgate Calendar.

18th century illustration of William York, age 10, murdering Susan Matthew, age 5, on 13 May 1748, from The Newgate Calendar.

Henry Courtney Selous | H. C. Selous ' illustration of Valentine and Proteus ' farewell in Act 1, Scene 1 ; from The Plays of William Shakespeare: The Comedies, edited by Charles Cowden Clarke and Mary Cowden Clarke ( 1830 )

Although keyless chanters seem to have been common for much of the 18th century, the earliest evidence of the introduction of a keyed chanter is the illustration and fingering chart in John Peacock's tunebook, A Favorite Collection of Tunes with Variations Adapted for the Northumberland Small Pipes, Violin, or Flute, first published by William Wright, of Newcastle, in about 1800.

Battle of Pinkie, woodcut illustration from William Patten, ( 1548 )

The floras were illustrated by Walter Hood Fitch ( trained in botanical illustration by William Hooker ), who would go on to become the most prolific Victorian botanical artist.

15th century illustration from the Old French translation of William of Tyre's Histoire d ' Outremer.

The front cover illustration was by Wayne Reynolds and the back cover illustration is by Brian Hagan, with interior illustrations by Rob Alexander, Steve Argyle, Wayne England, Jason Engle, David Griffith, Espen Grundetjern, Brian Hagan, Ralph Horsley, Howard Lyon, Lee Moyer, William O ' Connor, Wayne Reynolds, Dan Scott, Ron Spears, Chris Stevens, Anne Stokes, and Eva Widermann.