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| Andrea Zucchi after Parmigianino Adam eating the Apple 1786 etching and engraving Royal Academy of Arts, London |
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| Conrad Martin Metz after Peter Paul Rubens Icarus 1789 etching Royal Academy of Arts, London |
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| Charles Grignion after Henry Fuseli Cain 1791 etching and engraving Royal Academy of Arts, London |
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| Thomas Holloway after Henry Fuseli Seated Figure 1793 etching and engraving Royal Academy of Arts, London |
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| Thomas Holloway after Henry Fuseli Crossed Man's and Woman's Hands 1797 etching and engraving Royal Academy of Arts, London |
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| William Blake after Henry Fuseli Fertilization of Egypt 1791 engraving (illustration to The Botanic Garden by Erasmus Darwin) Royal Academy of Arts, London |
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| William Blake after Henry Fuseli Fantasy Portrait of Michelangelo dwarfing the Roman Coliseum 1801 etching and engraving Royal Academy of Arts, London |
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| Carlo Lasinio after Francesco Carradori Sculpture - Execution and Restoration 1802 etching Royal Academy of Arts, London |
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| Carlo Lasinio after Francesco Carradori Sculpture - Low Relief in Clay and Making Molds for Casting 1802 etching Royal Academy of Arts, London |
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| Carlo Lasinio after Francesco Carradori Sculpture - Measuring 1802 etching Royal Academy of Arts, London |
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| Carlo Lasinio after Francesco Carradori Sculpture - Measuring for Reproduction 1802 etching Royal Academy of Arts, London |
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| Carlo Lasinio after Francesco Carradori Sculpture - Measuring and Enlarging 1802 etching Royal Academy of Arts, London |
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| Carlo Lasinio after Francesco Carradori Sculpture - Cast of Écorché Figure 1802 etching Royal Academy of Arts, London |
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| John Thompson after William Holman Hunt The Lady of Shalott 1857 wood-engraving (book illustration) Royal Academy of Arts, London |
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| Edward and Thomas Dalziel after Arthur Boyd Houghton An English Drawing Room 1866 wood-engraving (book illustration) Royal Academy of Arts, London |
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| Wilhelm Hecht after Christoph Roth Model of an Athlete 1870 wood-engraving Royal Academy of Arts, London |
from The Fatalist
The best words get said frequently – they are like fertile pips.
Apples fall heavily to the ground and lie in the sun, their scent
abandoning them as a philosophy which canot be further perfected. Love
releases playful sensations even from serious things providing a life
to think about. Take R – the only thing
R could credit herself with was having lived
her life and so she not only kept an account of it
but did so not in the privacy of a diary but in the form of letters
– abundant, profligate, indiscrete – that I want to write
to you so as to note something that I read
this morning: "It's not that this or that means something
to me but this! – or that! – mean something to me." Musically
R bequeaths herself to posterity as a scholar might
bequeath his or her library blowing twisted veils of rain
past the narrow and curving windows in the last hour that will carry us along
to the time when those who come after us will learn
what we know – a man with a mustache waxed and dyed
green, a line of tall people and a woman at the door, a committee
of children without scooters but not mournful, a poet with a motive, a pilot
with a flashlight, a sulking but fascinated scholar, and Goethe no doubt
for whom R would have released a flock of red canaries.
– Lyn Hejinian (2003)