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| Jean-François Lassave Portrait of Catherine Meneau, wife of the artist ca. 1780 oil on canvas Musée des Augustins de Toulouse |
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| William Beechey Portrait of Mary Constance ca. 1782-87 oil on panel Denver Art Museum |
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| Thomas Gainsborough Portrait of Lady Anna Horatia Waldegrave ca. 1783 oil on canvas Detroit Institute of Arts |
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| Alexander Runciman Woman with Cello before 1785 etching British Museum |
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| Richard Cosway Portrait of Maria Cosway 1785 oil on canvas Newport Mansions Preservation Society, Rhode Island |
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| Johann Heinrich Ramberg Study of a Fashionable London Woman ca. 1785 ink and watercolor on paper British Museum |
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| Antoine Vestier Portrait of coloratura soprano Rose Renaut 1791 oil on canvas Phoenix Art Museum, Arizona |
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| Christian Gullager Posthumous Portrait of Matilda Davis Williams ca. 1791-92 oil on canvas Smithsonian American Art Museum, Washington DC |
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| James Gillray Billingsgate Eloquence (caricature of Lady Cecilia Johnston) 1795 hand-colored etching British Museum |
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| Józef Grassi Portrait of Grand Duchess Elena Pavlovna 1802 oil on canvas Pavlovsk Museum, Saint Petersburg |
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| Friedrich Carl Gröger Portrait of Frederica von Mecklenburg-Strelitz ca. 1805 oil on canvas private collection |
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| Louise Hersent Portrait of a Young Woman 1806 oil on canvas Bowes Museum, Barnard Castle, County Durham |
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| Adriaan de Lelie Young Woman with a Letter ca. 1810 oil on panel Rijksmuseum, Twenthe |
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| Joseph Slater Portrait Study of a Woman ca. 1810-15 drawing British Museum |
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| Thomas Sully Mrs. Klapp (Anna Milnor) 1814 oil on canvas Art Institute of Chicago |
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| Julius Schnorr von Carolsfeld Portrait of Vittoria Caldoni (well-known artist's model in Rome) 1821 drawing Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Rudolf Schadow Portrait of Vittoria Caldoni (artist's model in Rome, universally idealized) ca. 1821 marble Neue Pinakothek, Munich |
But the real Columbus here was Blake, who from 1780 onwards wrote such things as –
The wild winds weep
And the night is a-cold;
Come hither, Sleep,
And my griefs unfold.
But lo! the morning peeps
Over the eastern steeps,
And the rustling beds of dawn
The earth do scorn.
Lo! to the vault
Of pavèd heaven,
With sorrow fraught,
With sorrow fraught,
My notes are driven.
They strike the ear of night,
Make weep the eyes of day;
They make mad the roaring winds,
And with tempests play.
Like a fiend in a cloud,
With howling woe
After night I do crowd
And with night I will go;
I turn my back to the East,
From whence comforts have increased,
For light doth seize my brain,
With frantic pain.
(This cannot be studied too carefully, and is almost a typical example of sound prosody, orderly without monotony and free without licence. Every substitution is justified, both on the general principles expounded throughout this book, and to the ear in each individual case.)
– George Saintsbury, from Historical Manual of English Prosody (1910)