This political caricature satirizes Fuseli's The Nightmare, utilizing the latter's Gothic theme to combine a fear of the unknown with a critique of government exploitation.John Bull (indicated by the name on the chamber pot under his bed) sleeps under a grey blanket, surrounded by green curtains. His mouth is open as he snores.

Henry Fuseli is known for his grotesque, eerie images, especially The Nightmare, which he painted in 1781 (Fuseli 64). In Midnight, a much earlier work, he creates a contrast between light and darkness that is reminiscent of the spectacle shows of the Romantic era.

John Skippe was better known as a collector than as an artist, and he is generally considered an amateur with regard to both his woodcuts and his later paintings (Burch 78). However, he did introduce an old Italian tradition into the world of Romantic Britain, creating this particular woodcut in the style of Antonio Maria Zanetti.

This image is an illustration for paragraph 1271 of Emanuel Swedenborg's Arcana Coelestia. This paragraph describes demons who

John Martin was one of the most popular artists of his day. The artist Thomas Cole, the author Victor Hugo, and the composer Hector Berlioz all drew inspiration from Martin’s work. He was one of the few painters who did his own engravings. The text of Paradise Lostitself was also a consistent source of inspiration for Romantic art.

This image is an illustration for Robert Paltock’s book, The Life and Adventures of Peter Wilkins, a Cornish Man. The scene is not taken directly from the text, but portrays Peter, his children, and three of the flying men he encounters on his journey (Paltock 8).