This portrayal of Mount Vesuvius’ previous lava flow hints that Romantic culture was cultivating a new interest in volcanism, bolstered by scientific advancements. The image’s significance is neither sublime nor picturesque, yet John Auldjo still drew, copied, and sold this map successfully.

This image of Mount Helena marks a turning point for volcanic depictions in Romantic culture. The fear and awe once evoked by images of rampant volcanoes is little more; instead, Mount Helena is seen as powerless and at rest. One could draw a political parallel to Napoleon as he is also “at rest,” lacking the power he once possessed.

As a scientific explorer for King George III, Joseph Banks’ account of the volcano represents how information was recorded during expeditions of volcanoes. This excerpt from Banks’ journal shows how descriptive he is of the mountain. Banks speaks of what materials form the crater; however, unlike modern scientific accounts, the excerpt contains little measurements or precise data.

Column of Smoke is a scientific illustration of an erupting volcano, drawn for the purpose of studying Mount Vesuvius. However, because scientific studies of volcanoes were still not taken seriously, this image went unappreciated for decades.

As noted by curator Andrew Stevens (Chazen Museum, University of Wisconsin), this “painting is a pastiche of second-hand Italianate architecture and geography imagery supplemented with the artist's own knowledge of Welsh mountain vistas.

During the latter part of their honeymoon in 1837-38, Hannah Palmer and her husband Samuel, also a painter and a follower of William Blake, spent much time sketching at Pompeii. For this view, she chose a recently uncovered portion of the city.