Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton'sParadise Lostinto a series of 40 pictures that were exhibited in London in 1799 and 1800. Starting from Fuseli's adaptation, Luisa Cal? analyzes how visual practices impact on the act of reading and calls into question the separation of reading and viewing as autonomous aesthetic practices.
Introduction: Turning Readers into Spectators 1. The Literary Galleries, the Market, and the Field of Art 2. The Spectator Turned Reader: Printed Text at the Galleries 3. The Reader Turned Spectator: Visual Narratives 4. 'Satan encountering Death, Sin interposing': The Politics of Miltonic Visualization 5. The Plot of Adam and Eve Conclusion Appendix: 'List of the Pictures in the Milton Gallery'