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    <image:image>
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      <image:title>Essay - On the 200th Anniversary of Percy Bysshe Shelley’s Death: A Brief Introduction - Make it stand out</image:title>
      <image:caption>Porto Venere, Spezia, Italy (1878) by William Stanley Haseltine. The painting depicts a solitary vessel in stormy Italian seas in the Gulf of La Spezia, or the Gulf of Poets, beneath the ruins of Doria Castle and San Pietro, a Roman Catholic church built upon an ancient pagan temple. Just across the bay from Porto Venere is Casa Magni, Shelley’s last residence before his death.</image:caption>
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      <image:title>Essay - On the 200th Anniversary of Percy Bysshe Shelley’s Death: A Brief Introduction - Make it stand out</image:title>
      <image:caption>Death on a Pale Horse (1796) by Benjamin West. Although Shelley draws heavily from the Book of Revelation, it is possible Shelley was familiar with West’s 1817 painting (based on the 1796 version above) which was both exhibited and written about at the time. Last came Anarchy: he rode On a white horse, splashed with blood; He was pale even to the lips, Like Death in the Apocalypse. And he wore a kingly crown, And in his grasp a sceptre shone; On his brow this mark I saw— ‘I AM GOD, AND KING, AND LAW.’</image:caption>
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      <image:title>Essay - On the 200th Anniversary of Percy Bysshe Shelley’s Death: A Brief Introduction - Make it stand out</image:title>
      <image:caption>Keats Listening to a Nightingale on Hampstead Heath (1845) by Joseph Severn. The nightingale is seen illumed by the moon in the top left corner of the painting. Severn’s painting, like Shelley’s lines above, presents a natural duality of darkness and light.</image:caption>
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      <image:title>Essay - On the 200th Anniversary of Percy Bysshe Shelley’s Death: A Brief Introduction - Make it stand out</image:title>
      <image:caption>The Grave of Keats (1873) by Walter Crane. Before leaving Rome in 1873, Crane wrote, “I had, too, some little commissions to finish. Among these was a drawing of Keats’s grave at the Protestant Cemetery, which I had undertaken for Mr. George Howard, for whom the previous spring I had done a drawing of Shelley’s tomb.”</image:caption>
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      <image:title>Essay - On the 200th Anniversary of Percy Bysshe Shelley’s Death: A Brief Introduction - Make it stand out</image:title>
      <image:caption>The Grave of Shelley (1872) by Walter Crane. The grave of Shelley is located in the background, “beneath one of the antique weed-grown towers” of the Aurelian wall. In the same letter before leaving Rome in May of 1873, Crane continues, “Working in that restful garden, beneath the murmur of the cypresses, one might almost feel the spirits of the poets still haunted the place, and could understand the feeling expressed by Shelley that ‘it might make one almost in love with death to think that one should be buried in so sweet a spot.’ As an ardent admirer of both poets I was proud to offer my small tribute to their genius and memory.”</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/611808efb386442902fbec91/07c86e35-571d-4d3a-9d22-fd8d87241143/Dante+Gabriel+Rossetti+How+They+Met+Themselves+Doppelg%C3%A4nger.jpg</image:loc>
      <image:title>Essay - On the 200th Anniversary of Percy Bysshe Shelley’s Death: A Brief Introduction - Make it stand out</image:title>
      <image:caption>How They Met Themselves (1860) by Dante Gabriel Rossetti. Often in folklore, meeting one’s doppelgänger is thought to foreshadow one’s death. Strangely enough, Rossetti painted this particular version of the doppelgänger while on honeymoon with Elizabeth Siddal. Tragically, Siddal would die just two years later at the age of 32 from an overdose of laudanum. It was possibly suicide.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/611808efb386442902fbec91/4e305105-7f8c-4f49-913a-f6f0b14b52b7/Moon+Path+by+Ivan+Aivazovsky+On+the+200th+Anniversary+of+Shelley%27s+Death+Faust.jpg</image:loc>
      <image:title>Essay - On the 200th Anniversary of Percy Bysshe Shelley’s Death: A Brief Introduction - Make it stand out</image:title>
      <image:caption>Moon Path by Ivan Aivazovsky (1817 – 1900). The painting, although not depicting the “delightful bay [of La Spezia]” described in Shelley’s letter, is most certainly “another world” of Faustian beauty.</image:caption>
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      <image:title>Dracula Essays - Haunted Seascapes and Sublime Terror in Murnau’s Nosferatu and Friedrich’s Monk by the Sea - Make it stand out</image:title>
      <image:caption>Fig. 1. Caspar David Friedrich, Monk by the Sea (Der Mönch am Meer), c. 1808-10, oil on canvas, 110 x 171.5 cm, Alte Nationalgalerie, Berlin/Photo: Andres Kilger CC BY-NC-SA 4.0</image:caption>
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      <image:title>Dracula Essays - Haunted Seascapes and Sublime Terror in Murnau’s Nosferatu and Friedrich’s Monk by the Sea - Make it stand out</image:title>
      <image:caption>Fig. 2. Ellen on the seashore in Nosferatu: A Symphony of Horror (Nosferatu: Eine Symphonie des Grauens), directed by F. W. Murnau (Prana-Film, 1922)</image:caption>
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      <image:title>Dracula Essays - The Vampire, A Mythical Monster For Eternity - Make it stand out</image:title>
      <image:caption>1. Martin Schongauer, Saint George, c. 1480-1490. Engraving.</image:caption>
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      <image:title>Dracula Essays - The Vampire, A Mythical Monster For Eternity - Make it stand out</image:title>
      <image:caption>2. Francisco Goya. The Sleep of Reason Produces Monsters. (No. 43) from Los Caprichos. 1799. Etching with aquatint.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/611808efb386442902fbec91/5d72114c-5acf-407f-aa1e-585ae5e5547c/litho.jpg</image:loc>
      <image:title>Dracula Essays - The Vampire, A Mythical Monster For Eternity - Make it stand out</image:title>
      <image:caption>3. Lithograph by R. de Moraine from 1864 showing townsfolk burning the exhumed skeleton of an alleged vampire. Book - Les tribunaux secrets.</image:caption>
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      <image:title>Dracula Essays - The Vampire, A Mythical Monster For Eternity - Make it stand out</image:title>
      <image:caption>4. Törtzburger Pass. Bran Castle. Lithograph  by Ludwig Rohbock. 1883.</image:caption>
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      <image:caption>5. The kiss of vampire. Illustration from Max Ernst's Une Semaine de Bonté. Collage novel. 1934.</image:caption>
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      <image:caption>The illustration beautifully incorporates actual photographs of Clay’s beloved dogs. Blue, the chocolate lab, and Anna, the basset hound, are both poised next to an image of Boatswain’s Monument, the tomb of Lord Byron’s own beloved dog. Anna died on the very day Clay visited the tomb at Newstead Abbey in October 2018, just days before travelling to Whitby and beginning the poem, which is why it was important to include in the illustration.</image:caption>
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      <image:caption>This is Eli John’s illustration to Clay Franklin Johnson’s poem “The Fires of Ecstasy at Samhuinn”, a Keatsian poem of mythology, mortality, and metamorphosis.  The poem was inspired by Edinburgh’s Samhuinn Fire Festival 2018 that took place atop Calton Hill.</image:caption>
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      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’</image:title>
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      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’</image:title>
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      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’ - Walter Crane</image:title>
      <image:caption>La Belle Dame sans Merci (1865)</image:caption>
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      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’ - John William Waterhouse</image:title>
      <image:caption>La Belle Dame sans Merci (1893)</image:caption>
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      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’ - Frank Dicksee</image:title>
      <image:caption>La Belle Dame sans Merci (c. 1901)</image:caption>
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      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’ - Henry Meynell Rheam</image:title>
      <image:caption>La Belle Dame sans Merci (1901)</image:caption>
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      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’ - Frank Cadogan Cowper</image:title>
      <image:caption>La Belle Dame sans Merci (1926)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/611808efb386442902fbec91/f762f8b9-a5be-45c6-85c0-75eef24caa3e/Beloved+Blue+and+Anna+Whitby+Abbey+poem+Boatswain%27s+Tomb+Lord+Byron.jpg</image:loc>
      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’ - Make it stand out</image:title>
      <image:caption>This is a detail from the third and final illustration to my poem ‘Lines Written by Moonlight at Whitby Abbey’ that honors both my Blue and Anna — these are actual photographs of my beloved pooches incorporated into the illustration, and behind them is Boatswain’s Tomb, complete with ‘Epitaph to a Dog’.</image:caption>
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      <image:title>Gothic Faerie Essay - ‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’</image:title>
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      <image:title>A Ride Through Faerie &amp; Other Poems</image:title>
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      <image:title>A Ride Through Faerie &amp; Other Poems</image:title>
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      <image:title>A Ride Through Faerie &amp; Other Poems</image:title>
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      <image:title>A Ride Through Faerie &amp; Other Poems</image:title>
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      <image:title>A Ride Through Faerie &amp; Other Poems - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>A Ride Through Faerie &amp; Other Poems - Make it stand out</image:title>
      <image:caption>The poem was inspired by Edinburgh’s Samhuinn Fire Festival that took place atop Calton Hill on 31 October 2018, which is both Halloween and Keats’s birthday. The illustration depicts the view from the hill with Edinburgh’s Gothic skyline in the background, while the focal point represents the metamorphosis of the goddess Brìghde (associated with spring) into the blue-skinned Cailleach (from Old Irish Caillech, “veiled one”), also known in Scotland as Beira, Queen of Winter.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/611808efb386442902fbec91/aab900f1-55bf-4578-af9f-02966855b6be/Edinburgh+Ecstasies+Clay+Franklin+Johnson.jpg</image:loc>
      <image:title>A Ride Through Faerie &amp; Other Poems - Make it stand out</image:title>
      <image:caption>The poem was partly written at The Jolly Botanist in Edinburgh (note the long-stemmed teacups in the bottom left), and partly inspired by Percy Bysshe Shelley’s verse drama The Cenci (1820), based on the tragic story of Beatrice Cenci. According to Mary Shelley, Percy was inspired to write the drama after viewing the supposed portrait of Beatrice in Rome. That very portrait is included in the illustration above.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/611808efb386442902fbec91/340308ec-136a-4938-9a2a-19679fdfd1b7/Lines+Written+by+Moonlight+at+Whitby+Abbey.jpg</image:loc>
      <image:title>A Ride Through Faerie &amp; Other Poems</image:title>
      <image:caption>This is the second illustration of three from “Lines Written by Moonlight at Whitby Abbey”. To see the third illustration read the full poem here.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/611808efb386442902fbec91/6f786651-a339-4635-88c8-4ca557c48e2f/My+Little+Green+Secret+Clay+F.+Johnson.jpg</image:loc>
      <image:title>A Ride Through Faerie &amp; Other Poems - Make it stand out</image:title>
      <image:caption>The illustration illustrates quite perfectly the poem’s inspiration: arsenic-laced Emerald Green Victorian wallpaper. The arsenical pigments were also known as Paris Green and Scheele’s Green, and were used in paintings, ball gowns, artificial foliage, and even in candies. The antagonist of the poem, a Gothic Barry Lyndon of sorts, secretly administers this slow-killing poison in the guise of sore-concealing cosmetics.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>An Essay on the 50th Anniversary of Stanley Kubrick’s Barry Lyndon, by Alexander Larman</image:caption>
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      <image:caption>An Essay on the 250th Anniversary of Jane Austen’s Birth, by Professor Janet Todd</image:caption>
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      <image:caption>‘In faery lands forlorn’: Celtic and Keatsian Influences in ‘A Ride Through Faerie’</image:caption>
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      <image:caption>Gothicized, Glamourized, Mythologized: The Funeral of Percy Bysshe Shelley</image:caption>
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      <image:caption>Bram Stoker’s Dracula and Beyond: The 125th Anniversary of the Vampire Myth</image:caption>
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      <image:title>Essays - ‘I am borne darkly, fearfully, afar’: Essays in Honour of Percy Bysshe Shelley on the Bicentenary of His Death, 1822 – 2022</image:title>
      <image:caption>‘I am borne darkly, fearfully, afar’: Essays in Honour of Percy Bysshe Shelley on the Bicentenary of His Death, 1822 – 2022</image:caption>
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      <image:caption>‘mad, bad and dangerous to know’: Poetry in Honour of Lord Byron for the Bicentenary of His Death</image:caption>
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      <image:caption>Illustrations to A Ride Through Faerie and Other Poems (2021), by Clay Franklin Johnson</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Books - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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