The Acrostic Paradise Lost by John Milton and Terrance Lindall

! 10!
even wrote a poem entitled Milton, designed and hand-colored as with other of Blake’s
great works), but because he brought to life, as did Martin his near-contemporary,
Milton’s epic in a new way for many generations to follow. Certain artists, like Blake,
worked painstakingly to make each illustration an original or as close to what the artist
intended as possible; Lindall has been like that as well.
Gustave Doré, later in the century, followed in the footsteps of Martin and brought
Milton’s epic alive for every generation after him, as did Blake; the two being among the
most popular and most known of 19 th century artists and illustrators of Paradise Lost.
Doré and Blake so dominated the scene that most illustrated editions of Paradise Lost or
of Milton’s poems make use of their illustrations in one way or another. Only later, when
moving into the 20 th century, did Martin become something of the same icon, with his
illustrations of Paradise Lost used more regularly and more and more often with editions
of Paradise Lost or of Milton’s poems.
Along that great continuum of highly regarded and well-known artists who have
illustrated Paradise Lost, belongs the remarkable Terrance Lindall, taking second place
to no one in his love and knowledge of, or devotion to Milton, or in his capacity to bring
alive in remarkably vibrant new ways and in a new age, the poet for all ages, whose epic
stands next to and even above that of Homer and Vergil.
His illustrations incorporate “the artist’s [Lindall’s] concepts. . .the best since Blake and
Doré” (Nancy Charlton), with, in my view, John Martin hovering strongly in the
background, especially in certain of Lindall’s illustrations where space and dimension
allow the conjuring up of landscapes, colors, sensations, and artistic visions without
confining them. If nothing else, although there is more, so very much more, Martin and
Doré, along with Lindall now, show us that the use of space helps to accomplish all of the
above and more, seen in the brilliant colors and breath of vision in Lindall and in Blake
before him.
“Eerie, magical, dreamlike, devastating, jarring. . .Lindall's illustrative style is
magnificent!," declared Julie Simmons, Heavy Metal Editor in Chief, 1980.
"Lindall's use of color & detail to achieve effect, his dramatic compositions, but most of
all his totally unique vision make him a new wave artist to be reckoned with," according
to Louise Jones (now Louise Simonson), Warren Communications Senior Editor, 1980.
"Lindall's striking and unique visionary fantasy art is breaking new ground in the field, "
exclaimed David Hartwell, Pocket Books Senior Editor, 1980.
Such early rave reviews continue today, as Lindall continues to assert his stature as
illustrator and singular visionary illustrator of Milton’s Paradise Lost
"My reward for the purchase of a Lindall masterwork has been a cover that draws raves.
It is a very valuable addition to my collection of fine art," claims Stuart David Schiff,