Romantik: Journal for the Study of Romanticisms started out as ap rint publication but has for an umber of years been ap eriodical with open access. All articles published during the lifetime of the journal are now available in various digital formats. The development of the journal reflects how the reading, viewing, and conceptualization of romanticism is changing. As students and researchers, we find ourselves in the fortunate situation that anumber of digital projects related to the texts and art of the romantic period havereceived funding, and more such projects will undoubtedly emerge in the years to come. There is acertain comfort and convenience in handling print material, but the new digital platforms bring several advantages: they are searchable in terms of content, and it is often possible to zoom in to study artworks or facsimiles of book pages close up. The photomechanical reproductions that are confined to the printed book remain inflexible in this regard.One of the romantic-period artists who has benefitted greatly from the new technology is William Blake (1757-1827). His composite art, combining both illustration and text (what he himself referred to as 'illuminated printing' in his 1793 prospectus), can now be accessed as high-resolution images on The William Blake Archive (http://www.blakearchive.org/). Launched in 1996, this archivew as one of the earliest free websites focusing on romantic texts with a visual component. The scope, content, and features of the platform havee xpanded exponentially over the years. As all areas of individual plates or pictures havebeen tagged with detailed descriptions, it is now possible to explore alarge body of Blake'spictorial art by using the image-searching tool. Users are able to scrutinise the minute particulars of an image in high resolution without the need to touch the often fragile original, and the Archive affords users the possibility of comparing different versions of plates from several copies. For example, one may study the widely diverse colourings of Blake'si llustration to his famous poem 'The Tyger' and ponder how each version may convey adifferent idea of the animal, which come across as either ferocious or (most often) alittle tame. Such acomparativestudy would havebeen well-nigh impossible for researchers
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