The visual differences between the 1790 Morgan edition of Blake’s poem “The Marriage of Heaven and Hell” and the 1794 edition held at the Fitzwilliam Museum create a considerable difference in the interpretation of the poem. The 1790 edition plates are primarily made up of lighter and softer toned illustrations. These cooler color patterns of the 1790 edition create a lighter mood for the work. The angelic spin on the images of the Morgan edition hint to disparage the Swedenborg idea that “evil is hell” (Blake 3). While the 1794 edition of Blake’s work casts a darker and more evil tone on the poem by the use of brighter and darker toned images. While in the 1790 edition the fire of hell is less emphasized, the 1794 edition brings out the visual images of flames with the darker shades of red and orange seen in even the small illustrations on plate 10, http://www.blakearchive.org/exist/blake/archive/object.xq?objectid=mhh.e.illbk.06&java=yes, versus the more angelic mood displayed in the 1790 edition of plate 10, http://www.blakearchive.org/exist/blake/archive/comparison.xq?selection=compare&copies=mhh.c&bentleynum=B6©id=mhh.e&java=yes. The 1794 edition shows Blake’s move toward a more evil, terrifying interpretation of the devil and hell opposed to the 1790 tranquil, angelic depiction.