This is the first edition of Dante's Inferno in which both the translation and the illustrations were done by the same person. Two representive illustrations are depicted in this record. In the image illustrating Canto III, Phillips describes the changes in his notes to the book. "Not satisfied with any of the colour trials I made in the first version of this, which depicted the dreary waters of the Styx, I cut the various proofs into strips and brought different versions into conjunction, hence the appropriate half repetition of the short text which, together with the recapitulations of the same stretch of the sombre steam, suggests the monotony of Charon's task as Ferryman. The words 'bitter boating' seemed also to echo his mocking speech."In the image that illustrates Canto V from the initial proof copy, Phillips eliminated the calligraphic text of the poem, changed the background from black to gray and pink, painted a giant phallus with balls entering the vagina, printed the Humument text without its page. The entwined male and female figures are less distinct against the new background, but the geometrical forms of the background suggest sexual intercourse as does the obvious phallus and vagina. The Humument poem reads the same as the proof copy, "all the time -For all the time - a curse for ever! - a tissue of interlacing twofold consciousness - ourselves united - passion all the time." In his iconographical notes and commentary on the illustrations in the Thames and Hudson edition Phillips writes, "The punishment for illicit love, at least in the case of Paolo and Francesca, seems to be that the lovers are locked in an eternal embrace, the greatest pain to be the infinite repetition on an initially pleasurable act. The coital couple here repeated to represent that fate are taken from a film still (I don't remember the name of the film) from a 1978 issue of Time Out. The appearance here of an interior text, unusual in the frontispiece of a Canto, shows that it was one of the first illustrations to be devised, ie. before the eventual strategies of the book were settled upon. The entire picture is itself repeated in reverse/negative to open Canto XV which deals with the sodomites." -- Source of annotation: Marvin or Ruth Sackner.