The majority of this plate from The Marriage of Heaven and Hell (1960 facsimile) is comprised of green text on a white backdrop. In between lines, as well as in margins, there are some miniature illustrations. Blue landscape, whether it be sea or sky, fills much of what would otherwise be blank space. Bordering the words “Proverbs of Hell” are two scenes with human figures. To the left of the title, an old, hunched, male figure is clutching a walking stick. On the right of the title, several human figures are confronted by a snake that appears to be flying through the air. The humans have their arms raised in fright, while the snake bares its fangs in a vicious display. In another miniature scene, a nude male figure has his arms outstretched as if he is mid-movement. At the bottom of the plate, an angel wearing a long yellow robe is playing a trumpet while a large snake-like creature appears to swim alongside the angel.
This photograph of a replica of the type of printing press used by Blake was included with Michael Phillips’s 2016 facsimile of Songs of Innocence and of Experience. It is housed at Oxford University. Phillips used it to print his reproduction.
In the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (2016 facsimile), an elderly couple appears to have died recently. They lie side by side in a bed with their arms stretched out flat at their sides. At the foot of the bed, on either side, is a woman. Both women appear to be distressed and have their hands in front of them in grief or prayer. The words that comprise the title are surrounded by delicate flowers, as well as two figures with legs extended in a sort of dance pose. The picture juxtaposes joy and agony - surely two key components of ‘experience’.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Michael Phillips’s black and white impression of this plate, for example, allows some details to emerge that are easier to see without color, such as the date of 1794 on the bedpost and some of the leaves that are hugging the title. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image from the “experience” section of Songs of Innocence and of Experience (2016 facsimile), an old man with a long beard and robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. In this black and white print, for example, the impact of the beam of light is even more prominent. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (2016 facsimile). The two are framed by vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This uncolored print in green ink from Michael Phillips, for example, can be contrasted with a print using black ink instead. Blake used a variety of ink colors for his prints, which Phillips tested in a variety of ways. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
This copper plate of The Lamb was created by Michael Phillips for his 2016 facsimile of Songs of Innocence and of Experience. It is based upon an exact size photo negative of a Blake print. Theories differ as to how Blake created his own copper printing plates, but the plates would always have taken this form in the end. The text and pictures are “relief etched” in reverse because when inked and pressed on paper, the result would appear in the proper direction. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the item.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (2016 facsimile). The two are framed by vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This uncolored print in black ink from Michael Phillips, for example, can be contrasted with a print using green ink instead. Blake used a variety of ink colors for his prints, which Phillips tested in a variety of ways. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A male figure takes up the foreground in the frontispiece to Songs of Innocence, included in the combined edition of Songs of Innocence and of Experience (2016 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. For example, here Michael Phillips’s experimentation with Blake’s printing techniques is on show. The black and white image allows for more of the original details and lines to be seen; in most copies they are covered with added color. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
On the combined title pages for Songs of Innocence and Experience (2016 facsimile), two human figures, nude save for branches that act as loincloths, are both positioned horizontally in despairing postures with their faces obstructed from view. The figure on the ground appears to be female, and hovering inches above her is a male figure. Blake scholars theorize that these figures are intended to be Adam and Eve fleeing from the Garden of Eden. They cling to the verdant field beneath them as the sky is streaked with flames. The flames transform into smoke that forms the word “Songs” at the top of the image. Several birds fly throughout the words of the title.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. The obvious difference with this copy, for example, is that it is not colored. Instead, Michael Phillips was testing the printing process by using one color at a time, which later would have been filled in with watercolors. Comparing it to the 1955 version of this image, for example, allows us to analyze almost a “negative” version and different effect of Blake’s work. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image from the “experience” section of Songs of Innocence and of Experience (1991 facsimile), an old man with a long beard and a dirty blue robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man clothed in green warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Compared to the 1955 reproduction, for example, this image, reproduced from a print made late in Blake’s lifetime, has a more yellow tone, possibly to emphasize the beam of light that is cast over the boy and old man. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (1991 facsimile), an elderly couple appears to have died recently. They lie side by side in a bed with their arms stretched out flat at their sides. At the foot of the bed, on either side, is a woman in a softly colored dress. Both women appear to be distressed and have their hands in front of them in grief or prayer. The words that comprise the title are surrounded by delicate pink flowers, as well as two figures with legs extended in a sort of dance pose. The picture beautifully juxtaposes joy and agony - surely two key components of ‘experience’.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This version of the title page, for example, reproduced from a print made late in Blake’s lifetime, has an even lighter and airier feel than the 1955 version, modeled on a different copy. All the colors are bright pastels, making the image appear peaceful at this time of mourning and agony. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A male figure takes up the foreground in the frontispiece to Songs of Innocence, included in the combined edition of Songs of Innocence and Experience (1955 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. For example, this image, reproduced from a print made late in Blake’s lifetime, has a lighter and more whimsical coloring compared to the 1955 version, made from a different copy. The figures appear to have a lavender coloring to them and there is a warm, gold aura around each of the figures, making them feel more magical and less like actual people. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
On the combined title page for Songs of Innocence and of Experience (1991 facsimile), two human figures, nude save for branches that act as loincloths, are both positioned horizontally in despairing postures with their faces obstructed from view. The figure on the ground appears to be female, and hovering inches above her is a male figure. Blake scholars theorize that these figures are intended to be Adam and Eve fleeing from the Garden of Eden. They cling to the verdant field beneath them as the sky is streaked with flames. The flames transform into smoke that forms the word “Songs” at the top of the image. Several birds fly throughout the words of the title.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. For example, this image, reproduced from a print made late in Blake’s lifetime, appears brighter and more fluid compared to the 1955 version, made from a different copy. This image has more distinct, bright yellows that give the flames more clarity. There is also a border around this plate, unlike in the 1955 version, which has no border. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image from the “experience” section of Songs of Innocence and of Experience (1983 facsimile), an old man with a long beard and robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man clothed in green warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Compared to the 1955 reproduction, for example, this “London” utilizes more of the open space. The text is wrapped with a border instead of filled in with color. The scene at the top is also less colorful than the 1955 version; there is also less emphasis on the beam of light. These differences reflect differences in the original copies by Blake that were used as models for each of the two facsimiles.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence included in the combined edition with Songs of Experience (1983 facsimile). The two are framed by vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This uncolored proof in black ink from the Manchester Workshop, for example, allows us to appreciate details that are harder to see when the ink color is more muted or when watercolors are added later. This print also shows what the effect would be if the borders of the copper printing plate were also inked (or not wiped free of ink) before being pressed onto the paper. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (1983 facsimile). The two are framed by thick vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Trees give the cottage shade from the sun. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This image of The Lamb, for example, almost gives the impression of a rainbow. Each of the colors seamlessly blends together creating a colorful and thick border around the text. The text is printed in a brown ink that blends in with the trees and lambs.
This version of the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (1983 facsimile), is a simple impression of the title with a few leaves above it, without the rest of the images or colors found in copies made by Blake. The Manchester Workshop edition used specially created paper for their project, which is effective in showing the deep impression left by an uninked plate. This paper, however, is generally thought to be thicker than paper that would have been used by Blake. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (1983 facsimile), an elderly couple appears to have died recently. They lie side by side in a bed with their arms stretched out flat at their sides. At the foot of the bed, on either side, is a woman in a blue or green dress. Both women appear to be distressed and have their hands in front of them in grief or prayer. The words that comprise the title are surrounded by delicate pink flowers, as well as two figures with legs extended in a sort of dance pose. The picture beautifully juxtaposes joy and agony - surely two key components of ‘experience’.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This image has more brown and green hues compared to the 1955 reproduction, for example. It also utilizes more of the white space around the title, lacking some of the color of the 1955 copy. These differences reflect differences in the original copies by Blake that were used as models for each of the two facsimiles. The muted colors of the 1983 reproduction also show off the homemade paper created for this project.
A male figure takes up the foreground in the frontispiece to Songs of Innocence, included in the combined edition of Songs of Innocence and of Experience (1955 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies.
Two flowers bloom from a patch of grass in the bottom right corner of this plate from Songs of Innocence (1927 facsimile). One flower is still drooping and not fully formed. The other is a magnificent fuchsia and has opened its petals. Between the petals sits a young woman wearing a long yellow gown and holding a newborn child. A female figure with wings wearing a white gown stands across from the woman with arms extended, as if she is waiting to hold the child. The words “Infant Joy” are in light cursive writing at the top of the plate, with the rest of the poem nestled in between the stems of the flowers. The image reflects the “sweet joy” of the poem.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Like other images in the 1927 facsimile, for example, this copy of Infant Joy is colored in much darker, richer tones than in the 1954 facsimile. Its flowers and stems are accented with the deepest shades of color, which might normally imply that they are towards the end of their life span. According to the poem, however, this is an occasion of “infant joy.”
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (1927 facsimile). The two are framed by thick brownish vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Trees give the cottage shade from the sun. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This image of The Lamb, for example, has a heavier feel than the 1954 facsimile. The contrast between the text in brown and the dark and deeply colored scene on the bottom makes the image feel like it is bottom heavy. This version of The Lamb also appears to have been done with more control, instead of letting the colors flow into one another. Like the 1926 facsimile, based on the same model by Blake, it also lacks the wash of color behind the cottage that can be seen in the 1954 reproduction, representing the sky or a mountain.
In this illustration from Songs of Innocence (1927 facsimile), there are small scenes at the top and bottom of the plate. The top scene shows a line of uniformed boys walking two by two behind two older men wearing long coats, hats, and carrying some form of stick. In the bottom scene, girls walk two by two in the opposite direction as the boys. Leading them is a woman in a very plain dress who appears to be carrying a basket. Between these two orderly scenes is the text of the poem, throughout which small vines are drawn. The title, “Holy Thursday,” is also surrounded by vines beneath the topmost scene.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This image is very similar to the 1926 reproduction of Holy Thursday, modeled on the same copy by Blake, and emphasizing soft blues and greens in contrast to the text. However, it uses less black for the figures, leaving the black ink of the text to stand out even more. It also is very different from the 1954 version. It appears more divided into three sections, whereas in the 1954 version, which is primarily colored in similar tones, the images and text blend together more seamlessly.
A male figure takes up the foreground in this image from Songs of Innocence (1927 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this frontispiece should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. The image here is much darker than the 1954 reproduction of this frontispiece, for example. This image has a dark blue sky and dark green grass and trees that lead into black shadows, casting an overall nighttime feel to the image. The main figure is also colored entirely differently.
On the title page of Songs of Innocence (1927 facsimile), a mother, clad in a long pink gown and a white bonnet, sits upright in a chair while children kneel by her feet. In her lap is a large book in which the children appear to be engrossed. Behind the scene of the mother and children reading together is a deep blue colored lake. In the foreground of the illustration is a tree trunk that appears old and rotten, but has a large fertile branch extending from it. The branch splits into several parts that form the title, Songs of Innocence. Small human figures and birds perch on the various letters that make up the word Songs.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. A particularly strong comparison can be made to the 1926 facsimile title page, even though both were generally based on the same copy by Blake. The 1926 reproduction is bright and soft, whereas the 1927 title page is much richer and also darker. The dark blue sky almost makes it feel like a storm is coming, and the dark brown tree feels more eerie. It makes a stronger impression of the Songs of Experience to come.