modestly refers to his songs as 'a slight specimen, such as I could wish some happy and condescending genius would undertake for the use of children, and perform much better,' and it is likely enough that Blake may have rightly felt himself to be this destined genius. It has been pointed out by Mr. Hewlett, who, as I find, anticipated me in this conjecture, that 'the subjects of several of Blake's songs are identical with those of Watts,' while it may also be noted that the moral tags with which the 'Chimney Sweeper,' 'Holy Thursday,' and other songs somewhat abruptly conclude, recall the manner of Blake's didactic prototype.
Though nowhere definitely stated by the poet himself, we have no grounds for questioning Smith's statement that the Songs of Innocence was the first of his works engraved in this manner. A colophon to the Ghost of Abel 1822, the last of Blake's Prophetic Books, informs us that 'W. Blake's Original Stereotype was 1788'; but since this statement cannot possibly refer to an earlier issue of the same sibylline leaflet, it probably means that the first plate of the Songs was engraved in the year preceding the publication of the completed book.
In Blake's prospectus 'To the Public' of October, 1793, he styles this process 'illuminated printing,' a phrase evidently suggested by the passage quoted above from the Island in the Moon. 'The Author,' says Blake, 'has invented a method of Printing both Letter-press and Engraving in a style, more ornamental, uniform, and grand, than any before discovered, while it produces works at less than one-fourth of the expense. If a method of Printing which combines the Painter and the Poet is a phenomenon worthy of public attention, provided that it exceeds in elegance all former methods, the Author is sure of his reward.' Blake's observation as to the comparative cheapness of this mode of printing seems to require some explanation, as it cannot be intended to suggest that this illuminated printing was cheaper than
