his next undertaking. The meaning of the artist is not a little obscure; it seems to have been his object to represent the innocence, the happiness, and the upward aspirations of man. They bespeak one intimately acquainted with the looks and the feelings of children. Over them there is shed a kind of mysterious halo which raises feelings of devotion. The Songs of Innocence, and the Gates of Paradise, became popular among the collectors of prints. To the sketch book and the cabinet the works of Blake are unfortunately confined.
If there be mystery in the meaning of the Gates of Paradise, his succeeding performance, by name Urizen, has the merit or the fault of surpassing all human comprehension. The spirit which dictated this strange work was undoubtedly a dark one; nor does the strange kind of prose which is intermingled with the figures serve to enlighten us. There are in all twenty-seven designs representing beings human, demoniac, and divine, in situations of pain and sorrow and suffering. One character—evidently an evil spirit—appears in most of the plates; the horrors of hell, and the terrors of darkness and divine wrath, seem his sole portion. He swims in gulphs of fire—descends in cataracts of flame—holds combats with scaly serpents, or writhes in anguish without any visible cause. One of his exploits is to chase a female soul through a narrow gate and hurl her headlong down into a darksome pit. The wild verses which are scat-
