The Ancient of Days is a print done by William Blake back in the year 1794. It was used as the front cover of Blake's book, Europe, a Prophecy. It depicts Urizen's god-like character, which reveals Blake's mythology element in his works.

The painting shows Urizon bending and doing some measurements on the universe. This particular title, the ancient of days, is inspired by the bible scriptures from the book of Daniel that describes the whole situation of God overseeing the world and all that is in it.

His inspiration for this art originated from the scientist's view of the world. He tried to depict and challenge the fact that most things could be investigated, categorized, explained, and measured from the scientific point of view. This explains the presence of a pair of dividers in the painting.

Also, basing this on the sovereign point of view, Urizen’s position showcases God's ability to promote order in the imperfect universe regardless of the people's ways of life. Presently, it is located in the British Museum.

One of the tempera paintings which Blake made for Thomas Butts in 1799 is a portrayal of the Last Supper. Blake created a dramatic image of Jesus and the twelve disciples involved in a scene where each displays his individual emotions at this critical juncture. Jesus

himself, surrounded by the radiance, looks beyond his present circumstances to a future that is to be revealed. His hand gesture seems to be that of reluctant acceptance.

The Tyger (1794) is Blake’s best-known short poem. The contrast between the intimidating creature evoked by the text and the rather cuddly big cat drawn by Blake has drawn a lot of interest and commentary. Blake’s illustrations rarely directly embody the text, and often contrast with or complicate the written words. The poem is included in Songs of Innocence and of Experience (1794), a collection of illustrated poetry that became the best-known of his illuminated books.

He sold more copies of these books than any other (although he probably printed no more than thirty in his lifetime). Some of the poems were also published in conventional form in his lifetime or shortly afterwards and have become extremely

well- known. The poems deal with themes of childhood and morality, with striking observations about social suffering and injustice. The style is highly decorative, the dense crowding of texts and borders suggesting the illustrations of children’s books or even embroidered samplers.

The Body of Abel found by Adam and Eve. Blake's vigorous imagination is seen in this painting where he shows Adam and Eve discovering Abel's body as Cain prepares to bury it. Adam and Eve are kneeling in horror next to Abel's white and rigid body.

Adam looks with shock at Cain, who runs away, tearing at his hair. Eve throws herself over Abel's body in a gesture of extreme grief. Her arms form a circle as she bends over Abel with her head thrown down and her hair falling in waves over his body.

Although posed and awkward, Adam and Eve's gestures effectively express their emotions. The newly-dug, dark long horizontal grave, emphasized by the shovel laying parallel to it in the foreground, creates a deep gash that separates the fleeing son from his parents.

Blake worked on Jerusalem from 1804 to 1820, a period during which Britain was mostly at war with France. He insisted that Jerusalem, his final prophetic book, was divinely inspired.

Of the five copies he printed in his lifetime, only the edition now at the Yale Centre for British Art is in colour.

At over 4500 lines, Jerusalem is the longest and the most magnificent of Blake’s illuminated books – but it is also perhaps his most mysterious. His first biographer called the poem as ‘a chaos of words, names and images’.

In Jerusalem, Albion (England) is infected with a ‘soul disease’ and her ‘mountains run with blood’ as a consequence of the Napoleonic wars.

Religion exists only to help monarchy and clergy exploit the lower classes. Greed and war have obscured the true message of religion.

However, if Albion can be reunited with Jerusalem, the story goes, then all humanity will once again be bound together with love.

Jerusalem: 'And did those feet in ancient time' - is a famous, prophetic, melancholic, and classic poem, penned by maestro William Blake in 1804. It may seem like a patriotic poem, yet it's misleading, adding to the irony is the fact that it's an unofficial national anthem of England.