University of California Berkeley From the book collection of BERTRAND H. BRONSON bequeathed by him or donated by his wife Mildred S. Bronson THOMAS BEWICK AND HIS PUPILS " He would often professe that to observe the grasse, herbs, corne, trees, cattle, earth, waters, heavens, any of the Creatures, and to contemplate their Natures, orders, qualities, vertues, uses, etc., was ever to him the greatest mirth, content, and recreation that could be : and this he held to his dying day." LIFE AND DEATH OF BISHOP ANDREWES, 1650. THOMAS BEWICK. (AFTER PORTRAIT BY JAMES RAMSAY.) Frontispiece. THOMAS BEWICK AND HIS PUPILS BY AUSTIN DOBSON WITH NINETY-FIVE ILLUSTRATIONS LONDON CHATTO AND WINDUS, PICCADILLY 1884 TO W. J. LINTON, ENGRAVER AND POET, THE STEADFAST APOSTLE OF BEWICK'S "WHITE LINE," THIS BOOK IS DEDICATED. PREFACE EXCEPT to explain its appearance, there is little need of preface to the present volume. It is, for the most part, a reprint of two articles on Bewick and his pupils, prepared in 1881-82 for the New York v< Century Magazine." That on Bewick, when illustrated, was foimd to be too long for publication in one number. An entire section devoted to John Bewick was consequently omitted, and other retrenchments were effected. In this reissue, the portions withdrawn 'are restored ; and such corrections and additions as a writer usually makes in the case of a paper refntblisked some time after it was written, have been inserted. The account of the Pupils, which, when first printed, was not abridged, has not now been materially altered. In both cases it woiild obviously have PREFACE. been easy to further extend and amplify. But though something might have been gained in substance, more would have been lost in symmetry, while the general result would remain unchanged. To have written too little on a subject, moreover, is scarcely a fault, nay, in this particular instance it may almost be claimed as a merit. Few men have s^tffered as much as Thomas Bewick from that kind of admiration in which enthusiasm plays a far larger part than judgment. Over most of his earlier work, and over all his inferior work, Oblivion, without accusation of blindness, might advantageously " scatter her poppy ;" and the plain- spoken philosopher of Gateshead, who had no desire "to feed the whimsies of the bibliomanists" would have heartily concurred in any such arrange- ment. What is most durable in Bewick, as it appears to those who prize him judiciously, is Bewick himself, always provided that Bewick himself is attainable. Since he first restored it in England a hundred years ago, the art of wood -engraving has considerably progressed. As an Engraver pure and simple, many, including some of his pupils, PREFACE. ix have rivalled him in mechanical dexterity of line and mere manipulative skill. But as an Artist and Naturalist, copying Natiire with that loving awe which fears to do her wrong by the slightest deviation from the truth, as a Hiimourist and Satirist, criticising life with the clear vision of independent common sense, his gifts are distinctly " non-transferable." They are at their best in his best work ; and it is on his best work that I have most willingly lingered in these pages, frankly neglecting his less individual efforts. In the words of Chaucer's Man of Law " Me list not of the chaf ne of the stre Maken so long a tale, as of the corn." It remains for me to put on record what obligations I have incurred in my task. To the Editors of the " Century Magazine" who, under great difficulties, spared no pains to illustrate my text effectively, my first and best thanks are due. To my friend Mr. J. W. Barnes of Durham, who has throiighout aided and encouraged me in the kindest way, I cannot but feel espe- cially indebted. To Messrs. E. and J. W. Ford PREFACE. of Enfield, to Mr. T. W. U. Robinson of Houghton-le-Spring, to Mr. G. P. Boyce, to Mr. Frederick Locker, Mr. F. Har grave Hamel, and Mr. J. Waddon Martyn I am grateful for valuable assistance ; as also to Messrs. Harper of New York, Messrs. Cassell & Co., and Messrs. Griffith and Farran, by whose courtesy I have been able to increase the number of my illustra- tions. Lastly, to my English piiblisher, Mr. Andrew Chat to, who, though my investigations have taught me to differ in some trifling details from the too-little recognised labours of his father, nevertheless placed his father s notes at my dis- posal ; and to Mr. Robert Robinson of Newcastle, who, having himself a long-desired book on Bewick in preparation, did not on that account regard me as a wolf in sheep' s clothing, I hereby tender my sincere acknoivledgments. AUSTIN DOB SON, Porth-y-Felin, Ealing, W. CONTENTS CHAPTER I. PAGE INTRODUCTORY i CHAPTER II. BEWICK'S BOYHOOD . .. . . . . 9 CHAPTER III. APPRENTICESHIP . . . . . . . 25 CHAPTER IV. " WANDERJAHRE " . . .... 39 CHAPTER V. " GAY'S FABLES," " SELECT FABLES ". . . . 50 CHAPTER VI. JOHN BEWICK . . . . . 70 xii CONTENTS. CHAPTER VII. PAGE " QUADRUPEDS," " BIRDS " . . . .87 CHAPTER VIII. THE TAILPIECES . . ... . .108 CHAPTER IX. FABLES," BEWICK'S DEATH .. . .133 CHAPTER X. CHARLTON NESBIT ..... . -171 CHAPTER XL LUKE CLENNELL . . . . . . .186 CHAPTER XII. HARVEY, JACKSON, ETC. . . . . . .206 LIST OF ILLUSTRATIONS PAGE THOMAS BEWICK. After portrait by James Ramsay Frontispiece SIR BEVIS OF HAMPTON. From a Newcastle chap-book of 1690 . . . . . . . . .3 CHERRYBURN HOUSE. From a Photograph ! > To face 9 QUEEN ELIZABETH. From a Chap-book printed by John White of Newcastle . . . . . . . 15 OVINGHAM PARSONAGE. From a Photograph . To face 25 ST. NICHOLAS'S CHURCH. From Hutton's " Mensuration," 1770 . . .... . . . 30 TAILPIECE. From Ferguson's " Poems," 1814 . .. . 38 TAILPIECE. From Ferguson's " Poems," 1 8 1 4 . . . 49 THE HOUND AND THE HUNTSMAN. From " Gay's Fables," 1779 . . ^ ... ." -53 THE Fox AND THE GOAT. From Sebastian le Clerc . 6 1 THE VIPER AND THE FILE. From CroxalPs " Fables," 1722 62 THE VIPER AND THE FILE. From " Select Fables," 1784 . 63 THE YOUNG MAN AND THE SWALLOW. From " Croxall's Fables," 1722 . . ... . . .64 xi v LIST OF ILL USTRA TIONS. PAGE THE YOUNG MAN AND THE SWALLOW. From " Select Fables," 1784 . . . . " . . . . 65 THE EAGLE AND THE CROW. From " Select Fables," 1784 67 TAILPIECE. From Ferguson's " Poems," 1814 . . . 69 ROBIN HOOD AND MAID MARIAN. From Ritson's " Robin Hood," 1795 . .... 73 ROBIN HOOD AND LITTLE JOHN. From Ritson's " Robin Hood," 1795 ... . ... 74 THE DEATH OF ROBIN HOOD. From Ritson's " Robin Hood," 1795 . . . . . . . -76 THE RECOMPENSE OF VIRTUE. From the " Blossoms of Morality," 1796 . . . . 77 THE HERMIT. From " Poems by Goldsmith and Parnell," 1795 - To face 79 ROBIN HOOD AND LITTLE JOHN. From Ritson's " Robin Hood," 1795 ... . . 79 DOMESTIC SCENE. From a block by John Bewick, source unknown . . . . . . . . . . 81 LITTLE ANTHONY. From the " Looking - Glass for the Mind," 1792 .82 THE SAD HISTORIAN. From " Poems by Goldsmith and Parnell," 1795 . . .. . . To face 83 LEONORA AND ADOLPHUS. From the " Looking-Glass for the Mind," 1792 . . ... . .85 TAILPIECE. From Ritson's " Robin Hood," 1795 . . 86 LIST OF ILL USTRA TIONS. xv PAGE THE CHILLINGHAM WILD BULL. Reduced from the block of 1789 . ,. v. . . . . To face 89 THE OUNCE. From the " Quadrupeds," 1790 . . . 92 THE OLD ENGLISH HOUND. From the "Quadrupeds," 1790 95 THE COMMON BOAR. From the " Quadrupeds," 1790 . 96 THE STARLING. From the "Land Birds," 1797 . . 97 THE YELLOW HAMMER. From the "Land Birds," 1797 . 100 THE SHORT-EARED OWL. From the "Land Birds," 1797 . 101 THE EGRET. From the " Water Birds," 1804 . . .102 THE COMMON SNIPE. From the "Water Birds," 1804 . 103 THE TAWNY OWL. From the "Land Birds," 1797 . .104 " GRACE BEFORE MEAT." From the " Water Birds," 1804 107 A FARMYARD. From the " Land Birds," 1797 . . 1 1 1 POACHERS TRACKING A HARE IN THE SNOW. From the " Land Birds," 1797 112 TAILPIECE TO THE " REINDEER." From the " Quadrupeds," 1791 . 114 TAILPIECE TO THE "WOODCHAT." From the "Land Birds," 1797 . .115 TAILPIECE TO " COMMON CART-HORSE." From the " Quad- rupeds," 1791 . . % . . . . . .116 TAILPIECE TO THE "JAY." From the " Land Birds," 1797 1 17 KITE-FLYING. From the "Water Birds," 1804 . .118 TAILPIECE TO THE " CURLEW." From the " Water Birds," 1804 . . .119 xvi LIST OF ILL USTRA TIONS. PAGE TAILPIECE TO THE " BABOON." From the " Quadrupeds," 1791 * . . . . . " . . .120 TAILPIECE TO THE " WATERCRAKE." From the "Water Birds," 1804 . 121 TAILPIECE TO THE " MISSEL THRUSH." From the " Land Birds," 1797 . . . . . ..-;' . .121 TAILPIECE TO THE "SHETLAND SHEEP." From the "Quadrupeds," 1791 .... . . 122 TAILPIECE TO THE "ARCTIC GULL." From the "Water Birds," 1804 . . . . . . . .123 BEWICK DRINKING OUT OF HIS HAT. From the "Land Birds," 1797 . . . . * . . .125 TAILPIECE TO THE " RED-LEGGED CROW." From the " Land Birds," 1797 . . .". . .- . 126 MEMORIAL CUT TO ROBERT JOHNSON. After Charlton Nesbit . . . . . . . ..131 BUST OF BEWICK.. After E. H. Baily, R.A. . To face 133 THE Fox AND THE GOAT. From Croxall's "Fables," 1722 136 THE Fox AND THE GOAT. From " Fables of ^Esop," 1818 137 HEADSTONE TAILPIECES. From " Fables of ysop," 1 8 1 8 139 THE ALARM. Intended for " Fables of ^Esop," 1 8 1 8 . 142 BEWICK'S WORKSHOP. From a Photograph . . . 1 50 OVINGHAM CHURCH. From a Photograph . To face 1 56 BAY PONY. From the "Sportsman's Friend," 1801 . .168 BEWICK'S THUMB-MARK. From the Receipt for "Fables of vEsop," 1818 . . . . ,V . . . 170 LIST OF ILL USTRA TIONS. xvii PAGE ST. NICHOLAS'S CHURCH. After Robert Johnson . .176 THE CALL TO VIGILANCE. From Ackermann's " Religious Emblems," 1809 . . . '. To face 178 THE DAUGHTERS OF JERUSALEM. From Ackermann's "Religious Emblems," 1809 . . ' . TofaceiSo IN THE STOCKS. From Butler's " Hudibras," 1811 . . 183 THE SELF-IMPORTANT. From Northcote's "Fables," 1828 184 THE COCK, THE DOG, AND THE Fox. From Northcote's "Fables," 1833 . . ' . . ' .. . .185 SHIP IN A GALE. From Falconer's " Shipwreck," 1 808. To face 1 89 DIPLOMA OF THE HIGHLAND SOCIETY. After ClennelFs cut 191 HEADPIECE AFTER STOTHARD. From Rogers's " Pleasures of Memory," 1810 . . . . . ... 192 HEADPIECE TO CLENNELL'S VERSES. From the original leaflet , . . . . . . . 203 PART OF HAYDON'S " DENTATUS." From Harvey's engrav- ing, 1821 . . . . . . To face 207 INITIAL LETTERS. From Henderson's " History of Wines," 1824 . . . . 208 HEADPIECE. From Henderson's " History of Wines," 1824 . . \' . . . To face 208 THE EGRET. From a Drawing by Harvey . / . 209 THE JAGUAR. From the "Tower Menagerie," 1828 . .210 MAAROOF BIDDING FAREWELL TO HIS WIFE. From the "Thousand and One Nights," 1840 . . To face 211 LIST OF ILLUSTRATIONS. PAGE THE GREAT EAGLE OWL. From the " Gardens and Men- agerie of the Zoological Society," 1831 . . .212 GARDENS ON THE RIVER OF EL-UBULLEH. From the " Thousand and One Nights," 1 840 . . To face 213 PARTY QUARRELS. From Northcote's "Fables," 1833 . 213 THE SECOND SHEYKH RECEIVING HIS POOR BROTHER. From the "Thousand and One Nights,''" 1840 To face 215 THE Fox, THE WEASEL, AND THE RABBIT. From North- cote's " Fables," 1828 . . . . . .217 THE WOODCOCK, AFTER BEWICK. From the " Treatise on Wood-Engraving," 1839 . . ... 218 THE PARTRIDGE, AFTER BEWICK. From the " Treatise on Wood-Engraving," 1839 . . .- . .219 THE VAIN BUTTERFLY. From Northcote's "Fables," 1833 220 SEED SOWN. From Ackermann's " Religious Emblems," 1809 . . . . .-. . * To face 221 TAILPIECE. From Northcote's "Fables," 1828 . . 222 COMMON DUCK. From the "Three Hundred Animals," 1819 . . ... . . . . 227 TAILPIECE. From Northcote's "Fables," 1828 .. . 228 [*** The above illustrations are from (i) copies on the -wood, (2) copies by process, and (3) electrotypes from the original blocks. The majority have appeared in the ''Century Magazine" and Chat to' s " Treatise on Wood-Engraving." The photographs used were taken, under the authors superintendence, by Messrs. Downey of Newcastle^ THOMAS BEWICK & HIS PUPILS. CHAPTER I. INTRODUCTORY. DURING the earlier part of the eighteenth century engraving on wood can scarcely be said to have flourished in England. It existed so much may be admitted but it existed without recognition or importance. In the useful little " Etat des Arts en Angleterre," published in 1 755 by Rouquet the enameller, a treatise so catholic in its scope that it includes both cookery and medicine, there is no reference to the art of wood-engraving. In the " Artist's Assistant," to take another book which might be expected to afford some informa- tion, even in the fifth edition of 1 788, the subject finds no record, although engraving on metal, B 2 THOMAS BEWICK. [CHAP. etching, mezzotinto- scraping to say nothing of ''painting on silks, sattins, etc." are treated with sufficient detail. Turning from these authorities to the actual woodcuts of the period, it must be confessed that the survey is not encouraging. With the almost solitary exception of the illustra- tions in Croxall's " Fables of ^Esop," to which we shall hereafter revert, the " wooden engravings " which decorate books are of the most " stale, flat, and unprofitable " description. The majority con- sist of tasteless emblematical ornaments and "culs-de-lampe," or coarse headpieces, such as that which Hogarth is said to have designed in 1747 for the "Jacobite's Journal" of Fielding. Among efforts on a larger scale, the only examples which deserve mention are the last two plates of the same artist's " Four Stages of Cruelty," en- graved by J. Bell in 1750. These, drawn boldly on the plank by Hogarth himself, and cut with the knife in rough effective facsimile, deserve to be better known, as, besides variations, they possess an initial vigour of execution which is lost in the subsequent coppers. It was with a view to bring I.] INTROD UCTOR Y. the lesson of his sombre designs within the range of the poorest classes that Hogarth had in this case selected wood ; but the method was judged upon trial to be more expensive than metal. Such SIR BEVIS OF HAMPTON. (FROM A NEWCASTLE CHAP-BOOK OF 1690.) as it was, nevertheless, the real field of wood- engraving during the greater part of the eighteenth century lay among those humbler patrons of art and literature to whom he desired to appeal. It was to be found in the rude prints and broad- 4 THOMAS BEWICK. [CHAP. sides then to be seen displayed in every farm and cottage patriotic records of victories by sea and land, portraits of persons famous or notorious, " ballads, pasted on the wall, Of Chevy Chace, and English Moll, Fair Rosamond, and Robin Hood, The little Children in the Wood." Homely mural decorations of this kind, familiar to Swift in the first years of the century, were, sixty years later, equally familiar to Goldsmith ; and it was, doubtless, from some such gallery that honest Farmer Flamborough or the " blind piper" de- lighted the simple audience at Dr. Primrose's with "Johnny Armstrong's Last Good Night," or the "Cruelty of Barbara Allen." But the execution of these modest masterpieces was obviously of the most cheap and rudimentary kind, so that, taking the woodcut art of the period as a whole, it was not without some show of justice that Horace Walpole, preoccupied with the more delicate effects of chalcography, stigmatised the wood- blocks of his day as " slovenly stamps." He was scarcely so fortunate, however, when, writing in the same place of Papillon's recently i.] INTROD UCTOR Y. 5 published " Traite historique et pratique de la Gravure en Bois," he went on to doubt if that author would ever, as he wished, " persuade the world to return to wooden cuts." No time, as it chanced, could have been worse chosen for such a prediction, since, assuming him to have written about 1 770, in the short space of five years later, the " Society of Arts " was offering prizes for en- graving in wood, and its list for 1775 contains the names of no less than three persons who received sums of money on this account. The names were those of Thomas Hodgson, William Coleman, and Thomas Bewick. With respect to the first of the trio little needs to be said beyond the fact that he was a Newcastle man, whose sig- nature is found attached to a plate in Hawkins's " History of Music," as well as to certain poorly executed cuts for magazines and ballad-heads, and that he was also a printer and publisher in London. Concerning the second, we learn from the " Trans- actions " of the Society that he again obtained prizes in 1776 and 1777 for "engraving on wood or type metal," and from Redgrave's " Dictionary" 6 THOMAS BEWICK. [CHAP. that he died at Duke's Court, Bow Street, Decem- ber, 1807. To the third belongs the honour of doing what fastidious Mr. Walpole considered so improbable that is to say, " persuading the world," not all at once perhaps, but gradually, "to return to wooden cuts." It is to the improvements made by Bewick in wood-engraving, and the impulse which it received from his individual genius, that its revival as an art must properly be ascribed a revival which continues to this day, and which has not yet reached the final phase of its develop- ment. But, besides his qualities as a pioneer in his craft, he was an artist and observer of a very rare and exceptional kind, whose best work, in his own line, remains unrivalled. Moreover, he was a man of a singularly attractive northern type, having something both of Hogarth and Franklin in his character, and deserving study as much from his personality as from his talents. The true record of Bewick's life, like that of most artists, is to be found in his works, which have been voluminously catalogued in Mr. Hugo's " Bewick Collector," 1866-68, and more moder- L] INTROD UCTOR Y. 7 ately by Mr. J. G. Bell in 1851. Beyond these, the chief written sources of information respecting his career are three in number. The earliest, or rather the first issued, is a brief memoir contri- buted in 1831 to the " Transactions of the Natural History Society of Northumberland, etc.," by Mr. George C. Atkinson, a gentleman of Newcastle, who knew him during the last three years of his life. Next to this comes chapter vii. in Chatto's u Treatise on Wood-Engraving," the first edition of which was published by Charles Knight in J ^39- J nn Jackson, the engraver, who supplied part of the raw material for this book, was a native of Ovingham, near Newcastle, and for a short time one of Bewick's pupils. He completed his apprenticeship under another pupil, William Harvey. With some reservations, this account contains many noteworthy biographical particulars, together with an examination of Bewick's tech- nique. Lastly, there is the memoir composed by Bewick himself at Tynemouth in November 1822 for his eldest daughter Jane, and published by her forty years afterwards. This, like the 8 THOMAS BEWICK. [CHAP. i. autobiographical notes of Hogarth which John Ireland gave to the world, is of the greatest im- portance, and to Bewick's admirers must always constitute the standard authority for the points it covers. Written with a garrulity easily pardon- able in an author who had almost reached his seventieth year, but nevertheless strangely reti- cent regarding his method and his work, it pre- sents a vivid impression of his character and opinions, and a delightful picture of his youth. Parentage and early surroundings, according to Carlyle, are the two great factors in determin- ing the nature of a man's life ; and by a happy law of our kind, it is precisely with the recol- lections of childhood that old age delights most complacently to linger. The " Memoir " of Thomas Bewick is no exception to this rule. CHERRYBURN HOUSE, BEWICK'S BIRTHPLACE, IN ITS PRESENT CONDITION. (Part of the Original Structure has been Removed.) To face page 9. CHAPTER II. BEWICK'S BOYHOOD. CHERRYBURN HOUSE, Bewick's birthplace, lay upon the south or right bank of the Tyne, in the parish of Ovingham, Northumberland, and not very far from the little village or hamlet of Eltringham. We say " lay," for the old cottage now only exists in part, and that part fulfils the homely office of a " byre " or cowshed, over one door of which is the inscription " Thomas Bewick born here, August 1753." In the vicinity of this now rises a larger dwelling, still inhabited by Bewick's grandnieces. What remains of the older house formed the central portion of the building shown in John Bewick's sketch of 1781, printed as a frontispiece to the " Memoir." Beyond the fact that the "byre" is still thatched with ling or io THOMAS BEWICK. [CHAP. heath, and was tenanted, when the writer visited it, by a couple of calm-eyed, comfortable-look- ing cows, there is nothing about it that calls for especial remark. But the little dean or orchard at the back is still filled with cherry and plum trees, and violets and primroses bloom as of yore beside the now dry bed of the once musical burn which gave the place its name. In Bewick's day there was in this orchard a spring-well under a hawthorn bush, the site of which may yet be traced ; while a precipitous little garden to the north presumably remains much as it used to be. From the slope on which the house stands you may look towards the Tyne, still crossed by boat- ferries at Eltringham and Ovingham. 1 Behind you lies Mickley, and away to the left and south formerly stretched the great fell or common, com- prising, until it was divided in 1812, some eighteen hundred acres of blossoming " whins " and scented heather, and fine green pasturage, watered by trickling streams. Over the hill to the right are 1 Since this was first written, the long-desired bridge has been built at Ovingham. ii.] BE WICK'S BO YHOOD. 1 1 Prudhoe and Wylam ; and across the river, also to the right, rises the square romanesque tower of Ovingham Church, where Bewick and his brother John lie buried, and in the parsonage of which a pretty old-fashioned stone house with shelving garden terraces they went successively to school. A railway now comes winding from Newcastle through the Prudhoe meadows, and an embank- ment runs along the Tyne to Eltringham. But, in spite of these drawbacks, and the smoky activ- ity of brickworks and collieries hard by, it is not impossible, on a fresh May morning, with a blue shower- washed sky overhead, and the young green triumphing in the shaws and braes, to realise something of the landscape as it must have looked more than a hundred years ago, when Thomas Bewick first saw the light. His father, John Bewick, was a farmer, who rented a small land-sale colliery (i.e., a colliery, the coals of which are sold upon the spot to persons in the neighbourhood) at Mickley. It is still worked and held by the present occupants of Cherryburn. His mother, whose maiden name 12 THOMAS BEWICK. [CHAP. was Jane Wilson, came of a Cumberland family. She was John Bewick's second wife (the first, Ann Topping, having died childless), and she bore him eight children, of whom Thomas was the eldest, and John, born in 1760, the fifth. An- other son, William, and five daughters completed the family. It is with the first-born, however, that we are chiefly concerned. He appears to have been sent to school at Mickley when very young. After the death there of two pre- ceptors, he was placed, as a day scholar, under the care of the Reverend Christopher Gregson of Ovingham, whose housekeeper his mother had been before her marriage. There is no evidence that he distinguished himself by any remarkable diligence, although his after-career shows that he must have acquired some knowledge of Latin, and, what is better, of English. On the other hand, the "Memoir" is full of schoolboy escap- ades which betoken him to have been a lad of unusual courage and intractability, earning, in those days when the rule of the rod was still sup- reme, no small amount of physical correction from ii.] BEWICK'S BOYHOOD. 13 his father and schoolmaster. Now he is taming a runaway horse by riding it barebacked over the sykes and burns ; now frightening oxen into the river for the pleasure of hearing the "delight- ful dash ; " now scampering off naked across the fell with his companions, in imitation of the savages in " Robinson Crusoe." After these mis- demeanours, if not locked into the belfry by Mr. Gregson to keep company with the ghosts and bogles, he would steal home, wading the river, and hide himself in the byre-loft until his father's anger should blow over. But, with all this, he was not in any wise bad or vicious. He was truthful and warmhearted, and an appeal to his better feelings was seldom without success. One good quality he also seems to have possessed, not often found in boys. After a gentle re- proof from his master's daughter, he never again " plagued " girls in his youth; and he preserved this early respect for women to the last day of his life. Such not by any means exceptional character- istics are, however, of less moment than those 1 4 THOMAS BE WICK. [CHAP. earlier indications of the tastes which so strongly coloured his after-life his love for drawing and his love of nature. The former appears to have been intuitive. Like Hogarth's, his " exercises when at school were more remarkable for the ornaments which adorned them, than for the exercise itself." After exhausting the margins of his books, he had recourse to the gravestones and the floor of the church porch, which he covered with rude representations in chalk of devices or scenes he had met with, and the pastime of the day at Ovingham was continued in the evening on the flags and hearth at Cherryburn. At this time, he says, " I had never heard of the word 'drawing,' nor did I know of any other paintings besides the king's arms in the church, and the signs in Ovingham of the Black Bull, the White Horse, the Salmon, and the Hounds and Hare. I always thought I could make a far better hunting scene than the latter: the others were beyond my hand." But although, oddly enough, he makes no mention of it at this stage of the " Memoir," there was another kind of art with which he must II.] BEWICK'S BOYHOOD. have been minutely acquainted. The house at Ovingham where the boys kept their "dinner- poke " during school hours was lavishly orna- QUEEN ELIZABETH. (FROM A CHAP-BOOK PRINTED BY J. WHITE OF NEWCASTLE.) mented with those patriotic prints and broad- sides to which reference has already been made. Here he might lay to heart the "large and curious " representation of "His Majesty's Execu- 1 6 THOMAS BE WICK. [CHAP. tion," surmounting the famous " Twelve Good Rules, found in the Study of King Charles the First, of Blessed Memory." Or he might devote himself to the " Battle of Zorndorff," and the "Sinking of the 'Victory' (Admiral Sir John Balchen) " ; or rejoice over the manly present- ments of Benbow, and " Tom Brown, 1 the valiant grenadier." And this was not the only collec- tion. In Mr. Gregson's kitchen was "a remark- ably good likeness of Captain Coram," the brave old philanthropist whom Hogarth painted ; and " in cottages everywhere were to be seen the ' Sailor's Farewell ' and his ' Happy Return,' 4 Youthful Sports,' and the 'Feats of Manhood,' ' The Bold Archers Shooting at a Mark,' ' The Four Seasons,' " and the like. These popular knife-cut pictures, considered in connection with 1 The fame of this popular hero is now forgotten ; but to-day he would have earned the Victoria Cross. In 1743, according to the " Gentleman's Magazine," he was a raw-boned young York- shireman of eight-and-twenty, not a grenadier, but a private in Eland's dragoons. At Dettingen he recaptured the standard single-handed, in which -exploit he received five wounds in the face, head, and neck, two balls in the back, and three through his hat. Boitard engraved a portrait of him. ii.] BEWICK'S BOYHOOD. 17 the future restorer of wood -engraving, are of greater significance than the ale-house signs. 1 After he had long scorched his face with his hearthstone designs a friend in compassion fur- nished him with some drawing paper. " Here (he says) I had more scope. Pen and ink, and the juice of the brambleberry, made a grand change. These were succeeded by a camel- hair pencil and shells of colours ; and, thus sup- plied, I became completely set up; but of patterns, or drawings, I had none. The beasts and birds, which enlivened the beautiful scenery of woods and wilds surrounding my native hamlet, furnished me with an endless supply of subjects. I now, in 1 Bewick was not singular in deriving inspiration from these humble sources. " I recollect Sir Joshua Reynolds, who was present one evening [at Longford's sale] when a drawing was knocked down to his pupil and agent, Mr. Score, after he had expatiated upon the extraordinary powers of Rembrandt, assuring a gentleman with whom he was conversing, that the effect which pleased him most in all his own pictures was that displayed in the one of Lord Ligonier on horseback, of which there is an engraving by Fisher, the chiaro-'scuro of which he conceived from a rude wood-cut upon a halfpenny ballad, which he pur- chased from the wall of St. Anne's Church in Princes-Street." " Nollekens and his Times," 1828, i. 36, 37. 1 8 THOMAS BEWICK. [CHAP. the estimation of my rustic neighbours, became an eminent painter, and the walls of their houses were ornamented with an abundance of my rude productions, at a very cheap rate. These chiefly consisted of particular hunting scenes, in which the portraits of the hunters, the horses, and of every dog in the pack, were, in their opinion, as well as my own, faithfully delineated. But while I was proceeding in this way, I was at the same time deeply engaged in matters nearly allied to this propensity for drawing ; for I early became acquainted, not only with the history and the character of the domestic animals, but also with those which roamed at large." This brings us to that second taste, the love of nature. From earliest childhood, when, by the little window at his bed-head, he had listened to the flooded burn murmuring through the dean at the back of the house, or watched, from the byre- door, the rarer birds the woodcocks, the snipes, the redwings, the fieldfares which in winter made their unwonted appearance in the frozen landscape, the sights and sounds of nature had ii.] BEWICK'S BOYHOOD. 19 filled him with delight. To milk the cows, to cut and " cree " whin-tops for the horses, to carry straw and oats to the shivering and pastureless sheep on the fell these were pleasures not to be forgotten, and only to be excelled by his favourite angling, which, with its endless " set gads " and night lines, its early risings, and late waterside wadings, occupied the summer months in happy cares. Then, when the Tyne was flooded and school a thing impossible, 1 there were the field sports of the neighbourhood, the " flushing" of strange fowl by the terriers, the hunting of the hare and fox, the tracing of the " foumart " (pole- cat) in the snow, or the baiting of the badger at midnight. The cruelty of field sports did not at first present itself to him. Once, however, he caught a hunted hare in his arms, and was 1 " During storms and floods, those living on the south side of the river can neither attend the church, nor, as it sometimes happens, bring their dead to be buried " (Mackenzie's " North- umberland," 1825, ii. 362). In the last tailpiece of the " Memoir" a boat is seen waiting at the Eltringham Ferry on a windy day for a coffin which is being borne down the hill from Cherryburn. The little pencil sketch which Bewick made for this tailpiece is still in existence. It belongs to Mr. J. W. Barnes of Durham. 20 THOMAS BEWICK. [CHAP. strangely moved by the poor creature's piteous screams of terror. On another occasion the effect was more lasting : " The next occurrence of the kind happened with a bird. I had no doubt knocked many down with stones before, but they had escaped being taken. This time, however, the little victim dropped from the tree, and I picked it up. It was alive, and looked me piteously in the face ; and, as I thought, could it have spoken, it would have asked me why I had taken away its life. I felt greatly hurt at what I had done, and did not quit it all the afternoon. I turned it over and over, admiring its plumage, its feet, its bill, and every part of it. It was a bullfinch. I did not then know its name, but I was told it was a 1 little Matthew Martin.' This was the last bird I killed ; but many, indeed, have been since killed on my account." Different in kind, but connected as closely with the country life, were his interest in, and attraction to, the strange characters of the neigh- bourhood characters more common a hundred ii.] BE WICK'S BO YHOOD. 2 1 years ago than now, when railways and other facilities for intercourse have done so much to round off the angles of individuality. The winter-night tales of wild exploits in the hunting- field, and legends of the Border Wars, were a never-failing source of pleasure. By the woful " laments," such as those for the last Earl of Derwentwater, with whose death it was supposed prosperity had for ever departed from Tyne- side, he was often affected to tears. Of some of the cottagers on the fell poor men whose little store consisted of a few sheep, a Kyloe cow, or a flock of geese, and whose sole learning was derived from Holy Writ, old ballads, and local histories he has left portraits which show how deeply they had impressed him. One of these was Will Bewick, a self-taught astronomer, skilled in stars and planets, upon which he would discourse, "pointing to them with his large hands, and eagerly imparting his knowledge . . . with a strong voice, such as one now seldom hears." Another was the " village Hampden," Anthony Liddell, who had formed himself entirely on the 22 THOMAS BEWICK. [CHAP. study of the Bible, finding in its precepts reasons for utter disregard of the game-laws, and exulting in the jail, to which he was frequently committed, since he gained the opportunity of reading it through once more. Liddell's ordinary appear- ance judging from the description of it in the " Memoir "-must have been almost as remark- able as that of Fielding's " Man of the Hill " :- " When full -dressed, he wore a rusty black coat. In other respects he was like no other person. In what king's reign his hat had been made was only to be guessed at, but the flipes [flaps] of it were very large. His wig was of the large curled kind, such as was worn about the period of the revolution. His waistcoat, or doublet, was made of the skin of some animal. His buckskin breeches were black and glossy with long wear, and of the same antiquated fashion as the rest of his apparel. Thus equipt, and with his fierce look, he made a curious figure when taken before the justices of the peace ; and this, together with his always when summoned before them undauntedly pleading his own IL] BEWICK'S BOYHOOD. 23 cause, often afforded them so much amusement that it was difficult for them to keep their gravity." A third Ovingham worthy was Thomas Forster, called familiarly " Tom Howdy " (mid- wife) from his mother's occupation, with his stock of secret beehives in the whin bushes ; and last, but by no means least, come the swarming old soldiers let loose upon the country at the conclu- sion of the "Seven Years' War" old comrades in Napier's and Kingsley's, full of memories of Minden and Lord George Sackville of James Wolfe and Quebec. Bewick's strong abhorrence of war, which appears so plainly in the later pages of the " Memoir," had not yet been developed, and he listened eagerly to these weatherbeaten cam- paigners, with their tarnished uniforms and their endless stories about their prowess in the field. But there comes an end to everything; and the ineluctabile tempus arrived at length when a calling must be chosen for the stout boy of four- teen. His taste for drawing determined his apprenticeship to a Newcastle engraver, and he quitted Cherryburn to serve his time with Mr. 24 THOMAS BEWICK. [CHAP. n. Ralph Beilby of that town. The pang of separa- tion was a grievous one. " I liked my master" (he says) ; " I liked the busi- ness ; but to part from the country, and to leave all its beauties behind me, with which I had been all my life charmed in an extreme degree, and in a way I cannot describe, I can only say my heart was like to break ; and, as we passed away, I inwardly bade farewell to the whinny wilds, to Mickley bank, to the Stob-cross hill, to the water-banks, the woods, and to particular trees, and even to the large, hol- low old elm, 1 which had lain perhaps for centuries past, on the haugh near the ford we were about to pass, and which had sheltered the salmon-fishers, while at work there, from many a bitter blast." These things would be remembered afterwards in the busy city ; and though, for a long period, the link with the country was not wholly severed, it is doubtless to those yearning recollections that we owe the rural element in Bewick's work which is its most abiding charm. 1 This old tree a note tells us was swept away in the great flood of November, 1771, to which reference is made at p. 109. CHAPTER III. APPRENTICESHIP. LOOKING down upon the Tyne from the pleasant parsonage garden at Ovingham, with the round- arched door and dial, and the bright flowerbeds in shadow, it is easy to understand how keenly the boy must have felt the change. Over the broken water at the ferry the swallows are wheel- ing and turning, while from the other side a rustic group hails the ferryman. Higher up, a man, with raised knees, rides his horse through the river at the ford ; a pony and cart come after. Below the ferry an angler is wading mid -deep : on the opposite bank another is throwing a fly. At his back two tiny figures of school -children climb the steep hill to Master's Close. From the tall trees at Eltringham on the right comes the 26 THOMAS BEWICK. [CHAP. cry of the cuckoo : on the left the rooks are cawing in the great rookery at Prudhoe Castle, the ancient seat of the Umfravilles. There is no other sound but the rippling flow of the river to Newcastle and the sea. But the Newcastle to which it flows to-day is a far different place from the Newcastle to which Bewick came in October 1767. One might then, as now, stand by the famous church of St. Nicholas, with its fairylike turrets and vanes and crocketted pinnacles, but the grand High Level Bridge which Robert Stephenson flung across the steep ravine between Newcastle and Gateshead was yet a thing undreamed of. The keep of the old Norman castle which gave the town its name, black with age and smoke, still fronts it at the northern end ; but the spectator may seek in vain for the frowning and gloomy gates which stretched across the main streets from Westgate to Pilgrim Street, or the pleasant gardens and orchards which everywhere inter- sected the city, and shut in the stately mansions and antique houses with carved enrichments, HI.] APPRENTICESHIP. 27 where dwelt its merchant princes. 1 The red-brick shop of Bewick's new master stood near Amen Corner, and looked into St. Nicholas's Church- yard. It was distinguishable by two fantastic wooden spouts, and existed until very lately ; but a towering building in the modern taste now occu- pies its site. Bewick boarded with Mr. Beilby, and, after the fashion of those days, attended him to divine service twice every Sunday (probably carrying the prayer-book), 2 groomed his brother's horse, and made himself generally useful, not 1 Some of these expressions are borrowed from a pleasantly- written little pamphlet by Mr. Robert Robinson, of Pilgrim Street, issued in 1876 with his reprint of Bewick's "Waiting for Death." 2 The London apprentices, if we may trust Foote, had some- what departed from the " beneficial and cleanly way " of life which still prevailed in the provinces : SIR WILLIAM. . . . What, old boy, times are chang'd since the date of thy indentures ; when the sleek, crop-ear'd 'prentice us'd to dangle after his mistress, with the great gilt Bible under his arm, to St. Bride's, on a Sunday ; bring home the text, repeat the divisions of the discourse, dine at twelve, and regale, upon a gaudy day, with buns and beer at Islington, or Mile-End. R. WEALTHY. Wonderfully facetious ! SIR WILLIAM. Our modern lads are of a different metal. They have their gaming clubs in the garden, their little lodgings, the snug depositories of their rusty swords, and occasional bag- wigs ; their horses for the turf ; ay, and their commissions of bankruptcy too, before they are well out of their time. THE MINOR, 1760, Act i. 28 THOMAS BEWICK. [CHAP. omitting, doubtless, to abstain carefully from the over-abundant Tyne salmon which (as per indent- ure) the apprentice of the period was not obliged to eat more than twice a week. For some time after entering the business he was employed in copying " Copeland's Orna- ments" (Copeland's " New Book of Ornaments," 1746, or Lock and Copeland's do., 1752, both of which were in possession of his family), and " this," he says, " was the only kind of drawing upon which I ever had a lesson given to me from any one." So far as the discipline of the hand is concerned, the statement is no doubt strictly accurate ; but that other education of the sight, which Hogarth defined as the early habit "of retaining in his mind's eye, without coldly copy- ing it on the spot, whatever he intended to imi- tate," had probably been active for many years previously. Beilby's work was of a most multi- farious character. Pipe moulds, bottle moulds, brass clock-faces, coffin-plates, stamps, seals, bill- heads, ciphers and crests for the silversmiths- nothing seems to have come amiss ; and the HI.] APPRENTICESHIP, 29 coarser kinds of engraving which fell to the share of the young apprentice made his hands as hard and large as a blacksmith's. According to the " Memoir," the first "jobs" on which he was em- ployed were etching sword-blades, and blocking out the wood about the lines on diagrams (to be finished subsequently by his master) for the " Ladies' Diary," a popular almanac which dated as far back as 1704, and which was edited for many years by Charles Hutton, then a Newcastle schoolmaster, and later the celebrated Dr. Hutton of Woolwich. It was for Hutton also that he did what in the catalogues figures as his earliest pro- duction, namely the diagrams to a " Treatise on Mensuration." This book, which long enjoyed a great reputation, made its ddbut in fifty six- penny numbers (!), and was issued in 1770 as a portentous quarto volume. One of the cuts, often referred to with exaggerated interest, contains a representation of the tower of St. Nicholas's Church, afterwards a frequent feature in Bewick's designs. Considerable ingenuity ap- pears to have been shown by him in the execution THOMAS BEWICK. [CHAP. of these diagrams ; and he is said to have devised a double-pointed graver, so successful in its oper- ations, that the completion of the work, which had been begun by Beilby himself, was transferred to him at Hutton's request. About the same time ST. NICHOLAS'S CHURCH. (FROM HUTTON'S "MENSURATION," 1770.) he designed and engraved a billhead for the "George and Dragon" Inn, and (according to Mr. Atkinson) another for the " Cock," a famous old hostelry at the Head of the Side. These per- formances, though of the rudest character, were exceedingly popular ; and commissions for work HI.] APPRENTICESHIP. 31 on wood, which had hitherto been little done in Beilby's shop, began to multiply. Numerous orders for cuts for children's books were received, chiefly from Thomas Saint, a printer and publisher of Newcastle, who had succeeded John White, once famous for his stories and for the old ballads which were sung about the streets on market days. With exception of the Hutton diagrams, the first efforts of Bewick in the way of book- illustration would seem to have been the " new invented Horn Book " and the " New Lottery Book of Birds and Beasts," 1771. Much caution must, however, be exercised in speaking of these juvenilia, which seem to have been unknown to Mr. Atkinson, and are not mentioned in the " Descriptive and Critical Cata- logue of Works illustrated by Thomas and John Bewick," published by John Gray Bell in 1851. Specimens of blocks from both of them are given in Mr. Edwin Pearson's reprint of the " Select Fables " of 1784. In the same conjectural cate- gory must be placed the " Child's Tutor ; or, Entertaining Preceptor," 1772, the cuts of which 32 THOMAS BEWICK. [CHAP. were said by a well-known Bewick collector, Mr. W. Garret, to have been engraved by Bewick " in the first year of his apprenticeship, though he was afterwards ashamed to own them." Next comes the " Moral Instructions of a Father to his Son," etc., 1 772, at the end of which was a number of " Select Fables," with thirty-three small illus- trations, concerning which we have the express assurance given by Miss Jane Bewick to Mr. Pearson in January 1867, that they were the work of her father. Mr. Pearson also gives examples of these, which are more interesting than remark- able. The only other work to which, for the pre- sent, it is needful to refer, is the " Youth's In- structive and Entertaining Story Teller," pub- lished by Saint in 1774. Of this Bewick himself speaks in the " Memoir," which places its authen- ticity beyond a question. We do not, however, propose to linger over these elementary efforts. They were the tentative essays of an artist who neither knew his own strength, nor foresaw the resources of the vehicle he was employing ; and who, when his talents were matured and his voca- HI.] APPRENTICESHIP. 33 tion found, might well be excused if he declined to be over-communicative respecting work which he had long excelled. Indeed, he excelled it in a marked manner before the termination of his apprenticeship. Among the wood blocks upon which he was busily engaged during the latter part of that period were some intended for an edition of " Gay's Fables." Of five of these Mr. Beilby thought so well that he submitted them to the Society of Arts in London, from whom, as already stated, they received the recognition of a premium of seven guineas, which Bewick at once transferred to his mother. " Gay's Fables," however, were not published until 1779, and long before that date Bewick had quitted Mr. Beilby's shop. During the time of his bondage, his character and habits became definitely formed. Having fallen into ill-health through over-application and the reading which was almost his sole amusement, the pre- cepts of a sensible Newcastle physician and nota- bility, Dr. Bailes, who seems to have been a kind of local Abernethy, made him turn his attention D 34 THOMAS BEWICK. [CHAP. to questions of diet and exercise. He began to study the regimen of the famous Venetian cente- narian, Lewis Cornaro, together with the recom- mendations as to occasional days of abstinence given, but probably not observed, by the great Mr. Joseph Addison. 1 He thought nothing, he tells us, of setting out, after seven in the evening, to walk to Cherryburn, a distance of more than eleven miles, to see his parents, for whom he maintained the warmest affection, and never failed to visit periodically. These long walks, he adds, were chiefly occupied by the devising of plans for his conduct in life. But it may well be that the insensible education through the senses during his solitary expeditions was of even more import- ance than the forming of resolves, however praise- worthy, to pay ready money, and never to live beyond his means. He did not always continue to be an inmate 1 A little copy of Cornaro's " Sure and Certain Methods of at- taining a Long and Healthful Life," etc., dated 1727, and roughly rebound in sheep, is in the possession of the present writer. It once belonged to Robert Elliot Bewick, and is possibly the identical copy which was his father's companion when wandering on the Town Moor, or in the Elswick fields. in.] APPRENTICESHIP, 35 of Mr. Beilby's house in the churchyard. After due time he went to lodge with an aunt, and subsequently with a flax-dresser and bird-fancier named Hatfield. Here he had an opportunity of becoming acquainted with very varied company. Those of the trade who visited his landlord in his capacity of flax-dresser were a worthless and dis- solute race ; but (as might be conjectured) to the tales of the bird-catchers and bird-dealers who resorted to the house he listened with the greatest interest. Among the acquaintances whom he made about this time was Thomas Spence, the philanthropist, who was already actively promul- gating the doctrine, still preached in our own day, that property in land is everyone's right ; and at " his school on the Quayside " (spelled " Key- side"), elaborating his new alphabet and phonetic system of orthography. For some of his types Bewick cut the steel punches ; but, though he believed him to be sincere and honest, he does not appear to have unreservedly espoused his prin- ciples, and his failure to support them on one occasion at a debating society resulted in a bout 36 THOMAS BEWICK. [CHAP. with the cudgels, in which the philosopher behaved so unphilosophically, and even unfairly, that Be- wick was obliged to give him " a severe beating/' Others of Bewick's associates were better chosen, if they could scarcely be regarded as less peculiar, than the remarkable author of " The Teacher of Common Sense," and " Pigs' Meat ; or, Lessons for the People." Foremost of these come the Grays, father and sons. The father, Gilbert Gray, was a bookbinder, and a thoroughly estimable man. He had previously been assistant to Allan Ramsay, after that worthy wigmaker had left off " theeking the outside of the pash in order to line the inside," and was writing the " Gentle Shepherd." When Bewick knew Gray he was advanced in years, and following his trade in Newcastle. He lived in the most primitive way, eating when he was hungry, sleeping when he was drowsy, and spending his money on the publication of little books of the moral and en- tertaining class (the " Countryman's Treasure," " Multum in Parvo," the " Complete Fabulist," etc.), which he sold to the people who attended in.] APPRENTICESHIP, 37 the market on Saturdays. On winter evenings his workshop was the resort of a number of young men, to whom his advice and example were of considerable service. In that of his son, William Gray, also a bookbinder, Bewick was enabled to consult volumes which would otherwise have been sealed to him, and often before his own labours had begun for the day he might be found studying the treasures his friend had to bind. But the genius of the family was George Gray, a fruit-painter of considerable local eminence, and a good geolo- gist, chemist, and botanist to boot. In this last capacity he travelled through great part of North America no common feat in 1787. He is described as extremely eccentric, both in his dress and habits. Moreover, he was a confirmed misogynist, until a serious illness for the moment perverted him to the belief that " man is not born to live alone." Whilst under the influence of this enervating change in his opinions, he married a shoemaker's widow ; but after her death declared that all the riches of Mexico and Peru should not tempt him to repeat the experiment. George THOMAS BEWICK. [CHAP. in. Gray was five years younger than Bewick. It must, therefore, be assumed that in speaking of him at this stage of the " Memoir," Bewick was anticipating an acquaintanceship which belongs to a somewhat later date. TAILPIECE. (FROM FERGUSON'S "POEMS," 1814.) CHAPTER IV. " WANDER; AHRE." ON the ist of October 1774, the seven years' apprenticeship expired ; and Bewick, after work- ing for a short time with his old master at a guinea a week, returned to Cherryburn, where he remained until 1776. He continued to execute woodcuts and other commissions, chiefly for Thomas Angus, a printer of Newcastle, and occupied his leisure, as of old, with angling and field-sports, growing more and more attached to the country sights and ways. His later recol- lections dwell lovingly upon the genial Christmas festivities of the gentry and farmers, when the air was filled with old tunes, with the cheery notes of the Northumberland small-pipes, 1 with the buzz 1 A bagpipe, differing from the Scotch, being smaller, and 40 THOMAS BEWICK. [CHAP. of the " foulpleughs " or Morrice-dancers ; and he sighs for the days gone by, when home-brewed ale was honest malt and hops. In the summer of 1776 the spirit of wandering seized upon him, and, sewing three guineas in his waistband, he made a long pedestrian excursion to Cumberland and the lake country, thence to Edinburgh and Glasgow. Passing up the beautiful valley of the Leven from Dumbarton to Loch Lomond, he paused to puzzle out the inscription on the monument of Smollett, of whose works he was as great an admirer as Carlyle, and so wandered northward to the Highlands. Here, having made up his mind not to visit any town or stay at any inn, he travelled from one farmhouse to another, meeting everywhere with kindly and simple hos- pitality, and pursued, at his departure, by the v customary bannocks and scones. A propos of one of these leave-takings, occurs the only idyllic passage in the " Memoir" : "On one occasion, I was detained all day and blown, not with the breath, but by a pair of bellows fixed under the left arm. Brockett's " Glossary." iv.] 'WANDERJAHRE: 41 all night at a house of this kind, in listening to the tunes of a young man of the family who played well upon the Scottish pipes. I, in turn, whistled several Tyneside tunes to him ; so that we could hardly get separated. Before my departure next day, I contrived by stealth to put some money into the hands of the children. I had not got far from the house till I was pur- sued by a beautiful young woman, who accosted me in ' badish ' English, which she must have got off by heart just before she left the house, the purport of which was to urge my acceptance of the usual present. This I wished to refuse ; but, with a face and neck blushed with scarlet, she pressed it upon me with such sweetness while I thought at the same time that she invited me to return that (I could not help it) I seized her, and smacked her lips. She then sprang away from me, with her bare legs, like a deer, and left me fixed to the spot, not knowing what to do. I was particularly struck with her whole handsome appearance. It was a compound of loveliness, health, and agility. Her hair, I think, had been 42 THOMAS BEWICK. [CHAP. flaxen or light, but was tanned to a pale brown by being exposed to the sun. This was tied behind with a ribbon, and dangled down her back ; and, as she bounded along, it flowed in the air. I had not seen her while I was in the house, and felt grieved because I could not hope ever to see her more." He left Scotland in a Leith sloop, arriving at Newcastle on the i2th of August 1776. The passage from Leith to Shields was an exceedingly bad one, and it is characteristic of his kindness of heart that during the whole of the time, although worn out for want of sleep, he tended a poor little baby, which had been put into his bunk for secu- rity during the utter prostration of its mother. After remaining long enough in Newcastle to earn the money for his journey, he took a berth in a collier for London, where he arrived in October. In London he had numerous friends. The Gregsons, his old schoolmaster's sons, and distant connections as well, were established there. William Gray, too, was a bookbinder in Chancery Lane ; and there were others besides. He got iv.] l WANDERJAHRES 43 work at once from Isaac Taylor, the master of another Newcastle acquaintance, and also from the beforementioned Thomas Hodgson, then a printer and publisher in George Court, Clerken- well. Mr. Atkinson also says he worked " with a person of the name of Cole," of whom, as a wood-engraver, Chatto could subsequently find no trace. 1 It is possible, however, that this is a mistake for Coleman, the Society of Arts prize- man, who, as already pointed out, survived until 1807. Be this as it may, notwithstanding his facilities for obtaining employment, Bewick soon began to weary for St. Nicholas's steeple and " Canny Newcassel." London had few charms for him, it was too huge, too gloomy, too full of extremes of wealth and poverty. With many of his fellow- workmen he was out of sympathy ; they called him " Scotchman," and he despised them as cockneys. The result was, that in spite of the 1 Redgrave, however, mentions two engravers on copper of this name. One of them B. Cole executed most of the large plates for Maitland's " London," and copied for the " Grand Magazine of Magazines," 1759, the curious frontispiece designed by Pope himself to the " Essay on Man." 44 THOMAS BEWICK. [CHAP. remonstrances of his principal patrons, he resolved to return to his northern home, not so much as Mackenzie in his " History" would have us believe because he was ''disgusted with the vanity, arrogance, and selfishness of the wood engravers in the proud Metropolis," since those objectionable qualities are not confined to any class or town, but because he was hungering for his " fitting environment " the Tyne-side, the old folks at Cherryburn, and the simple country plea- sures that he loved. He told a friend that he would rather enlist than be tied to live in London ; and, years after, the feeling was as strong as ever. Writing in April 1803 to one of the Gregsons, he says : " I wonder how you can think turmoiling yourself to the end of the Chapter, and let the opportunity slip, of contemplating at your ease the beauties of Nature, so bountifully spread out to enlighten, to captivate and to cheer the heart of man for my Part, I am still of the same mind that I was in when in London, and that is, I would rather be herding sheep on Mickley bank top than iv.] ' WANDERJAHRE. ' 45 remain in London, although for doing so I was to be made the Premier of England." Thus, after brief trial, ended Bewick's Wander- jahre. He returned to Newcastle, taking up his abode as before at Hatfield's, and accepting such engraving, either on wood, silver, or copper, as came in his way. He had not been long at work on his own account, when propositions were made to him to enter into partnership with his old master, Mr. Beilby. This, by the intermediation of a friend, was brought about, though not without some misgivings on Bewick's part. He took his brother John, then a lad of seventeen, as his apprentice, and the old weekly visits to Cherry- burn were resumed in company. For eight years these were continued in all weathers, winter and summer, fair and foul. Often he had to wade a pool at the outset, and sometimes the river at the end. But by this time his constitution was so hardened by temperance and exercise that neither heat nor cold had much effect on him. And the severities of the winter were amply compensated by the delights of the other seasons when the 46 THOMAS BEWICK. [CHAP. valley of the Tyne put on all its beauties, and he could watch the succession of plants and wild flowers, and the flight of birds and insects. Then again, at this period he had the fullest enjoyment of his sole diversion fishing, to the praise of which he has devoted one of his happiest and most enthusiastic pages : "Well do I remember mounting the stile which gave the first peep of the curling or rapid stream, over the intervening, dewy, daisy-covered holme boundered by the early sloe, and the haw- thorn-blossomed hedge and hung in succession with festoons of the wild rose, the tangling wood- bine, and the bramble, with their bewitching foliage and the fairy ground and the enchant- ing music of the lark, the blackbird, the throstle, and the blackcap, rendered soothing and plaintive by the cooings of the ringdove, which altogether charmed, but perhaps retarded, the march to the brink of the scene of action, with its willows, its alders, or its sallows where early I commenced the day's patient campaign. The pleasing excite- ments of the angler still follow him, whether he is iv.] I WANDERJAHRE: 47 engaged in his pursuits amidst scenery such as I have attempted to describe, or on the heathery moor, or by burns guttered out by mountain torrents, and boundered by rocks or gray moss- covered stones, which form the rapids and the pools in which is concealed his beautiful yellow and spotted prey. Here, when tired and alone, I used to open my wallet and dine on cold meat and coarse rye bread, with an appetite that made me smile at the trouble people put themselves to in preparing the sumptuous feast ; the only music in attendance was perhaps the murmuring burn, the whistling cry of the curlew, the solitary water- ouzel, or the whirring wing of the moor game. I would, however, recommend to anglers not to go alone ; a trio of them is better, and mutual assist- ance is often necessary." 1 1 This last piece of advice is at variance with the final words of the first patroness of fishing in England. " Whanne ye pur- poos to goo on your disportes in fysshyng," says Dame Juliana Berners (if we may still call her so), " ye woll not desyre gretly many persones wyth you, whyche myghte lette you of your game. And thenne ye maye serue God deuowtly in sayenge affectuously youre custumable prayer. . . . And all those that done after this rule shall haue the blessynge of god & saynt Petyr, whyche 48 THOMAS BEWICK. [CHAP. In 1785, Bewick's mother, father, and eldest sister died, and the walks to Cherryburn came to an end. In the following year he was married to Miss Isabella Elliot of Ovingham, one of the little girls whom he had " plagued " in his unregenerate boyhood. He was then living at the Forth, a large piece of public ground near St. Mary's Hospital, in a house which had been previously tenanted by Dr. Hutton, part of whose furniture he had purchased. It was a "fine, low, old-fashioned" building, situated in what was afterwards known as Circus Lane (so probably called from the Amphitheatre erected in the Forth in 1789), and having a long garden extending almost to the old Town Wall. From the windows could be seen the ancient semi-cir- cular bastions known respectively as Gunner or Gunnerton Tower and West Spital Tower. Of Gunnerton Tower there is a little picture in one of the tailpieces to the "Water Birds," and it is stated that the adventurous youngster who is scaling its crumbling sides for jackdaws' nests (in he theym graunte that wyth his precyous blood vs boughte."- " The Treatyse of Fysshynge wyth an Angle," Pickering's reprint, 1827, p. 40. iv.] s FABLES; BE WICK^S JDEA TH. 135 to have been begun in 1812, after a severe illness, to which reference is made in the " Memoir." Bewick speaks of this book as if it had been a long-contemplated idea. " I could not (he says) . . . help regretting that I had not published a book similar to ' Croxall's ^Esop's Fables/ as I had always intended to do " [he seems to forget or ignore the " Select Fables "] ; and he goes on to say that, as soon as he was so far recovered as to be able to sit at the window, he began to " draw designs upon the wood " for the illustrations. In this work he expressly states that he was assisted by his son (R. E. Bewick), and two of his pupils, William Temple and William Harvey. It is probable that the bulk of the engraving fell to the share of these latter. But here, again, we come face to face with another of the unsolved, and to-day insoluble, questions of Bewick biography. excellent frontispiece-portrait of Bewick, after William Nicholson, repaired and retouched the blocks, not to their advantage. This volume was produced with little consideration for Bewick's feelings and reputation. Its pretensions are well known to collectors ; but Mr. W. J. Linton has recently exposed them at large in the "Academy" for 22d March 1884. I 3 6 THOMAS BEWICK. [CHAP. In the "Treatise on Wood-Engraving" it is alleged that the majority of the water-colour drawings for "Bewick's Fables" were made by Robert Johnson "during his apprenticeship," and they are referred to in a note as if the writer were speaking de visit, THE FOX AND THE GOAT. (FROM CROXALL*S " FABLES," 1722.) since their "finish and accuracy" is dilated upon, and they are compared to " miniature Paul Potters." 1 It 'is, of course, possible that this should be the case, but it seems at the same time exceedingly improbable that in preparing a book 1 This note, we have reason to believe, was written by or for Mr. Jackson. ix.] ^SOP'S FABLES,' BE WICK'S DEA TH. 1 37 in 1812, Bewick should have fallen back for his designs upon a set of illustrations made some twenty years before by a young man, who, more- over, had been in his grave since 1796. Unfortu- nately there is not, to the best of our recollection, THE FOX AND THE GOAT. (FROM " FABLES OF yESOP," l8l8.) a single allusion to Johnson in the whole of the " Memoir," unless, indeed, it is covered by a passage in which " the envy and ingratitude of some of my pupils" are obscurely hinted at. It is therefore hopeless now to speak with any cer- tainty upon the matter. 1 3 8 THOMAS BE WICK. [CHAP. As to the book itself, it bears much the same relation to Bewick's earlier work that the per- formances of a man's decline generally do to the first " sprightly runnings" of his genius. The impulse flags, but the effort is painfully increased. The cuts in " ^sop " are more minute and more studied, less certain of stroke, less sparing of line. The basis of the designs, by whomsoever the majority may be, is avowedly Croxall. In the " Viper and the File," for instance, the composi- tion is larger and more minutely finished ; but the viper (and this is an improvement) is on the ground instead of on the bench. In the " Young Man and the Swallow" the artist has reverted, not we think wisely, to the classical prodigal of the earlier book. Some of the tailpieces are good and humorous ; but they are not equal to those of the " Quadrupeds " and " Birds." A man with a bundle at his back, whose shadow resembles the devil, appears to give the first hint of the ingen- ious shadow -pictures of the late C. H. Bennett. "Waiting for Death," at page 338, is one of the many variations of the large block upon which 'S FABLES; BEWICKS DEATH. 139 Bewick was occupied in his last days ; and accord- ing to Howitt, the inscription at page 152 "O God of infinite Wisdom, Truth, Justice, and Mercy, I thank Thee," was Bewick's favourite form of prayer. The headstones at pages 162 and 176 record the dates of the deaths of his father and mother ; and the final tailpiece is said by Mr. HEADSTONE TAILPIECES. (FROM " FABLES OF jESOP," 1818.) Hugo to represent John Bewick's funeral. In this case the church represented must be intended for a reversed copy of the one at Ovingham. The little tailpiece to the " Frogs and their King," apart from its special merit, affords us an opportunity of citing a thoroughly Ruskinesque passage which is devoted to it in " Ariadne Florentina," pp. 89, 90. "In this vignette he [Bewick] strikes definitely at the degradation of the viler popular mind which MO THOMAS BEWICK. [CHAP. is incapable of being governed, because it cannot understand the nobleness of kingship . . . There is an audience of seven frogs, listening to a speaker, or croaker, in the middle; and Bewick has set him- self to show in all, but especially in the speaker, essential frogginess of mind the marsh temper. He could not have done it half so well in painting as he has done by the abstraction of wood-out- line. The characteristic of a manly mind, or body, is to be gentle in temper, and firm in constitution ; the contrary essence of a froggy mind and body is to be angular in temper, and flabby in constitu- tion. I have enlarged Bewick's orator-frog for you [this refers to the plate in ' Ariadne '], . . . and I think you will see he is entirely expressed in those essential particulars." Although the legend at the bottom of this cut is undoubtedly a facsimile of Bewick's hand- writing, it is, however, most likely that it was engraved by William Harvey, as it is wanting in some of the characteristics of Bewick's manner. A curious receipt is generally to be found bound up with copies of " ^Esop's Fables." It is inter- ix.] ^ SOP'S FABLES; BEWICK'S DEATH. 141 esting to collectors from the example which it gives of the signatures of the Bewicks, father and son, and for the famous thumb-mark, which also appears at page 175 of vol. i. of the " Birds." Another noticeable feature of this receipt is a piece of seaweed, which seems to lie over the central landscape, and was impressed upon it in red ink from a copperplate. Finally, it should be added that the " Preface " to the book, which deserves some of the praise lavished upon it by the artist's admirers, was written by Bewick him- self, who is also responsible for a few of the fables, that of the " Ship Dog " being from his hand. Another, composed for the same purpose, and entitled "The Alarm," was first published in the "Memoir" of 1862, Bewick's printer, Mr. Walker, having made some objection to it, which led to its suppression in 1818. There are better examples of the author's prose, and its chief char- acteristic is the inordinate length of the " applica- tion," which is quite in Croxall's vein. The illustration, also by Bewick, which represents the imps of hell setting off " like a whirlwind, amidst 142 THOMAS BE WICK. [CHAP. the glare of lightning and the roar of thunder, to take up their abode in the minds of men," is here reproduced from the copy given in the " Treatise on Wood- Engraving." THE ALARM. (INTENDED FOR " FABLES OF .ESOP," 1818.) If we except the account of a brief visit paid to Edinburgh in 1823, when he made for Messrs. Ballantyne and Robertson the only sketch upon the stone (the " Cadger's Trot") -which is known to have come from his hand, there is little of ix.] '^SOP'S FABLES' BEWICK'S DEATH. 143 further biographical interest in Bewick's " Memoir." In the last year of his life he visited London ; but although the concluding date of the " Memoir" is ist November 1828, or only a few days before he died, it contains no reference to that occurrence. At this time, he was evidently in failing health ; and it is related that although his friend Mr. William Bulmer drove him to the Regent's Park, he declined to alight for the purpose of seeing the animals. But if the "Memoir" is deficient in merely personal particulars, it is by no means deficient in personality, as some dozen further chapters are exclusively occupied by those reflec- tions with which (as Dovaston informs us with complacent but comical gravity) " he generally relieved his powerful mind in the bosom of his very amiable family." To the ordinary reader these deliverances would be perhaps a little tedi- ous ; but, to the lover of Bewick who cares to know all about him, they will command the re- spect with which they are spoken of by Mr. Ruskin. Most of them are characterised by strong good sense and natural piety ; and in one 144 THOMAS BEWICK. [CHAP. or two passages, as, for instance, when he writes on the topics of selection in marriage and the education of children, considerably in advance of his time. Of what, however, would have interested us most, his method and procedure in his art, he has little definite to tell us. It is possible as he hints that, in mistaken modesty, he shrunk from ob- truding his opinions. But the two chapters which contain references to this subject must serve as our pretext for recalling briefly the most obvious characteristics of his technique. In comparing Bewick's method as an engraver with that of the old woodcutters who reproduced the drawings of Durer and Holbein, two marked and well - defined differences become apparent. One of these is a difference in the preparation of the wood and the tool employed. The old woodcutter cut his design with a knife on strips of pear or other wood sawn lengthwise that is to say, upon the plank; Bewick used a graver and worked upon slices of box cut across the grain- that is to say, upon the end of the wood. The other ix.] ^ SOP'S FABLES; BE WICK^S DEA TH. 145 difference, of which Bewick is said to be the inventor, consisted in the employment of what is known technically as " white line." In all ante- cedent woodcutting, the workman had simply cleared away those portions of the block left bare by the design, so that the design remained in relief to be printed from like type. When done skilfully, and with enlightened appreciation of the essential quality the vigour or delicacy of the original design, the result obtained in this way is a practical facsimile. Clennell's copies of Stothard's pen-and-ink sketches for the Rogers of 1810 are good examples in point. Bewick, however, though of course working sometimes in facsimile, generally proceeded in a different fashion. He directed his attention less to the portions of the block which he was to leave than to those he was to remove. Those spaces or lines which in the impression would print black, he left to take care of themselves ; those he chiefly regarded were the spaces and lines which would print white. In other words, whether the design to be copied was brush or pencil in tint or stroke L 1 46 THOMAS BE WICK. [CHAP. he drew it upon the block with his graver in white line. This is a bare way of explaining his modus operandi; but a glance at the background of some of his cuts, say the " Yellow Hammer" at p. 100, will make it plainer than any written de- scription. Again, his gradations of colour were obtained almost exclusively by the use of single lines as opposed to cross-hatching ; and here also his mode of approaching his work from the white rather than the black side was an advantage. " I never," he says, speaking of cross-hatching, " could discover any additional beauty or colour that the crossed strokes gave to the impression, beyond the effect produced by plain parallel lines. This is very apparent when to a certainty the plain surface of the wood will print as black as ink and balls can make it, without any further labour at all ; and it may easily be seen that the thinnest strokes cut upon the plain surface will throw some light on the subject or design : and, if these strokes are made wider and deeper, it will receive more light ; and if these strokes, again, ix.] ^SOP'S FABLES,' BEWICK'S DEATH. 147 are made still wider, or of equal thickness to the black lines, the colour these produce will be a grey ; and the more the white strokes are thick- ened, the nearer will they, in their varied shad- ings, approach to white, and, if quite taken away, then a perfect white is obtained." Another feature of Bewick's method, which his daughter and editor regarded as " peculiar to himself," was his habit of "lowering" his blocks to lighten the impression where necessary. No doubt he himself hit upon this expedient inde- pendently, but it seems to have been well known to some of the earlier engravers, including Crox- all's artist. The following passage, from Chapter xxii. of the " Memoir," refers, inter alia, to this process : " The first difficulty I felt, as I proceeded, was in getting the cuts I had executed printed so as to look anything like my drawings on the blocks of wood, nor (sic) corresponding to the labour I had bestowed upon the cutting of the designs. At that time pressmen were utterly ignorant as to any proper effect that was to be produced ; or 1 48 THOMAS BE WICK. [CHAP. even, if one of them possessed any notions of excellence beyond the common run of workmen, his materials for working were so defective that he could not execute even what he himself wished to accomplish. The common pelt-balls then in use, so daubed the cut, and blurred and overlapped its edges, that the impression looked disgusting. To remedy this defect I was obliged carefully to shave down the edges round about ; and this answered the end I had in view. The next diffi- culty was worse to surmount, and required a long time to get over it ; and that was, to lower down the surface on all the parts I wished to appear pale, so as to give the appearance of the required distance ; and this process will always continue to call forth and to exercise the judgment of every wood-engraver, even after he knows what effect his careful pressman may be enabled to produce from this his manner of cutting. On this all artists must form their own ideas. I think no exact description . can be laid down as a rule for others to go by : they will by practice have to find out this themselves." ix.] ' ^ SOP'S FABLES,' BEWICK'S DEATH. 149 It may be added that " no exact description " of Bewick's method will make a Bewick, any more than staring at his worn-out graving tools and eye-glass, which were displayed in the Bond Street Exhibition, will make an engraver. In technique, although the principle of "white line" is still re- cognised, many improvements have taken place, and modern wood-engraving has resources never foreseen by its northern restorer and reviver. There are, besides, many designers on the block to-day, compared with whom, by what Mr. Hamer- ton styles his "tonic arrangement," by his con- ventional rendering of details, and by his general treatment of his subject, Bewick must seem an unlettered amateur. But his gift as a naturalist and humourist still remains unaltered, personal, unique, incommunicable. It is this quality which attracts to him that large majority who are neither artists nor engravers ; and it is in virtue of this, and his sincerity and honesty as a man, that his work will continue to live. Shortly before his death Bewick retired from the business in favour of his son, who continued to ISO THOMAS BEWICK. [CHAP. BEWICK'S WORKSHOP IN ST. NICHOLAS'S CHURCHYARD, NEWCASTLE, IN ITS PRESENT CONDITION. carry it on at the .shop in St. Nicholas's Church- yard, where for nearly fifty years his father had laboured. It was in the upper room of this house, 'S FABLES; BEWICK'S DEATH. 151 we are told the room which has in our sketch two windows in the roof that Bewick preferred to work in his latter days. The old shop still presents the same appearance that it did then, the only difference being that the signboard bearing the words " Bewick and Son, Engravers," is now replaced by a tablet identifying the spot. On one of the windows, his name, scratched by a diamond, and the profile of a face, are ex- hibited with pride by the present occupants. His residence, after he moved from the Forth, was a house on the Windmill Hills, Gateshead, which then commanded a view of the Tyne, but is now simply No. 19 West Street. Here, after his retirement, Bewick continued to employ himself upon the "History of British Fishes," some of the blocks for which were printed at the end of the " Memoir; " while a further selection of the tail- pieces, already drawn upon for the " Birds " of 1847, are dispersed in the body of the book. The last vignette upon which Bewick was en- gaged was that of the ferry-boat waiting for the coffin, at page 286 of the " Memoir," and before 152 THOMAS BEWICK. [CHAP. referred to in these pages. But the chief work of his closing days was a large separate woodcut, in which it was his aim, by printing from two or more blocks, to produce something of the variety of tint and effect obtained in the copper- plates of Woollett. The subject he selected was a lean-ribbed and worn-out horse, waiting patiently in the rain for death. This he intended to serve as one of those cheap prints for the walls of cottages which had been familiar to his boyhood, and he proposed to dedicate it to the " Society for the Prevention of Cruelty to Animals." With some such view he had already, as early as 1785, drawn up a graphic biography of his broken-down model. Besides being an excellent introduction to his design, it is thoroughly characteristic both of its author's literary style and his sympathies with equine misery. We therefore reproduce it here, in all the integrity of its italics. " WAITING FOR DEATH. " In the morning of his days he was handsome sleek as a raven, sprightly and spirited, and ix.] '^SOP'S FABLES,' BEWICK'S DEATH. 153 was then much caressed and happy. When he grew to perfection in his performances even on the turf, and afterwards in the chase and in the field he was equalled by few of his kind. At one time of his life he saved that of his master, whom he bore in safety across the rapid flood, but having, in climbing the opposite rocky shore, received a blemish, it was thought prudent to dispose of him, after which he fell into the hands of different masters ; but from none of them did he ever eat the bread of idleness, and as he grew in years his cup of misery was still augmented with bitterness. "It was once his hard lot to fall into the hands of Skinflint, a horse-keeper an authorised whole- sale and retail dealer in cruelty who employed him alternately, but closely, as a hack, both in the chaise and for the saddle ; for when the traces and trappings used in the former had peeled the skin from off his breast, shoulders, and sides, he was then, as his back was whole, thought fit for the latter ; indeed, his exertions in this service of unfeeling avarice and folly were great beyond 1 5 4 THOMAS BE WICK. [CHAP. belief. He was always late and early made ready for action he was never allowed to rest. Even on the Sabbath day, because he could trot well, had a good bottom, and was the best hack in town, and it being a day of pleasure and pastime, he was much sought after by beings in appear- ance something like gentlemen, in whose hands his sufferings were greater than his nature could bear. Has not the compassionate eye beheld him whipped, spurred, and galloped beyond his strength in order to accomplish double the length of the journey that he was engaged to perform, till, by the inward grief expressed in his countenance, he seemed to plead for mercy, one would have thought, most powerfully ? But alas ! in vain. In the whole load which he bore, as was often the case, not an ounce of humanity could be found ; and, his rider being determined to have pennyworths for his money, the ribs of this silent slave, where not a hair had for long been suffered to grow, were still ripped up. He was pushed forward through a stony rivulet, then on hard road against the hill, and having lost a shoe, split ix.] ^SOP'S FABLES,' BE WICK'S DEA TH. 155 his hoof, and being quite spent with hunger and fatigue, he fell, broke his nose and his knees, and was unable to proceed ; and becoming greased, spavined, ringboned, blind of an eye, and the skin by repeated friction being worn off all the large prominences of his body, he was judged to be only fit for the dogs. However, one shilling and sixpence beyond the dog-horse price saved his life, and he- became the property of a poor dealer and horse doctor. "It is amazing to think upon the vicissitudes of his life. He had often been burnished up, his teeth defaced by art, peppered under his tail, had been the property of a general, a gentleman, a farmer, a miller, a butcher, a higgler, and a maker of brooms. A hard winter coming on, a want of money and a want of meat obliged his poor owner to turn him out to shift for himself. His former fame and great value are now to him not worth a handful of oats. But his days and nights of misery are now drawing to an end ; so that, after having faithfully dedicated the whole of his powers and his time to the service of unfeeling man, he is 156 THOMAS BEWICK. [CHAP. at last turned out, unsheltered and unprotected, to starve of hunger and of cold." On the Saturday previous to Bewick's death, which took place, after a few days' illness, on the 8th of November 1828, he had the first block of the old horse proved. It was then unfinished, the head being only partly engraved, but he is said to have observed to the pressman, upon inspect- ing the proof, " I wish I was but twenty years younger ! " Copies of this were struck off in 1832 by R. E. Bewick, with this inscription "Waiting for Death : Bewick's Last Work, left unfinished, and intended to have been completed by a Series of Impressions from Separate Blocks printed over each other." In recent years it has again been carefully reprinted on parchment and paper for Mr. Robinson, of Pilgrim Street. Bewick is buried at the west end of Oving- ham Church, lying, as he hoped, beside his brother John, and near the. place of his birth. In his last illness his mind wandered repeatedly to the green fields and brooks of Cherryburn ; and once, on ix.] ^OG, AND THE FOX. (ENGRAVED BY NESBIT FOR NORTHCOTE'S "FABLES," 1833.) the excellence of his work as a wood-engraver will always demand a record in the story of the revival of the art. In this respect he was the best of Bewick's pupils, and his achievement was in all probability greater than that of his fellows, because he was not tempted beyond the limits of his craft. CHAPTER XT. LUKE CLENNELL. THE surname of Bewick's next pupil is a familiar one to Northumbrians. There is, in fact, a manor of Clennell on the east side of the river Alwine, not far from Alwinton ; and there was even an actual Luke Clennell of that ilk who was high-sheriff of Northumberland in 1727. Whether the present Luke Clennell was in any way related to this family has not been chronicled. He was born at Ulgham, near Morpeth, on the 8th of April 1781, being the son of a respectable farmer. After covering his slate with sketches instead of sums, an incident so persistently repeated in artistic biography that it seems to be an almost indispensable preliminary to distinction, he began life, like Chodowiecki, as a grocer, or, as others CHAP. XL] LUKE CLENNELL. 187 say, a tanner. Here, if tradition is to be believed, he got into trouble, owing to an ill-timed likeness of an unsympathetic customer rashly depicted ad vivum upon a convenient shop-door ; and some of his other drawings having attracted attention, his uncle, Thomas Clennell, of Morpeth, placed him with Bewick. This was in April 1797. With Bewick he remained seven years, and during his apprenticeship is said to have transferred to the block, and afterward engraved, a number of Robert Johnson's designs, which were used as tailpieces for the second volume of the " Birds." He speedily became an expert draughtsman and sketcher, and, like his master, was accustomed to make frequent excursions into the country in search of nature and the picturesque. His term of apprenticeship must have expired in April 1 804 ; and, either shortly before this date or immediately after it, he executed a number of cuts for the " Hive of Ancient and Modern Literature," a selection of essays, allegories, and " instructive Compositions" in the " Blossoms of Morality " manner, made by Solomon Hodgson, 1 88 THOMAS BE WICK. [CHAP. Bewick's old partner in the " Quadrupeds." The third edition of this was published in 1806, and, according to Hugo, contains fourteen cuts by Bewick. This would give the majority of the illustrations to Clennell, who presumably designed as well as engraved them. That to the first part of the " Story of Melissa," a pretty little cut, bears his initials, and they are to be found on the " Northumberland Lifeboat." Some of the re- maining cuts are also signed, and many of the rest may be confidently attributed to him; but those above mentioned are among the best. Besides the engravings for the " Hive," he continued, after his apprenticeship was concluded, to work for Bewick on the illustrations to Wallis and Scholey's " History of England," already referred to in our account of Nesbit. Finding, however, that Bewick received the greater part of the money, he put himself into direct com- munication with the proprietors, the result being that they invited him to London, where he arrived in the autumn of 1804; and one of the earliest indications of his residence in the Metropolis is his " XL] LUKE CLENNELL. 189 receipt, in May 1806, of the "gold palette" of the Society of Arts for "an engraving on wood of a Battle." Among other books upon which he was engaged were Craig's " Scripture Illustrated " and Beattie's " Minstrel," 1807, from the designs of the indispensable Thurston. Another volume belong- ing to this period was Falconer's "Shipwreck," 1808, which contains a well-known picture of a ship in a gale of wind, the manner of which is of itself almost sufficient to prove his authorship of some of the marine tailpieces in vol. ii. of the " Birds." This cut was executed at Twickenham in September 1807, and was much improved by Clennell in the engraving. In 1809 appeared the " Religious Emblems," of which we have already given a sufficient description. Clennell's best cuts in this are the " Call to Vigilance " and the " Soul Encaged," but the least successful of the series are also engraved by him. Some time after his arrival in London, Clennell married ; the exact date is not known. His wife was the eldest daughter of Charles Warren, the copperplate engraver, a worthy rival of Abraham 1 90 THOMAS BE WICK. [CHAP. Raimbach, Finden, and the little knot of talented men who, at the beginning of the present century, emulated each other in producing the delicate book- embellishments issued by Sharpe, Du Rovery, and others. Clennell's introduction to this society had, no doubt, an important influence over his future career. After Ackermann's " Emblems," his next work of importance was a large block for the diploma of the Highland Society. For this, in 1 809, he received the gold medal of the Society of Arts. Benjamin West made the design, which consists of a circular frame containing an allegor- ical group, and flanked by two larger figures of a fisherman and a Highland soldier. Thurston copied the figures within the frame on the wood ; Clennell himself drew the supporters. After he had worked upon it for a couple of months, the block, which was of box veneered upon beech, had the same fate that befell the " Chillingham Bull "; it split, but irremediably, and history relates that the chagrined artist, in a fit of disgust, flung the tea-things into the fire. In a few days, however, he procured a fresh block, induced Thurston to XL] LUKE CLENNELL. 191 redraw the figures, and this time successfully com- pleted his work, an example of which may be seen in the collection of woodcuts at the South Ken- DIPLOMA OF THE HIGHLAND SOCIETY. (REDUCED FROM CLENNELL'S CUT.) sington Museum. 1 It is thoroughly characteristic of his style a style rather energetic than fine, and more spirited than minutely patient. Fortune (it should be added) was once more unfavourable to 1 The bequest of John Thompson, the engraver. 1 92 THOMAS BEWICK. [CHAP. the block, which was burnt in a fire at Bensley's printing-office ; but the subject was subsequently engraved by John Thompson. Clennell's last work of any moment as a wood- engraver is the series of cuts which illustrate Rogers's " Pleasures of Memory, with Other HEADPIECE BY CLENNELL AFTER STOTHARD. (FROM ROGERS'S " PLEASURES OF MEMORY," l8lO.) Poems." This is usually dated 1812; but the copy before us, which has Clennell's name as engraver upon its title-page, bears the imprint of 1810. This litJe volume has an established reputation with collectors, and the excellence of the cuts as enlightened renderings of pen-and-ink sketches can scarcely be exaggerated. The touch XL] LUKE CLENNELL. 193 and spirit of the originals is given with rare fidel- ity, thoroughly to appreciate which it is only necessary to contrast them with some of the later copies in the modern editions of Rogers. Many of the compositions have all the lucid charm of antique gems, and, indeed, may actually have been copies of them, since the " Marriage of Cupid and Psyche," p. 140, is plainly intended for the famous sardonyx in the Marlborough collection. Toward 1809 or 1810, and probably owing to the enlarged views of art acquired in his father-in- law's circle, Clennell seems virtually to have relin- quished engraving for painting and designing. He had, in all likelihood, been preluding in this latter direction for some time, as there is an engrav- ing by Mantin in the British Museum after one of his designs which dates as far back as 1803, an< ^ he made many of the sketches for Scott's " Border Antiquities." In the Kensington Museum there is, besides other sketches, a water-colour drawing called the " Sawpit," dated 1810, which was shown at the Exhibition of 1862 ; and in the Art Library of the same institution there is a highly interesting o 1 94 THOMAS BE WICK. [CHAP. volume containing thirty compositions in water- colour, of which the majority were prepared for a series of " British Novelists," published by Sher- wood, Neely, and Jones in 1810-11. Many of these lightly -washed, slightly -worked sketches have a freedom and certainty of handling which were not retained when they were transferred to the copper, while the situations selected are often realised with considerable insight. It is true that they have not the grace of Stothard, but they have greater vigour. Clennell's men and women are a " strong generation": in his hands Tom Jones becomes a broad-shouldered north-country fox-hunter, and Pickle's Emilia a bouncing Tyneside lass. But his designs have at least one advantage, the lack of which is a com- mon charge against most modern book-illustra- tion, they generally tell a story of some kind. "Trim in the Kitchen after Master Bobby's Death," from "Tristram Shandy," a subject which has exercised almost as many interpreters with the pencil as " Donee gratus eram " has found translators, is freshly treated, and can scarcely be XL] LUKE CLENNELL. 195 said to fall much behind Stothard. This book of sketches contains some other drawings, notably, a spirited one of a bull-baiting, and a few biogra- phical particulars of which we shall hereafter make use. In 1812 Clennell was living at 9 Constitution Row, Gray's Inn Lane Road, and he exhibited at the Royal Academy a lively picture of " Fox-hunters Regaling after the Pleasures of the Chase," which was engraved by his father-in-law, and later, in mezzotint, by T. Lupton. From this time forth he continued to exhibit drawings and paintings at the Academy, the British Institution, and the Exhibition of Painters in Water-Colours at the " Great Room, Spring Gardens," to which last he sent the largest number of contributions. The " Baggage Waggons in a Thunderstorm," ex- hibited in 1816 at the first-named place, and "The Day after the Fair," exhibited in 1818 at the British Institution, are characteristic examples of his work. Among the pictures which he sent to the water-colour gallery were several clever marine subjects, some fishing scenes especially. 1 96 THOMAS BE WICK. [CHAP. One of these, the " Arrival of the Mackarel- Boat," is held to be among his best productions. A few of his sketches, the property of a New- castle collector, Mr. Joseph Crawhall, were ex- hibited at the Arts Association of that town in October 1878. Others have been shown at the Grosvenor Gallery and elsewhere. But there are two pictures, not included in the above list, which have special interest in the story of Clennell's career : one was his masterpiece as a painter, and the other has a tragic connection with the terrible misfortune of his later years. In March 1815 the British Institution set apart 1000 guineas to be awarded in premiums for finished sketches in oil of subjects illustrating the British successes under Wellington. Clennell gained one of these premiums with a contribution, 1 full of fire and furious movement, representing the decisive charge at Waterloo. This was ex- hibited at the British Institution in 1816. The remaining picture, the " Banquet of the Allied 1 Now in the possession of Mrs. Vaughan, No. 88 Westbourne Terrace. XL] LUKE CLENNELL. 197 Sovereigns in the Guildhall," was a commission from the Earl of Bridgewater. When Clennell set to work upon this, which it must be assumed he did after he had completed the aforementioned charge, having grouped and lighted his composi- tion, he took apartments in the west end of the town (his latest residence appears to have been in Pentonville), and waited patiently for the dis- tinguished sitters who were to grace his board. But in this part of his task he experienced so much vexation, suspense, and fatigue, that, by the time he had obtained the necessary sketches and had commenced the picture in earnest, his intel- lectual powers, probably already strained to their utmost by his previous efforts, seem to have suddenly given way. This must have been early in 1817. The following account of the first indi- cations of his malady, as related by one of his friends, is contained in a letter to Mr. Chatto, first published by him in his " History and Art of Wood-Engraving," 1848, p. 22 : " I regret to say I was the cause of the first discovery of his mind being affected. ... I was 1 98 THOMAS BE WICK. [CHAP. on very friendly terms with the family of his father-in-law, Charles Warren, the engraver as fine a hearted man as ever breathed. I was con- sequently well acquainted with Clennell, and fre- quently visited him at his house in Pentonville. I have sat for hours beside him whilst he was engaged in painting that fatal picture. One night, a large party of young folks had assembled at Mr. Warren's, a very frequent occurrence, for everybody went there when they wished to be happy ; and we had spent a long night in jun- ketting and play, and games of all sorts, twirling the trencher, being, as I well remember, one of them ; and at last had gathered in a large circle round the fire. Clennell was seated next the fire on one side, and I sat next to him, I had re- marked that for at least half -an -hour before he had been looking vacantly under the grate, paying no attention to the fun that was going on. In order to rouse him, I gave him a hearty slap on the thigh, and sard : ' Why, Clennell, you are in a brown study !' He gave a faint laugh and said, ' Indeed, I think I am.' He did not, however, XL] LUKE CLENNELL. 199 become so much roused as to pay any attention to the mtie of waggery that was going on. We broke up about one o'clock ; and on my calling at Mr. Warren's next afternoon, I was shocked to hear from him that he feared Clennell's mind was affected ; for that about three in the morning, after having gone home with his wife and retired to bed, he started up and dressed himself, telling his wife that he was going to her father's on a very important affair. As his wife could not pre- vail on him to defer his visit to a more seasonable hour, she determined to accompany him. On arriving at Gray's Inn Road, he knocked violently; and on being let in by Mr. Warren, he said that he had been grossly insulted by me, and that he was determined on having immediate satisfaction. All Mr. Warren's arguments as to the impossi- bility of my having intended to insult him were met with positive assertions to the contrary. He said that he knew better ; ' I had been placed next him on purpose, and it was a preconcerted thing.' Mr. Warren at last, seeing how it was with him, humoured him so far as to say that he 200 THOMAS BEWICK. [CHAP. would go with him, and have an explanation, an apology, or satisfaction ! They accordingly set out for my house ; but Mr. Warren, being now quite sensible on the subject, instead of proceed- ing toward my house, took a very different direc- tion, and led him about till he became tired : he was at that time anything but strong. He also by degrees quieted his mind towards me, by speaking of my friendship for him and my love of art ; and by daylight he got him home and to bed. I need hardly say what exquisite pain this account gave me, for I really loved Clennell : he was always so mild, so amiable in short, such a GOOD fellow." Shortly after this, becoming mischievous, Clen- nell was placed in an asylum in London. Under the pressure of misfortune, his wife's mind also gave way, and she died, leaving three children. By the exertions of Sir John Swinburne (grand- father of the poet) and other benevolent persons, the Waterloo charge was engraved, in 1819, by W. Bromley. It was published by the Committee of the Artists' Fund, to which institution Clennell XL] LUKE CLENNELL. 201 had belonged, and the proceeds were vested in trustees for the benefit of himself and his family. The same body, says Pye, protected him to the day of his death, which took place in February 1 840. During the long period which intervened be- tween 1817 and 1840, Clennell never wholly recovered, though hopes appear to have been entertained that his reason might be restored. For some years he remained in London, but he was subsequently transferred to the care of his relations in the North. When Mackenzie wrote his " History of Newcastle," in 1827, he was living in this way at Tritlington ; later, he was at St. Peter's Quay. Once he called upon Bewick and asked him for a block to engrave, but when, to humour him, he had been supplied with one, his efforts resembled those of an unskilled first be- ginner. His faculty for drawing appears to have less declined. We have now before us a bullfinch and a group of carnations, 1 which he is stated to 1 For access to these, and the verses hereafter printed, we are indebted to the kindness of Mr. W. B. Scott, the painter and poet, some of whose earlier years were spent in Newcastle, the Literary and Philosophical Society of which is embellished by 202 THOMAS BEWICK. [CHAP. have executed during his insanity ; and, except that they are slightly exaggerated in size, the handling is unfaltering and effective. In his earlier days he had been acquainted with Burns, whose songs he sang ; and one of the amusements of his vacant hours consisted in composing strange and half-articulate fragments of verse, a few speci- mens of which are reproduced in the " History of Wood -Engraving." In' the "Athenaeum'' for 7th March 1840, there are three more, " Sole- man," "A Floweret," and "The Lady upon her Palfrey Grey," and others have been published elsewhere. The following, which, as far as can be ascertained, have not appeared in any type save that of the rare leaflet on which they were first printed, are here given chiefly for that reason, and not for any special merit they possess as poetry : one of his pictures, " The Building of the new Castle by the son of William the Conqueror." To his many artistic tastes Mr. Scott adds a love of Bewick, and he cherishes as a memento, mounted in a cane-head, the original button engraved by Bewick as a model for the " Northumberland Hunt." It bears a running fox, and is inscribed "Engraved by T. Bewick. Given by him to W. Losh, Esq." XI.] LUKE CLENNELL. 203 A BALLAD. THE hill it was high As the maiden did climb, And O she wished for her true love nigh, And dearly she wished for the time That she might be by Her own true love of the azure sky. The hill it was fair, And sweet was the air, But her true love was not nigh ; The cowslips look gay, Her love is on his way, And they meet on the hill of the sky. AN EPIC UPON WINTER. IN January or November's cold, When stern winter his sceptre doth hold By farm, or common side, or village lane, Or where the sturdy peasant Doth drive a drain, 204 THOMAS BE WICK. [CHAP. Cutting his way Oft through the frozen clay ; Sometimes dressing a hedge, Lopping away the cumbrous sedge There the fendifair, in numerous wing, To taste, now fresh, the oozing spring, And flock in the copse or on the bough, In winter's merriment to dow. Perhaps, near a gravel-pit, Where doth the swiller boy To carry sand his time employ, The little sandybird doth sit Upon a twig, In expectation big Or robin or blackbird in haste The new brown atom to taste, And pick their welcome cheer, In winter's month so often drear. To attach any undue importance to these irregular verses would be absurd ; but the inborn love of nature is still discernible in the disjointed imagery and the poor rudderless words. Both pieces bear the author's initials, " L. C, " and are dated from "St. Peters." While at St. Peters, Clennell appears to have been harmless ; but in 1831 he again became un- manageable, and was placed in an asylum, where he remained until he died. In 1844 a monumental XL] LUKE CLENNELL. 205 tablet by R. Davies, a local sculptor, was erected to his memory in St. Andrew's Church, Newcastle. It is difficult to determine the precise limits of talents so fatally interrupted, or to decide definitely whether their possessor should or should not be included among " the inheritors of unfulfilled renown." When attacked by his malady he was six-and-thirty, and if there be any truth in the axiom of Joseph de Maistre that " he who has not conquered at thirty will never conquer," Clennell had already passed that critical stage. But we do not place much faith in the utterance in ques- tion, and, setting speculation aside, it may fairly be affirmed of him that he was, after Nesbit, the best engraver among Bewick's pupils ; and that when his mind gave way he was beginning to show powers of a higher kind as an artist, parti- cularly in the line of landscape and rustic scenes. His distinguishing qualities are breadth, spirit, and rapidity of handling, rather than finish and minute- ness ; and the former characteristics are usually held to be superior to the latter. His unfortunate story invests them with an additional interest. CHAPTER XII. HARVEY, JACKSON, ETC. WILLIAM HARVEY, the third of Bewick's pupils who attained to any distinction, is known chiefly as a designer on wood, and for a considerable period held the foremost place in the profession. In these days, when artists of this class are so numerous, it is difficult to understand how one man could completely command the field ; and yet it seems certain that, about 1830-40, Harvey was -the sole person to whom engravers could apply for an original design with security, and who de- voted himself exclusively to the preparation of such designs. " The history of wood-engraving," says a writer in the "Art Union" for 1839, " for some years past, is almost a record of the works of his (Harvey's) pencil." It was the custom to PART OF HAYDON'S "DENTATUS." (FROM HARVEY'S ENGRAVING, 1821.) Tofacepagt 207. CHAP. XIL] HARVEY, JACKSON, ETC. 207 say that he produced more than Stothard or Cho- dowiecki ; but it would be more appropriate to compare his unflagging fertility to that of Dore or Gilbert. He was born at Westgate, i3th July 1796, his father being keeper of the Newcastle Baths. At fourteen he was apprenticed to Bewick, with whom he became a great favourite, as may be gathered from the well - nigh par- ental letter, printed in Chatto's Treatise, which Bewick addressed to him in 1815. Harvey worked with Temple, another pupil, upon the "Fables" of 1818, and, it is alleged, transferred many of Johnson's sketches to the wood. In September 1817 he removed to London. Here he studied drawing under B. R. Haydon, and anatomy under Sir Charles Bell. While with Haydon (where he had Eastlake, Lance, and Landseer for fellow -pupils), he engraved the well-known block after Hay don's " Assassination of Dentatus" that ambitious attempt to unite colour, expression, handling, light, shadow, and heroic form, of which, if report is to be believed, the proximate destination was a packing-case in 208 THOMAS BEWICK. [CHAP. Lord Mulgrave's stable. Harvey's engraving has been described as " probably the largest, certainly the most laboured, block that had then been cut in England " ; but its manifest and misguided rivalry of copperplate makes it impossible to praise it as highly as its exceedingly skilful tech- nique would seem to warrant. As a work upon INITIAL LETTERS BY HARVEY. (FROM HENDERSON'S " HISTORY OF WINES," 1824.) wood it must be regarded as more ingenious than admirable. Towards 1824 Harvey seems wholly to have abandoned engraving for design, his decision in this direction being apparently determined by the success of the illustrations he drew and in part cut for Henderson's " History of Ancient and Modern Wines." These are some of his most pleasing per- XII.] HAR VE Y t JA CKSON, E TC. 209 formances. As engravings they are excellent ; as compositions they have but little of the unpleasant mannerism which afterward grew upon him and disfigured his later work. To give an account of THE EGRET. (FROM A DRAWING BY HARVEY.) his labours as a designer subsequent to this time would be unnecessary as well as tedious. About 1830 he had become prominently popular in this way ; he was at the height of his reputation in 1840, and when he died, six-and-twenty years p 210 THOMAS BEWICK. [CHAP. later, his work was still in request. His designs for the " Tower Menagerie," 1828; " Zoological Gardens," 1830-31; "Children in the Wood," 1831 ; " Blind Beggar of Bethnal Green," 1832 ; " Story without an End,' 7 " Pictorial Prayer Book," THE JAGUAR. (DRAWN BY HARVEY FOR "THE TOWER MENAGERIE," 1828.) " Bible," " Shakspere," l and a hundred other issues from Charles Knight's untiring press, attest his industry and versatility. Those who desire to study him to advantage, however, will do so in 1 Bogue's Bunyan's " Pilgrim's Progress," engraved by the Dalziels, is also one of Harvey's better efforts. MAAROOF BIDDING FAREWELL TO HIS WIFE. (DRAWN BY HARVEY FOR LANE'S "THOUSAND AND ONE NIGHTS," 1840.) To face page 211. XIL] HAR VE Y, JA CKSON, ETC. 2 1 1 the two series of Northcote's " Fables," 1828 and 1833, to which we have already referred ; and in Lane's " Thousand and One Nights," 1838-40. Northcote, indeed, takes credit for the illustrations in the former case ; but from the accounts which exist of the way in which he prepared the merely indicatory sketches that Harvey subsequently ela- borated and transferred to the block, 1 and from the admission in the preface to vol. i. that many of the designs have been " improved by his 1 " It was by a curious process that Mr. Northcote really made the designs for those Fables the amusement of his old age, for his talents as a draftsman, excelling as he did in Animals, was rarely required by this undertaking. His general practice was to collect great numbers of prints of animals, and to cut them out ; he then moved such as he selected about upon the surface of a piece of paper until he had illustrated the fable by placing them to his satisfaction, and had thus composed his subject, then fixing the different figures with paste to the paper, a few pen or pencil touches rendered this singular composition complete enough to place in the hands of Mr. Harvey, by whom it was adapted or freely translated on the blocks for the engravers. The designs made by this ingenious mode are the more curious as having been executed by a painter, whose masterly hand knew so well how to give that beauty of arrangement which makes them so admirable and interesting." " Sketch of the Life of James Northcote, Esq., R.A.," by E. S. Rogers, prefixed to the second series of " Fables," 1833- 212 THOMAS BE WICK. [CHAP. (Harvey's) skill," it is probable that most of the honours of the undertaking really belong to Harvey, though he again, no doubt, profited in some degree by having Northcote's first ideas to THE GREAT EAGI.E-OWL. (DRAWN BY HARVEY FOR " THE GARDENS AND THE MENAGERIE OF THE ZOOLOGICAL SOCIETY," 1831.) energise upon. The ornamental letters and vig- nettes were entirely his own. Taken as a whole, these two volumes are among the most interesting examples of woodcut art in England. They were a labour of love to their projector, whose dying regret GARDENS ON THE RIVER OF EL-UBULLEH. To face Page 213. (DRAWN BY HARVEY FOR LANE'S " THOUSAND AND ONE NIGHTS," 1840.) XIL] HAR VE Y, JA CKSON, ETC. 2 1 3 it was that he had not lived to see the publication of the second series ; and some of the happiest work of Nesbit, Jackson, Thompson, and Williams that is to say, of the most successful wood-en- gravers of the day is to be found in their pages. PARTY QUARRELS. (ENGRAVED BY JACKSON FOR NORTHCOTE's "FABLES," 1833.) In the "Arabian Nights," which is regarded as Harvey's masterpiece, he is free from any charges of collaboration, beyond the fact that he worked under the eye of Mr. Lane, who assisted him with minute indications of costume and ac- cessories. In the life of Lane by his nephew, 2 1 4 THOMAS BE WICK. [CHAP. Mr. Stanley Lane-Poole, it is stated that the former did not attach much importance to these pictorial embellishments, and even thought that they might well be dispensed with. Some allow- ance must be made in this case for Mr. Lane's unique position as a critic. A Roman of the time of Augustus would doubtless find anachron- isms in the works of Gerome ; and no designer would have been likely to entirely satisfy the in- veterate Egyptologist, who had himself sat cross- legged in the ancient Arab city of Cairo, and who, to the end of his life, began each day's task with a pious Bismi-lldh. That Lane's disciple, relative, and biographer should, under the circumstances, speak of Harvey's drawings as the " least excellent part of the book," and damn them with the faint praise of "succeeding in some slight degree in catching the oriental spirit of the tales," is perhaps to be anticipated ; but the fact remains that the artist reached his highest point in these volumes, and the public of Charles Knight's time probably ranked them far above the text in importance. A certain florid and luxuriant facility, which in THE SECOND SHEYKH RECEIVING HIS POOR BROTHER. (DRAWN BY HARVEY FOR LANE'S "THOUSAND AND ONE NIGHTS," 1840.) To face page 215. xii.] HAR VE Y, JA CKSON, ETC. 2 1 5 Harvey's ordinary designs is monotonous or ill- timed, seems almost in keeping with Eastern sub- jects, and many of the headpieces and vignettes, set tastefully in intricate arabesques, and beauti- fully engraved by Jackson and his colleagues, are gems of refined and delicate invention. Speaking generally, the decorative and topographical ex- amples, the glimpses of bazaar and street, of mosque and turreted gate and "latticed meshre- beeyeh," are superior to the picturesquely grouped but expressionless figure subjects. In drawing animals, Harvey was often singularly fortunate, although here, as always, his peculiar mannerism mars his work. At his death, in 1866, he was Bewick's only surviving pupil. Beyond the fact that he was a thoroughly amiable and unpretentious man, and an unwearied worker, little of interest has been recorded respecting him. A new race of draughts- men has sprung up since he laid down the pencil, but his name will always deserve to be remem- bered in the annals of his craft. He lies buried in the cemetery at Richmond. 216 THOMAS BEWICK. [CHAP. In addition to the pupils already mentioned, there were a few others, who either did not attain to celebrity, or whose relationship to Bewick was of a more incidental kind. Foremost among these comes John Jackson, who was born at Ovingham in 1801, and died in 1848. Redgrave says that he was a pupil of Armstrong (which is indefinite), and afterwards of Bewick. With the latter he had some obscure disagreement which prematurely terminated their connection, Bewick, it is alleged, going even so far as to cut his own and his son's names out of the unexpired indent- ures. Jackson then moved to London, and worked for a time under Harvey, many of whose designs he subsequently engraved. He either did, or superintended, much of the work on the " Penny Magazine" and other of Charles Knight's various enterprises ; and between 1830 and 1840 was the busiest and best employed of London wood- engravers. 1 His work for the two series of North- 1 Many good examples of Jackson's work are to be found in a volume of i 50 selected engravings from the " Penny Magazine," published in 1835, and referred to before a Committee of the XII.] HAR VE Y, JA CKSON, ETC. 217 cote's " Fables " and Lane's " Arabian Nights" has already been mentioned. As an engraver he was careful and painstaking without any special show of genius. His name has, however, acquired THE FOX, THE WEASEL, AND THE RABBIT. (ENGRAVED BY JACKSON FOR NORTHCOTE'S " FABLES," 1828.) more prominence than it perhaps actually de- serves, from its connection with a book to which we have frequently made reference, and House of Commons as illustrating the progress and advantages of popular woodcut art. 218 THOMAS BEWICK. [CHAP. to which no student of wood-engraving can fail to be indebted, namely, the "Treatise" on that art, hitherto currently known as "Jackson and Chatto." When this volume first appeared in 1839, THE WOODCOCK. (ENGRAVED BY JACKSON AFTER BEWICK'S CUT.) an angry controversy arose as to the relative claims of the engraver and his colleague to the honours of authorship. We do not propose to stir the ashes of this ancient dispute. Still, it may be stated that Mr. Chatto appears to have had but scant justice done to him in the matter, for, with a few XII.] HARVEY, JACKSON, ETC. 219 reservations, the composition and preparation of the book were entirely his. Indeed, Jackson was in no sense "literary," and could not possibly have undertaken it ; and although he provided and paid for the illustrations, the attributing of them en masse to him personally is manifestly an THE PARTRIDGE. (ENGRAVED BY JACKSON AFTER BEWICK'S CUT.) error, as the major part of the facsimiles of old woodcuts were the work of the late Mr. Fairholt, and were chiefly engraved by a young pupil of Jackson's named Stephen Rimbault. Others were executed by J. W. Whymper. Of the blocks actually from the graver of Jackson himself, the best are the " Partridge" and the "Woodcock" 220 THOMAS BEWICK. [CHAP. after Bewick, which are favourable specimens of his powers. Jackson's true position with regard to the whole book seems to have been rather that of projector than of author ; and it is satisfactory to know that in the third edition, which has been THE VAIN BUTTERFLY. (ENGRAVED BY LANDELLS FOR NORTHCOTfi's " FABLES," 1833.) recently issued, due prominence has been given on the title-page to the hitherto insufficiently recog- nised labours of Mr. Chatto. With the exception of Ebenezer Landells, the remaining pupils of Bewick are little more than names. Landells was an excellent engraver, who did good work on the " Illustrated London News " w XIL] HARVEY, JACKSON, ETC, 221 and " Punch," and succeeded admirably in render- ing the animals of Thomas Landseer. He died in 1860. Hole, already referred to in connection with Ackermann's " Religious Emblems," and whose full name was Henry Fulke Plantagenet Woolicombe Hole, was the son of a captain in the Lancashire militia. He practised as an engraver at Liverpool, but ultimately gave up the profession on succeeding to an estate in Devonshire. He did some of the cuts in the " British Birds," and a much-lauded vignette to Shepherd's " Poggio." W. W. Temple, who assisted Harvey in " Bewick's Fables" of 1818, became a draper at the end of his apprenticeship. Henry White, who engraved Thurston's designs to Burns, as well as many of Cruikshank's squibs for Hone, and some of the best of the cuts in Yarrell's " Fishes," was an ex- ceedingly clever workman. Of John Johnson, Robert Johnson's cousin, who designed the cut of the " Hermit" in Goldsmith's and Parnell's " Poems," we have no material particulars. Isaac Nicholson, Anderson, Edward Willis, and the rest, may be dismissed without further mention. TAILPIECE. (FROM NORTHCOTE'S "FABLES," 1828.) APPENDIX. LIST of the oil-paintings, water-colour drawings, prints, etc., presented by the Executors of Miss Isabella Bewick to the Museum of the Natural History Society of Northumberland, Durham, and Newcastle-upon-Tyne, in March 1884 : Portrait of Thomas Bewick, by J. Ramsay, oil-painting. Do. do. T. S. Good, oil-painting. Do. do. Miss Kirkley. Do. do. Miniature by Murphy. Do. do. do. by Plymer. Do. Miniature of Moses Griffith, friend of Tennant. Do. of John Bewick, by George Gray, crayon. Do. of Robert E. Bewick when a boy, by John Bell, oil- painting. DRAWINGS. 1 2 Small coloured drawings of foreign birds, unmounted. i Sketch of horse in crayons, by John Bewick. 89 Coloured drawings of Wycliffe birds, nearly all foreign, mounted on ten sheets, and numbered i, 2, 3, 5, 7, 8, 9, 10, n, 12. 224 APPENDIX. 12 Coloured drawings of birds, mounted on six sheets by Rev. C. Kingsley : Roller, nutcracker, great spotted woodpecker, chough, red-backed shrike, cuckoo, bunt- ing, ptarmigan, jackdaw, hooded crow, turtle-dove, and pied flycatcher. 2 Drawings, mounted by Ruskin, on one sheet : Wren coloured, and vignette in pencil. 46 Drawings of water birds, mounted on four sheets, num- bered 3, 5, 6, 7. Sheet 3. Olivaceous gallinule, water hen, head of razorbill, little grebe, great crested grebe, great auk, do. do., Sclavonian grebe, red-throated diver, black guillemot, great Northern diver (all coloured). Sheet 5. Goosander, merganser, smew, red-breasted goose, eider duck, brent goose, bean goose, eider duck (coloured) and goosander, wild swan, mute swan, do. do. (in pencil). Sheet 6. Wigeon, golden eye, sheldrake, cormorant, long-tailed duck, tufted duck, golden eye, gar- ganey, gannet (coloured), pintail, and castaneous duck (in pencil). Sheet 7, Scoter (coloured) and cormorant (young), gannet, olivaceous gallinule, and eight portions of birds (in pencil). 35 Drawings mounted on nine sheets, A to I inclusive. Sheet A. Great plover, greenshank (coloured), and goshawk (in pencil). Sheet B. Crossbill (red plumage), whinchat, yellow wagtail (coloured), and little stint (in pencil). APPENDIX. 22 5 Sheet C. Capercailzie, night heron, and two vig- nettes (coloured). Sheet D. Foreign lark, green woodpecker, a spotted crake, nightingale (coloured). Sheet E. Redwing, great black-backed gull (young), black-headed gull (immature), red-necked phala- rope (coloured). Sheet F. Reed fauvette, ash-coloured sandpiper, wryneck, snipe (coloured). Sheet G. Dunlin, long-tailed tit, goldfinch (coloured), and jacana-like bird, and peacock (in pencil). Sheet H. 4 Vignettes (coloured). Sheet I. 3 Do. do. 68 Drawings in pencil, mounted on three sheets, numbered 10, IT, 12. Sheet 10. Barnacle goose, spurwinged goose, gad- wall, wild duck, brent goose, Egyptian goose, Muscovy duck, king duck, cravat goose, shoveler, white-fronted goose, scaup duck, garganey, Egyp- tian goose, harlequin duck, bimaculated duck. Sheet ii. 23 Vignettes in pencil. Sheet 12. 29 Do. do. 25 Sketches in pencil, mounted on three sheets of tinted paper, numbered 13, 14, 15. Sheet 13 contains 9 sketches. ,,14 8 do. ,,15 8 do. 1 4 Slight sketches of animals in pencil. i o Slight sketches of animals in pencil. Q 226 APPENDIX. 14 Drawings of birds in colours : Great bittern, sparrow hawk, red-necked grebe, mag- pie, Pennant's parrot, pied wagtail, common fowl, waxwing, kestrel, golden plover, red phalarope, dipper, red-throated diver, nightjar. Drawing Whitley ox. Slight pencil sketch, called Chillingham Bull. Pidcock's elephant in pencil. Sketch of sheep in pencil. Horse and groom in pencil. Whitley ox in Indian ink. Spotted hyena in pencil. 2 55 Slight drawings by Thomas, John, and Robert Bewick. A set of the cuts of the quadrupeds coloured by Bewick for his children, bound. 1 1 Engraved portraits of Thomas Bewick. 4 Vignettes in frame, water-colours. Man with leister, rock with stone monument, man and dog at park gates, men carrying large tub. 4 Do. do. Cottage in winter, wreck of boat lying on shore, monumental stone and figures, dog and hen and chickens. Framed. Pennant's short-eared owl, water-colour. Do. Spearman's kyloe ox, do. Do. Ox grazing, do. Do. Chillingham bull, proof on vellum, with border, in first state. Do. Trotting horse, lithographed by Thomas Bewick. Do. Waiting for death, proof on vellum. Do. Lion, done for Pidcock. APPENDIX. 227 Framed. Elephant, done for Pidcock. Do. Whitley ox, drawn and engraved on copper by Thomas Bewick, 1789. Do. Old horse, small copperplate, by T. Bewick. Do. Huntsman and hound, woodcut. Do. Ramsay's portrait of T. B., engraved by Burnet. WOOD ENGRAVINGS. Prints of quadrupeds, land and water birds, foreign birds, British fishes, vignettes, prints for " Fables of ^Esop," "Select Fables," etc., amounting to about 2445 examples. Baily's bust of Bewick in plaster, and pedestal. COMMON DUCK. (FROM BEWICK'S "THREE HUNDRED ANIMALS," 1819.) TAILPIECE. (FROM NORTHCOTE'S "FABLES," 1828.) INDEX. \The dates given, with few exceptions, are those of the first editions.} ADDISON, JOSEPH, 34. Anderson, 221. Angus, Thomas, 39. Artist's Assistant, 1788, I. Artists' Fund, 200. "Assassination of Dentatus," 207. Atkinson's Memoir of Bewick, 7, 157- Audubon's Ornithological Biogra- phy, 159-63. BAILES, DR., 33. Baily, E. H., R.A., 169. "Banquet of Allied Sovereigns," Clennell's, 196. Barlow's Fables of sEsop, 1665, 61. Barnes, Mr. J. W., 19. Beattie's Minstrel, 1807, 189. Beilby, Ralph, 24. Beilby's shop, 27. Bell, William, 125. Bell's Catalogue, 1851, 7, 31. Belon's Histoire des Oyseaux, 1555, 96. Bennett, C. H., 138. Bewick, Isabella, 166, 167. Bewick, Jane, 32, 124, 166. Bewick, John, senior, n. BEWICK, JOHN, junior, 9, 70-86, 139- Bewick, R. E., 135, 165. BEWICK, THOMAS, 1-170, 171. Bewick's Memoir, 1862, 7. Bewick's wife, 163. Bewick, Will, 21. Bewick, William, of Darlington, 125. Birds, Land and Water, 1797-1804, 95-106. Blind Beggar of Bethnal Green, 1832, 210. Bloomfield's Farmer's Boy, 1800, 178. Blossoms of Morality, 1796, 78. Branston, J., 180. British Novelists (Sherwood's), 1810-11, 194. Brockett, J. T., 134. Brown, Tom, 16. Bulmer, William, 78, 143. Burns's Poems, 1808, 134. Butler's Hudibras, 1811, 183. CARNAN, T., 51. Carr, Robert, 126. Charnley, Emerson, 70. 230 INDEX. Chatto's History and Art of Wood- Engraving, 1848, 197. Chatto's Treatise on Wood-Engrav- ing, 1839, 7, 218-20. Cherryburn House, 9. Children in the Wood, 1831, 2IO. Child's Tutor, 1772, 31. Children's Miscellany, 1787, 72. CLENNELL, LUKE, 129, 134, 145, 186-205. "Cock" Billhead, 30. Cole, B., 43. Coleman, William, 5, 43. Comenius's Orbis Pictus, 77. Copeland's Ornaments, 28. Cornaro, Lewis, 34. Cotes, Rev. Mr., 100. Craig, W. M., 177. Craig's Scripture Illustrated, 1806, 178, 188. Crawhall, Mr. Joseph, 196. Croxall's Fables of sEsop, 1722, 2, 60, 135. Death's Dance, 1789, 73. Dovaston, J. F. M., 106, 143. ELLIOT, ISABELLA, 48. Emblems of Mortality, 1789, 73. Fables of ^Rsop, 1818, 134-42, 207. Fairholt, F. W., 174, 219. Falconer's Shipwreck, 1808, 189. Ferguson's Poems, 1814, 134. Field \ng<-> Jacobite's Journal, 1747, 2. Fishes, History of British, 151, 165. Ford, Mr. Edward, 51, 127. Ford, Mr. J. W., 127. Ford, Mrs. 127. Forster, Thomas, 23. Forth, Bewick's house in the, 48. GARRET, W., 32. Gay's Fables, 1779, 33, 52-6. Gay's Fables, 1788, 73. " George and Dragon " Billhead, 30. Goldsmith and Pamelas Poems, 1795, 78, 168, 176. Goldsmith, Oliver, 51. Good, T. S., 161. Gravelot, H., 54. Gray, George, 37. Gray, Gilbert, 36. Gray, William, 37, 42. Gregson, Rev. Christopher, 12. HANCOCK, MR. JOHN, 102. HARVEY, WILLIAM, 7, 134, 135, 206-15. Hawkins's History of Music, 5. Haydon, B. R., 207. Henderson's History of Wines, 1824, 208. Hieroglyphick Bible, 1776, 51. " Highland Society's Diploma," 191. History of a Schoolboy, 1788, 72. History of England (Wallis and Scholey's), 178, 188. Hive, The, 1806, 134, 168, 187. Hodgson, Thomas, 5. Hogarth's Four Stages of Cruelty, 2. Holbein's Imagines Mortis, 1547, 73- Hole, H. F. P. W., 221. Honours of the Table, 1788, 72. Horn Book, The new invented, 31. "Hound, The Old," 53. Hugo's Bewick Collector, 1866-68, 6, 133- Hunt, William, 98. Hutton, Dr., 29, 48. INDEX. 231 Hutton's Treatise on Mensuration, 1770, 29. Illustrated London News, 1842, 22O. JACKSON, JOHN, 7, 128, 136, 216-20. Johnson, Dr., 117. Johnson, John, 79, 221. JOHNSON ROBERT, 129, 130-2, 136, 176, 207. KENT, WILLIAM, 54. Kirkall, E., 60. Ladies' Diary, 1704, 29. Land ells, E., 220. Lane's Thousand and One Nights, 1840, 211, 213-5. Le Clerc, Sebastian, 61. Le Grand's Fabliaux, 1796, 80. Leslie, Mr. G. D., R.A., 99. Liddell, Anthony, 22. Lilliputian Magazine, 1772, 51. Lin ton, Mr. W. J., 134. Looking- Glass for the Mind, 1792, 7 8. Lutzelburger, Hans, 76. MACKENZIE'S Newcastle, 1827, 71. Mackenzie's Northumberland, 1825, 71. Moral Instructions of a Father to his Son, 1772, 32. NESBIT, CHARLTON, 132, 134, 171- 185. " Newcastle Natural History So- ciety," 167, 223. New Lottery Book oj Birds and Beasts, 1771, 31. Nicholson, Isaac, 134, 221. Northcote's Fables, 1828-33, 171, 180, 183, 2ii. Northumberland small-pipes, 39. OVINGHAM CHURCH, n. PAPILLON'S Traite de la Gravure en Bois, 1766, 5. Penny Magazine, 1832, 173, 2 1 6. Pictorial Prayer Book, 210. Pidcock, Gilbert, 93. Progress of Man and Society, 1791, 77- Proverbs Exemplified, 1790, 77. Ptinch, 1842, 221. Quadrupeds, General History of, 1790, 89, 92-4. Religious Emblems (Ackermann's), 1809, 178, 221. Rimbault, Stephen, 219. Rogers's Pleasures of Memory, 1810, 144, 192. Ruskin's Ariadne Florentina, 139. Robin Hood, 1795, 78. Robinson, Mr. R., 27, 92, 156, 168. Robinson Crusoe, The New, 1788, 72. SAINT, THOMAS, 31. Saturday Magazine, 1832, 173. Savage's Hints on Decorative Print- ing, 1822, 1 80. Scott, Mr. W. B., 201. Scott's Border Antiquities, 193. Select Fables, 1776, 32, 57. Select Fables, 1784, 52, 57-67. Select Fables (Charnley's), 1820, 134. 232 INDEX. Select Fables (Reprint), 1871, 31. "Society for Diffusion of Useful Knowledge," 173. Somervile's Chase, 1796, 80, 81, 168. "Spearman's Kyloe Ox," 94. Spence, Thomas, 35. Sportsman's Friend, 1801, 1 68. Stephens, Mr. F. G., 98. Stephenson, George, 127. Stevens's Lecture on Heads, 184. Story without an End, 210. TAILPIECES, THE, 108-32. Tales for Youth, 1794, 78. Taylor, Isaac, 43. Temple, W. W., 135, 221. Thomson's Life and Works of Bewick, 1882, 91. Thomson's Seasons, 1805, 134. Thurston, John, 134, 177. Tommy Trip's History of Beasts and Birds, 1779, 50. Tower Menagerie, 1828, 210. Tresham, Henry, R.A., 179. Trusler, Dr., 77. Tunstall, Marmaduke, 89. Type-Metal, Engraving on, 5, 62-3. "WAITING FOR DEATH," 152-6. Walpole, Horace, 4. "Waterloo Charge" (Clennell's), 196, 200. White, Henry, 134, 221. White, John, 15, 31. Whitfield, Joseph, 130. " Whitley Large Ox," 04. Whymper, J. W., 219. Willis, Edward, 127, 128, 221. Wootton, 54. Youth's Instructive and Entertain- ing Story Teller, 1714, 32. Zoological Gardens, 1830-31, 210. THE END. Printed by R. & R. CLAKK, Edinburgh. NEW EDITION OF BEWICK'S WORKS. MESSRS. R. WARD & SONS, of Newcastle-on-Tyne, the present possessors of the original wood-blocks, are about to issue a New Edition of Bewick's chief works in Five Volumes, as follows : VOL. I. LAND BIRDS. VOL. II. WATER BIRDS. VOL. III. QUADRUPEDS. VOL. IV. FABLES OF ^Esop. VOL. V. MEMOIR OF BEWICK, BY HIMSELF. The last volume will be prefaced and annotated by Mr. AUSTIN DOBSON, in whose hands Bewick's papers and correspondence, together with the MS. of the " Memoir," have been placed by the Executors of the late Miss Isabella Bewick. The " Memoir," which was considerably "edited" by Miss Jane Bewick in 1862, will now be printed more fully and completely. Vol. I. (Land Birds) will be issued to subscribers in 1885. Prospectus and full particulars can be obtained of the publisher, Mr. BERNARD QUARITCH, 15 Piccadilly, W. [March, 1884. CHATTO & WINDUS'S L/ST OF BOOKS. About. The Fellah : An Egyp- tian Novel. By EDMOND ABOUT. Translated by Sir RANDAL ROBERTS. 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