wick； a few years later； woodengraving took a fresh departure so conspicuous that it amounts to a revival。 In what this consisted it is clearly impossible to show here with any sufficiency of detail； but between the method of the old woodcutters who reproduced the drawings of Durer； and the method of the Newcastle artist； there are two marked and welldefined differences。 One of these is a difference in the preparation of the wood and the tool employed。 The old woodcutters carved their designs with knives and chisels on strips of wood sawn lengthwisethat is to say； upon the PLANK； Bewick used a graver； and worked upon slices of box or pear cut across the grain；that is to say upon the END of the wood。 The other difference； of which Bewick is said to have been the inventor； is less easy to describe。 It consisted in the employment of what is technically known as 〃white line。〃 In all antecedent woodcutting the cutter 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。 Using the smooth box block as a uniform surface from which； if covered with printing ink； a uniformly black impression might be obtained； Bewick； by cutting white lines across it at greater or lesser intervals； produced gradations of shade； from the absolute black of the block to the lightest tints。 The general result of this method was to give a greater depth of colouring and variety to the engraving； but its advantages may perhaps be best understood by a glance at the background of the 〃Woodcock〃 on the following page。
Bewick's first work of any importance was the Gay's 〃Fables〃 of 1779。 In 1784 he did another series of 〃Select Fables。〃 Neither of these books； however； can be pared with the 〃General History of Quadrupeds；〃 1790； and the 〃British Land and Water Birds；〃 1797 and 1804。 The illustrations to the 〃Quadrupeds〃 are in many instances excellent； and large additions were made to them in subsequent issues。 But in this collection Bewick laboured to a great extent under the disadvantage of representing animals with which he was familiar only through the medium of stuffed specimens or incorrect drawings。 In the 〃British Birds；〃 on the contrary； his facilities for study from the life were greater； and his success plete。 Indeed； it may be safely affirmed that of all the engravers of the present century； none have excelled Bewick for beauty of black and white； for skilful rendering of plumage and foliage； and for fidelity of detail and accessory。 The 〃Woodcock〃 （here given）； the 〃Partridge；〃 the 〃Owl；〃 the 〃Yellow Hammer；〃 the 〃YellowBunting；〃 the 〃WillowWren；〃 are popular examples of these qualities。 But there are a hundred others nearly as good。
Among sundry conventional decorations after the old German fashion in the first edition of the 〃Quadrupeds；〃 there are a fair number of those famous tailpieces which； to a good many people； constitute Bewick's chief claim to immortality。 That it is not easy to imitate them is plain from the failure of Branston's attempts； and from the inferior character of those by John Thompson in Yarrell's 〃Fishes。〃 The genius of Bewick was； in fact； entirely individual and particular。 He had the humour of a Hogarth in little； as well as some of his special characteristics；notably his faculty of telling a story by suggestive detail。 An instance may be taken at random from vol。 I。 of the 〃Birds。〃 A man； whose wig and hat have fallen off； lies asleep with open mouth under some bushes。 He is manifestly drunk； and the date 〃4 June；〃 on a neighbouring stone； gives us the reason and occasion of his catastrophe。 He has been too loyally celebrating the birthday of his majesty King Gee III。 Another of Bewick's gifts is his wonderful skill in foreshadowing a tragedy。 Take as an example； this truly appalling incident from the 〃Quadrupeds。〃 The tottering child； whose nurse is seen in the background； has strayed into the meadow； and is pulling at the tail of a viciouslooking colt； with backturned eye and lifted heel。 Down the gardensteps the mother hurries headlong； but she can hardly be in time。 And of all thissufficient； one would say； for a fairlysized canvasthe artist has managed to give a vivid impression in a block of three inches by two！ Then； again； like Hogarth once more； he rejoices in multiplications of dilemma。 What； for instance； can be more ically pathetic than the headpiece to the 〃Contents〃 in vol。 I。 of the 〃Birds〃？ The old horse has been seized with an invincible fit of stubbornness。 The day is both windy and rainy。 The rider has broken his stick and lost his hat； but he is too much encumbered with his cackling and excited stock to dare to dismount。 Nothing can help him but a Deus ex machina；of whom there is no sign。
Besides his humour； Bewick has a delightfully rustic side； of which Hogarth gives but little indication。 From the starved ewe in the snow nibbling forlornly at a wornout broom； to the cow which has broken through the rail to reach the running water； there are numberless designs which reveal that faithful lover of the field and hillside； who； as he said； 〃would rather be herding sheep on Mickle bank top〃 than remain in London to be made premier of England。 He loved the country and the countrylife； and he drew them as one who loved them。 It is this rural quality which helps to give such a lasting freshness to his quaint and picturesque fancies； and it is this which will continue to preserve their popularity； even if they should cease to be valued for their wealth of whimsical invention。
In referring to these masterpieces of Bewick's； it must not be fotten that he had the aid of some clever assistants。 His younger brother John was not without talent； as is clear from his work for Somervile's 〃Chace；〃 1796； and that highly edifying book； the 〃Blossoms of Morality。〃 Many of the tailpieces to the 〃Water Birds〃 were designed by Robert Johnson； who also did most of the illustrations to Bewick's 〃Fables〃 of 1818； which were engraved by Temple and Harvey； two other pupils。 Another pupil was Charlton Nesbit； an excellent engraver； who was employed upon the 〃Birds；〃 and did good work in Ackermann's 〃Religious Emblems〃 of 1808； and the second series of Northcote's 〃Fables。〃 But by far the largest portion of the tailpieces in the second volume of the 〃Birds〃 was engraved by Luke Clennell； a very skilful but unfortunate artist； who ultimately became insane。 To him we owe the woodcuts； after Stothard's charming sketches； to the Rogers volume of 1810； an edition preceding those already mentioned as illustrated with steel plates； and containing some of the artist's happiest pictures of children and amorini。 Many of these little groups would make admirable designs for gems； if indeed they are not already derived from them； since one at least is an obvious copy of a wellknown sardonyx（〃The Marriage of Cupid and Psyche。〃） This volume； generally known by the name of the 〃Firebrand〃 edition； is highly prized by collectors； and； as intelligent renderings of pen and ink； there is little better than these engravings of Clennell's。 ｛12｝ Finally； among others of Bewick's pupils； must be mentioned William Harve