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    The Mirror of Literature, Amusement, and Instruction Volume 20, No. 557, July 14, 1832
    The Mirror of Literature, Amusement, and Instruction Volume 20, No. 557, July 14, 1832
    The Mirror of Literature, Amusement, and Instruction Volume 20, No. 557, July 14, 1832
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    The Mirror of Literature, Amusement, and Instruction Volume 20, No. 557, July 14, 1832

    By Various Various

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    The Mirror of Literature, Amusement, and Instruction Volume 20, No. 557, July 14, 1832

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      The Mirror of Literature, Amusement, and Instruction Volume 20, No. 557, July 14, 1832 - Various Various

      The Project Gutenberg EBook of The Mirror of Literature, Amusement, and

      Instruction, by Various

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: The Mirror of Literature, Amusement, and Instruction

      Vol. XX. No. 557., Saturday, July 14, 1832

      Author: Various

      Release Date: June 11, 2004 [EBook #12583]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK MIRROR OF LITERATURE, NO. 557 ***

      Produced by Jonathan Ingram, Allen Siddle and PG Distributed Proofreaders

      THE MIRROR

      OF

      LITERATURE, AMUSEMENT, AND INSTRUCTION.

      BIRTHPLACE OF BEWICK, THE ENGRAVER.

      The above cottage stands in the village of Cherryburn, near Ovingham, on the banks of the Tyne, about twelve miles west of Newcastle.

      In this humble dwelling, hitherto of unlettered fame, was born, August 12, 1753, THOMAS BEWICK, the celebrated artist and engraver on wood; or more strictly speaking, the reviver of this branch of art. His whole life was one of untiring industry and ardent attachment to the object of his study—the only sure passport to success—which it is truly delightful to contemplate: from the first dawnings of his early genius to the enthusiasm that led him to examine proofs of wood-engravings on the morning of his death. His life is exemplary, inasmuch as it illustrates the homely maxim, that every man is the architect of his own fortune. Apart from this consideration, the memory of Bewick should be cherished by all our readers; since he re-invented the ingenious means by which we are enabled to embellish unsparingly each of our weekly sheets. ¹

      Of Bewick's genius, and personal habits, many interesting particulars have been preserved. From his earliest years he delighted, above all things, in observing the habits of animals; and it was his fondness for this study that gave rise, while he was yet a boy, to his first attempts in drawing. Long before he had received instruction in that art, he used to delineate his favourites of the lower creation with great accuracy and spirit. His introduction to the regular study of his future profession was purely accidental. He was in the habit of exercising his genius by covering the walls and doors of the houses in his native village with his sketches in chalk. Some of these performances one day chanced to attract the attention of a Mr. Beilby, a copper-plate engraver of Newcastle, as he was passing through Cherryburn; and he was so much struck with the talent they displayed that he sought out the young artist, and obtained his father's consent to take him with him to be his apprentice. This was in the year 1767. In the following year Bewick executed his first wood-cut for Dr. Button's Treatise on Navigation, the diagrams for which work were, at the suggestion of Mr. Beilby, engraved on wood, and printed with the letter-press, instead of being on copper and stitched in with the sheets. Bewick executed the whole of the cuts for Dr. Button's work with so much accuracy, and a finish so greatly beyond what had usually been attained in that species of work, that Mr. Beilby advised him to give his chief attention henceforward to wood-engraving, and make it his profession. He did so during the remainder of his apprenticeship, at the expiration of which he repaired to London, and obtained employment in his trade. He soon returned to the country, and in 1777 he entered into partnership with his former master, Mr. Beilby. Bewick with his taste for rural scenery and enjoyments and the observation of nature, doubtless found little to interest him in London; nor even after he had obtained his highest celebrity, did he ever again think of establishing himself in the metropolis. He spent the remainder of his life in his native district.

      At the time of Bewick's first entering into active life, the art of wood-engraving had fallen into the lowest repute. Few of its specimens were superior to the pictures on street ballads of the present day. To explain Bewick's improvements would occupy too much of our space, but, we may observe, generally that the engravings of the above period were mere patches of black and white, till Bewick introduced those beautiful reliefs, or varieties of light and shade which principally form the pictorial effect of an engraving. By this means he raised wood-engraving from a state of contempt to the rank of one of the fine arts.

      The first specimen of his talents by which Bewick made himself publicly known was a cut of an old hound, for which, in 1755, he received a premium from the Society of Arts. The block had been cut for an edition of Gay's fables; the complete work appeared in 1779; and immediately attracted general attention by the striking superiority of its embellishments, which were all from wood-cuts executed by Bewick and his younger brother John, who, when Beilby and he entered

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