the 'Progress of Man and Society;' 1791, were by Hogarth's commentator, Dr. Trusler. The former is sufficiently explained by its title; the latter is a kind of modern version of the old Latin and High Dutch 'Orbis Pictos' of Comenius published at Amsterdam in 1667. Both of these books are undoubtedly illustrated by John Bewick alone whose name is given in the 'Preface' to the 'Proverbs.' Besides these there are the 'Looking Glass for the Mind,' 1792, the charming 'Tales for Youth,' 1794, and the 'Blossoms of Morality,' 1796.
The appearance of the 'Blossoms of Morality' was for some time delayed in consequence of the illness of the artist, and long (before it was published John Bewick was sleeping in Oyingham churchyard. His health had been seriously impaired by the close confinement of the metropolis; and though a visit to Cherryburn seems to have partially restored him, be was finally obliged to return to his native air in the summer of 1796, and shortly afterwards died of consumption. In the year of his death was published a sumptuous edition of the 'Poems of Goldsmith and Parnell' due to the enterprise of that William Bulmer, of the ' Shakepeare Printing Office,' whom his contemporaries fondly likened to the Aldi and Elsevirs of old, and the preface proudly sets forth the luxuries of its type, its printing, its Whatman paper, and its embellishments. To this book John Bewick contributed one cut, drawn and engraved by him in illustration of the well-known passage in the 'Deserted Village' respecting the old watercress gatherer. He is also understood to have designed two of the vignettes and one of the tail-pieces. During the last months of his life he was also engaged in making sketches on the block for the Fabliaux of Le Grand, translated by Way, 1790; and for an edition of Somervile's 'Chase' issued by Bulmer in the same year. These were chiefly engraved by Thomas Bewick, who also, he says (Memoir, p. 108), completed the drawings for the 'Chase' after his brother's death.
As is generally the case with those who die young, it is somewhat difficult to speak of John Bewick's merits as an artist and engraver. Much of his work bears evident signs of haste, as well as of an invention which was far in advance of his powers of execution. He had evidently a keen eye for character, and considerable skill in catching strongly marked expression. Many of the little groups in the 'Proverbs exemplified' might be elaborated into striking studies. His animals, too, are admirable — witness the popular prowling cat in 'Tales for Youth,' the hunting scenes in the 'Chase,' and many of the vignettes in the children's books, though it should be noted that a large portion of these last are obvious adaptations of his brother's work. But he seems to have had one quality not possessed by Thomas Bewick, a certain gift of grace, especially in his pictures of children. Whether he caught this from the novel illustration of the period is matter for speculation; but examples of it might easily be pointed out in the 'Looking Glass,' the 'Progress of Man,' and elsewhere. As an engraver he falls far below his brother. His style is flatter, more conventional, less happy in black and white. But he improved greatly in his latest work.
Only one portrait of John Bewick is known to exist— a crayon by George Gray in the Newcastle Museum. Personally he seems to have been witty, vivacious, and very popular with his associates, an advantage, in the eyes of his graver brother, not without its perils. At the time of his death (5 Dec. 1795) he was curving the view of Cherryburn afterwards issued as a frontispiece to the 'Memoir' of 1862. He left it uncompleted, and it was eventually finished by Thomas Bewick. The original sketch, probably made much earlier, is carefully preserved, with, some water-colours and other relics, by his grand-nieces, who still (1884) speak affectionately of the talents and amiability of their 'uncle John.'
[The authorities for John Bewick's life are the same as those for that of Thomas Bewick.]
BEWICK, ROBERT ELLIOT (1788–1849), wood engraver, was the only son of Thomas Bewick [q. v.]. He was born on 26 April 1788, and was brought up to his father's business. In 1812 he became Thomas Bewick's partner. He designed with great care, and, as an engraver, was laboriously minute and accurate, but seems never to have developed the latent talent which his father believed him to possess (Memoir, p. 250). He assisted Thomas Bewick in the 'Fables of Æsop,' 1818, and in the illustrations and vignettes for the projected 'History of British Fishes,' which occupied his latter days. Some specimens of these are given in the 'Memoir.' One of them, 'The Maigre,' is engraved on copper by 'R. E. Bewick;' and Miss Bewick states (Memoir, p. 289) that her brother left behind him some 'fifty highly finished and accurately coloured drawings of fishes from nature,' together with some descriptive text, which he had prepared for the same never completed work. These drawings now form part of the Bewick bequest to the British Museum. Robert Bewick died unmarried
