LUKE CLENNELL 95 



180S he engraved the plates for Falconer's Ship- 

 wreck, published by Cadell and Davies ; these 

 illustrations are made the subject of high and un- 

 qualified praise by Jackson in his History of Wood 

 Engraving. For Ackermann's Religious Eviblenis, 

 published in 1809, he engraved some of Thurston's 

 designs, notably those entitled the " Call to Vigil- 

 ance " and " The Soul Encaged." He worked in 

 good company for this book, as Nesbit, Branston, 

 and Hole were also engaged upon the task of 

 enoravino- the blocks. Indeed, Clennell's career at 

 this period was one of steady advancement, for in 

 1809 he was presented by the Duke of Norfolk 

 at the Annual Meeting of the Society of Arts 

 with the Gold Medal for his enoravino' on wood 

 of the design by Sir Benjamin West, P.R.A. for 

 the Highland Society's Diploma. 



In 1 8 10 we find proof that success with the 

 graving tool had done nothing to divert Luke 

 Clennell's ambition to make a name as a painter, 

 for in that year he appears for the first time as an 

 exhibitor in the gallery of the British Institution, 

 to which during the next eight years he con- 

 tributed fifteen pictures. In a year or two he 

 worked with both the graver and the brush, 

 but, having found his footing as an artist, the 

 former was laid aside. His last notable work 

 as an engraver was done in the years 1810-1812, 



