276 MEMOIR OF THOMAS BEWICK. 



apprenticeship, when his master, the late Mr. Lee, 

 died. When the term of his engagement with me 

 was ended, he returned to London, and chiefly 

 turned his attention to the imitation of sketchy 

 cross-hatching on wood, from the inimitable pencil 

 of Mr. Cruikshank, and, perhaps, some other artists 

 in this same way. Henry White appears to have 

 taken the lead of others who followed that manner 

 of cutting, which shortly became quite the Ton* 

 Another of my pupils of distinguished ability, both 

 as a draftsman and wood-engraver, was Luke 

 Clennell, whose melancholy history will be well 

 remembered by the artists of London and else- 

 where, and the sympathetic feelings which were 

 drawn forth and shown to him by a generous 

 public by their subscriptions to a print of the 

 battle of Waterloo from his painting of the deci- 

 sive charge of the Guards on that eventful day.f 



[* Lee died in March, 1804. Henry White engraved Thurston's 

 cuts for the Burns of 1808. He worked also for Hone's " Facetiae 

 and Miscellanies," 1819-22, for Puckle's " Club," 1817, and he en- 

 graved many of the cuts in Yarrell's "Fishes."] 



[f Clennell, who was born at Ulgham near Morpeth in 1781* 

 was apprenticed to Beilby and Bewick in April, 1797. He is said to 

 have worked on the second volume of the "Birds;; and he designed 

 and cut many of the illustrations to Hodgson's " Hive of Ancient and 

 Modern Literature," ed. 1806. In 1804, he came to London, where he 

 worked on Wallis and Scholey's " History of England," Beattie's 

 "Minstrel," 1807, Falconer's "Shipwreck," 1808, and Ackermann's 

 " Religious Emblems," 1809. He also engraved West's design for the 

 Diploma of the Highland Society, for which the Society of Arts gave 

 him their gold medal. Then he cut, excellently, Stothard's pen 

 and ink sketches to Rogers' " Pleasures of Memory, with Other 

 Poems," 1810. After this he took to water-colour painting, and 

 exhibited frequently at the different exhibitions. He gained a 

 premium in 1816 from the British Institution for a sketch in oil of 

 the decisive charge at Waterloo. While collecting material for a 

 subsequent picture of the Banquet of the Allied Sovereigns in the 

 Guildhall, a commission from the Earl of Bridgeivater, his mind gave 

 way. From this time (1817) until his death in February, 1840, he 



