THOMAS BEWICK. 



245 



time it is to be noted that the undue largeness of the head is rather 

 accentuated than otherwise by the wasted condition of the body. 



The Old Horse stands " Waiting for Death," without shelter, amid a heavy 

 shower of rain, on a cold autumn after- 

 noon. Beside it is a broken tree trunk, 

 shattered, and falling to pieces, a 

 wreck like the animal of which it is an 

 emblem. To the right the ground 

 slopes downwards to a farm, where the 

 stacks stand piled for the fast-approach- 

 ing winter ; but a fence and wall 

 prevent the Old Horse reaching the 

 protection to be found there ; and the 

 whole design is cold, pitiless, and depressing. The reproduction, because of 

 its reduced size, renders it less miserable — and is therefore, in one sense, 

 more pleasing — than the large block.* 



In October, 1 828, a paragraph appeared in several newspapers stating that— 



" The celebrated Bewick, whose engravings on wood some years ago excited so 

 much admiration, and which are considered even yet extraordinary specimens of 

 art, is still alive and in good health at the age of ninety. He a short time since paid 

 a visit to the metropolis, when, to the great gratification of the venerable old man, a 

 number of the engravers on wood waited on him to express the esteem in which 

 they held his works, and to converse with him on subjects connected with the art. 

 He is, we understand, still in the habit of working for an hour a day at his old 

 occupation, although his past labours enable him to live in perfect comfort and 

 independence." 



* The original is now the property of Mr. Gow, of Cambo, Newcastle, and from it a number of excellent copies 

 have been taken, and are sold, together with the appeal written by Bewick so long before as 1785, the year in 

 which the Quadrupeds were commenced. It describes a horse which, after having been well cared for and 

 happy, is at the last reduced to disregard, discomfort, and utter misery. (This appeal is also given at length 111 

 Bewick's Memoir, p. 330 ; Hugo's " Bewick Collector," p. 476 ; and in Bell's Catalogue, p. 65.) Together with this 

 account there is an impression given from a copper-plate, which is said to be the artist's first conception of the 

 design. The dying or dead horse is also, as previously noted, in the background to the Magpie. It appears again 

 at p. 198 of Lawrence's book on the Horse (1809), and also at p. 338 of the 1818 Fables. It was also employed 

 by John Bewick in the " Looking Glass for the Mind," as shown in the above cut. 



Waiting for Death. Vignette in the " Looking Glass 

 for the Mind." From the original block engraved 

 by John Bewick. Lent by Messrs. Griffith and 

 Farran. 



