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his works. After the completion of his apprenticeship he came to Xondon for a short time, and found plenty of employ- ment in cutting and designing wood illus- trations for the publishers. He was a rapid workman, hut his health failing, he returned to his native village ; and then, thinking his health restored, ne came again to London, but the close confinement exacted by his art was too much, and dividing his time, he engaged to teach drawing at an academy in Hornsey. This he continued to do for several years, when his health again failing, he returned, home in 1795. There he endeavoured to com- plete the blocks he had engaged to finish, including all the designs except one for SomerviSe's 'Chase/ on which he was employed jointly with his brother. Tins was his last work. He died of consump- tion at Ovingham, aged 35, December 5, 1795. He designed and engraved above 200 illustrations for ' The Progress of Man in Society,' and engraved the 'Emblems of Mortality.' 1789. The best specimens of his art will be found in the illustrations of Goldsmith's and ParnelTs works, 1795, and of Somerville's, published the follow- ing year. Though he was much behind his brother, he Had merit both as a de- signer and an engraver ; yet his engraving was hard and dry, marked by strong con- trasts of black and white — his designs better conceived than executed.

BEWICK, Robeet Elliott, wood en- graver. He was the only son of the fore- going Thomas Bewick, and brought up to assist him in his profession. He cut some of the designs for ' The Fishes,' the un- published work, and was in 1832 a publisher in Newcastle, but does not appear to have made himseli known as an engraver. He died unmarried, July 27, 1849.

BEWICK, William, portrait and his- tory painter. He was born October 20, 1795, at Harworth, near Darlington, where his father carried on the business of an upholsterer. He had, as a child, a love of pictures, and though put to his father's business, he devoted his spare hours to drawing, and got some help from such itinerant geniuses as came into his neigh- bourhood to teach. At the age of 20, nis head filled with the name of Haydon and with 201. in his pocket, he came to London without friends or introductions. Living as young artists manage to do, he was fortun- ate in becoming acquainted with Haydon, who accepted him as his pupil gratuitously, assisted nis admission to the schools of the Academy, and introduced him to his artistic and literary friends. Harassed in his circumstances, though helped by small sums from home, tie worked zealously, and managed to make some way. While with Haydon he was employed by him in making 40

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drawings to a large scale of the ( Elgin Marbles' for Goethe, the great German writer; and he found many friends as a portrait painter. He visited Edinburgh and Dublin, where he was received into the best society ; and in 1820 he exhibited his 'Una in the Forest' at the Spring Gardens Gallery, followed by, in 1822, his ' Jacob meeting Rachel,' a picture of large dimensions, at the British institution, and at this time made many sketches for large works, which, however, did not proceed much further.

In 1824-25 he returned to Darlington, where his reputation gained him some sitters ; and in 1826, encouraged by a com- mission from Sir Thomas Lawrence to make copies for him from Michael Angelo's works in the Sistine Chapel, he went to Rome, where he resided for some time, and to Naples and other Italian cities, returning to England in 1 829. He afterwards settled in London, where he practised as a portrait painter, and in 1839 and 1840 exhibited both portrait and history at the Academy. He had, while at Rome, suffered from malaria fever, and after a time its effects began to show themselves. He was neces- sitated to leave London, and retired to some property he possessed at Haughton- le-Skerne, Durham, where he amused him- self with art, sending up to the Westminster Hall Competition in 1843, ' The Triumph oi David/ and kept up a correspondence with his friends. After many years passed in his quiet retirement, he died June 8, 1866. Haydon, in his journal speaks of him and his works. He was of much pro- mise, but his career was checked by his failing health. His ' Life and Letters,' by Thomas Landseer, A.E., was published in 1871.

BIBB, Charles, engraver. He studied at the St. Martin's Lane Academy, and was in 1766 a member of the Incorporated Society of Artists. He practised about the middle of the 18th century.

BIC K HAM, George, engraver and draftsman. He practised in the reign of Queen Anne and her two successors. Pub- lished, about 1709, the heads of six emi- nent writing-masters, one of them from his own drawing ; also ( The Universal Penman/ and engraved some other good portraits and frontispieces. He also engraved after Rembrandt ; and after Rubens, ' The Peace and War ' and * Golden and Silver Age.' He was a member of the Free Society of Artists 1763. He retired to Richmond, and in May, 1767, sold by auction part of his plates and stock-in-trade. He died 1769.

BICKH AM, George, engraver. Son of the foregoing. Engraved 'A Group of Hungarian Cavalry, 1742. and many of the humorous cuts published by Messrs. Bowles, and was best known by works of