Page:Dictionary of National Biography volume 25.djvu/105

 Harvey's will is in his own handwriting. He gave his books and papers to the college, his gown to Sir [q. v.], his coffee-pot to his brother Eliab, a benefaction to Christ's Hospital, and many bequests to his relations. He was of short stature, and in youth had black hair. His portrait, by Cornelius Jansen, hangs in the library of the College of Physicians, and there is a characteristic bust, attributed to Scheemakers, in the Harvey chapel at Hempstead in Essex. Another portrait by an unknown painter is in the National Portrait Gallery; a contemporary engraving of this picture, usually attributed to Hollar, is more probably by Gaywood.

The best collected edition of his works is that published by the College of Physicians, edited by Dr. Lawrence, in 1766. A complete translation of his works into English was published in London by the Sydenham Society in 1847. An edition of the ‘De Circulatione Sanguinis,’ with the attacks of Parisianus and Primrose, was published at Leyden in quarto in 1639, and a duodecimo edition in London in 1648, the first published in England. Another was published in London by Daniels in 1660, and editions appeared at Rotterdam in 1648, 1654, 1661, and 1671. A small quarto edition of his whole works was published at Leyden in 1737. The first edition of the ‘De Circulatione’ in English was published at the White Lion in Duck Lane, London, in 1653, and a further edition in 1673, both by R. Lowndes. In 1653 the ‘De Generatione Animalium’ was published in English, with a preface by Sir George Ent and a portrait of Harvey by W. Faithorne. The college contributed to the publication of his ‘Prelectiones Anatomiæ Generalis’ in 1886, and on St. Luke's day an oration in praise of him and of the other benefactors of the college is every year delivered.

 HARVEY, WILLIAM (1796–1866), wood engraver and designer, was born at Newcastle-upon-Tyne on 13 July 1796, his father being keeper of the baths at the Westgate. At fourteen years of age he was apprenticed to [q. v.], with whom he became a great favourite. He worked with Temple, another pupil, upon Bewick's ‘Fables of Æsop,’ 1818, transferring to the block many of the designs of a third pupil, Robert Johnson. He removed to London in September 1817, studying drawing under Haydon, and anatomy under Sir Charles Bell. Lance, Eastlake, and Landseer were his fellow-pupils with Haydon, for whom he engraved on wood, in imitation of copper-plate, the large block of the ‘Assassination of Dentatus.’ This, at the time of its production, was probably the most ambitious block which had been cut in England. After the death in 1822 of John Thurston, the chief designer on wood in London, Harvey abandoned engraving for design, becoming speedily as popular as he was facile, although he grew with time unpleasantly mannered. One of his earliest works was his illustrations to Henderson's ‘History of Ancient and Modern Wines,’ 1824. Among his other efforts may be mentioned ‘The Tower Menagerie,’ 1828; ‘Zoological Gardens,’ 1830–1; ‘Children in the Wood,’ 1831; ‘Blind Beggar of Bethnal Green,’ 1832; ‘Story without an End,’ ‘Pictorial Prayer Book,’ ‘Bible,’ ‘Pilgrim's Progress,’ ‘Shakespeare,’ and many other of the innumerable issues of Charles Knight's untiring press. ‘The history of wood engraving,’ says a writer in the ‘Art Union’ for 1839, ‘for some years past, is almost a record of the works of his [Harvey's] pencil.’ His masterpieces are his illustrations to ‘Northcote's Fables,’ 1828–33, and to Lane's ‘Thousand and One Nights,’ 1838–40, in the latter of which he worked under the eye of the translator himself (who assisted him with indications of costume and accessories), and his somewhat florid style was not unsuited to