and to this course may be attributed the excellence of the cuts in the
_History of Quadrupeds_. Many of the vignettes also, with which this
publication was adorned, had uncommon merit as original sketches; for
Bewick did not confine his pencil to the mere delineation of animals. His
vignettes have been said to partake of his determinate propensity to
morality, tenderness, and humour; each telling articulately its own
tale.[3] and bearing in every line a lesson.

A catalogue of Bewick's various works will not be expected in this brief
sketch. He did not confine himself to animal engraving; for in the years
1795 and 1796, were published by Mr. Bulmer, of Newcastle, the _Traveller_
and the _Deserted Village_, by Goldsmith; Parnell's _Hermit_; and
Somerville's _Clara_; with cuts by Bewick. In 1797, appeared the first
volume of his _History of British Birds_: in 1818, he completed his first
volume of _Fables of Aesop_ and others. In 1820, Mr. Charnley, of
Newcastle, published a volume of Fables, as a vehicle for the impressions
of the earlier blocks, both of head-pieces and vignettes, engraved by
Bewick when very young, all previous to the year 1785, and for various
publications. This collection amounted to upwards of twelve hundred.[4]
This volume contains an impression of the celebrated Old Hound, and five
portraits, on wood, copies at different periods of Bewick's portrait; that
facing the title, from a painting of James Ramsay, is considered the
nearest likeness.

It may now be interesting to note a few traits of the genius and personal
habits of Bewick, as they have been sketched by his friend, Mr. Dovaston.
This gentleman observes:

"It has been said that Linnaeus did more in a given time than ever did any
one man. If the surprising number of blocks of every description, for his