printed from like type. Using the smooth box block as a uniform
surface from which, if covered with printing ink, a uniformly black
impression might be obtained, Bewick, by cutting white lines across
it at greater or lesser intervals, produced gradations of shade,
from the absolute black of the block to the lightest tints. The
general result of this method was to give a greater depth of
colouring and variety to the engraving, but its advantages may
perhaps be best understood by a glance at the background of the
"Woodcock" on the following page.

Bewick's first work of any importance was the Gay's "Fables" of
1779. In 1784 he did another series of "Select Fables." Neither of
these books, however, can be compared with the "General History of
Quadrupeds," 1790, and the "British Land and Water Birds," 1797 and
1804. The illustrations to the "Quadrupeds" are in many instances
excellent, and large additions were made to them in subsequent
issues. But in this collection Bewick laboured to a great extent
under the disadvantage of representing animals with which he was
familiar only through the medium of stuffed specimens or incorrect
drawings. In the "British Birds," on the contrary, his facilities
for study from the life were greater, and his success was
consequently more complete. Indeed, it may be safely affirmed that
of all the engravers of the present century, none have excelled
Bewick for beauty of black and white, for skilful rendering of
plumage and foliage, and for fidelity of detail and accessory. The
"Woodcock" (here given), the "Partridge," the "Owl," the "Yellow-
Hammer," the "Yellow-Bunting," the "Willow-Wren," are popular
examples of these qualities. But there are a hundred others nearly
as good.