Stothard's charming sketches, to the Rogers volume of 1810, an
edition preceding those already mentioned as illustrated with steel-
plates, and containing some of the artist's happiest pictures of
children and amorini. Many of these little groups would make
admirable designs for gems, if indeed they are not already derived
from them, since one at least is an obvious copy of a well-known
sardonyx--("The Marriage of Cupid and Psyche.") This volume,
generally known by the name of the "Firebrand" edition, is highly
prized by collectors; and, as intelligent renderings of pen and ink,
there is little better than these engravings of Clennell's. {12}
Finally, among others of Bewick's pupils, must be mentioned William
Harvey, who survived to 1866. It has been already stated that he
engraved part of the illustrations to Bewick's "Fables," but his
best known block is the large one of Haydon's "Death of Dentatus."
Soon after this he relinquished wood-engraving in favour of design,
and for a long period was one of the most fertile and popular of
book-illustrators. His style, however, is unpleasantly mannered;
and it is sufficient to make mention of his masterpiece, the
"Arabian Nights" of Lane, the illustrations to which, produced under
the supervision of the translator, are said to be so accurate as to
give the appropriate turbans for every hour of the day. They show
considerable freedom of invention and a large fund of Orientalism.

Harvey came to London in 1817; Clennell had preceded him by some
years; and Nesbit lived there for a considerable time. What
distinguishes these pupils of Bewick especially is, that they were
artists as well as engravers, capable of producing the designs they
engraved. The "London School" of engravers, on the contrary, were
mostly engravers, who depended upon others for their designs. The
foremost of these was Robert Branston, a skilful renderer of human