The most celebrated of Bewick's other pupils were Charlton Nesbit, born at Shalwell, near Gateshead, in 1775; Luke Clennell, born at Ulgham, a village near Morpeth, in 1781; and William Harvey, born near Newcastle in 1796. Nesbit engraved a few of the tail-pieces in the 'Land Birds,' and most of the head and tail pieces in the 'Poems' of Goldsmith and Parnell. He also engraved, from a drawing by Robert Johnson, a large block, 15 inches by 12 inches, of St. Nicholas Church, Newcastle, which at the time was considered a triumph of art. About the end of the century Nesbit migrated to London, where for many years he was employed by Rudolph Ackermann and other publishers in engraving the drawings of the artist, John Thurston, whose work was at that time very popular. In 1815 Nesbit returned to Shalwell, where he continued to reside till 1830, doing but little work besides the engraving of 'Rinaldo and Armida' for Savage's 'Hints on Decorative Printing,' after a design by Thurston. This is considered to be his best work. He then went back to London, and was chiefly engaged in engraving drawings by William Harvey for the second volume of Northcote's 'Fables.' He died at Queen's Elms in November 1838, aged 63. Mr. Chatto says: 'Nesbit is unquestionably the best wood-engraver that has proceeded from the great northern hive of art--the workshop of Thomas Bewick.' The story of Luke Clennell's life is very sad. Like many other artists, he showed an early disposition to make sketches on his slate instead of 'doing sums,' and was often reproved; his uncle sympathised with him, and in 1797 apprenticed him to Thomas Bewick for the usual seven years, during which time he engraved many of the tail-pieces to the 'Water Birds' and learned to make water-colour drawings from nature. When his apprenticeship was over he assisted Bewick in the illustrations to a 'History of England,' {119} published by Wallis and Scholey, in which Nisbet had also joined, but finding that Bewick was paid five pounds for each cut, while he received only two pounds, Clennell sent some specimens of his abilities to the publishers, who immediately offered him work in London, where he arrived in the autumn of 1804. Two years afterwards he received the gold palette of the Society of Arts for a wood-engraving of a battle-scene, and soon afterwards he was engaged on illustrations to new editions of Beattie's 'Minstrel,' 1807, and Falconer's 'Shipwreck,' 1808. About this time he married the eldest daughter of Charles Warren, a well-known line engraver, and became intimate with Abraham Raimbach and other artists whose friendship was of much service to him. His most important work as a wood-engraver was the 'Diploma of the Highland Society,' a large block 13½ inches by 10½ inches, of which we give a much-reduced copy. Benjamin West made the original design on paper, Clennell himself drew the Highlander and Fisherman on the wood, and gave Thurston fifteen pounds to fill in the