186

No. XIV.

MR. GEORGE COOKE.

THIS eminent engraver was born in London, January 22d, 1781. His father was a native of Frankfort on the Maine, who settled in England early in life, as a confectioner, and having realised a moderate competency, retired from business about thirty years ago.

After the usual school education, George Cooke, at the age of fourteen, was apprenticed to Mr. James Basire, son of the engraver of West's Pylades and Orestes,-an unfortunate selection of a master; for during the whole term of seven years Mr. Basire scarcely wrought at his desk as many months, and the youth was left to make his own way. In the choice of a profession George was probably influenced by the example of his elder brother, William, who had previously become the pupil of Angus, the publisher of a set of "Noblemen's and Gentlemen's Seats." His family retain but little evidence of his early predilection for the arts; but the active energies of his mind would have insured him distinction in any scientific or intellectual pursuit.

The enthusiasm of youth, and a peculiar elasticity of spirit, which did not forsake him in after-life, joined to an ardent love for, and search after, excellence, saved him from the disgust which his probationary studies were calculated to excite. Amongst a heap of trite, common-place, and temporary matter, one drawing by Turner came annually to Basire's, to be transferred to copper, as an appendage to "The Oxford Almanack;" and, like the angel's descent to the Pool of Bethesda, this solitary visitation brought healing on its wings, and wrought miracles on those within the sphere of its influ

ence. From this source may be dated George Cooke's confirmed devotion to his profession, and that ardent admiration of the works of our great landscape painter, which afterwards produced such extensive results.

Emancipated from the trammels of an apprenticeship which had been endured without the compensatory advantage of efficient instruction, his zeal and industry soon opened to him an animating prospect. About that time commenced the publication of the "Beauties of England and Wales," which introduced to public notice several names destined to rank amongst the most eminent in the art of engraving, as the brothers Cooke, Burnet, Pye, and the Le Keuxs. In conjunction with Mr. William Cooke, and also separately, George Cooke executed many plates for that work, which are marked with strong indications of a sedulous care and eagerness to excel, the characteristics of all his productions. Of his earliest works, some allegorical designs with portraits of German authors, and a small book-plate, entitled " Edward and Annette," illustrating a novel translated from the German, are creditable to his self-educated powers in engraving the human figure. Shortly after, jointly with his brother, were produced two highly-wrought large plates of celebrated racehorses, Hap-hazard and Muly Moloch. The painter was Marshall of Newmarket, between whom and the owner of the horses, Lord Darlington, a misunderstanding arose before the plates were completed, and that nobleman withdrawing his patronage from the enterprise, the consequences fell heavily upon the young engravers, who saw the fruits of much time, anxiety, and labour, destroyed at a blow. Views of Ouse Bridge, York, for Dayes's works, and Thorney Abbey, after Alexander, for Lysons's "Britannia Depicta," evince rapid improvement in their department; with some outlined divinities for Hort's "Pantheon," and a series of heads of mere mortals, with some statues and historical groups, also in outline, for the "Historic Gallery," a republication from the French, account for the employment of Mr. George Cooke's time down to the beginning of 1808, when the extensive series

of plates, illustrating Pinkerton's " Collection of Voyages and Travels," absorbed, for several successive years, the greater part of his attention. An adequate idea of his powers might well be formed from the conduct of this work, could the difficulties encountered and surmounted in its progress be known; but the public see only the result, and something more is often necessary to appreciate individual exertion. Much of his valuable time was absorbed by barren and unprofitable matters, many of the plates were engraved from mere tracings, many were abortions of art, remodelled: the best of the whole are some original subjects from the skilful pencil of Alexander; but there is scarcely one in the multitudinous collection, amounting to one hundred and sixty, that does not testify to the engraver's pains-taking exertions.

"During the progress of this publication, Mr. Willam Cooke had projected and commenced the first edition of "The Thames," to which George Cooke contributed only three plates, Monkey Island, Temple House, and the Gateway at Tilbury Fort. "The Thames" was the precursor of "The Southern Coast of England," a work memorable on many accounts, and of incalculable importance for its action both on the public taste and on the art of engraving. Early impressed, as we have already stated, with an unbounded admiration of the works of Turner, and sharing in a deep and well-founded conviction of the advantages likely to accrue from any plan which should place those wonders of the pencil more. immediately within the scope of public attention, the brothers seldom met without discussing their favourite topic, and many a scheme was formed and abandoned before their wishes could be achieved. At length perseverance and industry having vanquished all obstacles, the first number came out January 1. 1814, and continued at intervals until the appearance of the sixteenth and last, in the spring of 1826. Of this series of plates, George Cooke engraved one third; namely, Poole, Land's End, Corfe Castle, Blackgang Chine, Netley. Abbey, Teignmouth, Brighton Beach, Brighton Chain Pier, Pendennis Castle, Lulworth Castle, Dover, Margate, Hythe,

Tintagel Castle, and Watchett; together with eight vignettes. The success of this splendid and original work was commensurate with its merit.

An improved edition of " The Thames" followed, containing some tasteful and elaborate specimens of graphic skill from his hand; amongst these the Launch of the Nelson, and the Fair on the Thames, after Clennell, and the Opening of Waterloo Bridge, after Reinagle, are deserving of particular notice. He had previously executed fourteen small views in the Scandinavian peninsula, after sketches by Sir T. D. Acland, Bart., as well as some ten or dozen miniaature views for Pinkerton's "Petralogy;" and he completed an extensive series on a larger scale, of which a few had been finished by his brother, for Sir Henry Englefield's work on the "Geological Features of the Isle of Wight," and the neighbouring coast of Dorset. This engagement, united to a fondness for and knowledge of the science, led to his engraving, for several years, the plates affixed to the "Transactions of the Geological Society;" but that learned body finally disused calcographic, and adopted lithographic, illustrations.

Three plates of higher pretensions, and in different walks of art, next claim our attention: one, the Iron Bridge at Sunderland, from an outline by Blore, with a vigorous effect of light and shade thrown in by Francia, for Surtees's "History of Durham;" the second, after a drawing by Alexander, of the great Bacon's statue at St. Alban's, for Clutterbuck's "Hertfordshire;" and the last, a View of Gledhouse, in Yorkshire, after Turner; each is excellent in its kind, but the statue is the greatest effort, and warrants the justice of the inference, in which he has occasionally acquiesced, that, had he devoted his time to the historical line of art, he would have acquired equal celebrity. From those highly-wrought productions, such was the comprehensive versatility of his talents, we trace him proceeding with the same facility and success to works of a slight and sketchy description: into "The Peak Scenery of Derbyshire," published by Mr. Rhodes of Shef

F

field, he transfused all the grace, spirit, and expression of Chantrey's originals.

Meanwhile the influence of "The Southern Coast" was powerfully acting on public taste. Some of its earliest effects were Hakewill's " Italy," and the "Provincial Antiquities and Picturesque Scenery of Scotland." For each of these works he executed some interesting plates: in the former two of Naples, the Campo Vaccino of Rome and Florence; in the latter, Edinburgh from the Calton Hill, after Turner, Edinburgh from St. Anthony's Chapel, and Edinburgh from the Braid Hills, both after Calcott, rank with the happiest efforts of art; and of the Edinburgh views in particular it is not too much to assert that at the time of their appearance they were unequalled.

In 1819 appeared Allason's "Pola" with thirteen plates, of which the frontispiece, a magnificent architectural composition after Turner, and five others, are from George Cooke's accomplished graver. Some clever plates executed for the Society of Dilettanti should likewise be here enumerated. Mr. Stanhope's "Topography of Olympia" contains seven of his productions; and a few occur in the engraved marbles and terra cottas published by the trustees of the British Mu

seum.

Contemporaneously with several of the later productions here cited were a series of scriptural subjects etched in shaded outline, which, along with others by Mr. Moses, were affixed to the handsome Bible of the Cambridge University press edited by D'Oyly and Mant.

On the first of May, 1817, appeared the first number of "The Botanical Cabinet," undertaken by him in combination with the Messrs. Loddiges of Hackney. This scientific work displays, in the details of its execution, the same active taste and judgment that pervade all his performances: it originated in a friendship which its progress cemented and confirmed, and which was to terminate only with life. For many years he resided at Hackney, in front of Loddiges' garden. Ten plates, small indeed and slight, but full of accurate and taste