17. The Chub, from an original painting by W. Smith . 55

These fish, with a few exceptions, are drawn on the blocks by ALEXANDER FUSSELL, from the originals, painted by A. COOPER, Esq., R.A., and W. Smith, Esq, expressly for this work, and now in the possession of my friend

W. YARRELL, Esq. 18. Portrait of W. CAMDEN, Esq., from “ Morgan's

Sphere of Gentry” . . . . . . 57 19. View of Broxbourn, on the River Lea, by T. CRES

WICK, A.R.A. . . . . . . . 65 20. SKEGGER Trout, from an original painting by W.

SMITH 21. Portrait of Sir Walter Raleigh . . . 82 22. The Trout, from an original painting by A. COOPER, R.A. . .

. . . . . . 83 23. A Gipsy camp, drawn by K. MEADOWS, Esq.

130 24. The GRAYLING, from an original painting by W. Smith 132 25. Portrait of ULYSSES ALDROVANDUS . . . . 133 26. The SALMON, from an original painting, by A. Coo

PER, R.A. . . . . . . . 138 27. View of Waltham Abbey, by T. CRESWICK, A.R.A. . 142 28. The Pike, from an original painting by A. COOPER,

R.A. . . . . . . . . 149 29. Portrait of LORD BACON . . . . . 157 30. The CARP, from an original painting, by Geo. LANCE,

Esq., in the possession of W.J, BRODERIP, Esq.,
drawn on the block by J. W. ARCHER, under the su-
perintendence of the painter himself. Exhibited at

the British Institution, 1844 . . . . 164 31. Portrait of Conrad Gesner . . . . 168 32. The Bream, from an original painting by W. Smith 170 33. View on the Lea, Mrs. Bullin's Cottage, Chingford,

by T. CRESWICK, A.R.A. . . . . 177

34. The Tench, from an original painting, by A. Cooper,

R.A. . . . . . . . . . 179 35. View on the Lea — the “Stop,” Chingford, by T.

CRESWICK, A.R.A. . . . . . . 180 36. The PEARCH, drawn from life by Alex. FUSSELL 183 37. Portrait of Guil. RONDELETIUS . . . . 186 38. The EEL, from an original painting by W. SMITH . 193 39. Portrait of John GERHARD, the herbalist . . 196 40. The BARBEL, drawn from the life by Alex. FUSSELL 199 41. Portrait of ARCHBISHOP SHELDON . . . 202 42. The GUDGEON, from the life, by ALEX, FUSSELL . 203 43. The Pope or Ruffe, from the life by Ditto . 204 44. The BLEAK, from the life by Ditto. . . 205 45. View on the Lea, Ponders End, by T. CRESWICK,

A.R.A. . . . . . . . . . 206 46. Youthful Portrait of EDMUND WALLER . . 216 47. The Roach, from the life by Alex. FUSSELL . . 218 48. The DACE, from the life by Ditto . . . 219 49. View on the Lea “Rural-bit,” near Edmonton, by T.

CRESWICK, A.R.A. . . . . . . 229 50. The MINNOW, Loach, and BULLHEAD, from an ori.

ginal painting by W. Smith . . . . 230 51. Infantine fishing party, by K. Meadows, Esq. . 234 52. Portrait of Dr. Thomas WHARTON, “that good man

who dared do any thing rather than tell an untruth,”

from the original in the College of Physicians . 239 53. Portrait of Bishop DUBRAVIUS, from a rare print in

the illustrated copy of W.J. BRODERIP, Esq. . 244 54. View on the Lea, Fishing-house, near Tottenham, by T. CRESWICK, A.R.A. . . . . . 262

The whole of the views by T. CRESWICK, Esq. were taken on the spot expressly for this work, and afterwards drawn on the blocks by himself.

PART II.

ENGRAVINGS ON WOOD

CONTINUED.

Come enjoy these rosy bowers,
Scenes of all my happiest hours,
Aid me closer to entwine,
Joys of music, love and wine :
Now we'll fish the streamlet blithe
Whilst the meadows court the scythe,
Ev'ry thought of pomp or wealth,
Lost in joys of rosy health !

J. M.

Charterhouse,
June 10th, 1843.

265

55. Cypher of Walton and Cotton, faithfully reduced

from the original of 1676 . . in the title page. 56. Brelsford Well 57. Initial Letter, drawn by J. W. ARCHER . . 26 58. The Spittle Hill – the party descending on horse

back . . . . . . . . . 275 59. Hanson Toot and the Wheel-barrow Bridge . . 286 60. The Fishing-house . . . . . . 292 61. Back view of the Fishing-house-a spot which Cot.

TON used to call his “open air dining room” .294 62. Beresford Hall . . . . . . . . 304 63. Pike Pool . . . . . . . 314 64. Rocks, with confluence of the Dove and Cooper

Brook . . . . . . . . 331 65. Rocks, called the “Dove Holes," and the “Shepherd's

Abbey" . . . . . . . . 341 66. The Great Hawthorn Tree in Dove Dale . . 343 67. View in Dove Dale, near the Manifold River . . 347 68. The Hiding Caves, alluded to by COTTON in stanza

VIII. of his poem on “Retirement” . . . 356 69. Source of the Dove, with Explorers drinking to the

immortal memory of WALTON and COTTON . . 361

The above are from the original drawings of Messrs. GOMPERTZ and LEITCH, in the collection of John L. ANDERDON, Esq., men. tioned at page viii. ante. The whole were drawn on the blocks for the Engravers by J. W.

ARCHER.
70. The Pearch, from a painting of a remarkably fine

specimen of this fish, by F. R. LEE, Esq., R.A., in
the possession of W. J. BRODERIP, Esq. ,

IN THE NOTES.

71. The Walton Chamber in Beresford Hall, alluded to

p. 273, &c. . . . . . . . 368 72. Music to the Angler's Song . . . . 402 73. View of Theobald's, copied by J. W. ARCHER, from

the “ Vetusta Monumenta.” . . . . 408 74. The Weathercock, with the wind in the “right quar. ter," by K. MEADOWS, Esq.

. . . . 418

If there were a single circumstance by which the fame of those “honourable men,” the effigies of whom now face the reader, could possibly be enhanced, it was that of having for their biographer one, who, with the soundest judgment, possessed a sweetness of disposition ever inclining to the bright side of things ; — a veracity not to be questioned, and a felicity of expression peculiarly his own : thus gifted, like the skilful artist, at once both flattering and faithful, he brought to the task of delineation, that delicacy due to family feeling, combined with the justice demanded by strict impartiality : the existence, and the application therefore, of such rare qualities, are equally the subject of exultation.

On the other hand, that Izaak Walton should have been deemed by his contemporaries, the fittest of all persons to perform so important a task, were sufficient by reflection alone, to ensure to himself