,transcriber's ,note3 ,readers who cannot use the fully illustrated version of this file may like to view some individual pictures in the images directory associated with the ,,html file4 ,each comes in two sizes4 ,this text file is for readers who cannot use the real 7unicode1 utf-#h7 version of the file4 ,all fractions in ,plate descriptions have been unpacked in the form #ag-g_/h4 ,illustration3 ,cover ,,masters ,,of ,,water-,,colour ,,painting ,with ,introduction by ,h4 ,m4 ,cundall1 ,i4,s4,o41 ,f4,s4,a4 ,edited ,by ,geoffrey ,holme ,london3 ,the ,studio1 ,ltd41 #dd ,leicester ,square1 ,w4,c4#b #aibb-aibc ,,contents ,page ,introduction by ,h4 ,m4 ,cundall1 ,i4,s4,o41 ,f4,s4,a4 #a ,,illustrations ,,in ,,colours ,plate ,bonington1 ,richard ,parkes ,near ,jumieges xxiv ,cotman1 ,john ,sell ,classical ,scene xiii ,cox1 ,david ,boys ,fishing xviii ,cozens1 ,john ,robert ,lake ,nemi x ,dayes1 ,edward ,furness ,abbey1 ,lancashire vii ,de ,wint1 ,peter ,st4 ,albans xvi ,farington1 ,r4,a41 ,joseph ,scotch ,landscape v ,fielding1 ,a4 ,v4 ,copley ,lake ,scene xvii ,girtin1 ,thomas ,landscape xi ,glover1 ,john ,view in ,north ,wales xv ,harding1 ,james ,duffield ,vico1 ,bay of ,naples xx ,hearne1 ,thomas ,view of ,gloucester iv ,holland1 ,james ,a ,shrine in ,venice xxii ,hunt1 ,william ,henry ,plucking the ,fowl xxi ,malton1 ,thomas1 ,jun4 ,old ,palace ,yard1 ,westminster vi ,prout1 ,samuel ,palazzo ,contarini ,fasan on the ,grand ,canal1 ,venice xix ,pyne1 ,james ,baker ,view in ,italy xxiii ,rooker1 ,a4,r4,a41 ,michael 7,angelo7 ,village ,scene iii ,rowlandson1 ,thomas ,entrance to ,vauxhall ,gardens ix ,sandby1 ,r4,a41 ,paul ,windsor ,castle3 ,view of the ,round and ,devil's ,towers from the ,black ,rock i ,towne1 ,francis ,on the ,dart ii ,turner1 ,r4,a41 ,j4 ,m4 ,w4 ,lucerne3 ,moonlight xii ,varley1 ,john ,hackney ,church xiv ,wheatley1 ,r4,a41 ,francis ,preparing for ,market viii ,the ,editor desires to acknowledge his indebtedness to ,mr4 ,a4 ,e4 ,hutton1 ,mr4 ,r4 ,w4 ,lloyd1 ,mr4 ,victor ,rienaecker1 ,mr4 ,g4 ,bellingham ,smith and ,messrs4 ,thos4 ,agnew ,sons who have kindly lent their drawings for reproduction in this volume4 ,,introduction ,the earliest form of painting was with colours ground in water4 ,egyptian artists three thousand years ,b4,c4 used this method1 and various mediums1 such as wax and mastic1 were added as a fixative4 ,it was what is now known as tempera painting4 ,the ,greeks acquired their knowledge of the art from the ,egyptians1 and later the ,romans dispersed it throughout ,europe4 ,they probably introduced tempera painting into this country for decoration of the walls of their houses4 ,the ,english monks visited the ,continent and learnt the art of miniature painting for illuminating their manuscripts by the same process4 ,owing to opaque white being mixed with the colours the term of painting in body-colour came in use4 ,painting in this manner was employed by artists throughout ,europe in making sketches for their oil paintings4 ,two such drawings by ,albrecht ,durer1 produced with great freedom in the early part of the sixteenth century1 are in the ,british ,museum4 ,the ,dutch masters also employed the same means4 ,holbein introduced the painting of miniature portraits into this country1 for although the monks inserted figures in their illuminations1 little attempt was made in producing likenesses4 ,as early as the middle of the seventeenth century the term water colours came into use4 ,in an inventory1 in manuscript1 of the personal estate of ,charles ,i1 which was sold by an ,act of ,parliament1 numerous pictures are thus described4 ,wenceslaus ,hollar1 a native of ,prague1 came to ,england in #afcg1 and became drawing-master to the ,prince of ,wales and the ,duke of ,york4 ,the painting of landscapes was first introduced by him into this country4 ,he made topographical drawings with a reed pen1 and afterwards added slight local colours4 ,the earliest ,englishman known to follow this style was ,francis ,barlow4 ,he is principally noted for his drawings with a pen1 slightly tinted1 of animals and birds1 with landscapes in the background4 ,later1 ,peter ,monamy1 a marine painter who was born in ,jersey1 produced drawings in a similar manner4 ,early in the eighteenth century ,pieter ,tillemans came to ,england1 and painted hunting scenes1 race-horses and country-seats4 ,he worked in a free style in washes of colour without any outlines with a pen or underlying grey tints4 ,to a ,natural ,history of ,birds1 by ,george ,edwards1 library keeper to the ,royal ,college of ,physicians1 published in #agea1 is added an appendix1 entitled1 ,a ,brief and ,general ,idea of ,drawing and ,painting in ,water ,colours3 ,intended for the amusement of the curious rather than the instruction of artists4 ,in it he states1 ,there are two ways of painting in water colours3 one by mixing white with your colours and laying on a thick body2 the other is only washing your paper or vellum with a thin water tinctured with colour4 ,after giving details of the methods to be employed he adds1 the former method of using water colours is called painting and the other washing or staining4 ,during the latter half of the century it became a fashion for landed gentry to have engravings made of their country seats1 and antiquarian publications with illustrations were produced4 ,these created a demand for topographical draughtsmen to assist the engravers4 ,in the catalogues of the ,exhibitions of the ,society of ,artists1 the first of which was held in #agfj1 the drawings by these men are styled as being stained1 tinted1 or washed4 ,the ,english ,school of ,water-,colour ,painting was now firmly established1 and several artists have been claimed to be the father of it4 ,amongst them were ,william ,tavener1 an amateur painter1 whose drawings were never topographically correct1 as he exaggerated buildings to give them a classic appearance2 ,samuel ,scott1 a marine painter and styled the ,english ,canaletto1 he was called by ,horace ,walpole the first painter of the age--one whose works will charm any age1 and was also a friend of ,hogarth2 also ,alexander ,cozens1 born in ,russia and the reputed son of ,peter the ,great1 but lately it has been suggested that ,richard ,cozens1 a ship-builder1 who went to ,russia in #agjj1 may have been his father4 ,he was sent to ,italy to study art1 and afterwards came to ,england4 ,he professed to teach amateurs how to produce pictures without study4 ,edwards1 in his ,anecdotes of ,painting1 describes his process as dashing out a number of accidental large blots and loose flourishes from which he selected forms and sometimes produced very grand ideas4 ,dayes called him ,blotmaster-general to the town4 ,the painter1 however1 who is most generally regarded as being the father of water-colour painting was ,paul ,sandby1 ,r4,a4 ,he first obtained employment in the ,military ,drawing ,office of the ,tower of ,london4 ,afterwards he resided with his elder brother1 ,thomas ,sandby1 at ,windsor4 ,at first he painted in the usual tinted manner of the period1 but later he worked with body-colour1 by which manner he added considerable richness to his drawings4 ,windsor ,castle3 ,view of the ,round and ,devil's ,towers from the ,black ,rock 7,plate ,i7 is an admirable example of his latter method4 ,the drawing has been acquired through the ,felton ,bequest ,fund1 and now hangs in the ,national ,gallery of ,victoria4 ,paul ,sandby was for many years the chief drawing-master at the ,royal ,military ,academy at ,woolwich4 ,he was also appointed by ,george ,,iii to give instruction in drawing to his sons4 ,the work of ,francis ,towne has only of recent years come to be appreciated4 ,he belonged to a ,devonshire family1 but the exact place of his birth is not known4 ,he became a friend of ,william ,pars1 ,a4,r4,a41 from whom he received some instruction in drawing1 and also went with him to ,rome in #aghj4 ,although he spent considerable time on the ,continent1 numerous drawings by him exist of scenes in his native country4 ,on the ,dart 7,plate ,,ii7 is a good example of his delicate method of painting4 ,his special skill lay in the management of even pen-line and in a subtle modulation of colour upon a flat surface4 ,amongst the early topographical men was ,michael 7,angelo7 ,rooker1 ,a4,r4,a4 ,the additional ,christian name is said to have been given to him by ,paul ,sandby1 under whom he studied for some time4 ,he made pedestrian tours through ,england1 and executed a large number of drawings1 which are remarkable for their accuracy and delicate treatment1 such as the ,village ,scene 7,plate ,,iii74 ,thomas ,hearne was a contemporary with ,rooker4 ,it was a custom at this period for topographical artists to travel abroad with ,british ,embassies to foreign countries and with ,governors to ,colonial possessions4 ,photography had not yet been invented1 and the drawings by these artists were the only means by which the majority of inhabitants of this island were able to obtain some idea of places beyond the sea4 ,hearne went to the ,leeward ,isles1 as draughtsman to the ,governor1 and produced records of the scenery there4 ,afterwards he executed a number of drawings in this country1 some of which were engraved in ,antiquities of ,great ,britain4 ,view of ,gloucester 7,plate ,,iv7 is an example of his accurate drawing1 though somewhat weak in colouring4 ,joseph ,farington1 ,r4,a41 received instruction in drawing from ,wilson1 and his paintings show slight evidence of it1 as may be seen from the ,scotch ,landscape 7,plate ,v71 but he simply copied ,nature without enduing his work with any of his master's poetic reeling4 ,thomas ,malton1 ,junr41 was noted for the accuracy with which he drew architectural views1 many of them being street scenes in ,london1 and they are of considerable value as records4 ,old ,palace ,yard1 ,westminster 7,plate ,,vi7 is interesting as showing buildings on the north side of ,henry ,,vii's ,chapel of the ,abbey1 which have long since been demolished4 ,he published works aquatinted by himself1 including ,westminster1 which appeared in #agib4 ,he held classes at which ,girtin and ,turner attended4 ,the latter used to say1 ,my early master was ,tom ,malton4 ,edward ,dayes was a versatile artist2 he painted architectural subjects1 into which he frequently introduced figures1 such as ,furness ,abbey 7,plate ,,vii71 executed miniatures and engraved in mezzotint4 ,he also wrote several works on art4 ,buckingham ,house1 ,st4 ,james's ,park1 in which a number of the beau monde are seen promenading in the park1 is one of his best paintings4 ,an engraving of it by ,f4 ,d4 ,soiron1 produced in #agic1 under the title of ,promenade in ,st4 ,james's ,park1 was very popular4 ,francis ,wheatley1 ,r4,a41 was a topographical artist1 but is better known as a painter of genre subjects1 especially by the engravings after ,the ,cries of ,london4 ,preparing for ,market 7,plate ,,viii7 is a good example of his latter work1 which was somewhat insipid4 ,the reputation of ,thomas ,rowlandson1 who could paint landscapes with great ability1 rests upon his caricatures1 which were usually drawn in outline and tinted4 ,he lived a somewhat dissipated life1 and possessed an abundant sense of humour1 as displayed in the ,entrance to ,vauxhall ,gardens 7,plate ,,ix71 the noted place of amusement and rendezvous of the fashionable set in the early part of the last century4 ,john ,robert ,cozens1 the son of ,alexander ,cozens1 was the first artist at this period to break away from the trammels of topography1 and to raise landscape painting in water colours to a branch of fine art4 ,he travelled abroad and studied principally in ,italy and ,switzerland4 ,the lake of ,nemi1 situated in the ,campagna1 some sixteen miles west of ,rome1 and reached by the famous ,via ,appia1 has always been a favourite subject with both poets and artists4 ,near the north rim of the worn-out crater1 in which the lake is situated1 is the village of ,nemi1 surmounted by a fine old castle1 which passed through the hands of many noble families4 ,pope1 ,byron1 and others have sung the praises of the lake4 ,turner has left at least five drawings of it1 one of which is engraved in ,hakewell's ,italy4 ,william ,pars1 ,richard ,wilson and other artists of the early landscape school also painted the scene4 ,cozens made many drawings of ,nemi and the vicinity4 ,two are in the ,victoria and ,albert ,museum and another is in the ,whitworth ,institute1 ,manchester4 ,the painting 7,plate ,x71 belonging to ,mr4 ,r4 ,w4 ,lloyd1 shows the lake with ,palazzo ,cesarini on a height by its side1 and the ,campagna in the distance4 ,it is a fine example of ,cozens' work treated in his poetic manner1 and into which more colour than usual has been introduced4 ,cozens' last visit to ,italy was made in #aghb in company with the noted ,william ,beckford1 the author of ,vathek4 ,on his return he gradually lost his reason4 ,it is pathetic to think such was the sad end of a man inspired with such artistic talents4 ,as it has already been stated1 he was the pioneer in exalting water-colour painting to a fine art4 ,his footsteps were quickly followed by ,girtin and ,turner4 ,the history of these two artists1 how during their early struggles they were befriended by that art patron1 ,dr4 ,thomas ,monro1 a capable water-colour painter himself1 and well qualified to give advice1 is too well known to need repetition4 ,girtin1 during his short career1 had no selfish ideas of keeping his knowledge of painting to himself4 ,it was mainly due to his initiation that a club was started amongst a small body of young artists for the study of landscape painting4 ,they met at each other's houses in rotation4 ,one of its prominent members was ,sir ,robert ,ker ,porter1 a painter1 traveller and author1 who afterwards married a ,russian princess4 ,he was living1 at the time1 at #af1 ,great ,newport ,street1 which had formerly been a residence of ,sir ,joshua ,reynolds1 and subsequently that of ,dr4 ,samuel ,johnson4 ,it was in this house that the first meeting of the club was held for the purpose of establishing by practice a ,school of ,historic ,landscape1 the subjects being designs from poetick passages4 ,writing in ,the ,somerset ,house ,gazette1 in #ahbc1 ,w4 ,h4 ,pyne1 under the pseudonym of ,ephraim ,hardcastle1 states this artist 7,girtin7 prepared his drawings on the same principle which had hitherto been confined to painting in oil1 namely1 with local colour1 and shadowing the same with the individual tint of its own shadow4 ,previous to the practice of ,turner and ,girtin1 drawings were shadowed first entirely throughout1 whatever their component parts--houses1 castles1 trees1 mountains1 fore-grounds1 middle-grounds1 and distances1 all with black or grey1 and these objects were afterwards stained or tinted1 enriched and finished1 as is now the custom to colour prints4 ,it was this new practice1 introduced by these distinguished artists1 that acquired for designs in water colour upon paper the title of paintings3 a designation which many works of the existing school decidedly merit1 as we lately beheld in the ,exhibition of the ,painters in ,water ,colours1 where pictures of this class were displayed in gorgeous frames1 bearing out in effect against the mass of glittering gold as powerfully as pictures in oil4 ,girtin had a partiality for painting in a low tone of colour and frequently on rough cartridge paper1 which assisted in giving a largeness of manner to his work4 ,the ,landscape 7,plate ,,xi7 is1 however1 rendered in a brighter key than his usual practice4 ,as limitation of space will not admit of giving any account of the life of ,turner1 already well known1 it may be sufficient to say that ,lucerne3 ,moonlight 7,plate ,,xii7 was painted in #ahdc1 and was originally in the collection of ,mr4 ,h4 ,a4 ,j4 ,munro of ,novar4 ,ruskin1 who calls it a noble drawing in his ,notes on his ,drawings by the late ,j4 ,m4 ,w4 ,turner1 makes a mistake in the title and describes it as ,zurich by ,moonlight4 ,john ,sell ,cotman1 a member of the ,norwich ,school1 was another pioneer who did much for the advancement of water-colour painting4 ,unfortunately1 his work was not appreciated during his career4 ,if he had lived in the twentieth century he would have had no cause for the fits of depression to which he was subject during the greater part of life4 ,it can be well recognised that in the first half of last century the public1 who were mainly accustomed to carefully drawn topographical scenes1 failed to appreciate such paintings as the ,classical ,scene 7,plate ,,xiii71 executed with such freedom and vigour4 ,it was recently exhibited at the ,special ,exhibition of ,cotman's ,paintings at the ,tate ,gallery1 when five other classical landscape compositions were also shown4 ,cotman's work was not understood4 ,his paintings1 both in oil and water colour1 often only realised less than a pound apiece4 ,he was compelled to resort to teaching in order to support his family4 ,eventually1 through the influence of his friend1 ,lady ,palgrave1 and the strong support of ,turner1 he obtained the post of drawing-master at ,king's ,college ,school1 ,london4 ,his position then became more secure4 ,still1 teaching boys in the underground rooms of ,somerset ,house could not have been inspiriting to one who yearned to seek ,nature in the open air4 ,he could not exclaim1 like ,old ,crome1 when he with his pupils was once met on the banks of the ,yare1 ,this is our academy4 ,he died of a broken heart4 ,at the beginning of the nineteenth century there was a feeling amongst the artists who worked solely in water colours that they were not being fairly treated by the ,royal ,academy4 ,they were ineligible to be elected members of that body1 and they were of opinion that their works were never placed in a prominent position on the walls of the galleries4 ,william ,frederick ,wells1 a friend of ,turner and said to have suggested to him the idea of producing his ,liber ,studiorum1 proposed to his fellow artists that they should form a separate society for the promotion of water-colour painting4 ,after considerable negotiations1 ten artists met together in ,november1 #ahjd1 and founded the ,society of ,painters in ,water ,colours4 ,the first exhibition was held in the ,spring of the following year at rooms in ,lower ,brook ,street4 ,after various vicissitudes and many changes of abode this society1 known in later years as the ,old ,society1 eventually obtained a lease of the premises in ,pall ,mall ,east4 ,thus1 after much roving for seventeen years1 a permanent home was secured1 and the centenary of the occupation of these galleries has just been completed4 ,varley and ,glover were two of the original members4 ,de ,wint1 ,copley ,fielding1 ,david ,cox and ,samuel ,prout were subsequently elected ,associates1 and afterwards became full members4 ,amongst the founders the name of ,john ,varley stands out beyond the others4 ,he was born at ,hackney 7see ,plate ,,xiv7 in #aggh4 ,receiving but little instruction in art besides the assistance given to him by ,dr4 ,monro1 he became a teacher of considerable reputation4 ,amongst his pupils were many who afterwards became famous4 ,to mention only a few1 there were ,william ,mulready1 who married his sister1 ,copley ,fielding1 who espoused his wife's sister1 ,w4 ,turner 7of ,oxford71 ,david ,cox1 ,william ,h4 ,hunt1 ,oliver ,finch and ,john ,linnell4 ,varley was a prolific worker1 and contributed more than seven hundred drawings to the ,old ,society1 averaging about forty works annually4 ,his style was broad and simple1 with tints beautifully laid1 without resort to stippling4 ,he wrote some works on drawing and perspective4 ,he also was an enthusiast in astrology1 and compiled a ,treatise on ,zodiacal ,physiognomy4 ,john ,glover was a landscape painter and produced works1 both in oil and in water colours1 into which he frequently introduced cattle4 ,his father having been a small farmer may account for this partiality for animals4 ,in water-colour painting he followed the methods of ,william ,payne1 the inventor of a grey tint known as ,payne's grey1 in producing foliage by splitting the hairs of his brush in order to give a feeling of lightness1 and he was partial to sunlight effects 7see ,plate ,,xv74 ,he was ,president of the ,old ,society on two occasions1 but he resigned his membership1 so as to become eligible for election to the ,royal ,academy4 ,he failed in his object and joined the ,society of ,british ,artists4 ,glover suddenly left ,england in #ahca1 and went to the ,swan ,river ,settlement in ,australia4 ,afterwards he removed to ,tasmania1 where he died4 ,peter ,de ,wint1 a descendant of an old merchant family of ,amsterdam1 like ,glover1 painted in oils and water colours1 but his work was far superior4 ,he selected broad and open country for his scenes1 which were executed in a rich tone with a tendency to heavy uniform green4 ,the neighbourhood of ,lincoln1 where his wife1 a sister of ,w4 ,hilton1 ,r4,a41 was born1 had special attractions to him4 ,st4 ,albans 7,plate ,,xvi7 shows the abbey in the ruinous state it had become from the time of the ,reformation4 ,its restoration was not commenced until #ahef1 under the direction of ,sir ,gilbert ,scott1 and completed later by ,lord ,grimthorpe4 ,anthony ,vandyke ,copley ,fielding belonged to an artistic family4 ,his father was a painter and three of his brothers all practised art with success4 ,he was one of the most fashionable drawing-masters of his day1 and a strong supporter of the ,old ,society4 ,after being treasurer and next secretary1 he was appointed president in #ahca1 which post he retained during his life4 ,he was a most prolific worker and contributed about seventeen hundred drawings to the ,society's exhibitions1 besides showing at the ,royal ,academy and ,royal ,institution4 ,at first his favourite subjects were lake and mountain scenery 7see ,plate ,,xvii74 ,after he took up his residence at ,brighton he turned his attention to marine painting and depicted many storms at sea4 ,it has been exaggeratedly said that ,copley ,fielding was perhaps the greatest artist after ,turner for representations of breadth and atmosphere4 ,ruskin also praised his work4 ,owing1 however1 to his very rapid method of execution there was a considerable sameness in his work4 ,the drawings by ,david ,cox1 although executed in an apparently careless manner1 give a greater rendering of atmospheric qualities and of irradiation of light with a feeling of more movement than can be found in the works of ,fielding4 ,cox's early drawings were executed in a somewhat stiff and restrained manner1 with a delicate finish1 but afterwards his style became broad and he produced those breezy effects which are almost unrivalled4 ,boys ,fishing 7,plate ,,xviii7 is an excellent example of his later work4 ,when ,cox returned to his native town1 ,birmingham1 he devoted his attention to working in oils1 and the ,city ,art ,gallery possesses a superb collection of his paintings in this medium4 ,he was for the greater part of his life a teacher of drawing1 and he published a ,treatise on ,landscape ,painting and ,effect in ,water ,colours1 in which his views are clearly stated499 ,footnote 993 ,the ,treatise has recently been republished as the ,special ,autumn ,number of ,the ,studio4 ,samuel ,prout1 one of the numerous ,devonshire painters1 also derived a great part of his income by giving instruction in drawing and painting4 ,numerous drawing copies for students were produced by him by means of soft-ground etching4 ,he was at first employed by ,john ,britton1 the author of ,the ,beauties of ,england and ,wales1 in making topographical drawings for this work4 ,in #ahai he went to ,normandy for the benefit of his health4 ,there he turned his attention to producing those paintings of cathedrals and picturesque buildings for which he is noted4 ,later he travelled through ,germany and ,switzerland to ,italy1 and visited ,rome and ,venice 7see ,plate ,,xix74 ,afterwards he published facsimiles of many of the drawings executed during these tours on the ,continent4 ,they were produced in lithography by himself on the stone1 an art in which he greatly excelled4 ,the architectural drawings by ,prout are remarkable for their picturesque treatment1 rather than for correctness of construction4 ,details are sparsely indicated by the use of a reed pen4 ,bright effects of light and shade are1 however1 given1 and the introduction of groups of figures add brilliancy to these paintings4 ,james ,duffield ,harding1 like ,prout1 from whom he received some lessons1 also excelled in lithography4 ,many of his paintings were reproduced by him in a publication entitled ,sketches at ,home and ,abroad4 ,he visited ,italy on two occasions4 ,vico1 in the ,bay of ,naples1 between ,castellamare and ,sorrento 7,plate ,,xx71 is an example of his free manner of painting4 ,an engraving of it appeared in the ,landscape ,annual in #ahcb4 ,he was a member of the ,old ,society1 and also painted in oils4 ,william ,henry ,hunt1 familiarly called ,old or ,billy ,hunt in his latter years by his fellow artists1 to distinguish him from ,william ,holman ,hunt1 was an artist with a style peculiar to himself4 ,he painted figures1 especially young rustics1 with a sense of humour1 but he is chiefly noted for his exquisite fruit and flower pieces1 which were executed with great delicacy and with a remarkable power of rendering the effects of light and shade on the surface of the objects4 ,to obtain these he would roughly pencil out1 say1 a group of plums1 and thickly coat each one with ,chinese white1 which would be left to harden4 ,on this ground he afterwards painted his colours with a sure hand4 ,by this means he would obtain a brilliant effect4 ,further1 to enhance it1 he would make free use of the knife on the various surroundings to give a contrast1 and at the same time to produce a feeling of texture on the various surfaces1 so as not to have a monotonous and flat appearance4 ,this method of scraping up portions of the surface of the paper is clearly shown in ,plucking the ,fowl 7,plate ,,xxi74 ,james ,holland commenced his artistic career by painting flowers on pottery at the factory of ,james ,davenport at ,burslem4 ,he came to ,london and continued to paint flowers4 ,after a visit to ,paris he devoted himself to landscapes4 ,subsequently he visited ,venice1 and produced1 in both oils and water colours1 some excellent paintings remarkable for their brilliant colouring 7see ,plate ,,xxii74 ,james ,baker ,pyne1 born at ,bristol1 was a self-taught artist4 ,he also is noted for his brilliant colouring1 but there is a want of solidity in his painting4 ,he visited the ,continent and travelled as far as ,italy 7see ,plate ,,xxiii74 ,his landscapes were chiefly river and lake subjects4 ,he published ,the ,english ,lake ,district and ,the ,lake ,scenery of ,england1 illustrated with lithographs of his works4 ,he was a member of the ,society of ,british ,artists1 and became a vice-president4 ,like ,girtin1 the illustrious young painter ,richard ,parkes ,bonington was cut off in life at the early age of twenty-seven4 ,he was born at ,arnold1 near ,nottingham4 ,whilst still a boy he was taken by his parents to ,calais1 where he received some instruction in water colours from ,francia4 ,later the family settled in ,paris4 ,here ,bonington resided the greater part of his life4 ,he made a few visits to ,england1 and on the last occasion he was taken ill and died of consumption4 ,he practised at the ,louvre and the ,institut1 and also received instruction from ,baron ,gros4 ,his paintings1 in oil and water colours1 were almost entirely executed in ,france2 he1 however1 made one visit to ,italy4 ,in ,paris his works were chiefly architectural with street scenes1 admirably executed1 whilst his landscapes with fine atmospheric effects 7see ,plate ,,xxiv7 display great freedom in execution4 ,it is somewhat remarkable that after ,cotman and ,bonington had1 in the first part of the nineteenth century1 developed a style so greatly appreciated at the present time1 so many of the landscape painters in water colours in the early ,victorian era should still have adhered to the old restricted methods4 ,constable exercised considerable influence on the ,french landscape painting in oil1 whilst ,bonington showed the ,french artists the capabilities of water colours1 which they did not fail to appreciate4 ,h4 ,m4 ,cundall4 ,plate ,i ,,windsor ,,castle3 ,,view ,,of ,,the ,,round ,,and ,,devil',s ,,towers ,,from ,,the ,,black ,,rock by ,paul ,sandby1 ,r4,a4 7,size1 #aa-c_/d x #ag-a_/d in47 7,acquired by the ,national ,art ,gallery of ,victoria1 ,melbourne7 ,plate ,,ii ,,on ,,the ,,dart by ,francis ,towne 7,size1 #g x #i-c_/d in47 7,in the possession of ,a4 ,e4 ,hutton1 ,esq47 ,plate ,,iii ,,village ,,scene by ,michael 7,angelo7 ,rooker1 ,a4,r4,a4 7,size1 #ad-a_/b x #ah-a_/d in47 7,in the possession of ,victor ,rienaecker1 ,esq47 ,plate ,,iv ,,view ,,of ,,gloucester by ,thomas ,hearne 7,size1 #g-a_/b ,x #aj-a_/b in47 7,in the possession of ,victor ,rienaecker1 ,esq47 ,plate ,v ,,scotch ,,landscape by ,joseph ,farington1 ,r4,a4 7,size1 #bj-c_/d x #cc-c_/d in47 7,in the possession of ,victor ,rienaecker1 ,esq47 ,plate ,,vi ,,old ,,palace ,,yard1 ,,westminster1 by ,thomas ,malton1 ,jun4 7,size1 #ac x #ai in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,vii ,,furness ,,abbey1 ,,lancashire by ,edward ,dayes 7,size1 #bg-a_/b ,x #bj-c_/d in47 7,in the possession of ,victor ,rienaecker1 ,esq47 ,plate ,,viii ,,preparing ,,for ,,market by ,francis ,wheatley1 ,r4,a41 7,size1 #ad x #aj in47 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,plate ,,ix ,,entrance ,,to ,,vauxhall ,,gardens by ,thomas ,rowlandson 7,size1 #i ,x #ab-g_/h in47 7,in the possession of ,victor ,rienaecker1 ,esq47 ,plate ,x ,,lake ,,nemi by ,john ,robert ,cozens 7,size1 #ad-a_/b ,x #ba in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,xi ,,landscape by ,thomas ,girtin 7,size1 #ab-a_/d ,x #bj-a_/b in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,xii ,,lucerne3 ,,moonlight by ,j4 ,m4 ,w4 ,turner1 ,r4,a4 7,size1 #aa-a_/b x #ah-c_/d in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,xiii ,,classical ,,scene by ,john ,sell ,cotman 7,size1 #aa-a_/b x #h-a_/d in47 7,in the possession of ,g4 ,bellingham ,smith1 ,esq47 ,plate ,,xiv ,,hackney ,,church by ,john ,varley 7,size1 #aa ,x #ae in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,xv ,,view ,,in ,,north ,,wales by ,john ,glover 7,size1 #af-a_/h x #bc in47 7,in the possession of ,victor ,rienaecker1 ,esq47 ,plate ,,xvi ,,st4 ,,albans by ,peter ,de ,wint 7,size1 #i-c_/d ,x #ad-a_/b in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,xvii ,,lake ,,scene by ,a4 ,v4 ,copley ,fielding 7,size1 #ab-a_/d x #af-a_/h in47 7,in the ,possession of ,victor ,rienaecker1 ,esq47 ,plate ,,xviii ,,boys ,,fishing by ,david ,cox 7,size1 #aj-a_/b x #ad-a_/b in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,xix ,,palazzo ,,contarini ,,fasan ,,on ,,the ,,grand ,,canal1 ,,venice by ,samuel ,prout 7,size1 #af-g_/h x #aa-a_/b in47 7,in the ,victoria and ,albert ,museum7 ,plate ,,xx ,,vico1 ,,bay ,,of ,,naples by ,james ,duffield ,harding 7,size1 #h-a_/b x #aa-c_/d in47 7,in the possession of ,victor ,rienaecker1 ,esq47 ,plate ,,xxi ,,plucking ,,the ,,fowl by ,william ,henry ,hunt 7,size1 #ac-c_/d x #ad-a_/b in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,xxii ,a ,,shrine ,,in ,,venice by ,james ,holland 7,size1 #i-c_/d x #f-a_/b in47 7,in the possession of ,victor ,rienaecker1 ,esq47 ,plate ,,xxiii ,,view ,,in ,,italy by ,james ,baker ,pyne 7,size1 #aj-c_/d x #ag in47 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,plate ,,xxiv ,,near ,,jumieges by ,richard ,parkes ,bonington 7,size #h-c_/d x #ab-a_/d in47 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 99 99 99 99 99 99 99 99 99 99 99 99 99 99 ,erratum 7noted by transcriber7 ,ephraim ,hardcastle ,ephriam