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 REPRODUCTIONS IN COLOUR-FACSIMILE 
 
 lO, 
 
 II. 
 
 12. 
 
 13- 
 
 14. 
 
 15- 
 16. 
 
 17- 
 
 18. 
 
 19. 
 
 20. 
 
 21. 
 22. 
 
 24. 
 
 25' 
 
 26, 
 27. 
 28. 
 29. 
 30. 
 31' 
 
 Paul Sandby's " Landscape near a Lake" 33. 
 P. J. De Loutherbourg's "Arrival of the Hoy at 
 
 Margate " 34' 
 William Mai'low's "Conway Castle" 
 
 Michael Rooker's " DrusUwyn Castle " 35' 
 
 T. Hearne's "Glasgow Cathedral" 36. 
 
 J. R. Cozens' " Near Florence " 37. 
 
 Francis Nicholson's "Robin Hood's Bay" 38, 
 
 Thomas Rowlandson's "The Cobbler's Happy 39- 
 
 Family " 40, 
 
 Thomas Rowlandson's "At the Door of their 41. 
 
 Inn" 42. 
 J. C. Ibbetson's "Women at Work " 
 
 James Baynes' " Pastoral Landscape " 43. 
 
 J. Cristall's "Woodcutter" 44. 
 
 George Barret's " Classical Landscape " 45- 
 
 Thomas Francia's " The Entrance to Boulogne 46. 
 
 Harbour " 47. 
 
 J, M. Wright's " In the Olden Time " 48. 
 
 Thomas Girtin's " Ripon Cathedral " 49. 
 
 Thomas Girtin's " Durham Cathedral" 50. 
 
 J. M. W. Turner's " Wycombe from the Marlow 51. 
 
 Road" 52. 
 
 J. M. W. Turner's " Lucerne and the Righi " 53. 
 
 John Constable's " Storm Clouds passing over 54- 
 
 Hampstead " 55. 
 
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 Clarkson Stanfield's " Tower of London " 66. 
 
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 Caligula " 
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 Hall" 
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 Charles Bentley's "The Shrimpers" 
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 James I." 
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 796 1903 
 
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 PRI STISG 
 
 
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 PAULS 
 
 WORK, EDINBURGH 
 
 14 TAVISTOCK STREET, LONDON, W.C. 
 
Society for Promoting' Christian Knowledge 
 
 CHRISTIAN WORSHIP, ITS ORIGIN AND 
 
 EVOLUTION. Hv iho- Monsianore DucHEsxK. Tniiislaierf by 
 
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 (The Third Kdition of the French Orlgin.il has just hcen published in 
 
 P.■lri^. This Trnnsl.ition represents not'"only the latest revision of that 
 
 celebrated Work, Init contains also some Nates added b\ Mt:r. I luchesne 
 
 snice the latter was published.] 
 
 THE OLD TESTAMENT IN THE LIGHT 
 
 OF THE HISTORICAL RECORDS AND LEGENDS OF 
 ASSYRIA AND BABYLONIA. I'.y Tiinoi'ini is l 1. I'inciiis, 
 LI, .11., M.K..V.S. With .vevcral lllustrati.ins. Laige post Svo, 
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 TISSOT'S LAST-PAINTED IDEAL OF OUR LORD. 
 
 It represents his lasi-painted ideal of our S;iviour — painted when he 
 lelt the nearness of his departure ; for digiiil\', spiritual expression, 
 and infinite pity excels, perhaps, any pre\'iousIy painted concept ot" 
 the Saviour of the \\'orld. In handsome frame, 3^^ in. by 24 iu., 
 20s. ; small si/e in handsome frame, i3.l in. by 15 in., 6s. 6d. 
 ' Tfie picture is well worthy the attention ot our readers." — Ch!n\h 
 
 THE BIBLE AND MODERN INVESTIGATION. 
 
 Three Lectures delivered to cler,::y at Xorwich at the reoue^t of the- 
 Bishop, u-ith an .\ddress on "The -Authority of Hol\- Sciiptnre. ' 
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 ST. ALDHELM: HIS LIFE AND TIMES. Lccltncs 
 
 delivered ill llie C.iilitdral Lliiinli of Bristol, Lent 1903, by tile 
 kight Rev. C. F. liK.nv .!-, Il.l)., IJ.C.l.., F.S.A., Bishop of 
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 THE BATTLE OF BELIEF. A Review ..f the- Present 
 
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 Park \\'est, London. IntroduciiMii hy the Right Re\ . the LmRI> 
 BiSHMi' OK London. Third l-.diiion, Revised and Enlarged. 
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 MY LIFE IN MONGOLIA AND SIBERIA. From 
 
 the ilreat Wallof China to the L'^rai M-iuntains. Py Ji>h\, Bishoi- 
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 GLEANINGS IN CHURCH HISTORY. Chiefly in 
 
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 Ji.RXJNI>EL SOCIETY'S I>UBlL<ICATIONS 
 
 THE SOCIETY FOR PROMOTING CHRISTIAN KNOWLEDGE have on Sale the Publications of the Arundel Society 
 The Stoclc includes a large Selection of Superb Reproductions in Colours and Monochrome of Masterpieces by 
 
 BOTTICELLI I MICHAEL ANGELO I MEMLINC 
 
 GHIRLANDAIO | RAFFAELLE DURER 
 
 GIOTTI 
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 FRA ANGELICO 
 
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 RAFFAELLE 
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 and numerous other great Artists. Hitherto these Publications have, on account of their price, heen beyond the reach of persons of moderate 
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MASTERS OF ENGLISH 
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 yfi^ *t!i' 
 
 SPECIAL PLATES 
 
 Portraits of J. S, Cotman and David Cox 
 
 Frontispiece 
 
 J, S. COTMAN . 
 
 "Greta Bridge, Yorkshire" 
 *' St. Botolph's Priory, 
 
 Essex " 
 '' Twickenham " 
 "Breaking the Clod" 
 " Trentham Church " 
 " Boats at Sea by Moonlight" 
 
 " Yarmouth Sands " 
 
 " Gateway of the Abbey 
 
 Aumale " 
 " Landscape Composition " 
 "The Wold Afloat" 
 " Pastoral Scene " 
 
 DAVID COX 
 
 "Flying the Kite" 
 
 " Church of St. Eustache, 
 
 P. >r 
 arts 
 
 "The Cart-Shed" 
 "The Woodcutter" 
 "Tintern Abbey" 
 
 PETER DE WINT 
 
 " The Thames from Green- 
 wich Hill" 
 " Nearing the Harbour " 
 " Near Lowther Castle " 
 " Crossing the Stream " 
 
 " A Lane with Cottages " 
 " Coast Scene " 
 " Sackbridge Hall, near 
 Lowther " 
 
 AD. XV 
 
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 AVith Illustrations. 2 Vols. 25s. net 
 
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 AD. X\'l 
 
MASTERS OF ENGLISH 
 LANDSCAPE PAINTING 
 
 J. S. COTMAN 
 DAVID COX 
 PETER DE WINT 
 
 Edited by Charles Holme 
 
 ^1**41**.. 
 
 JOHN LANE, OFFICES OF , THE INTER- 
 NATIONAL STUDIO,' 6-] FIFTH 
 AVENUE, NEW YORK MCMIII 
 
PREFATORY NOTE 
 
 This is the first serious effort to do some measure of justice to the 
 work of J. S. Cotman, of David Cox, and of Peter De Wint. 
 Hitherto, in all articles and books, these masters of the brush have 
 been represented only by black-and-white illustrations, whereas the 
 present volume contains numerous plates in colour which have been 
 reproduced by an elaborate process in which every combination of 
 tint has been closely imitated. 
 
 The Editor acknowledges with gratitude the assistance which has 
 come to him from many quarters. In preparing illustrations for the 
 article on Cotman, he has received invaluable help from Mr. James 
 Reeve, the well-known expert, from Mr. Sidney Colvin, Keeper of 
 Prints and Drawings at the British Museum, Mr. Laurence Binyon, 
 Mr. R.J. Colman, Mr. George Holmes, Mr. G. W. Girtin, and Mr. 
 James Orrock. Three of the special plates in black-and-white were 
 reproduced from prints kindly lent by the Autotype Company. 
 The illustrations of Cox's work are from pictures and drawings 
 in many collections, Mr. Gerald Robinson, Mr. Orrock, Mr. C. C. 
 Eley, Mr. Arthur Sanderson, Mr. O. S. Andreae, Mr. F. L. Emanuel, 
 Mr. Whitworth Wallis, Mr. T. J. Barratt, Messrs. Thos. Agnew 
 and Sons, the British Museum, the South Kensington Museum, and 
 the Art Galleries at Birmingham, Manchester, and Bury, have all 
 contributed, with the result that David Cox may be studied in every 
 phase of his original art. Those reproductions that bear no acknow- 
 ledgment are all from photographs belonging to Mr. James Orrock. 
 The section on De Wint owes much of its variety to the kind- 
 ness of the painter's granddaughter. Miss H. H. Tatlock. The De 
 Wint drawings at South Kensington are well represented. Mr. W, G. 
 Rawlinson has kindly lent the painter's study for the Woody Landscape; 
 there is a good sketch from Mr. J. L. Roget's collection; and Sir Walter 
 Armstrong has permitted illustrations to be given of several plates in his 
 fine "Memoir of Peter DeWint" (Macmillan, 1888). Then, as regards 
 thecolour-plates, they are from water-coloursbelonging to three collectors 
 — Miss H. H. Tatlock, Mr. James Orrock, and Mr. Arthur Sanderson. 
 
LIST OF SPECIAL PLATES 
 
 Portraits of J. S. Cotman and David Cox 
 S. COTMAN 
 
 Greta Bridge, Yorkshire." A Reproduction in Colour 
 
 St. Botolph's Priory, Essex." A Reproduction in Colour 
 
 Twickenliam." A Reproduction in Colour 
 
 Breaking the Clod." A Reproduction in Tone 
 
 Trentham Church." A Reproduction in Colour 
 
 Boats at Sea by Moonlight." A Reproduction in Tone 
 
 Yarmouth Beach." A Reproduction in Colour 
 
 Gateway of the Abbey Aumale, Normandy." A Repro- 
 duction in Colour 
 
 Landscape Composition." A Reproduction in Colour 
 
 The Wold Afloat." A Reproduction in Tone 
 
 A Pastoral Scene." A Reproduction in Tone 
 
 Frontispiece 
 
 Facing J. 
 
 s. 
 
 c. 
 
 IV 
 
 »5 
 
 J- 
 
 s. 
 
 c. 
 
 viii 
 
 )) 
 
 J- 
 
 s 
 
 . c. 
 
 xii 
 
 5> 
 
 J- 
 
 s. 
 
 c. 
 
 xvi 
 
 J) 
 
 
 
 c. 
 
 4-5 
 
 5> 
 
 
 
 c. 
 
 9 
 
 ■>■) 
 
 
 
 c. 
 
 H 
 
 J> 
 
 
 
 c. 
 
 19 
 
 ■)■> 
 
 
 
 c. 
 
 33 
 
 » 
 
 
 
 c. 
 
 42 
 
 >> 
 
 
 
 c. 
 
 55 
 
 DAVID COX 
 
 " Church of St. Eustache, Paris." A Reproduction in 
 Colour 
 
 " Tintern Abbey." A Reproduction in Colour 
 
 "The Cart-shed." A Reproduction in Colour 
 
 " Flying the Kite." A Reproduction in Colour 
 
 " The Woodcutter." A Reproduction in Colour 
 
 Facing D. c. vni 
 
 „ D. c. xvi 
 
 „ D. c. 9 
 
 „ D. C. 23-24 
 
 „ D. C. 48 
 
 PETER DE WINT 
 
 " The Thames from Greenwich Hill." A Reproduction in 
 
 Colour 
 " Nearing the Harbour." A Reproduction in Colour 
 " Near Lowther Castle." A Reproduction in Colour 
 " Crossing the Stream." A Reproduction in Colour 
 " A Lane with Cottages." A Reproduction in Colour 
 " Coast Scene." A Reproduction in Colour 
 
 " Sackbridge Hall, near Lowther." A Reproduction in 
 Colour 
 
 xing W 
 
 
 IV 
 
 » w 
 
 
 viii 
 
 » w 
 
 
 xii 
 
 „ w 
 
 
 xvi 
 
 >, w 
 
 9 
 
 -10 
 
 ., w 
 
 
 21 
 
 w 
 
 31 
 
LIST OF ILLUSTRATIONS 
 
 c 
 
 2 
 
 c 
 
 3 
 
 c 
 
 4 
 
 c 
 
 5 
 
 c 
 
 6 
 
 c 
 c 
 
 7 
 8 
 
 J. S. COTMAN (1782^1842) 
 
 Oil-Paintings. 
 
 " Boats ofF Yarmouth " c i 
 
 " Boathouse with Trees" {Be- 
 
 tiveen 1810-20) 
 " Vessels at Sea " 
 " The Baggage Wagon " 
 
 {J bout 1828) 
 " The Mishap " {About 1828) 
 
 Monochrome Drawings. 
 " Castle Eden Dean, Durham " 
 
 {About 1803) 
 " Stream in North Wales " 
 " The Shadowed Stream " 
 "Horses Drinking" {Exhibited 
 
 1806) 
 "The Waterfall" {Exhibited 
 
 1808) 
 " The Fallen Tree " 
 " Mousehold Heath " (1841) 
 " Dewy Eve " 
 " On the Bure " 
 " The Centaur " 
 
 Water-Colours. 
 
 " Duncombe Park, Yorkshire" 
 
 {About 1805) c 15 
 
 "Drop-Gate, Duncombe Park" c 16 
 
 "Byland Abbey" (1804) C17 
 
 " In Norwich Cathedral" c 18 
 " The Scotchman's Stone, on 
 
 the Greta, Yorkshire " 
 
 {Exhibited 1^0%) c 19 
 " Draining Mill, Lincolnshire " 
 
 {Exhibited 18 10') c 20 
 ' ' Mouse hold Heath ' ' {Exhibited 
 
 1810) c 21 
 
 " Backwater in a Park" (1798) c 22 
 
 " Chateau in Normandy " c 23 
 
 " A Dismasted Brig " c 24 
 
 " A Mountain Tarn " 025 
 
 " Postwick Grove " c 26 
 
 "The Antiquary" c 28 
 
 *' Castle in Normandy " c 29 
 
 10 
 1 1 
 12 
 
 13 
 
 14 
 c 27 
 
 "Yarmouth Beach "(i 831) 
 "Crosby Hall" (1830) 
 " At the Mouth of the 
 Thames " (1834) 
 
 Crayon Studies. 
 
 " Mare and Foal" (18 16) 
 
 " Norwich Castle " 
 
 " Marshland Trees " 
 
 " Group of Trees" 
 
 "Boat on the Yare " (1839) 
 
 " From my Father's House, 
 
 Thorpe" (1841) 
 " Riverside Trees " 
 " Rainbow at Wolferton " 
 
 (1841) 
 "Below Langley " (1841) 
 "Irstead Broad" (1841) 
 " Hollow Way at Blofield " 
 " Blofield: the Old Yarmouth 
 
 Road" (1841) 
 " Storm off Cromer " (1841) 
 "The Fallen Tree" (1841) 
 
 Pencil and Chalk Studies. 
 " Postwick Grove " 
 " Rokeby, Yorkshire " 
 
 Pencil Studies. 
 
 " Storm Clearing over Trees " 
 
 (1824/) 
 " Composition with a Castle " 
 " At Blofield " 
 After the Frontispiece to 
 
 "Liber Studiorum " 
 
 Pencil and Wash Drawing. 
 " Deer in a Glade, Blofield " 
 
 Engraving. 
 
 Frontispiece to Turner's "Liber 
 Studiorum" 
 
 Original Etching. 
 "Chateau Gaillard, Normandy" 
 
 c 30 
 c 31 
 
 c 32 
 
 c 
 
 Zi 
 
 c 
 
 34 
 
 c 
 
 2.6 
 
 c 
 
 38 
 
 c 
 
 42 
 
 c 
 
 43 
 
 c 
 
 45 
 
 c 
 
 46 
 
 c 
 
 47 
 
 c 
 
 48 
 
 c 
 
 49 
 
 c 
 
 50 
 
 c 
 
 51 
 
 c 
 
 52 
 
 c 
 
 3S 
 
 c 
 
 41 
 
 c 
 
 37 
 
 c 
 
 39 
 
 c 
 
 44 
 
 c 
 
 S^ 
 
 c 
 
 40 
 
 c 
 
 54 
 
 c 
 
 55 
 
DAVID COX (1783-1859) 
 
 Oil-Paintings. 
 
 " Waiting for the Ferry " 
 
 (1845) 
 "TheMiller'sHome"(i846) 
 
 " The Gathering of the 
 
 Flocks" (1848) 
 " Changing Pasture " (i 847) 
 "Tending Sheep" (1849) 
 " Sheep-Shearing in Wales " 
 
 (1849) 
 " The Vale of Clwyd, North 
 
 Wales" (1849) 
 " Changing Pasture" (1850) 
 "The White Pony" 
 "A Breezy Day" (1852) 
 " At the Ferry — Morning " 
 
 (1851) 
 " The Carrier's Wagon" 
 " After the Day's Work " 
 " Going to the Hayfield" 
 
 (1853) 
 "Rhyl Sands" (1854-55) 
 
 " The Gleaners" 
 
 Sepia Drawings. 
 
 " Study of a Windmill " 
 " Snowdon " (1809) 
 " Sheep in the Valley " 
 
 Crayon Studies. 
 
 " Near Llanfair " 
 " Llanfair Church " 
 
 Soft-Ground Etching. 
 "A Windmill" (18 19) 
 
 Water-Colours. 
 
 " Welsh Mountains " 
 " The Market Place " 
 " Customs House Quay " 
 " Pont Royal, Paris " (1829 
 
 or 1832) 
 "Dryslwyn Castle, South 
 
 Wales " 
 
 D C 
 
 I 
 
 D C 
 
 2 
 
 D C 
 
 3 
 
 D C 
 
 4 
 
 D C 
 
 5 
 
 D C 
 
 D C 
 
 7 
 
 D C 
 
 8 
 
 D C 
 
 9 
 
 D C 
 
 10 
 
 D C 
 
 II 
 
 D C 
 
 12 
 
 D C 
 
 13 
 
 D C 
 
 14 
 
 D C 
 
 15 
 
 D C 
 
 16 
 
 D C 
 
 17 
 
 D C 
 
 18 
 
 D C 
 
 19 
 
 D C 
 
 20 
 
 D C 
 
 21 
 
 D C 
 
 22 
 
 D C 
 
 23 
 
 D C 
 
 24 
 
 D C 
 
 25 
 
 D C 26 
 
 D C 27 
 
 " Hilly Landscape with 
 
 Figures" 
 " Seascape " (1830) 
 " A Cottage on the Common " 
 
 (1832) 
 " Barden Tower, 1 orkshire " 
 
 (1836) ^ 
 " Shakespeare's Cliff, 
 
 Dover " 
 " Water Mill in Wales" 
 " Curiosity " (1840) 
 " To Market across the 
 
 Wolds " 
 " Moorland Scene" 
 " A Shaded Welsh Lane" 
 
 (1841) 
 " Cader Idris " 
 " The Welsh Funeral " 
 " Bolton Abbey" 
 " Near Penmaenmawr " 
 " Dryslwyn Castle, Vale of 
 
 iowy 
 " Hayfield with Figures " 
 " Chirk Viaduct, Vale of 
 
 Llangollen " 
 " A Roadside in Wales " 
 " Chepstow Castle, from the 
 
 Wyndcliff" 
 " Young Anglers " (i 847) 
 " The Miller and his Mill " 
 "View in Wales" (1851) 
 " Study of Trees " 
 " Water Mill, Bettys-y- 
 
 Coed" (1849) 
 " Through the Green 
 
 Corn " (1850) 
 " Driving Home the Flock" 
 " The Hayfield " 
 " Rustic Courtship " (1851) 
 " Snowdon from Capel 
 
 ung 
 " The Challenge — A Storm 
 
 on the Moor" (Ex- 
 
 hibited 1853) 
 " Outdoor Sketch " 
 " Carting Vetches " (1855) 
 
 D c 2« 
 
 D C 29 
 
 D C 30 
 
 DC 31 
 
 D C 
 
 32 
 
 U C 
 
 33 
 
 D C 
 
 34 
 
 D C 
 
 35 
 
 D C 
 
 36 
 
 D C 
 
 37 
 
 D C 
 
 38 
 
 D C 
 
 39 
 
 D C 
 
 40 
 
 D C 
 
 41 
 
 D C 
 
 42 
 
 D C 
 
 43 
 
 D C 
 
 44 
 
 D C 
 
 45 
 
 D C 
 
 46 
 
 D C 
 
 47 
 
 D C 
 
 48 
 
 D C 
 
 49 
 
 D C 50 
 
 D C 51 
 
 D C 
 
 D C 
 
 D C 
 
 D C 
 
 D C 
 
 52 
 
 53 
 54 
 55 
 
 56 
 
 DC 57 
 D C 58 
 
 59 
 
 D C 
 
PETER DE WINT (17 84-1 849) 
 
 Oil-Paintings. 
 
 
 
 " A Cornfield " 
 
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 " Landscape Study " 
 
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 " A Woody Landscape " 
 
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 " Lincoln Cathedral " 
 
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 " Rest in the Cornfield " 
 
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 "Mrs. De Wint and her 
 
 
 
 Daughter" 
 
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 Miniatures. 
 
 "Peter De Wint and his Wife" w 
 
 Crayon and Wash Study. 
 
 " A Timber Yard " w 
 
 Sepia Drawings. 
 
 
 
 " Birmingham, from Sutton 
 
 
 
 Coldfield " 
 
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 " Stratford-on-Avon " 
 
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 Water-Colours. 
 
 
 
 " Cookham-on-Thames " 
 
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 " Study of Weeds " 
 
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 " Conisborough Castle " 
 
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 " Conisborough Castle " 
 
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 " Sketch of Gloucester " 
 
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 " Bridge over a Branch of the 
 
 
 
 Witham, Lincolnshire " 
 
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 "Gloucester, 1840" 
 
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 ■ Scalby iVIill, near Scarborough " 
 
 • Cottages at Aldbury" (1847) 
 ' On the Wharfe " 
 
 ■ The Rainbow " 
 
 ' The Trent, near Burton " 
 
 ■ Harvesting " 
 
 • Potter Gate, Lincoln " 
 ' Stacking Hay " 
 
 ■ A Road in Yorkshire " 
 
 ■ Ruins of the Bishop's Palace, 
 
 Lincoln " 
 
 ■ Near Epping Forest " 
 
 • Sunlight and Shade " 
 
 ' West Front of Lincohi 
 
 Cathedral " (1841) 
 ' Cornfield, Ivinghoe " 
 ' Westminster " 
 ' The High Bridge, Lincoln " 
 ' Entrance to Haddon Hall " 
 ' Lancaster Castle " 
 ' Harvest Time, Lancashire " 
 ' Bray-on-Thames " 
 ' Bray-on-Thames " 
 ' Roman Canal, Lincolnshire " 
 ' The Cricketers " 
 ' Tewkesbury " 
 ' The Valley of the Lune " 
 'Nottingham" (1847-48) 
 'On the Dart" (1848-49) 
 
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 ESSAYS 
 
 "The Life and Work of John Sell Cotman." Twelve Special Plates and Fifty- 
 Five Illustrations in Half-Tone. Written by Laurence Binyon. 
 
 " The Life and Work of David Cox." Six Special Plates and Fifty-Nine Illus- 
 trations in Half-Tone. Written by A. L. Baldry. 
 
 "The Life and Work of Peter De Wint." Seven Special Plates and Forty- 
 Four Illustrations in Half-Tone. Written by Walter Shaw Sparrow. 
 
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THE LIFE AND WORK OF JOHN 
 SELL COTMAN 
 
 |Y VIEWS in life are so completely blasted, that 
 I sink under the repeated and constant exertion 
 ot body and mind. Every effort has been tried, 
 even without the hope of success; hence that 
 loss of spirits amounting almost to despair. 
 Fs^ ^ /) \ 7t^ « ^^^ eldest son, who is following the same 
 n Iv r\i^ "^Aln \\ miserable profession with myself, feels the same 
 
 hopelessness; and his powers, onceso promising, 
 are evidently paralysed, and his health andspirits 
 gone. My amiable and deserving wife bears her part with fortitude. 
 But the worm is there. My children cannot but feel the contagion. 
 As a husband and father, bound by every tie, human and divine, to 
 cherish and protect them, I leave you to suppose how impossible it 
 must be tor me to feel one joy divided from them. I watch them, 
 and they me, narrowly ; and I see enough to make me broken- 
 hearted." 
 
 So wrote Cotman to a friend in the middle of his career. The 
 deep despondency of his words was not indeed habitual ; he could 
 rally, and did rally. His high-strung febrile nature, liable to fits of 
 extreme depression, responded easily to happy influences. After 
 1829, when this letter was written, he was to experience some slight 
 measure of success, brief gleams of sunshine, and a few small hints 
 of recognition for his work. But anything like real success or 
 adequate recognition never came. The history of Cotman's life is 
 the history of one marvellously sensitive to the beauty of the world, 
 marvellously endowed in eye and hand to record his visions of that 
 beauty ; ripening early, working with enthusiasm, yet unable to 
 make any livelihood by the best of his production ; driven more and 
 more to the drudgery of teaching, which if it does not paralyse yet 
 impairs his art, makes it less the spontaneous expression of his mind, 
 and consumes the best years of his manhood; never escaping from 
 this drudgery, yet never succumbing to it, and from time to time 
 still striking out for himself some newly discovered beauty, if never 
 again reaching the serene mastery of his youth; till at last he dies, 
 of no disease but sheer exhaustion, worn out at sixty. 
 In an auction at Christie's in 1836, six years before Cotman's 
 death, some of his finest drawings were sold. Or all his water- 
 colours Greia Bn'i-/ge is perhaps the very best ; it is indeed among 
 A J sc i 
 
JOHN SELL COTMAN 
 the very best water-colours ever produced in England. It fetched 
 just eight shillings. None of his oil paintings, at a sale in 1834 
 at Norwich, fetched more than five guineas. Remember this, and 
 judge with what sort of courage Cotman worked on. Absolute 
 starvation might have been kinder. 
 
 Those who create are rarely known at their true worth in 
 their lifetime, but they nourish the sustaining hope that Time 
 will surely bring them justice. If it were not so, the world 
 would be an ill place indeed. Time does bring justice, but is 
 sometimes very slow in bringing it. Cotman is one of the finest 
 spirits who ever worked in landscape art. Yet how has he been 
 treated since his death, even in his native country ? Ruskin, so 
 ready with full praise for Prout and Hunt, for Robson and Copley 
 Fielding, never, I think, mentions Cotman, who is far above all of 
 these. Mr. Wedmore has written enthusiastically of him, but his 
 voice has been almost alone. Mr. D. S. MacColl in his recently 
 published "Nineteenth Century Art" has an appreciative and dis- 
 criminating chapter on Cotman ; though one cannot help lamenting 
 that the example by which it is illustrated seems, so far as one can 
 judge from the reproduction, to have little to do with the artist, and 
 represents a port in Holland, where he never was. Which brings 
 me to another point. His name has, it is true, acquired a certain 
 prestige in the picture-market ; but what has he gained from this .? 
 Only that, whoever possesses a picture of the Norwich school seems 
 to feel himself at liberty to give it Cotman's name without inquiry. 
 Scarcely a sale or exhibition of English pictures occurs without some 
 so-called Cotman, though quite often it may be a painting that has 
 no remote resemblance to his work. It is hardly too much to say 
 that he is best known by pictures which he never painted. To 
 crown his posthumous misfortunes, the National Gallery, a few years 
 ago, purchased what purports to be an important and representative 
 picture which no one who has given a brief study to the artist's 
 authentic work can accept as his. It has nothing of his design, only 
 the slightest resemblance to his brush-work, nothing of his colour, 
 nothing of his knowledge of boats and of the sea. Yet in all these 
 points Cotman is strongly distinctive. Even supposing that he had 
 painted it in some hour of aberration, it would be a deep injustice 
 to his memory that this should represent him to the nation. If 
 labelled E. W. Cooke, one might pass it as a hasty and inferior 
 example of that painter's style. I do not believe it to be Cooke's 
 work, but his name would be a more plausible finger-post to its 
 origin than Cotman's. 
 J s c ii 
 
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JOHN SELL COTMAN 
 
 The few oil paintings then which Cotman was able to produce, 
 with little leisure and practically no commissions — nor did he work 
 at oils except during certain portions of his career — are swamped for 
 the public, in the far greater mass of work attributed to him on 
 little or no grounds ; and, strangely enough, it is not usually because 
 ot likeness to his style that a picture is dubbed with his name, for in 
 many cases there is no hint of likeness, but simply because it is 
 striking and the authorship uncertain. Any forcible sea-piece has a 
 chance of getting christened his in time. 
 
 With the drawings which he produced in infinitely greater 
 number the case is different, though the result is much the same. 
 As in life he was forced to be a drawing-master, so after death it is 
 the product of his drudgery, not of his delight, which is usually 
 made to represent him. During the latter part of his life he pro- 
 duced many drawings which, with all their accomplishment, are 
 hardly worthy of him. Yet it is these which one usually sees 
 exhibited, at least in London. Numbers of his earlier and finer 
 drawings have, I imagine, perished through long service as copies 
 for his pupils. 
 
 But there is happily another side to this picture. If people in 
 general have been for the most part far too careless in giving 
 Cotman's name to pictures, still there have been one or two art- 
 lovers and collectors who have always valued him at his proper 
 worth, who have been jealous of his honour, and studious of his 
 fame. Foremost among these is Mr. James Reeve of Norwich, 
 who has devoted his life to the study of the Norwich painters, and 
 more especially to the study of Cotman. A friend of Cotman's son, 
 brought up in the traditions of the school, he has spared no pains in 
 sifting and establishing the information which he has had peculiar 
 opportunities for acquiring. His collection of Cotman drawings, 
 formed with scrupulous choice, is the best material extant for 
 studying that artist ; it represents him both in colour and in black 
 and white at every period of his career. Mr. Reeve is the acknow- 
 ledged authority on the Norwich painters; and if he errs, it is on 
 the side of caution in accepting work as genuine; but those who 
 have given any study to this school must confess that with all its 
 productions, and especially those ascribed to its two chief masters, 
 caution can hardly be excessive. 
 
 The bulk of Mr. Reeve's collection is now the property of the 
 nation, and in the British Museum. The greater part of our illus- 
 trations are drawn from this source. 
 
 John Sell Cotman, the eldest son of a well-to-do silk mercer, was 
 
 J s c iii 
 
JOHN SELL COTMAN 
 born at Norwich, May i6, 1782. His bent for art showed itselt 
 in early boyhood. There is already a sense of style, as well as 
 practised skill, in an Indian-ink drawing in the British Museum 
 Collection, dated 1794. It shows that the boy of twelve was well 
 on his way to the finding of those conventions which the man was 
 to mature. His parents consulted Opie, then at Norwich, who 
 advised any profession rather than a painter's. But the boy had his 
 will, and at sixteen or seventeen he had found his way to London. 
 Stories are told of hardships and difficulties experienced in trying 
 to make a living by the sale of drawings to the dealers. But 
 Cotman was doubtless happy. He had found congenial comrades, 
 and was appreciated as a friend and as an artist. At eighteen he was 
 an exhibitor at the Academy. The summers of these next few years 
 were spent in sketching-tours to Wales, Surrey, Shropshire, Somerset, 
 Lincolnshire, and Yorkshire. Yorkshire especially attracted him. 
 In the winter he drew at Dr. Monro's on the Adelphi Terrace, 
 studying and copying prints and drawings in the company of Girtin, 
 Turner, Varley, and De Wint. 
 
 He joined Girtin's sketching-club, founded in 1799. The members 
 met in the winter evenings at each other's rooms and made mono- 
 chrome compositions on a given subject. T'he Centaur, here repro- 
 duced, is an example of the work done on such occasions. It shows 
 what the evenings at Dr. Monro's had done for Cotman, how 
 much he had assimilated of the older masters, the intentness of his 
 interest in composition, the resource he was adding to a rare native 
 faculty for style. 
 
 The water-colour painters formed a group of emulous young men, 
 eager, industrious, and ambitious, full of hopes and confident of their 
 gilt. Girtin's daring and mastery of his medium were attracting 
 wide attention to the resources of this art. 
 
 Water-Colour hitherto had been used in two quite distinct 
 ways. From early times it had been used by the masters of Italy, 
 Germany, and the Netherlands, in sketches and studies preparatory 
 to oil pictures. A few men, Hke Diirer, Rubens, and Van Dyck 
 made water-colour drawings for their own sake and without reference 
 to any more elaborate subsequent work. This was especially the 
 case with landscapes, for which there was never much demand, and 
 which were mostly done for the artist's own pleasure. Thus a sort 
 of tradition was established, which Gainsborough was the first to 
 continue in England. 
 
 But about the same time as Gainsborough, the parallel line begins 
 with Sandby and the topographical draughtsmen. These men 
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JOHN SELL COTMAN 
 
 worked mainly for engraving, and their drawings began in the 
 caretul Indian-ink wash, adapted to translation by the engraver ; 
 over this was laid a timid tint, gradually becoming stronger and 
 bolder in colour, as the drawings themselves came to be more valued 
 apart from their use to the engravers. 
 
 Alexander Cozens and his son John Robert, who both worked 
 in Italy and both taught in England, supplied a new element 
 tending to merge the one tradition in the other ; for the elder 
 Cozens had founded himself in Rome on the still surviving style of 
 Claude. The younger Cozens had a very great influence on 
 Turner, and later on Constable. But it was Girtin and Turner with 
 him who really made the modern water-colour. 
 
 Girtin died at twenty-seven, in 1802. His death lost us doubtless 
 many a splendid landscape. But it was not only his own career that 
 was ended, but his sustaining influence ; and scarcely was this with- 
 drawn than the men of lesser gift lost confidence and inspiration, 
 their style dropped and flagged, and fell easily a prey to the public 
 demand for finish and elaboration. Circumstances were all against 
 them. A livelihood was not to be made from water-colours ; the 
 more artistic they were in aim the less success they had. Hence all 
 but Turner were reduced to teaching ; and in too many cases the 
 drawing-master almost wholly superseded the artist. Turner wisely 
 took to oils for a living, though he continued to paint for his pleasure 
 in the medium he loved better. Girtin seems to have been resolved 
 on the same course when death overtook him. 
 
 Cotman like the others took to teaching, after a brief trial ot 
 portraiture. Leaving his London circle he settled at Norwich. 
 His life henceforward was to be one of laborious and little-congenial 
 toil. But his soul was never subdued, though after the first few 
 years his finest work is to be sought less in his finished paintings 
 than in the studies and compositions which he poured out for his 
 own pleasure and without any profit, a series of thoughtful, delicate, 
 or impassioned drawings pursued with extraordinary variety right to 
 the end of his life. 
 
 But the life at Norwich did not begin till 1806. Before that 
 there were several years ot hope and freedom passed in London and 
 the wilder parts of England. In these few years Cotman reached 
 maturity. 
 
 Let us consider the actual work of this first period. For con- 
 venience of reference, I will confine myself as far as possible to the 
 examples reproduced. The earliest of these is the Backwater in a 
 Park (1798). Cotman was sixteen when he drew this. The 
 
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JOHN SELL COTMAN 
 colouring is very near that of Girtin, but the method is already 
 extremely distinctive. The vibration of light on the palings, re- 
 ducing the dark intervals to the eye, is an effect of w^hich Cotman 
 was noticeably fond. Compare the tree stems in A Shadowed Stream^ 
 almost diminished to threads by the strong light coming between 
 them. But more tell-tale of Cotman's aims at this time is the 
 drawing of the tree-trunks. These are left almost entirely ilat, with 
 a deliberate omission of any attempt to show their roundness. In 
 all the drawings of this time we shall find this tendency to simplify 
 the appearance of things to a system of harmoniously coloured 
 spaces, discarding both chiraroscuro and modelling, if need be, for 
 the desired effect. The furthest point to which he carried this 
 conception of picture-making is seen in T^he Drop Gate. 
 In this aim Cotman was unlike all his countrymen, but was un- 
 consciously following the universal practice pursued for more than a 
 thousand years in those greatest schools of water-colour art, the 
 schools of China and Japan. 
 
 The Chinese artists, on whose work all Japanese art is founded, 
 systematically omitted all cast shadows, and preferred to suggest model- 
 ling rather than to render it fully. The clear stain or rich blotting 
 of the colour on silk or paper was to be preserved in its freshness : 
 the beauty native and congenial to the materials employed, was that 
 which was to be explored, and none other forced into their use. 
 To attempt complete realisation would have meant muddiness and 
 confusion, and was besides contrary to their whole conception of art. 
 It would be absurd in Europe, with our different instincts and 
 conceptions, to dogmatise rigidly, or establish an orthodoxy which 
 should exclude such treatment of water-colour as Rossetti's, or 
 Millet's, or Barye's. Even in landscape, the use of body-colour 
 and strong chalk or pen outline, doubtless is often best. But for 
 Cotman's particular aims the Chinese or Japanese use of the medium 
 was that best adapted. And it is astonishing how frank and bold 
 he is at times in discarding light and shade. He will put in a tree 
 which rises against the sky, with one brush-full of some chosen 
 green, stem and all, perfectly flat. Or light stems standing out from 
 a thick screen of foliage will be left in white tracery on a flat dark 
 background. 
 
 Had Cotman not been so absolutely isolated, he might have pushed 
 this way of seeing things to something like the point which the 
 Japanese prints revealed, in the last few decades, to the surprise and 
 delight of Europe. But there was nothing in contemporary theory 
 or practice to support him. On the contrary, everything was 
 J s c vi 
 
JOHN SELL COTMAN 
 
 against him. Tiiis highly personal, simplifying vision clung to him 
 to the end. But he was inevitably forced along with the dominant 
 trend ot his time : and that trend was all in another direction, 
 towards science, the realisation of the ' quantity of Nature,' and ever 
 new discoveries about light. With this came an increasing heigh- 
 tening of the key in which pictures were painted. Exhibitions 
 forced this up higher and higher, as the artists to whom low tones 
 were natural found their works crushed out of notice by more 
 emphatic neighbours. Cotman deserted the tender tones and uni- 
 fying grays of his early period, and more and more reduced the 
 world of his vision to an opposition of blue shadow and amber 
 light. Thus, though there are fine things in the coloured work of 
 his later years, his best are to be sought, as I have said, in his 
 monochromes. 
 
 But to return to the early drawings. Bold though Cotman's con- 
 ventions are, they are used with unfailing tact. There is no cheap 
 evasion into a facile formula, such as superficial imitation of the 
 Japanese has produced in our own day. 
 
 One thing Cotman has in common with the Japanese, an extra- 
 ordinary appreciation of the value of gray tints in holding and 
 enhancing a harmony of colour. Look, for instance, at the Screen in 
 Norwich Cathedral., as lovely as it is masterly in its colour-harmony ; 
 the effect is conceived with clear intention and carried out with 
 perfect understanding. 
 
 Duncombe Park carries us into another world. This is one of 
 the most exquisite of Cotman's drawings. Its delicate power of 
 execution matches the felicity of design and the beauty of concep- 
 tion. Spring woods in solitude, their freshness, purity, and fragrance; 
 how the charm of these is brought to the senses, heightened and 
 enriched as if by memory ! How delicious to the eye is that caress 
 of gray strokes on the blue, in which the tremulous hovering of the 
 slender tree-tops is imagined ! 
 
 The same mood of remoteness and reverie saturates Greta Bridge. 
 But here the solemnity is deepened, a note of severity comes in. 
 The most obvious beauty of this drawing is the beauty of its 
 colouring. Again, it is a gray of the loveliest tone and texture that 
 holds the map of glowing and yet sober tints together. Simply as a 
 colour-plan it gives extreme delight to the eye, for the quality of 
 each colour is not less sustained than the harmony of their combina- 
 tion. Yet, though colour is thus imaginatively used, there is here — 
 what Cotman is not always curious to obtain — extraordinary reality 
 of atmosphere. The cold light that comes after retreating heavy 
 
 J s c vii 
 
JOHN SELL COTMAN 
 showers is in the blue band of sky, still filmy with the moisture of 
 the air, and strikes clear outlines in the white range of cloud on the 
 horizon, with a sharp reflection in the shallow water, where clustered 
 rocks and pebbles lie wet and vivid in their many tints. 
 Under this bloom of tone and atmosphere the design is built up 
 like a piece of architecture. Cotman seems to have found in this 
 idea of a design when such a single arch forms the centre, a base for 
 much composing. The bridge formed a central feature, combining 
 both curve and angle in its forms, with which surrounding sky and 
 wood and hill could be brought into answering rhythm ; yet while 
 staying the eye it did not bring it up on blankness but enclosed a 
 further vista. This leaning upon suggestion, leading thought on 
 and outward, deepens the spell of reverie under which the drawing 
 is conceived. 
 
 Cotman was twenty-three when he painted Greta Bridge. It was 
 exhibited in 1806 at the Academy. Of the same year probably 
 is '^he Scotclvnmi s Stone on the Greta, which brings out with even 
 greater force his mastery of brush-drawing. Where Turner, to get 
 the spirt and dance of chafing water, would have worked half 
 through his paper, exhausting every device of his marvellous 
 resources, Cotman uses one single brush-full of diluted black, and 
 with swift and light precision conjures from his paper, without 
 scrape or scratch or added stroke, the fretted hurry ot the stream. 
 Not far from these in point ot date must be placed the mono- 
 chrome Waterfall, still in Mr. Reeve's possession. The oil-painting 
 of the same subject, modified and improved in composition, is of 
 some years later ; at least, so I would conjecture. Here Cotman 
 again takes the single arch, but, making an upright instead of an 
 oblong design, he plunges the river headlong in a cataract, and 
 raises a mountain behind it. This vertical composition reappears 
 under other forms, especially in a subject called by Cotman " Height 
 and Depth," of which there are several drawings. It is founded on 
 the Devil's Bridge of the St. Gothard. 
 
 In Mr. Reeve's drawing one may notice the square forms of the 
 imaginary architecture. A fondness for such square shapes runs 
 through all Cotman's art, from the early Pastoral Scene in the British 
 Museum to the late so-called Chateau in Normandy. The contrast of 
 straight line and angle with soft cloudy masses or drooping featheri- 
 ness of foliage, or with the feminine elegance of slender stems, is one 
 of his favourite motives in composition. This fondness may be 
 associated with boyish impressions of the great square keep of 
 Norwich Castle, combined as it can be in distant views with a 
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 framing of foreground trees, and actually is in an unfinished oil 
 picture of our painter's, for which he made several studies. 
 Cotman's chosen method of treating water-colour being what it 
 was, it is not surprising to find that when he wants to paint the 
 fulness and mystery of massed foliage he nearly always resorts to 
 monochrome. There are a number of drawings made at this early 
 time, and a little later, to which the sense of this fulness and mystery 
 gives the dominant mood. Such are The Shadowed Stream, Dewy 
 Eve, Postwick Grove, and On the Bare. These, with their dignity of 
 mass and poetry of sentiment, are among the most beautiful of 
 Cotman's productions. Surely nowhere before, save in certain 
 drawings of Claude, had this particular charm of nature been so 
 ntimately explored. 
 
 A quite early drawing. Castle Eden Dean, Durham, of about 1803 
 or 1804, has something of the same mood, with a difference ; there 
 is just a hint of man's presence and labour, a hint which becomes 
 full expression in a rather later drawing. Breaking the Clod. In this 
 last Cotman touches the highest pitch of his art. The thoughtful- 
 ness and solemnity of Dewy Eve and its companions are here also ; 
 but relieved and refreshed by a note of simple action, the pull of the 
 labourer's hand on his horses' rein, as he calls to them in the morning 
 stillness. The way in which every element of the design is brought 
 to conspire towards the dominating mood, the beauty of the under- 
 lying rhythms, the directness of the means employed, the bloom and 
 dewiness of atmosphere, give this drawing a completeness and 
 intensity by which it ranks with the very best of English landscape. 
 Made before Millet was born, it anticipates in its own way that 
 master's discovery of his poetic theme. Millet, the figure-painter, 
 dwells most on the natural dignity of labour in the fields ; Cotman, 
 the landscape-painter, on the primeval beauty of its surroundings. 
 With most artists such drawings as these, expressing the mind's 
 most intimate thoughts, would be found the prelude to oil paintings. 
 But it is not so with Cotman. What a series of fine pictures bis 
 want of fortune has cost us ! He had a great ambition to paint in 
 oils, but no scope and little encouragement. 
 
 Before settling at Norwich in 1806 he had not touched this 
 medium. One of the earliest of his oil paintings is probably the 
 South Gate, Yarmouth, owned by Mr. Arthur Samuel. It is dated 
 1 8 10. The composition is the same as in the etching of the same 
 subject. The brush-work is strong, even a little coarse perhaps in 
 details, the colour sober and grave, but with nothing dead or gloomy 
 in its pigment. The chief beauty of the painting, apart from its 
 
 J sc ix 
 
JOHN SELL COTMAN 
 noble strength and simplicity of design, is luminous harmony of tone, 
 the clear and temperate atmosphere of autumn. 
 
 Wherries on Breydon, the small picture in the National Gallery, 
 must be of about the same date. This is as full of Cotman's real 
 qualities as its large companion in the gallery is empty of them. 
 A little later comes Mr. Cotman's Waterfall, one of the best of 
 Cotman's oil pictures. I have already said something of the compo- 
 sition, modified from the study reproduced. The handling is here 
 freer, the pigment laid on fat with a full brush, as in all Cotman's 
 oil pictures. He never explored the resources of the medium, never 
 using it enough to do so. The only change that comes is a change 
 that is still more noticeable in his water-colours. This is the 
 gradually increasing use of stronger and more vivid tints. 
 In the Trentham of 1808 or 1809, still more in the Draining Mill 
 and Mousehold Heath of 18 10, there is an increasing change towards 
 depth and warmth of colour from the delightful Twickenham of 1807. 
 These later drawings are exhibition drawings, or rather no longer 
 drawings but water-colour pictures, in which there is a deliberate 
 attempt to rival the solidity and brilliance of oils. 
 The Dismasted Brig in the British Museum is an exception, for 
 though its colour is not specially beautiful, the brush-work has all 
 the early lightness and masterly directness. It must have been made 
 soon after Cotman had come to live in Yarmouth, and in daily sight 
 of the sea. 
 
 For he was soon dissatisfied with his prospects at Norwich. He 
 married in 1809, and teaching was not so remunerative as he had 
 hoped. So at the suggestion of Dawson Turner, the Yarmouth 
 antiquary and collector, he removed to the neighbouring town, 
 though retaining his connection with Norwich and visiting his 
 pupils there. 
 
 The companionship of Dawson Turner stimulated Cotman's 
 antiquarian zeal — he had always loved architecture with a passion — 
 and led to the publication of a number of works, which the artist 
 illustrated. 
 
 Cotman's first etchings had been published in a set, without text, 
 in 181 1, while he was still at Norwich. This was followed by a 
 series of sixty plates, published in ten parts, 1812-1818, called 
 Etchings of all Ornamental Antiquities in Norjolk, and Sepulchral Brasses 
 of Norfolk, published in 18 19. But Cotman's most important publi- 
 cation is the set of a hundred etchings for Dawson Turner's 
 Normandy. 
 
 Cotman's etchings are at once the most accessible and the least 
 J sc X 
 
JOHN SELL COTMAN 
 
 interesting part of his work ; so I shall be content with this brief 
 summary. Nearly all are architectural subjects. Being coldly and 
 baldly printed, they are almost always inferior to the drawings from 
 which they were made. 
 
 These successive publications meant a great amount of work, and 
 combined with constant teaching left Cotman little enough time for 
 painting. Some of his best oil pictures were however done during 
 the residence at Yarmouth, and probably most of the sea-pieces he 
 ever did. 
 
 The drawing already mentioned is a good example of Cotman's 
 treatment of marine subjects. Already in the first decade of the 
 century Turner had painted the grandeur and terror of the sea, the 
 daring and endurance of sailors, with a power by far transcending 
 that ol any previous painter and never since approached. In the 
 sea-pictures of nearly all other artists there is something theatrical ; 
 but from this element Cotman is entirely free. He does not rival, or 
 attempt to rival, Turner's magnificence of conception, his triumphant 
 evocation of splendour and beauty from turbulence, discord, chaos, 
 and destruction. But his vision is a true vision, and it is recorded 
 with a mastery not less than Turner's. How easy in this Dismasted 
 Brig to have made the subject many times more striking, by a little 
 forcing of reality ! But here there is the real blank helplessness of an 
 utterly beaten ship, struck from a thing of almost sentient life to a 
 tossed log, the wet, the cold, the listless wretchedness of morning 
 after tempest, when there is nothing any longer to be done, the bleak 
 and careless splendour of light breaking behind trailing showers on 
 the last dazzling clouds of storm, and the heavy motion of a swell 
 subsiding. With his innate predisposition to melancholy, and the 
 gathering cloud of ill-success beginning to overshadow his life, 
 Cotman could find in the sea tragic matter in plenty for his imagina- 
 tion. He does not treat it, like Turner, as the living and tremendous 
 theatre of a nation's victory, adventure, or disaster ; rather as the 
 embodied plastic shape of his own thoughts attuned to a deep sense 
 of all mortality. But, as we have seen, his production was of 
 necessity so circumscribed that we have but hints of what he 
 might have done. In view of the multitude of sea-pieces ascribed 
 to Cotman we may, however, fix attention on the Fishing Boats off 
 Yarmouth^ now in the Norwich Museum, as a good test-picture. 
 This painting hung in Cotman's house unsold tor years till the 
 sale of 1834 when it fetched ^3 3^. In one of the few cases in 
 which he is known to have been given a commission, he was paid 
 jTio, and the price of colours and canvas. 
 
 J s c xi 
 
JOHN SELL COTMAN 
 In 1 8 17 Cotman went to Normandy. It was his first trip abroad. 
 He left England twice again, in 18 18 and in 1820, but again 
 confined himself to Normandy. The result is to be seen not only 
 in the etchings for Dawson Turner's volumes, but in a number of 
 unpublished drawings. In point of design many of these are 
 splendid, but in point of colour few are quite happy. This period 
 supplies most of those effects of strong contrasted blue and yellow 
 by which alone, unfortunately, Cotman is too often judged. But 
 it must not be assumed that all the later drawings are of this 
 character. The Chateau in Normandy (reproduced) which is more 
 probably a composition based on a building near Whitby, is a very 
 happy essay in blue and brown — the brown of autumn foliage and 
 the blue of its misty shadows. Here, instead of the immediacy 
 and simplicity of his early manner, Cotman uses every possible device 
 for subtilising and gradating the quality of his colour. 
 Before this drawing was made Cotman had returned to Norwich. 
 The publication of the Normandy made his name well known, and 
 with renewed hopes, in 1823, he took a large house on St. Martin's 
 Palace Plain. Here for years he worked on. But the hopes 
 were disappointed, as before. Expenses grew as his household 
 increased, and his income did not grow in proportion. During 
 these years he fell into terrible depths of gloom. In one of his 
 letters he describes how he heard one of his children say, Why, 
 Papa smiled; only then realising, with horrified self-accusation, how 
 much he had allowed to appear on his face. 
 
 At last, in 1834, what seemed like a chance of better days presented 
 itself ; the opportunity of returning to London and becoming 
 teacher of drawing at King's College. The emphatic praise of his 
 old friend, J. M. W. Turner, helped to decide the appointment in 
 his favour. 
 
 So from this year till his death Cotman worked in London, with more 
 approach to happiness than before, and less anxiety, but still pre- 
 vented by engrossing duties from producing much. The drawings 
 he exhibited tended now to more elaboration and finish than hitherto, 
 and he introduced figures more frequently. Though he painted 
 few oil pictures, he was as fond as ever of making studies in com- 
 position. The last year of his life is notable for the number and 
 fine quality of such studies. 
 
 In the autumn of this year (1841) he went down to Norfolk. It 
 was a stormy season and the floods were out. He found subjects 
 everywhere, and made a whole set of drawings in black and white 
 chalk on brown paper, all doubtless intended for paintings. One 
 J s c xii 
 
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 that he began, but never finished, is now in the Norwich Museum.* 
 A study for it is here reproduced. It is called " From my father's 
 house at Thorpe," a beautiful view looking up the Yare, with the 
 garden in the foreground. In the picture poplars are substituted 
 for the pine-trees. One other subject was carried out in oils, and 
 yet another begun ; but the majority remain only studies. These 
 fill one with regret that we cannot possess them as paintings ; but 
 as they are they rank with the best of Cotman's work. Something 
 seems to have kindled his old self, and a new contact with nature 
 gives torce and matter to his imagination. Among these last studies 
 the Storm off' Cromer and The Wold Afloat are perhaps the most 
 impressive. In the former there is a largeness and a strangeness in 
 the composition which strike one as new in Cotman. In The Wold 
 Afloat there is an intensity and passion to which he rarely rose. 
 Again, it is the vision of wreck and defeat in the storm-heavy air, 
 the beaten branches and drowned sedge, that, like a reflection of his 
 own life, brings out in him a tragic insight and the power to record 
 it with tragic terseness. 
 
 It was the last flicker of the flame. Before the summer of 1842 
 was over he was dead, of ' natural decay,' exhausted in body, and 
 without hope or will to prolong the struggle. 
 
 Such, briefly sketched, is the story of Cotman's career. I have 
 purposely said little of the inferior part of his production. An artist 
 should be judged by his best. The quantity of uninspired verse 
 poured out by Wordsworth does not prevent us from measuring him 
 by the sublimity of his noblest poems. High success in all arts is 
 lamentably and strangely rare; and artists below the very greatest 
 have mostly made their impress on the world by repeating their one 
 success, approaching again and again the theme in which they have 
 found themselves most truly. 
 
 If Cotman had found support sufficient, he would have made 
 paintings of what remain to us but as studies. Had Breaking the 
 Clod been painted and appreciated, with Dewy Eve and The 
 Shadowed Stream and other drawings of that type, how different 
 an impression he would have made ! Developing on this line, 
 he would have been seen to anticipate, alone, the kind of land- 
 scape which in the Barbizon school stands for so much in the 
 painting of the latter nineteenth century. As it is, he is far 
 more truly than Constable a forerunner of that school. 
 
 * Accordino- to John Joseph Cotman's repeated declaration, his father never painted a 
 larger picture than this. 
 
 J s c xiii 
 
JOHN SELL COTMAN 
 
 Yet this is but one side of his art. In the beautiful early- 
 water-colours he stretches out to join the Japanese. As an 
 architectural draughtsman he has no superior among Englishmen. 
 In his sea-pieces there are the germs of an art rising nearer 
 Turner's than any other. Sensitive to every breath of beauty, 
 his art is for ever putting forth new flowers into a frosty and 
 indifferent air. But the world allowed him no fulfilment or 
 completion. 
 
 This variety of range of itself made against his recognition. 
 The public will listen to nothing new till it has been repeated 
 over and over. Turner alone of landscape painters is more various, 
 and there was no room for two Turners in a single generation. 
 Not that Cotman is merely a lesser Turner. He is radically 
 different in mind, and from the first perfectly independent of his 
 influence. Each admired the other. Cotman made a number of 
 copies from Turner's "Liber Studiorum" and other publications. 
 He gave one of these to Turner, who, after some years, pre- 
 sented it to a friend as his own work. V/hen the drawing was 
 remounted, Cotman's inscription was found on the back. One of 
 these pencil studies, after the frontispiece to "Liber Studiorum," 
 — T'yre, with the Rape of Europa — is here reproduced, and the 
 original mezzotint along with it. As in all these copies, Cotman 
 has modified the composition to please himself. In this case, 
 however, his alterations are all on Turner's peculiar lines ; he has 
 deepened, heightened, intensified ; and I think most will agree has 
 come nearer than Turner himself to what one would imagine 
 was Turner's conception. 
 
 Even if this be not conceded, it is plain that the younger painter 
 was perfectly independent ; he copies Turner in the same spirit in 
 which Rembrandt or Rubens copy Mantegna. 
 
 But I would not for a moment be understood to match Cotman's 
 art against that of his great contemporary. Their likeness was in 
 their variety and in their freedom from provincial limitation. Their 
 essential unlikeness was that while Turner's was in its main mani- 
 festations an epic art, Cotman's was lyrical. 
 
 As painting became more and more liberated trom external conditions 
 — a liberation perhaps more to be lamented than extolled — as the 
 Church and the State lost touch with it, and the individual patron 
 became more and more important, landscape inevitably grew in 
 favour as a subject. Inevitably ; for landscape, more than anything 
 else, is the natural vehicle for a painter's personal thought and 
 emotion : even before the days when it began to be painted for 
 J s c xiv 
 
JOHN SELL COTMAN 
 
 its own sake, we see how large a part it plays in the lyrical art of 
 spirits like Giorgione. 
 
 All the great painters have used it in this way. Scientific interest 
 in nature has brought a new element of late years, but in so far 
 as this interest has neglected beauty and discarded emotion, so far it 
 need not be considered exxept as history. Turner alone of Europeans 
 has been able to lift and enlarge this art to greater issues, and to 
 paint the emotions of a nation or of humanity. It is in this sense 
 that I have used the word ' epical,' because from epic poets we 
 demand not only the expression of an individual mind, but expression 
 ot the general mind of man. 
 
 Cotman's place, then, is in a lesser rank. But the great majority 
 of both painters and poets who have enriched the world for us are 
 of this lyrical temperament. What were the qualities which gave 
 his art its essential separate character .? What is it that he gives us 
 new ? Skill, the mastery over means, is his in an extreme degree ; 
 and this alone has charm for all of us. We all take pleasure in 
 seeing things well and surely done. But skill is not the measure of 
 a man's greatness ; rather we seek such a measure in the worth and 
 greatness of what he is capable of receiving and communicating. 
 The mediocrity and lifelessness of so much landscape painting 
 come trom a shallowness in this capacity, a lack of kindling heat 
 to melt the world of sight into the more real and impressive world 
 of imagination. Cotman never rests upon the surface-picturesque. 
 He would have echoed that cry of every poet to his soul about the 
 world: 
 
 " Would we not shatter it to bits, and then 
 Remould it nearer to the heart's desire ! " 
 
 He is not at all concerned to imitate the actuality of nature. As we 
 have seen, he will endow things with unknown shapes and colours, 
 if by so doing he can subdue them the better to his mood. He is 
 for ever seeking a rhythm, a controlling idea behind the waste and 
 abundance of nature ; and what he creates, when his effort is 
 victorious, coheres into a reality with a force and persuasion of its 
 own. It is as a designer and inventor that he ranks high. If we 
 take the whole of his recorded thought, I think that no one in 
 Europe except Claude and Turner will be found to have invented so 
 much in landscape. Of course, this is to take into account all those 
 studies and sketches so few of which were to take shape as pictures ; 
 but to appreciate Claude duly we must do the same for him. 
 If wc try to disengage the particular character of Cotman's tempera- 
 
 j s C XV 
 
JOHN SELL COTMAN 
 ment, I think we should lay stress on a certain Jineness of fibre in his 
 nature — a nervous force as opposed to robustness, making for in- 
 tensity and depth of mood rather than for geniality and lightness. 
 He has not the enchanting iluent grace of Gainsborough nor the 
 supple confident sweep of Girtin, each in his own way sprung 
 from the lineage of Rubens and his royal ease of power. He 
 foregoes to a great extent the sustenance of homely matter, racy ot 
 some certain soil, on which Crome built up the simple grandeur 
 of his masterpieces. We miss too often in him the relish of the 
 accidental and the fresh naturalness giving sap and flavour to the 
 imperfect and limited art of Constable. Cotman's fineness and intensity 
 give us something different from any of these, but the absence of 
 those qualities I have mentioned removes him from the danger of 
 falling into loose facility or narrow self-repetition; and if his spirit 
 is more akin to Claude's on the one hand or Corot's on the other, 
 he is more sensitive, pure, and keen of vision, less prone to heaviness 
 or tameness, than the former, he has more range of thought and 
 emotion than the latter. To that capacity for sweet or solemn 
 moods which both these masters possess he adds an architectural 
 severity, bracing the luxurious part of his imagination with his 
 sense for precise and pure line. By his gift, if not by his production, 
 he ranks with masters such as these. And by his gift he should be 
 judged. Or, if we judge him only by his maimed production, let 
 us remember that it is we who condemned him to be less than 
 himself, in so much as we all partake of the eternal indifference ot 
 the world. 
 
 Laurence Binyon. 
 
 J S C XVI 
 

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THE LIFE AND WORK OF DAVID 
 COX 
 
 HE period over which the life of David Cox 
 extended was one of special importance in the 
 history of the British school. Many of the 
 painters who were chiefly instrumental in 
 building up the reputation of our native art 
 were among his contemporaries, and while he 
 lived some of the most notable additions were 
 made to the long list of masterpieces produced 
 in this country during the eighteenth and nine- 
 teenth centuries. At the time when he was born Reynolds and 
 Gainsborough were still alive, Romney was at the height of his 
 success. Turner, Lawrence, and Constable were young children, and 
 Hoppner was only just beginning his career as an exhibiting artist. 
 De Wint, Copley Fielding, J. S. Cotman, Crome, Samuel Prout, and 
 several others who rank as our chief masters, lived and died while he 
 was slowly making his way to the high position which in his old age 
 was accorded him in acknowledgment of his life-long labour. All 
 around him there was healthy activity, earnest striving after progress 
 of the right kind, real sincerity of conviction, and wholesome effort 
 to attain results which would do credit to a school with high ideals 
 — all the signs, in fact, of a great change in the conditions under 
 which the men before him had been accustomed to work. 
 It was, indeed, during this period that the movement away from the 
 classic tradition, and in the direction of pure and unaffected naturalism, 
 became plainly perceptible. In the eighteenth century the idea 
 prevailed that the practice of art involved the observation of certain 
 formalities, certain conventions of style and treatment which were too 
 sacred to be questioned, and too absolute to admit of modification. 
 But as time went on the stronger spirits began to rebel against such 
 narrow dogma. There came men like Richard Wilson — one of 
 Cox's immediate predecessors — whose classicism was flexible enough 
 to permit them to study nature with some degree of sympathy. 
 They refused to be dictated to by the beUevers in hard and fast 
 tradition, and claimed the right to choose for themselves the way 
 which would be best for them to follow. It cannot be said that they 
 immediately departed to any very marked extent from what had 
 been for some time previously a recognised custom, but year by year 
 they widened the scope of their observation, and little by little they 
 
 B D C i 
 
DAVID COX 
 
 increased the strength of the personal element in their work. The 
 change was not a sudden one ; at first it was, indeed, almost imper- 
 ceptible in its effects, but by the beginning of the nineteenth century 
 it had come to exercise an active influence upon 'the subject-matter 
 and the technical manner of the pictures which the better type of 
 artists were producing, and it culminated at last in the pre-Raphaelite 
 revolution by which the last remnants of the classic pedantry were 
 definitely destroyed. 
 
 One of the chief claims that David Cox has to consideration arises 
 from the fact that he was essentially a supporter of the modern point 
 of view. In his work the strength of the naturalistic idea is not to 
 be mistaken ; it controls the whole of his achievement, and determines 
 not only his manner of regarding his subjects but also his executive 
 processes. There is no straining after elegant formalities, no precise 
 insistence upon particular rules of composition, no substitution of 
 convention for direct inspiration ; on the contrary, in everything he 
 produced there appears the frankest sympathy with nature's moods 
 and ever varying suggestions. His receptivity to direct impressions 
 was always the greatest of the qualities with which he was endowed, 
 the foundation of all that was best in his temperament and the cause 
 of the success which he made as a master of landscape painting. 
 He had, innately, an extraordinary acuteness of perception which 
 enabled him to decide at once what was artistically expedient, and 
 kept him infallibly in the right course. 
 
 Indeed, apart from his natural equipment, he had little to help him 
 in the making of a career. Like many other artists who have 
 achieved a world-wide reputation he had a humble origin, and 
 enjoyed no advantages of birth or fortune which would be likely to 
 give him special chances in his profession. He was born on April 29, 
 1783, in Heath Mill Lane, Deritend, a suburb of Birmingham, 
 where his father carried on the trade of a blacksmith and manufac- 
 tured on occasions such things as bayonets and horseshoes for the 
 War Department of the period. The boy received some elementary 
 education in a local school, but very early in life he was taken into 
 the forge to give what help he could in the blacksmith's work. Such 
 a laborious occupation, however, proved to be beyond his strength. 
 His constitution was too delicate to stand the strain of the constant 
 physical exertion required of him, and in a very short time his 
 parents realised that another way of earning a living must be found 
 for him. An accident determined the particular direction in which 
 he was to turn. He broke one of his legs, and while he was 
 recovering he was given a paint-box to amuse himself with. So 
 D c ii 
 
DAVID COX 
 
 obvious was the enjoyment he derived from this new possession, and 
 so promising were his first attempts at painting, that when he was 
 well again he was sent to a drawing-school in the neighbourhood to 
 be trained in the rudiments of artistic practice. His progress seems 
 to have been eminently satisfactory, so much so that when he was 
 barely sixteen he was apprenticed to a manufacturer of those fancy 
 articles which have always been extensively produced in Birmingham 
 and the adjacent districts. 
 
 In this " toy trade " he had opportunities of turning his artistic 
 capacities to account in many ways. His master, a man named 
 Fielder, made such things as lockets, lacquered buckles, snuff-boxes, 
 and similar trifles, which called for some ingenuity of design and 
 some taste in execution. Many of them were ornamented with 
 miniature paintings, and it was particularly in this branch of the 
 work that the boy could make himself useful. He acquired in a 
 short time no slight skill in handling the painted decorations, as one 
 or two things done by him at this period, which have been preserved 
 by his lamily, show very plainly. Had he continued long in this 
 employment he might, indeed, have been led into modes of practice 
 quite unlike those by which he afterwards became famous ; but, 
 fortunately, as it seems now, his experience of the " toy trade " ended 
 before it had had time to affect his methods in any appreciable 
 manner. The termination of his apprenticeship was caused by a 
 tragic occurrence — by the suicide of his master — which threw the 
 lad once more on his own resources. His work with Fielder had 
 lasted for only eighteen months, so that he was then not much over 
 seventeen, and full young to face the problem of making unassisted 
 the wherewithal to exist. 
 
 The difficulties of his position did not weaken his resolve to be an 
 artist, but they imposed upon him the necessity of finding something 
 to do at once. So with the idea presumably of keeping touch, even 
 remotely, with pictorial art, he took a post as scene-painter's labourer 
 in the Birmingham theatre which was at the time managed by the 
 father of Macready, the tragedian. Such an occupation meant to 
 David Cox practically beginning life again, for he had merely to 
 grind colours and to prepare the materials for the men who actually 
 painted the scenes. But he did not miss any chances of adding to 
 his store of knowledge, and even in this subordinate position he was 
 able to master the more important principles of scenic art and to 
 study closely its technicalities and processes. His opportunity came 
 before long. The manager of the theatre, requiring some special 
 scenery which he did not care to entrust to the local artists, brought 
 
 D c iii 
 
DAVID COX 
 
 De Maria, the scene-painter at the Italian Opera House in London, 
 to Birmingham to do the work for him, and Cox had as usual to 
 help in the painting-room. De Maria recognised at once that his 
 assistant was a man of more than ordinary intelligence, and showed 
 his confidence in him by allowing him to share in the actual 
 execution of the scenes. This incident seemingly led Macready to 
 realise that Cox was capable of better things, and the promotion or 
 the colour-grinder to the post of scene-painter to the company 
 followed not long after. 
 
 His engagement with Macready lasted altogether for four years, 
 during which he gained an amount of experience in rapid and direct 
 painting which was indisputably of great use to him in after years. 
 The breadth and largeness of touch required for effective scenery, the 
 frankness of expression, and the avoidance of niggling and small 
 elaboration, are equally necessary in the finest type of landscape 
 work ; and there is needed for the proper construction of a theatrical 
 set a sense of proportion and a judgment of details of composition 
 which are quite essential in the proper representation of open-air 
 subjects. The insight into these matters which he obtained at this, 
 the most receptive period of his life, assuredly helped him to become 
 the wonderful interpreter of nature that he was throughout his 
 long and busy career as a producing artist. He might, perhaps, have 
 obtained equally sound methods in other ways, but his theatrical life 
 is by no means to be regarded as having interfered with his develop- 
 ment or as having harmed the purity of his technical manner. The 
 scenic element, it must be admitted, is perceptible in many of his 
 drawings, but only in the sense that it adds to their dignity and ampli- 
 fies their effect. Theatrical his art never was ; but it was often 
 dramatic in its presentation of grand line and in its suggestion of the 
 wonders of atmospheric tone. 
 
 When he left Macready it was not with the idea of abandoning 
 scene-painting, but rather because he wished to escape the incessant 
 moving about from place to place which could not be avoided so 
 long as he was attached to a provincial touring company. On the 
 advice of Astley, the proprietor of the amphitheatre in Westminster 
 Bridge Road, became to London in 1804, and was at once employed 
 on scenery for the Surrey and other theatres. Whether he worked 
 for Astley himself is uncertain, but he seems to have found plenty to 
 do for other managers, and to have been for a while fairly prosperous 
 in a small way. But as time went on he began to seek fresh forms 
 of expression. He is said to have been inspired with the wish to 
 excel as a water-colour painter by examining drawings shown him 
 D c iv 
 
DAVID COX 
 
 by Falser, the picture-dealer, who took some interest in him and 
 introduced him to John Varley. His visits to Varley's studio 
 brought him into contact with many other artists and gave him 
 opportunities of increasing his technical knowledge and his under- 
 standing ot the diiFerence between the work on which he was 
 engaged and that which he must produce if he became a painter 
 of pictures. That he learned much from Varley cannot be 
 questioned ; his friendship with a man of such individuality and 
 such sound artistic sense helped him greatly at a critical point in his 
 career. 
 
 During his theatrical life Cox had never failed to sketch from 
 nature whenever the opportunity offered ; and, though he was 
 settled in London and in steady employment, he found time for 
 excursions to the country in search of subjects. In 1805, and again 
 in I 806, he went to North Wales to paint, possibly on the suggestion 
 of Varley who had frequently visited that picturesque part of the 
 world. By now Cox's drawings were beginning to attract attention ; 
 he was able to sell a tair number of them at small prices — at the rate 
 of two guineas a dozen — and some which were exhibited by Falser 
 brought him an influential patron. Colonel Windsor, afterwards Earl 
 of Flymouth, who recommended him to many people as a teacher. 
 As his earnings from sales and pupils increased Cox gradually 
 diminished his activity as a scene-painter, until at last he felt that he 
 could definitely break off his connection with the stage. The last 
 set of scenes he painted was for the Wolverhampton theatre. 
 But this change did not by any means imply any great improve- 
 ment in his financial position. He had to work harder than ever, 
 and his earnings for a long while were barely enough to keep him in 
 even moderate comfort. He gave, for ten shillings each, lessons in 
 which his method was to execute before his pupils small drawings 
 that were handed over to them as part consideration for the fee paid ; 
 and for the works which he sold he received sums varying from a 
 few shillings for a slight sketch to five or six pounds for things which 
 were large and important. Despite the smallness of his means, 
 however, he married in 1808 Mary Ragg, the daughter of his 
 landlady, and took a cottage at Dulwich Common. In the following 
 year his son, David, was born, so that the young artist, even then 
 only six and twenty, found himself in a position involving new and 
 serious responsibiHties. His consciousness of these did not make 
 him any less earnest in his devotion to his profession, though they 
 must have added considerably to the anxieties of this period of his 
 life. He worked unceasingly, producing drawing after drawing, 
 
 D c V 
 
DAVID COX 
 
 many of which he failed to sell even at the trifling prices he asked 
 for them. Some were bought by dealers in batches of a dozen or 
 twenty at a time, to be resold to teachers for use as drawing copies, 
 many he destroyed, and some of the larger ones were simply covered 
 up with fresh sheets of paper so that he might save the cost of new 
 stretching-frames. Several of his most characteristic productions — 
 works now highly valued by collectors — have been found hidden in 
 this way ; sometimes three or four were stretched one over the other 
 on the same board. It was only by incessant effort that he kept 
 afloat, by hours of weary tramping from pupil to pupil, and by 
 tempting buyers with a constant succession of new subjects. 
 Yet, even with this endless tax upon his energies, he did not 
 relax for an instant the studies by which alone he believed he could 
 obtain a proper understanding of the principles of his art. He was 
 fortunate in having round his home at Dulwich, then practically a 
 country village, landscape material of an attractive type ; and he 
 was able to work from nature there under the inspiration of really 
 picturesque surroundings. At the same time he did not strive 
 merely to reproduce the facts of the local scenery : topographical 
 records were hardly what he aimed at, he sought rather to acquire 
 a mastery over the subtleties of atmospheric effect, and to realise the 
 significance of aerial tone and colour at different times of day and 
 seasons of the year. He sat also at the feet of Velasquez, Caspar 
 Poussin, Ruysdael, and the other great masters to whose canvases he 
 had access, and sought by analysing their practice, and even by 
 making copies of their achievements, to educate his naturally correct 
 taste. These studies of the pictures of his famous predecessors were 
 not intended to save him the trouble of forming a style for himself, 
 but to give him that scientific foundation which he felt to be 
 necessary to enable him to express his own observations in the most 
 convincing manner. He was anxious that no imperfections of 
 knowledge should hamper him, and that no lack of proper grounding 
 should in his later life check the development of his powers. In 
 this, as in everything he did, he showed emphatically the sincerity 
 of his conviction and the unaffected common sense which carried 
 him at last through all his struggles into success definite and un- 
 questionable. 
 
 How much he advanced in capacity and professional repute during 
 this strenuous period was proved in 1813 by his election as a 
 member of the Water Colour Society — now the Royal Society of 
 Painters in Water Colours — which had been founded in 1805. Some 
 few years before he had joined a rival institution, the Association of 
 D c vi 
 
DAVID COX 
 
 Artists in Water Colours, which had only a brief existence, and 
 ended disastrously for the men who belonged to it. It was in 
 difficulties almost from its first inception, and the works in its last 
 exhibition were seized by the landlord of the gallery and sold to pay 
 arrears of rent. Cox was among the sufferers, and this experience 
 made him ever after shy of taking part in such artistic undertakings 
 which involved the members in financial responsibility. The Water 
 Colour Society, however, was always a flourishing institution, and its 
 exhibitions provided him with a useful source of income. He con- 
 tinued to be one ot its most active supporters till his death, forty-six 
 years later. 
 
 He was now a man of thirty, with a wife and child to support, and 
 seemingly the time when he could hope to depend solely upon the 
 sale oi his drawings for the means of subsistence was as far off as 
 ever. So in the same year that saw his election as a member of the 
 Water Colour Society, he applied for, and obtained, the post of 
 drawing-master at the Farnham Military College. His position 
 there was an honourable one, he was not badly paid, and he was 
 among people who liked and respected him. But the formality of 
 the military routine soon began to weary him, and the break in his 
 family life caused by his being obliged to live in the college seriously 
 affected his spirits. He found that he had undertaken work which 
 was quite unsuited to a man who loved his freedom and had essen- 
 tially domestic tastes, so at the end of twelve months he sent in his 
 resignation and returned with a cheerful heart to his former 
 struggling, but independent, existence. 
 
 But his small savings from his salary at Farnham would not last 
 long, and as he had broken up his home at Dulwich and parted from 
 most of his former pupils, he had to cast about for fresh employment. 
 Just at the right moment an opportunity came, which he seized upon 
 gladly. He saw an advertisement for a drawing-master in a girl's 
 school at Hereford, where a salary of X^ioo a year was offered with 
 permission to take other pupils out of school hours. Such a chance 
 of obtaining a settled position in a town which he knew to be 
 surrounded by paintable scenery, seemed to be worth taking, so he 
 arranged matters with the lady who carried on the school, and about 
 the end of 1 8 14 took up his abode in a modest and picturesque 
 cottage on the outskirts of Hereford. There he remained for 
 thirteen years, teaching in many other schools besides the one in 
 which he was chiefly engaged, busy with private pupils, but finding, 
 whenever he could, spare moments for out-of-door work. Mean- 
 while he was a regular contributor to the exhibitions of the Water 
 
 D c vii 
 
DAVID COX 
 
 Colour Society, and he kept himself in touch with the art world by 
 annual visits to London. He even went, in 1826, for a trip abroad, 
 and spent some weeks wandering and sketching in Holland and 
 Belgium. Most of his work during this period was, however, done 
 round about Hereford, in the valley of the Wye, or in Wales. He 
 digressed into authorship in 18 14, when he published his "Treatise 
 on Landscape Painting and Effect in Water Colours," and again in 
 1825, when his "Young Artist's Companion or Drawing Book," 
 appeared, both of which were admirably illustrated with plates etched 
 by himself; and, about 1820, he issued a set of six engraved " Views 
 of the City of Bath." Some six or seven years later he — with 
 De Wint, Harding, Westall, and some other well-known artists — 
 executed for a history of Warwickshire a number of illustrations 
 which were engraved by WiUiam Radclyffe, one of his most intimate 
 friends. 
 
 This incessant labour was not without its compensations. Gradually 
 but steadily David Cox improved his position and became modestly 
 prosperous. He saved sufficient money to buy a piece of land and to 
 build on it a pretty thatched cottage from his own designs. This he 
 sold for nearly a thousand pounds only two years after, when he 
 decided that the time had come for him to leave the country and to 
 make London once more his headquarters. It was only after mature 
 consideration that he resolved to take a step which implied the 
 abandonment of a secure position. But he felt that in London, 
 where he would be in direct contact with both painters and buyers, 
 and where his growing reputation would bring him as many pupils 
 as he would be likely to want, his chances of going further in his 
 profession would be considerably increased. The sale of his cottage 
 provided him with a lump sum which, when added to his savings 
 from what he had earned during the previous thirteen years, seciu-ed 
 him from all anxiety as to his immediate future, and he saw his way 
 to making a very fair income as soon as he was established among the 
 right surroundings. 
 
 His confidence was certainly justified by results, for not long after he 
 had made a new home for himself at Foxley Road, Kennington, he 
 found that he was greatly in request as a teacher, and that his 
 drawings would sell with comparative readiness. He raised his 
 teaching fee to a guinea a lesson, and asked and obtained higher 
 prices than had been possible before for his work. As a consequence 
 he began for the first time in his life to earn money freely. His 
 tastes remained as simple as ever, and his domestic life continued to 
 be quiet and unpretentious, so this increase of prosperity enabled him 
 D c viii 
 

 "^s 
 
 - w 
 
 ^ >- 'V^ 
 
 ■'CHURCH OF ST. EUSTACHE, PARIS." FROM the outdoor sketch (1829 or 1832) by DAVID COX. 
 
DAVID COX 
 
 to lay the foundations of that competence which he desired for the 
 security of his later years. This second residence in London lasted 
 until 1 841. It was on the whole an uneventful period, during which 
 he laboured hopefully, always gaining ground and never losing sight 
 of his intention to make a place for himself among artists of note. 
 About 1832 he was commissioned to execute a number of illustrations 
 for a book, " Wanderings in North and South Wales," in which he 
 was associated with such artists as Copley Fielding, Creswick, and 
 Cattermole. Before this he had made a second trip abroad, and had 
 sketched at Calais, Amiens, and Paris ; but most of his painting 
 excursions during the fourteen years he spent in London were into 
 picturesque districts of England and Wales. He went on one 
 occasion into Yorkshire ; on another through Derbyshire ; he visited 
 Hastings, Lancaster, the Lake District ; he painted many versions of 
 tamous places like Bolton Abbey, Haddon Hall, Bardon Tower, and 
 Hardwick Hall ; wherever he rambled he found something which 
 would serve him as material for fine and expressive work, or that he 
 could add to the store of notes upon which he drew habitually for his 
 more ambitious exhibition pictures. 
 
 In the record of his development this term of years is important 
 because it saw the growth of his power as an oil-painter. He had 
 made some experiments in this direction while he was living at 
 Hereford, but it was not until he returned to London that he tried 
 seriously to acquire a mastery of the medium. With characteristic 
 modesty he decided that his unaided efforts would not suffice to give 
 him the knowledge he desired, so he went, practically as a pupil, to 
 W. J. Muller, the young genius whose wonderful achievements were 
 then exciting universal admiration. By watching Muller at work 
 Cox acquired an understanding of the processes of oil-painting which 
 he was soon able to apply with admirable effect. He is said to have 
 remarked in amazement at the cleverness of his young teacher, " You 
 see, Mr. Muller, I can't paint," but it was not long before his 
 popularity as a picture-painter contradicted this humble estimate of 
 his abilities. How much he learned from Muller it is difficult to 
 say ; certainly he made no difference in his own way of dealing with 
 nature, and did not acquire any new point of view. Probably the 
 lessons he received were of use to him solely as aids to the freer 
 expression of convictions which had been formed by long and serious 
 study. He knew well enough what he wanted to do, and all that he 
 required was the explanation of certain technical details which 
 puzzled him because he was unfamiliar with the oil medium. When 
 the way out of these perplexities was shown to him by a worker of 
 
 D c ix 
 
DAVID COX 
 
 extraordinary skill, it took him but a short time to adapt the teaching 
 he received to his particular needs. 
 
 His rapid progress in this new branch of practice, and his desire for 
 uninterrupted opportunities for carrying on a form of study which 
 had fascinated him completely, induced him to finally take a step 
 which he had been considering for some little while. He was now 
 close upon sixty, and the wish to devote the remainder of his life to 
 pictorial production only had become too strong to be resisted. 
 Moreover, the necessity for constant drudgery as a teacher no 
 longer existed. He had made a competence, small but sufficient, 
 and his son was following successfully in his footsteps. The 
 time had come when he could think about gratifying his simple 
 tastes ; more than forty years of earnest effort had assuredly given 
 him the right to choose how he should occupy himself in his old 
 age. 
 
 His choice was very much what might have been expected. 
 London, he decided, had served his purpose, and he felt that with 
 his reputation at last established he could well afford to retire into 
 some part of the country where he would be free to do whatever he 
 thought best. So in the summer of 1841 he turned his back on the 
 busy city which had been the scene of so many of his struggles and 
 hard experiences and betook himself to a quiet retreat at Harborne, 
 near Birmingham — partly influenced, no doubt, in his selection of 
 this new home by the fact that Birmingham was his native place, but 
 not less induced by the knowledge that he would find himself there 
 among old and valued friends. Then began what must have been to 
 him the happiest time of his life. He worked without intermission 
 at oil pictures and water-colour drawings, the subjects for which he 
 found sometimes round about his house, sometimes in the delightful 
 rural districts which were within an easy journey. Important 
 productions came in rapid succession from his studio, and though the 
 prices he asked even then were, when compared with the sums paid 
 to-day for his works, almost absurdly moderate, he was able by the 
 number he sold to live in complete comfort. 
 
 The list of things which he accomplished after he went to 
 Harborne includes many of the achievements on which his fame 
 rests most securely. There was, for instance, the Outskirts of a 
 Wood, with Gipsies (1843), sold in 1872 for 2205 guineas; and 
 there were Fence and War (1846), The Vale of Clwyd (1846), The 
 Skylark (1849), and The Sea-shore at Rhyl (1855), which were all sold 
 in 1872 for fi^oi, ^2000, ^((^2300, and ^(^2300 respectively. For 
 the Sea-shore at Rhyl Cox was paid X^ioo, the highest price that he 
 D c X 
 
DAVID COX 
 
 ever received for any of his productions, the others he sold for sums 
 varying from jTao to ,^70. 
 
 It was not long after he settled at Harborne that he paid his first 
 visit to Bettws-y-coed, the little Welsh village with which his 
 name is now so closely associated. He had gone into North 
 Wales, with an artist friend from London, in the summer of 1 844, to 
 sketch in the Vale of Clwyd. From there he wandered by easy 
 stages through the district, sketching as he went, until he reached 
 Bettws-y-coed, which struck him as such an excellent working centre 
 that he remained there for some weeks. In the following year he 
 returned, and finding his first impressions confirmed by a second 
 visit, he decided to make an annual stay in this fascinating village. 
 He continued these visits almost to the end of his life, and they seem 
 to have given him many happy moments, not only because they 
 brought him periodically into a place the beauties of which he 
 declared to be inexhaustible, but also because he met there a number 
 ot congenial spirits who had come on the same mission as himself. 
 In these artistic gatherings he was always the central figure ; his 
 geniality and kindness of heart endeared him to every one with 
 whom he came in contact, and his cheery disposition put him at 
 once on the best of terms with all his professional brethren. By 
 these meetings in Wales, and by an annual trip to London to see the 
 exhibitions of the Water Colour Society, to which he continued to 
 contribute a number of drawings, he kept himself, despite his 
 apparent isolation in the country, regularly in touch with the art life 
 of the time. 
 
 During the winter of 1845 ^^^ wife died, at the age of seventy- 
 four, and for a while Cox was completely prostrated by grief at the 
 loss of one who had been for nearly forty years his devoted companion 
 and helper. To his wife, indeed, he owed much ; she was a shrewd, 
 kindly woman, whose influence had always been exercised in the right 
 way, and to her constant encouragement was undoubtedly due some- 
 thing of the steady determination with which he had faced the many 
 trials of his early days. There were many occasions on which he 
 might have broken down under the strain and drudgery of teaching, 
 and under the disappointment, which he could not help feeling, at 
 the long postponement of his success as a painter, had not his wife's 
 courage and confidence in his future kept him from giving way. 
 She had lived, however, to see her faith fully justified and to rejoice 
 with him in the gratification of his hopes. 
 
 For some weeks he was unable to work, but as time went on he 
 realised that he would find his best consolation in constant occupa- 
 
 D c xi 
 
DAVID COX 
 
 tion, and so he began a large picture, the first Vale of Clywd, and 
 started also his annual series of drawings for the Water Colour Society. 
 In the early summer he went with some friends to Bolton Abbey, 
 and later he made his usual trip to Bettws-y-coed. After that his 
 busy life continued as before, and he added every year something 
 important to the long sequence of his works. There was the Welsh 
 Funeral m 1850, and, besides the oil-paintings already mentioned, a 
 host of magnificent drawings, like SnowdotT from Capel Cun'g, 'Besom 
 Makers on Chat Moss, The Flood at Corwen, and Peat Gatherers 
 returning frotn the Moors, to quote a few at random. Some idea of 
 his industry may be gained by noting that during the period of 
 ten years, which ended in 1854, he exhibited not less than a hundred 
 and thirty-six drawings in the gallery of the Water Colour Society. 
 This was certainly the time at which his genius manifested itself 
 most indisputably — when his confidence in his powers was most 
 assured, and his knowledge of the resources of his craft was most 
 convincingly displayed. After long waiting he had reached the 
 goal for which he had been striving all his life, and he saw his claim 
 to be counted among the greatest British masters frankly accepted by 
 all honest art-lovers. 
 
 The first sign of any failure in his wonderful vitality came in June 
 1853. In the spring of that year he had been laid up for some 
 weeks with a sharp attack of bronchitis, and shortly after he had 
 recovered from this he had a stroke of apoplexy, which left him in 
 a greatly enfeebled condition. Careful attention and skilful nursing 
 restored him after a while to comparative health, but both his sight 
 and memory remained permanently affected, and his previous vigour 
 in working did not return. There was a perceptible change in the 
 quality of his pictures and drawings, a loss of decision, an uncertainty 
 of touch, and even an absence of appreciation of colour refinements. 
 But as soon as he had sufficiently recovered he went, accompanied by 
 his housekeeper and some friends, to Bettws-y-coed for the autumn 
 months; and this visit he repeated in the three following years, 
 though his increasing weakness made his attempts to paint out of 
 doors fewer and more difficult on each occasion. The last time that 
 he saw the place he loved so well was in the autumn of 1856. 
 Still, despite his infirmities, he was able to travel to Edinburgh 
 in 1855 to sit to Sir John Watson Gordon for a portrait which some 
 of his Birmingham friends desired to present to one of the public 
 galleries in that city, and in the summer of 1856 he went to London 
 and sat to Boxall for another portrait, which he wished to leave to- 
 his son. The latter journey he repeated the following year ; but in 
 D c xii 
 
DAVID COX 
 
 1858 he was unable to leave his home, and during the winter months 
 
 he became so seriously ill that his life was despaired of. He rallied, 
 
 however, sufficiently in the spring to finish a batch of drawings for 
 
 the 1859 exhibition of the Water Colour Society. This was his last 
 
 effort ; at the beginning of June he had once more to take to his bed, 
 
 and he died peacefully on the seventh of that month. A pathetic 
 
 story is told of the last evening he spent in his sitting-room where so 
 
 much ot his work had been done — how he lingered at the door 
 
 when he was going to his bedroom, and said sadly, " Good-bye 
 
 pictures ! " It was his farewell to the art which he had loved so 
 
 deeply all his life, his final surrender to the inevitable. 
 
 To understand properly the principles of David Cox's art it is 
 
 necessary to view it by the light of his temperament. Only a man 
 
 with a peculiarly balanced mind would have gone through all he did 
 
 without being soured by his experiences, and only a devoted lover 
 
 of his profession would have been able to keep the end at which he 
 
 was aiming in view always in spite of the many distractions to which 
 
 he had to submit. A less tenacious worker would have tired of the 
 
 seemingly endless struggle, would have lost courage, and would have 
 
 lapsed into indifference. But under Cox's quiet exterior there was 
 
 too much strength of character for any such wandering from the 
 
 right direction. He had been well trained in his youth by his 
 
 parents, and especially by his mother, who was a woman of more 
 
 than ordinary ability. Her guidance helped greatly to make him 
 
 the earnest thinker and the conscientious believer in honesty of 
 
 effort that he always was ; and to the habits which he formed while 
 
 he was under her control was indisputably due much of the sincerity 
 
 of creed and practice which won him his place on the roll of British 
 
 masters. 
 
 It must be remembered that he was not in the usual meaning of the 
 word a brilliant man — at least he was not a sensational genius like 
 MuUer. Possibly if he had not been obliged to labour so unre- 
 mittingly to make existence possible at all, he might have attracted 
 popular attention earlier than he did ; he might have made his 
 advance by rapid strides instead of by a means of progression that 
 was always slow and often painful. But more probably he would 
 have matured gradually under any circumstances. It was an essential 
 part of his temperament that he should convince himself of the 
 absolute security of his position before he attempted another step 
 forward, and each stage of his career was prepared for by a vast 
 amount of preliminary effort. He was very modest in his estimate 
 of his own abilities, though he was entirely tree from that sham 
 
 D c xiii 
 
DAVID COX 
 
 self-disparagement which is too often the outcome of self-conscious- 
 ness or conceit. Yet he knew that he had power which would 
 bring him, if he had only the chance to exercise it, to eminence in 
 his art. All he asked for was such a measure of appreciation as 
 would admit of his doing himself justice, for relief from the necessity 
 of spending in the toil of teaching the time which he wanted 
 for better and nobler work. That he obtained this relief at last, 
 before old age had sapped his energies, was to him a source of 
 legitimate pleasure. In his life at Harborne he found compensation 
 for all that had gone before ; and by the respect of his fellows, and 
 the praise of the few who were best qualified to judge his work, he 
 was cheered to attempt the highest flights. Success, however, left him 
 just what he was before, a modest, kindly being, honestly in love 
 with life, and a humble student seeking ever to master the great 
 lessons which nature is so ready to teach. 
 
 Few artists have so absolutely reflected their personality in their 
 productions as he did in his drawings and pictures. His broad, 
 expressive brushwork, his fresh and harmonious colour, his robust 
 sense of design, and his invariable avoidance of restless or trivial 
 details were natural assertions of his conviction that the artificialities 
 of the world were things to be ignored. He used no circum- 
 locutions in what he had to say ; it was sufficient for him if he could 
 make plain his meaning by direct statement. The " want of finish " 
 in his works, which was resented by those of his contemporaries 
 who could not see nature with his eyes, was really the brevity which 
 comes from intimate study and exact knowledge. It was, no doubt, 
 contrary to the tradition which dominated the early nineteenth- 
 century art, to the faith in elegant classicism which so many land- 
 scape painters then professed, but for that very reason it seems to us 
 now to have been one of the causes of Cox's superiority. Once 
 only did he make a concession to the spirit of the moment — when 
 he painted, in 1825, an imaginative composition, Carthage, /Eneas 
 and jichates in imitation of Turner — but the experiment did not 
 please him, and happily it was not repeated. 
 
 Far better was it that he should have been in his work what he 
 was by temperament, a realist but yet a poet, an enthusiastic 
 sympathiser with nature who could with unerring instinct dis- 
 criminate between her moods. He may, perhaps, be said to have 
 lacked the intellectual faculty which induced other men to formalise 
 their impressions, but he possessed instead an unerring intelligence 
 and a shrewdness of observation which never led him astray. It was 
 his own mind that directed every touch in his work ; he did not, or 
 D c xiv 
 
DAVID COX 
 
 could not, learn from others how to sink his convictions in accord- 
 ance with the precepts of this or that school. We welcome his 
 simplicity to-day as one of his most precious characteristics ; it has 
 brought us an artistic inheritance of inestimable value. 
 At the same time it is clear that the full realisation of the importance 
 of this inheritance was arrived at very slowly. Cox had been dead 
 some years before the people who might have helped him most 
 began to form any correct opinion about the claims of his work to 
 really enthusiastic appreciation. The little fortune of ^Ti 2,000 which 
 he amassed by fifty years of close economy seems but a meagre result 
 when we consider that the man who counted such a sum as an 
 evidence of success is now hailed as one of the few great artists whom 
 this country has produced. While he lived he had over and over 
 again to put up with the disappointment of seeing drawings which 
 he knew to be the best he could do hanging unsold upon the walls 
 ot exhibitions when those of his far less able contemporaries were 
 finding ready purchasers ; and stories are told about him which 
 prove that even with his gentle and quiet nature he could not help 
 feeling on occasions some resentment at the blindness of the public 
 to which he was making such strong appeals. The extent of his 
 posthumous reputation only serves to accentuate the greatness of the 
 injustice that was done to him. Surely less than half a century 
 should have been time enough to enable people of average intelligence 
 to see that the man they were neglecting was a master worthy of the 
 highest honour. 
 
 For it must be remembered that Cox was not one of those painters- 
 who avoid publicity and restrict their production within very 
 narrow limits. On the contrary, he was a constant exhibitor and a 
 prolific worker, a man who took the widest view of his artistic 
 responsibilities and had an absolutely catholic taste. As his 
 biographer, William Hall, puts it : " As a master of English land- 
 scape he stands unapproached save by Turner, and in some respects 
 he surpassed even Turner himself. His range of art is marvellous, 
 alike as to period, to subject, and to manner. For over fifty years he 
 was a painter, skilled in resource, unsurpassed in industry ; there was 
 nothing that he did not include in his works — landscape, figures,, 
 buildings, animals, fish, fruit, still life, flowers ; the commonest and 
 most familiar aspects of Nature, her subtlest gradations, her sublimest 
 effects, all found perfect expression by means of his facile and power- 
 ful brush." This was the man who was, as may be judged from the 
 prices paid for his works a dozen years after his death, estimated 
 when alive at some two hundred times less than his real value ; the 
 
 D C XV 
 
DAVID COX 
 
 man who was allowed to spend most of his days in poverty, and to 
 waste his best years in hack work as a drawing-master. Truly the 
 whole story reflects sadly upon the discrimination of our nineteenth- 
 century predecessors ; and yet it is one the moral of which we are 
 just as far from realising to-day. It is the curious habit of self-styled 
 art-lovers to lavish their favours upon unworthy recipients and to 
 look askance at true greatness. They follow a fashion blindly and 
 unreasonably, and ignore the genius because he is too individual to 
 conform to conventions which are based upon artificiality and kept 
 in existence by popular ignorance. This was certainly Cox's fate ; 
 even at the height of what seemed to him success, he was absolutely 
 overlooked by the very people who a few years later were clamouring 
 for his works. 
 
 A. L. Baldry. 
 
 D C XVI 
 
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 OIL-PAIXTIXG (1.S52): "A BREEZY DAY 
 
 
 {B'nniiigliam Art GulUry) 
 
 OIL-PALXTIXG (1851): "AT THE EERKY— MORXIXG ' 
 
 D C II 
 
DAVID COX 
 
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 OIL-PAINTING: "THE CARRIER'S WAGON" (/„ //,. collection .f James Orroch, Esq.. R.I.) 
 
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 11 C I=i 
 
 illij nniti^haii! Ait Giil'cry) 
 
 OIL-PAL\TIaG: "THE GLEANERS' 
 
 D c iG 
 
DAVID COX 
 
 (III Ihc Colh-ctirii ,•/ G. Koh,iisrii. I:;,/.) 
 
 SEIMA DKAWiXG: "STUDY IJK A WINDMILL 
 
 Tt^^is; 
 
 .i/V«;,;«S*;-<Ei;. 
 
 {In the Collection of Gerald Rohinsoii, Esq.) 
 
 SEPL4 DRAWING (i8oq): " SXOW^DON ' 
 
 11 c 1 8 
 
-»^J^^ t 
 
 DAVID COX 
 
 
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 SEPIA DRAWING: "SHEEP IN THE VALLEY" (/„ ti,e cmhrt,..,, ,.f G. Rohms,,,, Esq.} 
 
 DC iq 
 
 
 CRAYON STUDY: "NEAR LLANFAIR 
 
 D C 20 
 
 {III th.c Collection of Gerald Rohinson^ -Esy.} 
 
DAVID COX 
 
 ':F^i0ff<lit^Dff^.;^r 
 
 ,bt the Co:::c:icn ,-r C. C. EIn\ yr<.; 
 
 CKAYOX STUDY: "LLAXKAIR CHTRCH 
 
 {Plate 30 in David Cox's 
 "Young Artist's Companion ' 
 
 SOFT-GROUND ETCHING (uSig): "A WIXDMILL 
 
DAVID COX 
 
 ■/'"■■ 
 
 
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 WATER-COLOUR: "WELSH ^[OUNTAI^■S 
 
 D C 23 
 
 {III the Colhctinn of Gerald Robinson. Esq.' 
 
 k. 
 
 WATER-COLOUR: "THE MARKET-PLACE' 
 
 D C 24 
 
 (/;/ the Collection of Gerald Robinson, Esq.) 
 
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 {III ilu CoUclion of 0/;o S. .liuii.jc. ICsg.) "C ^5 
 
 
 {/h the Collection oj Gerald Rohiiison. Esq. 
 
 WATER-COLOUR: "PONT ROYAL, PARIS" 
 
 D C 25 
 
IJAVID COX 
 
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 WATEK-COLOUK : " URYSLWYN 
 CASTLE, SOUTH WALES" 
 
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 (/« SuH/A Kensington JMiisaiin) 
 
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 WATER-COLOUR SKETCH 
 
 "HILLY LANDSCAPE, WITH EIGURES' 
 
 1) C 2S 
 
 {In South Kaisingion Mn5C!im\ 
 
DAVID COX 
 
 (/;; SontJi Kiiisnt^toii Miislkih} 
 
 WATER-COLOUR (1X30): "SEASCAPE' 
 
 D C 20 
 
 WATER-COLOUR (1X32): 
 
 \ COTTAGE ON THE COMMON" 
 
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 '•jm<ffi^;tmTfM'y :^.ffl^^f^'i ■ 7' 
 
 (/;/ tJw Biit/sh Mi/H'iu)!} 
 
 WATER-COLOUR: "SHAKESPEARE'S CLIFE, DOVER' 
 
 {In South Kfiisingioii Musium) 
 
 WATER-COLOUR: "WATER MILL IN WALES" 
 
 D c ; 1 
 
DAVID COX 
 
 WATER-COLOUR (1.S40): "CrRIOSITY 
 
 D C 34 
 
 WATER-COLOUR: "TO MARKET 
 ACROSS THE WOLDS" 
 
 oc 35 
 
DAVID COX 
 
 {In the Biit/sJi Miisnin 
 
 WATER-COLOUR: 'CMOORCAND SCENE" 
 
 I. c 36 
 
 », ■• 'i^B^Ca Jit ' 
 
 (In the CoUccticn of Janus Onock, Esq., R.I.) 
 
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 "A SHADED WELSH LANE" 
 
 DC 37 
 
DAVID COX 
 
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 (//; [ii£ Biitislt Miticuni) 
 
 D c ;S 
 
 WATER-COLO I' R SKETCH 
 "THE WELSH EUNEKAL" 
 
 DC 39 
 
 [By feiiiiission oj Messrs. Thomas Agneu.' and Sons) 
 
DAVID COX 
 
 {III tliL Biitisli Musiiim) 
 
 "WATER-COLOUR: " BOLTOX ABBEY 
 
 II c 40 
 
 (In t/ic Brithli Miisniiii] 
 
 \vat::k-colouk : "XEAR PENMAENMAWR' 
 
 I' c 41 
 

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DAVll) COX 
 
 
 
 (Dedicated to " Mis. Sj'ieis K-itli 
 the Artist's sincere regards ") 
 
 WATER-COLOUR (1851) 
 "VIEW IN WALES"' 
 
 1) C ^0 
 
 WATER-COLOUR SKETCH: "STUDY OF TREES" 
 
 {In the Collection of James Orroeli, Esq., R.I.} 
 
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"•"T'B P*^ '/.. 
 
 DAVID COX 
 
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 WATER-COLOUR (1H49): "WATER-MILL, BETTYS-Y-COED' 
 
 D C 51 
 
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 l£'i JxviAvvi^^si^V*, 
 
 WATER-COLOUR (1850): "THROUGH THE GREEN CORN" 
 
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 ^- 'Atafily' •- «- ,,^^':-;^'^^ ^' ;^.^r .»^...-.i.^>^^t i ii iii » 
 
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 (/« //;i' Collection of James Ofroch, Esq.. R.I.) 
 
 WATER-COLOUR (j.S::;5): "CARTING VETCHES' 
 
 D C 59 
 
THE LIFE AND WORK OF PETER 
 DE WINT 
 
 E WINT, Cotman, David Cox — these fine 
 landscape painters were all undervalued by 
 most of their contemporaries. They toiled 
 hard ; they did much noble work, but England 
 willed that they should win after death 
 their full portions of renown. And thus 
 their lives bear witness to the fact that 
 England, though very fond of pictures, has 
 ever been slow to honour the merit of her 
 own most gifted painters. 
 
 Cotman, a rare genius, was not only the most unfortunate of the 
 three, but the least fitted by temperament to bear up against mis- 
 fortune. All his life he was one of Art's galley-slaves, and he kept 
 sorrowfully to his oar until his mind drooped and all his strength 
 was gone. Cox and De Wint were much happier in their lots, yet 
 the united home comforts won by the two fell far short of those 
 which were earned in other professions by men of quite common- 
 place ability. Since they died the value of their work has gone up 
 by leaps and bounds. Indeed, it has increased so much and so 
 rapidly that one cannot but wish that the State were entitled by 
 law to retain some lasting pecuniary lien in the work of deceased 
 artists. If only one per cent, of the vast sums paid at public 
 auctions belonged by right of law to a National and Permanent 
 Artists' Fund, the amount thus accumulated for the benefit of art 
 would be considerable year by year, and the genius of the dead 
 would become a source of monetary encouragement to the genius of 
 the living. Some such trivial tax would be a recognition of art as a 
 national asset of perennial value. It would do much good — if well 
 administered. Meanwhile, in any case, the dead English masters 
 rise higher and higher in the market, without doing even a penny- 
 worth of good to the welfare of those arts which they served so 
 faithfully and so well. 
 
 Peter De Wint is a case in point, the value of his pictures and 
 drawings being now more than ten times higher than the " top " 
 price attained during his life. Yet, somehow, despite his popularity 
 in the market, De Wint is not yet known as he deserves to be. 
 This was proved a few months ago by the last exhibition of Old 
 Masters at the Royal Academy, where hundreds of persons expressed 
 c w i 
 
PETER DE WINT 
 
 surprise at the ample dignity and charm of the two large oil-paintings 
 by which De Wint was represented. " Can this be the De Wint 
 whom the dealers have found so profitable ? " it was asked. "Alter 
 all, what a strong, fine fellow he was, and is ! How easily and well 
 he takes his place among the best landscape painters of any school ! " 
 And this was said with a pleased astonishment, as though De Wint 
 had hitherto been looked upon merely as a hack for the dealer's 
 trade, and not as a man of genius. That such remarks should have 
 been heard in a public gallery is all the more curious, as opportunities 
 for the study of De Wint's water-colours and oil-paintings have not 
 been hard to find these many years, his work in both mediums being 
 admirably shown in the South Kensington Museum. 
 On the other hand, the man himself and his life are quite difficult 
 to study, for little attention is drawn to them in books of reference. 
 Even the "Encyclopedia Britannica" has nothing to say about 
 De Wint, and only a very brief account is given of him in the 
 "Dictionary of National Biography." It is true that Sir Walter 
 Armstrong, in 1888, published a valuable book on De Wint, illus- 
 trated by twenty-four photogravures, and containing useful notes from 
 private sources of information, notably from a memoir of her husband 
 that Mrs. De Wint left behind in manuscript. But, unluckily. Sir 
 Walter's book is scarce, so that the contents of it are unfamiliar to 
 many students. 
 
 The De Wints were a prosperous family of Dutch merchants, 
 and being in sympathy with their coat-of-arms, representing " four 
 heads proper blowing the four winds," they became mercantile 
 adventurers in a good many quarters of the globe. Some preferred 
 short journeys and went to Paris, while others were more enterprising 
 and set up their homes in the West Indies and also in New England. 
 Peter De Wint's father, Henry, belonged to the American stock, 
 and a part of his youth was passed in New York. The rest of his 
 education was picked up in Europe, first at Leyden, where he 
 graduated in medicine, and next in London at St. Thomas's 
 Hospital. Whilst studying in London, and living on an allowance 
 from America, Henry De Wint engaged himself to a Miss Watson, 
 a Scottish girl from the Lowlands, whose father had emptied his 
 purse out of loyalty to the scapegrace Prince Charlie. But Henry 
 did not mind the girl's poverty, though his marriage to her in 1773 
 put an end to a project much favoured by his father — a marriage, 
 namely, with a rich cousin in America. In his letters home 
 Henry took care not to say that he had a wife, but the fact became 
 known at last, and Henry was disowned and disinherited. When 
 w ii 
 
PETER DE WINT 
 
 thus thrown on his own resources he had two children as well as 
 a wite to support, but he did what he could to make a practice in 
 South Wales in the neighbourhood of Cardiff. The life there did 
 not suit him, and in 178 1 he estabhshed himself at Stone, in 
 Staffordshire, where success of a modest kind was won at last. At 
 Stone ten more children were born to him. Peter, the fourth son, 
 came into the world on January 21, 1784. 
 
 The traditions of his family lead one to believe that Peter was not 
 a boyish lad, fond of mischief, and ready to be tingled with a 
 birch-rod after the joys of getting into scrapes. The httle chap 
 wandered alone in the woods and fields, watching the growth of 
 trees and plants and the habits of birds and beasts ; while at school 
 he not only drew for his own amusement, but tried his best to teach 
 his schoolfellows how to sketch. He early made up his mind that 
 he would be an artist, and Peter De Wint never broke away from 
 a set resolution. The mingling of Dutch and Scottish blood in his 
 veins made him doggedly patient and tenacious, though not, I think, 
 very friendly or very lovable. His father not only wished that 
 he should be a physician, but started him in a course of medical 
 training ; and Peter, though firmly bent on following a different 
 career, neither took the law into his own hands, as an English boy 
 might have done, nor sulked over a routine of work distasteful to 
 him. He was content to bide his time. With patience and with 
 tact he would be able to choose his own profession and yet win his 
 father's consent ; and this, in the long run, he contrived to do, 
 after he had taken some drawing lessons from a Mr. Rogers at 
 Stafford, and after some progress had been made in his study of 
 medicine. 
 
 It was in 1802, on Friday the ist of April, that De Wint left home 
 to seek his art education in London. His parents and friends wished 
 him to set out on a luckier day, but Peter was in a hurry to say 
 good-bye, and ever afterwards he welcomed Fridays and Firsts of 
 April as fete-days for his chances of good luck. The object of his 
 journey to London was to be bound as apprentice to that great and 
 jovial mezzotinter, John Raphael Smith, for whom Turner and 
 Girtin had coloured many prints. Smith was a rollicking sports- 
 man as well as an able artist, and there were critics who disliked his 
 passion for the prize-ring and the cock-pit. He lived in a gay, 
 drinking age, and if he wasted much of his substance on amusements 
 which have since gone out of fashion, he certainly found time in 
 which to do a prodigious amount of work, quite aside from his 
 mezzotints. It is said, for instance, on the authority of one of 
 
 w iii 
 
PETER DE WINT 
 
 Smith's relatives, that he drew at times as many as forty crayon 
 portraits in a week, and sold them at a guinea a-piece. Each one 
 was thrown off" in an hour's rapid sketching, so that the doing o)- 
 forty such portraits in six days must have been an effort beyond the 
 powers of most dissipated clever men. But the main point is this — 
 that Smith, however great his faults, was kind and unselfish, always 
 eager to help his apprentices, and therefore glad to share with them 
 his trade secrets. Briefly, then, he was a good master, and that was 
 all important to De Wint, a lad of strong moral fibre, not in the least 
 likely to be influenced by Smith's gaieties and late hours. 
 The indentures were signed on June 7, 1802, probably some weeks 
 after De Wint had set up his home with Smith's family, in King 
 Street, Covent Garden. The usual practice was to " bind " a lad for 
 seven years, but Dr. De Wint, in lieu of paying a premium, arranged 
 that his son should be at Smith's disposal for one year extra. It was 
 thus that Peter De Wint began his art education, and for the next 
 four years he was very busy, painting heads in pastel, and trying his 
 hand at engraving. Sometimes, too, he went with Smith on a fishing 
 excursion, in order that he might sketch from nature while his master 
 played the part of Isaac Walton. He learnt much in this happy 
 way ; and his enjoyment was all the keener as he was ever accom- 
 panied by his great chum and his fellow apprentice, William Hilton, 
 a future Academician, then a boy of about sixteen. 
 Hilton was De Wint's junior by more than two years. Being shy 
 and sensitive, he could not but admire the bulldog-like deter- 
 mination of De Wint, while De Wint was very well pleased with 
 Hilton's admiration. So a friendship began at once, and it became 
 in time one of the longest and truest friendships in the history of 
 art. It must have been tested very often by Hilton's fits of 
 vehemence followed by despondency ; but De Wint kept cool and 
 did the right thing. Once, we are told, Hilton made up his mind 
 that he would run away from his apprenticeship, owing to certain 
 troublesome events that he disliked. This he confided to his friend, 
 and then scampered as quickly as he could to his home at Lincoln. 
 Raphael Smith lost his temper, as was natural, and insisted that 
 De Wint should say where the truant had gone. He insisted again and 
 again, but De Wint refused to betray his chum. To "old Father Antic, 
 the Law," he was now a refractory apprentice, so he was haled before a 
 magistrate, and the magistrate sent him to prison. Much the same 
 thing happened to Girtin when he and his master, Edward Dayes, 
 squabbled over their bones of contention. But Girtin's stay in 
 prison was very different from De Wint's ; it was not unpleasant,, 
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 for the Earl of Essex rescued him and bought up his indentures. 
 No such thing happened to our friend Peter. He sat alone in his 
 cell, shivering with cold, nor did he regain his liberty until Hilton, 
 hearing of his devotion, came from Lincoln to his rescue. Then 
 Smith's mind was at ease again. 
 
 The two friends returned to work, but presently their thoughts 
 were engrossed by the great crisis through which their country was 
 slowly passing. Napoleon, rising to his zenith through the fall of 
 nations, threatened invasion. London was alarmed, and volunteers 
 for her defence were being enrolled on all sides. There are two 
 enlistment tickets to show that Hilton and De Wint answered to 
 the call of duty, and " were allowed to join the Battalion " of the 
 St. Margaret's and St. John's Volunteers. Whether they put in 
 many drills, and learnt to shoot fairly straight, I cannot say ; but 
 their readiness to serve their country is worth mention as a touch of 
 character. 
 
 About a year later, in 1806, they managed to end their appren- 
 ticeship with J. R. Smith. It is not known how this came about in 
 the case of Hilton. With De Wint it was the cause of a singular 
 bargain. By the terms of his indentures he had still about four 
 years to serve, yet Smith was willing to set aside his legal rights 
 if his apprentice agreed to paint for him eighteen landscape pictures 
 in oil-colours. These pictures were to be finished in two years, at 
 the rate of nine a year. In the first twelve months he was to hand 
 over to Smith nine paintings of the following sizes : " six of eleven 
 inches by nine inches, two of one foot three inches and a half by one 
 foot one inch and a half, and another of one foot three inches and a 
 half by one foot and half an inch." In the second year the 
 dimensions were to be somewhat different, but it is not necessary to 
 detail them. De Wint agreed at once to Smith's conditions, and 
 all the landscapes were duly finished, delivered, and acknowledged. 
 It is clear that Smith knew his man. 
 
 I have dwelt upon this episode for two reasons, partly because of 
 its singularity, and partly because it proves beyond doubt that De 
 Wint started life as a painter in oil-colours. This fact is too often 
 forgotten. It has long been assumed that he started oil-painting late 
 in his career, and this error has prevented many experts from identi- 
 fying his earlier canvases. The reasons that caused De Wint to give 
 up his early practice of oil-painting were probably three in number: 
 First, it was easier to sell water-colours; next, it was always De 
 Wint's custom to make his way in a cool, businesslike manner, 
 following the line of least resistance; and, third, he was confirmed in 
 
 w V 
 
PETER DE WINT 
 
 his practical habit of mind by the petty miseries that his friend Hilton 
 suffered in the interests ot " high art " and of academic honours. 
 It was in 1806, on May 17, that the boys left Smith to set up for 
 themselves. But before they took lodgings they paid a visit to 
 Lincoln, where De Wint fell in love with his friend's sister, Harriet, 
 then a girl of fifteen at home for the holidays. At Lincoln he made 
 a few studies for the pictures which he had to do for Smith, and 
 then, knapsack on shoulder, he trudged on foot into Staffordshire, 
 sketching by the way. Hilton followed him to Stone, and both 
 were lucky enough to be commissioned to paint several portraits. 
 In the autumn they returned to London and took rooms in Broad 
 Street, Golden Square, hard by the house in which John Varley 
 lived with happy thriftlessness. Varley, a most capable teacher, 
 always bubbling over with enthusiasm, met De Wint, was struck 
 with his ability, and was not happy until he had given the lad some 
 lessons for nothing. Fortune smiled again soon afterwards, for De 
 Wint was received by the famous Dr. Monro, the sometime teacher 
 and patron both of Girtin and of Turner. Monro's evening class still 
 met from time to time in the historic house on the Adelphi Terrace. 
 I do not know whether the good doctor still gave his pupils an oyster 
 supper and half a crown for their sketches ; but his lessons were as 
 good as they ever were, and De Wint was not slow to profit by them. 
 He made friends with many beautiful drawings, but those by Girtin 
 were his favourites. He fell at once under their influence, and he 
 remained true all his life to the serene self-command which they 
 inculcated. 
 
 Meantime, whilst working to complete his education, De Wint, 
 like Hilton, had to paint for a living, and that he found means of 
 selling his work was due, we are told, to the continued friendliness of 
 Raphael Smith. It was a hard struggle, no doubt, but the two 
 friends fought together, living in the same rooms and sharing 
 expenses. " Each in turn supplied the wants of the other, so that ill- 
 luck to hurt one had to hit both." Hilton, after leaving Smith, 
 joined the Royal Academy schools. De Wint was ready to follow his 
 chum's example, but it was not until March 8, 1809, that his wish 
 was gratified. Two years later he passed into the life class, and began 
 a steady course of figure drawing to which further reference will be 
 made presently. 
 
 In May 1807, Dr. De Wint died, leaving a widow and five children. 
 The eldest son inherited his father's practice and property. Being a 
 selfish fellow, reckless and improvident, he left the younger children 
 to shift for themselves, and made only a small provision for his 
 w vi 
 
PETER DE WINT 
 
 mother. Peter at the time was only twenty-three, but he shouldered 
 the responsibilities which his elder brother declined to bear, and 
 found means of giving a helping hand to his two sisters and also to 
 his younger brother, Thomas, then a medical student seventeen years 
 old. The head ot the family died soon afterwards, and the mother, 
 in sore need of money, came to Peter for support, and she remained 
 with him until Thomas had made for himself a practice at Ancaster. 
 She died in 1834, at the age of eighty. 
 
 Peter De Wint not only bore with courage and cheerfulness the 
 many anxieties which followed his father's death, but, by dint of 
 enterprise and hard work, he managed to get on fairly good terms 
 with fortune. His water-colours, almost from the first, were easy to 
 sell at small prices, so that he soon relied on them rather than fix his 
 hopes on his beloved oil-paintings, which, somehow, were much 
 harder to place. At last, encouraged by his modest success, he pro- 
 posed an early marriage to Harriet Hilton, with the result that the 
 wedding took place at Lincoln on June 16, 18 10. This, I believe, 
 was the only impulsive act of De Wint's thoughtful career. But 
 it was justified by results. Mrs. De Wint was ever a true help- 
 meet, tender of heart, thrifty of mind, cheerful, and devoted to all 
 her husband's interests. De Wint himself was not more business- 
 like than she, and for the rest of his life he owed much to her 
 unfailing tact and economy. At first he received only a guinea 
 or so for a small drawing, and five shillings an hour tor lessons. 
 But these small earnings rose steadily if slowly, till at last, in 
 1827, a guinea an hour was paid for lessons, while the drawings 
 were bought for prices that ranged from five to fifty guineas. It 
 was in 1827 that Mrs. De Wint began to keep detailed accounts 
 of all her husband's business transactions — a thing which every 
 painter's wife should do if she wants to understand how difficult it is 
 to earn an income out of art. 
 
 In the autumn following their marriage, after a sketching-tour in 
 Yorkshire, the De Wints with Hilton settled themselves at 10 Percy 
 Street, where their daughter was born the next summer, and where 
 they lived for seventeen years. In 1827 Hilton was appointed 
 Keeper of the Royal Academy and removed to his chambers in 
 Somerset House, while the De Wints set up a new home at 
 40 Upper Gower Street (now 113 Gower Street), where they spent 
 the remaining years of their lives. 
 
 Something must now be said about De Wint's adventures in the 
 public galleries. He was seen for the first time at the Royal 
 Academy in 1807, his pictures being a view of Trentham and another 
 
 w vii 
 
PETER DE WINT 
 
 ot Matlock High Tor, one of his favourite subjects. A year later the 
 Associated Artists came into being, and De Wint sent four water- 
 colours to their first exhibition. In 1809 he was represented by 
 nine, and was made a member of the Society. A critic of the 
 period, writing in the Repository of Arts, not only speaks well of the 
 newcomer, but shows by his comments that De Wint's style had 
 already a settled character, remarkable for its " correct observation 
 of nature," for its " fine selection of form," and for its " truth and 
 simplicity of colour." " His works," the critic said, " have all the 
 indications of superior thinking, all the germs of greatness " ; and it 
 is worth noting that these remarks showed much greater discern- 
 ment than many of those which were made in later years, when 
 the masterly outdoor sketches by De Wint were often described as 
 "daubs of dirty colour." 
 
 In 1 8 10, on January 22, De Wint joined the Water-Colour Society 
 as an Associate. He was elected with Frederick Nash and with 
 Copley Fielding. On June 10, 181 1, he was taken from the list of 
 Associates and made into a full Member, so that he was recognised 
 earlier than David Cox, who was not received as an Associate until 
 June 8, I 81 2. Between 1810— 1812 De Wint sent eighteen drawings 
 to the exhibitions of the Society at Spring Gardens, one being a view 
 of Conisborougli Castle, Yorkshire, an impressive subject to which he 
 returned several times. The catalogue of 18 15 mentions A Cricket 
 Match, but I am unable to say whether it should be identified as the 
 famous drawing of "The Cricketers, which Mr. Ellison gave to the 
 South Kensington Museum in i860. It is still a noble water-colour, 
 this drawing of The Cricketers [see Illustration w 40), despite the fact 
 that the sky has perished. It has a singular history. De Wint, 
 finding that he could not sell it, strained another piece of paper over 
 its surface to save the outlay on a new stretcher. After his death, 
 when preparations were being made for the sale at Christie's, the 
 hidden water-colour was discovered by Mr. Vokins, who long 
 delighted to speak of his surprise. If The Cricketers really is the 
 same drawing as the Cricket Match of 181 5, the period during which 
 it lay perdu must have been one of nearly thirty-four years. 
 From 1 818 to 1825 ^^ Wint did not exhibit with the Water- 
 Colour Society. When the Society was re-organised in 1821 
 he was asked to re-join, without passing through the grade of 
 Associate, but he declined to accept the compliment " for the 
 present." In the interval his work appeared twice at the Royal 
 Academy, a Watermill in Derbyshire being hung there in 18 19, and a 
 view of Bolton Castle, Yorkshire, in 1820. From 1825, when he 
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 rejoined as Member, De Wint was a constant exhibitor at the 
 Water-ColoLir Society, sending as many as 359 drawings between 
 that date and the year 1849. It is to be noted also that nearly all 
 his subjects were English. He went for only one sketching-trip on 
 the Continent, and that was the visit which he and his wife paid to 
 Normandy in 1828. The landscapes there did not please him, and 
 certainly his Normandy water-colours cannot be placed among 
 De Wint's happiest achievements. His Welsh scenes are more 
 fortunate, though their competition with those by David Cox proves 
 that he is only second-best in his sympathy with Welsh scenery. 
 To see De Wint at his very best, a true master entirely at his ease, 
 you must study him in the work he did in his favourite sketching- 
 grounds, as in Yorkshire, in Lincoln and its neighbourhood, in 
 Derbyshire, and at Christchurch. In all his moods he was as 
 English as Constable ; and it was this fact, probably, that caused his 
 patrons to be so true to him. They were friends as well as patrons, 
 and in the late summer he visited and sketched at their houses in 
 the country. Among the most hospitable of his well-wishers were 
 the Earl of Lonsdale, the Earl of Powis, the Marquis of Ailesbury, 
 the Clives, of Oakley Park, near Ludlow, the Heathcotes of 
 Connington Castle, Mr. Fawkes of Farnley, Mr. Cheney, of 
 Badger, in Shropshire, and Mr. Ellison, of Sudbrooke Holme, 
 Lincolnshire. 
 
 It is commonly forgotten that De Wint was very busy at times for 
 the publishers. Thus, in W. B. Cooke's "Picturesque Delineation 
 of the Southern Coast of England," there are six illustrations by his 
 hand, the most important being The Underciiff, Isle of Wight {^une 
 1 8 14), and Blackgang Chine (April i, 1816). The other four are 
 illustrations in the text. He contributed also to W. B. Cooke's 
 "•The Thames," doing about a dozen drawings between May i, 18 14, 
 and January 1, 1829. One remembers, too, that he prepared travellers' 
 sketches for the engraver, and made as many as sixty-two drawings 
 from the Sicilian sketches by Major William Light, an officer who 
 had served on Wellington's staff in the Peninsula. The drawings, 
 very well engraved, were published in 1823 in a quarto volume 
 entitled " Sicilian Scenery." And De Wint's industry in this field 
 may be studied in two other books, namely, in J. S. Stanhope's 
 " Olympia " (1824), and, again, in "Views in the South of France, 
 Chiefly on the Rhone," which appeared in 1825, illustrated by 
 twenty-four engraved plates after drawings made by De Wint from 
 the sketches of John Hughes, of Oriel College, Oxford. Mr. Roget 
 has given much attention to this little-known part of De Wint's 
 
 w ix 
 
PETER DE WINT 
 
 life-work, and every student should read what he says about it in 
 his delightful "History of the Old Water-Colour Society." 
 To be brief, De Wint's life was one of incessant doing. He spent 
 no time in the happy realm of day-dreams, but toiled on and on, 
 filling every minute of the day with a money-earning activity. 
 Every now and then he was sorely hit in his affections, as by 
 Hilton's death on December 30, 1839 ; but even this blow did not 
 long interfere with his stern delight in his routine of hard labour. 
 Then, all at once, the continued strain began to tell upon his health. 
 He became irritable, even bearish in manner, and was much disliked 
 by many who met him for the first time. In 1843, whilst sketching 
 in the New Forest, he nearly died from an attack of bronchitis, and 
 it was with difficulty that he was brought back to London. The 
 bronchitis returned again and again, increasing his weakness. Not- 
 withstanding his condition, he worked intermittently through the 
 winter of 1848-49, but when spring came he had barely strength 
 enough to be present at his private view of drawings for the 
 exhibition. He lingered on till June 30, 1849, '^y^^S ^" ^^^ sixty- 
 sixth year. And they buried him in the churchyard of the Savoy, in 
 the same tomb with Hilton and with Hilton's wife and mother. 
 De Wint, according to Sir Walter Armstrong, was of middle 
 height, slender rather than stout, dark in complexion and in youth 
 black-haired. His grand-daughter, Miss H. H. Tatlock, has in her 
 collection a miniature portrait, in which the stubborn determination 
 of De Wint is well represented (see Illustration w 7). Determina- 
 tion was the keynote of his character. Even his love of money, 
 a ruling passion with him, was due to the fact that he had set 
 his mind on thrift and saving, two virtues that sometimes betrayed 
 him into singular actions. It is said, for instance, that he once 
 charged twenty-five shillings for a lesson instead of a guinea, because 
 he had drawn a few cows on the margin of his pupil's paper. 
 At his private views, which he held in his drawing-room, he was a 
 clever salesman, and marked with a white label those pictures which he 
 sold. One wealthy aquaintance had the habit of saying that this 
 or that "perfect gem" was beyond his reach, being marked as sold. 
 De Wint grew tired of this device, and took his revenge. " The 
 day came round for another private view. The friend arrived, and 
 went into raptures before two labelled drawings. ' Now, De Wint,' 
 he exclaimed, ' these are exactly the things I should like to possess; 
 what a pity they are sold ! ' ' My dear fellow,' said the painter, 
 slapping him on the shoulder, ' I knew you would like them, so I 
 put the ticket on to keep them for you.' Tableau ! But the 
 w X 
 
PETER DE WINT 
 
 drawings had to be taken, 'otherwise' — De Wint would conclude 
 — ' I would have shown him the door.' " Again, it was the painter's 
 custom to name his price in guineas. One client objected to this, 
 and said : "■ There are no guineas now, De Wint, so we'll call it 
 pounds." " No, you won't ! My price, sir, is guineas." " Really, 
 you don't mean to quarrel for the shillings .? " " Don't I .? The 
 shillings are my wife's, and I would quarrel with you for two straws — 
 so take them or leave them ! " And to this it is convenient to add that 
 De Wint, like many keen men of business, had a strongly religious bent 
 of mind, that seems to have grown at last to be something of a mania. 
 After De Wint's death there was a sale at Christie's, in May 
 1850, when many water-colours and paintings were sold in 493 lots. 
 They realised ^^2364 js. 6<'/., thirtv guineas being the highest price 
 paid tor a lot. But one must note here that Mrs. De Wint, always 
 practical and wise, did not allow the best works to be sold at auction. 
 She kept them tor herself, and bequeathed them to her daughter, 
 Mrs. Tatlock, a patriotic lady to whom we are all greatly indebted. 
 It was she who presented T'he Cornfield and the great Woody Landscape 
 to the South Kensington Museum, after she had tried in vain to give 
 them to the National Gallery. Mrs. Tatlock's offer was declined by 
 the director of that time, the late Sir William Boxall, who did not 
 think it worth his while even to see the noble paintings so generously 
 brought to his notice. By virtue of this mistake he will long be 
 remembered. 
 
 The first thing to be noted about his art is the fact that De Wint was 
 one of Girtin's art-children. Being himself a man of strong indi- 
 viduality, he did not imitate Girtin, but he penetrated to the inner 
 essence and life of Girtin's stvle, and he borrowed from it what 
 he needed for the perfecting of his own manner. The gold and 
 silver that he borrowed thus was always re-minted, so that, when it 
 passed again into circulation, it was really De Wint's own, though 
 many could see at once that it still bore traces of the master by 
 whom it was first handled and refined. This applies to the earlier 
 work of De Wint, and particularly to the Cookham-o7i-'Thames (w 11), 
 with its placid water, its stately trees, and the serene completeness of 
 the subject as a picture. The position of the sun-illumined church, 
 the line of the background behind, the balance between the 
 picturesque craft on the left and the tall trees across the Thames on 
 the right — all this, so simple in unity of impression, so full of repose 
 and self-command, should be noted by every one that desires to know 
 De Wint in a style unusually redolent of Thomas Girtin's. But the 
 handling, the manipulation, the full washes of colour, that is all 
 
 w xi 
 
PETER DE WINT 
 
 of De Wint's own finding ; and the figures in the boats are also 
 anticipative of his later manner. 
 
 I wish I knew the date of this water-colour ; but certainties as to 
 the chronology of De Wint's achievements are rare. It was his 
 custom not to sign and date his work, and as he returned frequently 
 to the same subjects, one gains little precise information from the 
 catalogues of exhibitions. The utmost one can say is that the 
 Cookham-on-Thames is an early water-colour, and that it contrasts 
 helpfully with the many examples of his later manner, which are 
 illustrated in this book. It is in strong contrast even with the 
 Westminster (w 32, about 1808), and also with 'The Thames from 
 Greenwich Hill, another early production, represented here by an 
 excellent plate in colours. In this view of the Thames, plainly an 
 outdoor sketch, De Wint found himself completely, retaining only 
 the principles which helped Girtin to achieve his ample strength and 
 his simple dignity of treatment. It may be assigned to the years 
 1814-29, when De Wint was engaged in working for Cooke's 
 volume on the Thames. 
 
 John Varley, another of Girtin's disciples, used to tell his pupils 
 that flat washes of colour in a good lay-in were like silences, for 
 as every whisper could be distinctly heard in a silence, so every 
 lighter or darker touch on a simple and masterly lay-in told at once, 
 and was seen to be good or bad. Cotman was so much in sympathy 
 with this truth that his large planes of uniform colour were often 
 reminiscent of Japanese methods, though he had no acquaintance 
 (so far as is known) with the arts of Japan. The same truth was 
 always a guide to Peter De Wint ; but he employed it in a manner 
 of his own, and united it to a wealth of rich, blooming colour which 
 has seldom been equalled. I might stir up unnecessary opposition 
 were I to say, with Mr. James Orrock, that De Wint is " the great 
 colourist of our landscape school, which means the greatest landscape 
 colourist of any school." One may believe this, but taste in colour is 
 not a thing to be proved beyond all dispute before any court of criti- 
 cism, for the reason that no two persons ever see precisely the same 
 colour. This fact, noticed by all students in a life-class, prevents me 
 from dogmatising in De Wint's case ; but that his fuU-chorded 
 schemes of rich colour are a joy to all artists and connoisseurs, this 
 one may say without the least fear of overstepping the limits of 
 critical prudence. They are among the most wholesome and invigor- 
 ating delights of the English school of landscape painting ; and so 
 rare are they in quality, so unique, that they have never been forged 
 with success, unlike the colour and the style of Miiller or of Cox. 
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 I may be told that one man or talent, Samuel Austin, after "three 
 precious lessons " from De Wint (he wept when the third came to 
 an end), not only followed in his master's steps, but that some of his 
 drawings were deemed worthy of De Wint's own hand. If so, those 
 particular drawings have disappeared. No water-colour by Austin 
 that is known to-day could ever for a moment be taken for one by 
 De Wint. Not only is the colour different, both in quality and in 
 orchestration, but the handling retains evident traces of the style 
 which Austin met with in Liverpool. It has a provincial accent, 
 very pleasant, to be sure, but not like the powerful and original 
 speech of De Wint. But if De Wint's colour and technique cannot 
 be well imitated by even a skilful artist, how impossible must it be 
 to represent them at all worthily by means of illustrations in black 
 and white ! Such illustrations, indeed, however good, give us 
 nothing more than remote hints of the scope and the force and 
 charm of De Wint's best qualities. But, happily, thanks to 
 Miss H. H. Tatlock, to Mr. James Orrock, R.L, and to 
 Mr. Arthur Sanderson, the drawings may be studied here in seven 
 good colour-prints, ranging in variety of subject from the rare 
 sea-piece to the Neai' Lowther Castle, perhaps the most important 
 of De Wint's large drawings. I do not say that these colour-prints 
 are perfect, but they are invaluable as helps to a thorough knowledge 
 of the master's art in water-colour. 
 
 Nothing shows more clearly the strength of a student's character 
 than the choice of the pigments with which he works. As a rule, 
 naturally enough, he is tempted to use the pigments which his 
 master has tested and found useful. De Wint was an exception to 
 this rule ; and hence, no doubt, the curious in matters of technique 
 will be glad to compare his palette with that of Girtin. Girtin used 
 fifteen colours : indigo, lake, light red, Indian red, Roman ochre, 
 ultramarine, madder brown, burnt sienna, Vandyke brown, Cologne 
 earth, gamboge, yellow lake, brown pink, Prussian blue, and Venetian 
 red. De Wint's usual palette had the following twelve colours : 
 vermilion, Indian red, Prussian or cyanine blue, brown madder, pink 
 madder, sepia, gamboge, yellow ochre, burnt sienna, purple lake, 
 brown pink, and indigo. To these, for occasional use, he added 
 four others in half-cakes : orange ochre, Vandyke brown, olive green 
 cobalt, and emerald green. All these pigments were in hard cakes, 
 but they were kept soft with water when in use. De Wint 
 designed his own box, as he disliked to mix his washes on the 
 enamelled leaves with which the trade boxes were fitted. He 
 preferred bright metal leaves with a silver-like surface. 
 
 w xiii 
 
PETER DE WINT 
 
 He employed two brushes, both large and round, but one was old 
 and worn, while the other was new and came to a fine point. 
 Students of his water-colours should note the foreground " accidents " 
 and effects obtained with the worn brush. This may be studied 
 well in some of the drawings at South Kensington, as in that rich and 
 delightful study, A Cornfield^ Ivinghoe (w 31), in which fine outdoor 
 sketch the whole method of De Wint may be studied without 
 difficulty. Not only was every part of it vigorously laid in with a 
 full, flowing brush, but this ehauche, while still wet, was completed 
 with a mosaic of added tints, some rich, some cold, all so harmonious 
 that they charm one like precious stones arranged in a skilful manner. 
 This result obtained, De Wint began to enliven the foreground with 
 the worn brush, scraping with it here, adding a few crisp touches 
 there, and producing all the effective incidents he desired. It may 
 be seen also, in the Coj'fijieid, Ivinghoe, that the passage from the fore- 
 ground to the extreme distance has not the variety of gradation which 
 would have been given to it by Turner or by Copley Fielding. 
 De Wint, indeed, hated the washing process by which infinite 
 gradation into space was always obtained. Had he washed his 
 drawings, he would have injured the freshness and the bloom of his 
 colour in all the deeper and more luminous parts ; and that would 
 have been an outrage on the aims for which he lived and laboured. 
 Three other things of interest may be noted also in the Cornfield, 
 Ivitighoe. The trees, first of all, though good in their decorative 
 value, are rather formal and arbitrary in rendering. They are trees, 
 but one hesitates to give them a name. This doubt does not occur 
 always when one looks at the trees in the outdoor sketches by 
 De Wint ; but the painter has a tendency in such studies to miss the 
 varied character of the different species to which the trees belong. 
 Next, the sky in this drawing has more of the English pageantry of 
 cloud than is common in De Wint's art. De Wint was not by any 
 means a thorough student of cloud-forms and of cloud-strata and 
 windy weather. In his brilliant sketches, again and again, he left the 
 sky untouched, quite content with the ivory-tinted Creswick paper 
 upon which he delighted to work. In all this he was very different 
 from Turner, Cox, and Collier, and from the other masters or 
 the heavens who played the skylark in English water-colour. It was 
 the English earth and her abundant harvests that appealed most of all 
 to De Wint, and he managed to convey the weight of the English 
 soil — the weight and the fresh aroma. His harvest scenes, so justly 
 famous, are indeed full of the fragrance and life of our lusty 
 English fields. For that one loves him ; and one may say, in the 
 w xiv 
 
PETER DE WINT 
 
 words of Thackeray, that " Fuseli, who wanted his umbrella to look 
 at Constable's showers, might have called for a pot of porter at seeing 
 one of De Wint's hay-makings." 
 
 The last of the three things to be noted in the Cornfield, Iv'mghoe, is a 
 certain change of colour in the sky that gives a brownish tone to the 
 wet grays and the liquid pearl-tones. This may arise from the chemical 
 action ot a slight mixture of Indian red upon the other colours used. 
 Indian red is a permanent colour when employed alone, but (being 
 an oxide ot iron) it is dangerous in mixtures, and also as an under- 
 wash to warm the ground. In 'The Cricketers, for instance, it has 
 eaten up the blue, giving a " foxey " tint to the whole sky. But 
 these damaging changes of colour are rare in De Wint's drawings, 
 the great majority of which have stood the test of time very well. 
 In some of the oil-paintings, on the other hand, the demon that 
 produces cracks has been very busy here and there. The splendid 
 Cornfield at South Kensington has not escaped, for the sky has long 
 been disfigured with many large cracks of a circular form, as though 
 William Blake's Ancient of Days had scored it with his pair of com- 
 passes. And this should be borne in mind by the critics who tell 
 us, trom time to time, out of enmity to the lighter medium, that 
 De Wint's water-colours are more perishable than his oil-paintings. 
 For the rest, our painter's art as a whole must be studied at first 
 hand, without reference to this critic or the other. It is an art not 
 very various in appeal, but it has moods of stateliness and solemnity 
 which entitle it to a high place among the best modern landscapes. 
 In architectural themes it has many equals and a good many superiors, 
 ior De Wint was not always able to suggest the weight of masonry 
 and the romance that lingers about historic buildings. Thus, for 
 example, there is a look of tinted pasteboard in the old houses in 
 the large drawing at South Kensington, known as West Front of 
 Lincoln Cathedral — a drawing, by the way, in which there is also a 
 good deal of body-colour, a thing very rare in De Wint's work. 
 That he turned out some fine subjects of an architectural kind is 
 proved by The Ruins of the Bishop's Palace, Lincoln (w 27), the 
 Potter Gate, Lincoln (w 24), the Gloucester, 184O (w 17), and 
 again, by the Bridge over a Branch of the Witham (w 16). None the 
 less, architecture was not De Wint's forte. It is known that he 
 painted, in his original manner, some remarkable still-life pieces, 
 including flowers ; and it ought never to be forgotten, though it 
 usually is, that he delighted to spend a holiday in sketching the 
 picturesque fishermen at Sheringham. Indeed, he made many 
 such holiday sketches from the life, as Mrs. De Wint states in her 
 
 W XV 
 
PETER DE WINT 
 
 biography. Is it not, then, high time that experts should rescue them 
 from the artists to whom they have been wildly attributed, in the 
 foolish belief that De Wint paid no attention to separate studies of 
 the human figure ? I saw one such study a little while since — a 
 fresh, bonny water-colour, measuring nine inches high by five wide. 
 It represented a fisherman on the sea-shore, with the breaking 
 waves behind him. The fellow, standing erect, lacked a certain 
 something which finds its way into professional figure-painting ; 
 but, on the other hand, he looked so stalwart and so robust that for 
 a moment I hesitated to hold the drawing, lest I should find the 
 weight of it to be about thirteen stone. These figure-sketches, 
 beyond all doubt, have a real value in the life-work of De Wint ; 
 but it is, I believe, by virtue of his English country scenes that he 
 takes rank, both in water-colour and in oil, as a leader in modern 
 art. Yes, he certainly leads. There are but few modern land- 
 scapes that deserve to be hung side by side with those which Miss 
 H. H. Tatlock sent this winter to the Old Masters Exhibition at 
 Burlington House. 
 
 Then, last ot all, De Wint appeals to us invariably as one of the 
 rare men who draw and model vigorously with a wealth of colour, 
 and paint their way with consummate ease to an enduring fame. 
 De Wint never fills in an outline with tints, nor fiddle-faddles 
 with his pigments. He is a born master of the brush, an original 
 colourist, a genuine painter^ certainly limited in scope, but strong, 
 earnest, manly, dignified, austere, and individual ; moved, too, by a 
 delight in rusticity which enables him to people his landscapes with 
 admirable cattle, with ably characterised flocks of sheep, with horses 
 drowsy with the heat or tired by their field labours, and with 
 groups of English bargemen and harvesters, that toil or rest happily 
 in the sun, being true children of the Earth-Mother. 
 
 Walter Shaw Sparrow. 
 
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 OIL-PAIXTIXG: "MRS. DE WIXT 
 AND HER DATGHTER" 
 
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 in the Colla-tun of Miss H. H. Tatloeli) 
 
PETER DE WINT 
 
 {From the minuitines in the CclU'ctii'ii 
 cf Miss H H. Tii.'loil) 
 
 PETER DE WINT AND HIS WIRE 
 
 w 7 
 
 
 {In the Collection of Gerald Robin^nn, E^q.) 
 
 CRAYON AND WASH STUDY 
 "A TIMBER-YARD" 
 
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PETER I)E WINT 
 
 SEPIA DRAWING 
 
 "BIRMINGHAM FROM SUTTON COLDFIELD 
 
 :Jii the Birmingham Art Gallerv) 
 
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 THE WrrHAM, LINCOLNSHIRE" 
 
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PETER DE WIXT 
 
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 WATER-COLOUR SKETCH 
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 NEAR SCARBOROUGH" 
 
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 (//; the CoUa-tioii of Miis H. H. Tatlock) 
 
 WATER-COLOUR (1847) 
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 (In the Collcetion of J. L. Kogct, Esq.) 
 
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 WATER-COLOUR 
 
 "THE TRENT, NEAR BURTON' 
 
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 WATER-COLOUR (1841) 
 
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 {In South Kcnsiu_L^ton Miisctiiii) 
 
 WATER-COLOUR: "THE HIGH BRIDGE, LINCOLN 
 
 «■ 33 
 
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 [III Sc'uth Ki'iisiiigiOu Muse II III) 
 
 WATER-COLO UK 
 
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 [In South Kensington Mussiim) 
 
 WATER-COLOUR 
 "THE CRICKETERS" 
 
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 WATER-COLOUR (1848-49) 
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 w 44 
 
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