A chief view exhibited was from the summit of One Tree Hill, Greenwich. There was cleverness evinced in the selection of this landscape. A large public are always prepared to be pleased when they are shown something with which they are well acquainted. Each spectator found himself, as it were, individually appealed to. Each had seen One Tree Hill, and could bring to bear upon the subject his own personal knowledge and observation, and so test and certify to the painter's skill. The view was a set-scene with a moveable sky at the back: a large canvas twenty times the surface of the stage, stretched on frames, and rising diagonally by means of a winding machine. De Loutherbourg excelled in his treatment of clouds; he secured in this way ample room and verge enough to display his knowledge and ingenuity. By regulating the action of his windlass he could control the movements of his clouds, allow them to rise slowly from the horizon and sail obliquely across the heavens, or drive them swiftly along, according to their supposed density and the power to be attributed to the wind. An arrangement of set-pieces cut in pasteboard represented the objects in the middle distance: the cupolas of Greenwich Hospital, the groups of trees in the park, the towns of Greenwich and Deptford, and the shipping in the Pool; due regard being had to size and colour, so that the laws of perspective in distance and atmosphere might not be outraged; the immediate foreground being constructed of cork broken into rugged and picturesque forms, and covered with minute mosses and lichens, 'producing,' says a critic of the period, 'a captivating effect amounting indeed to reality.'