After Cox and de Wint came _Creswick_, more laborious, more patient, more studious of detail, furnished perhaps with a sharper eye for the green tones of nature, though with less feeling for atmosphere. It cannot be said that he advanced art, but merely that he added a regard for light and sunshine, unknown to the period before 1820, to the study of Hobbema and Waterloo. With those who would not have painted as they did but for Constable, _Peter Graham_ and _Dawson_ may be likewise ranked; and these artists peculiarly devoted themselves to the study of sky and water. Henry Dawson painted the most paltry and unpromising places--a reach of the Thames close to London, or a quarter in the smoky precincts of Dover, or Greenwich; but he painted them with a power such as only Constable possessed. In particular he is unequalled in his masterly painting of clouds. Constable had seldom done this in the same way. He delighted in an agitated sky, in clouds driven before the wind and losing their form in indeterminate contours; in nature he saw merely reflections of his own restless spirit, striving after colour and movement. Dawson painted those clouds which stand firm in the sky like piles of building--cloud-cathedrals, as Ruskin has called them. There are pictures of his consisting of almost nothing but great clouds. But that wide space, the earth, which our eyes regard as their own peculiar domain, is wanting. Colours and forms are nowhere to be seen, but only clouds and undulating yellowish mist in which objects vanish like pallid spectres. _John Linnell_ carried the traditions of this great era on to the new period: at first revelling in golden light, in sunsets and rosy clouds of dusk, and at a later time, in the manner of the Pre-Raphaelites, bent on the precise execution of bodily form.