This realistic programme was carried out with yet greater consistency by West's younger compatriot _John Singleton Copley_, who after a short sojourn in Italy migrated to England in 1775. His chief works in the London National Gallery depict in the same way events from contemporary history--"The Death of the Earl of Chatham, 7th April 1778" and "The Death of Major Pierson, 6th January 1781,"--and it is by no means impossible that when David, in the midst of the classicising tendencies of his age, ventured to paint "The Death of Marat" and "The Death of Lepelletier," he was led to do so by engravings after Copley. In the representation of such things other painters of the epoch had draped their figures in antique costume, called genii and river-gods into action, and given a Roman character to the whole. Copley, like West, offers a plain, matter-of-fact representation of the event, without any rhetorical pathos. And what raises him above West is his liquid, massive colour, suggestive of the old masters. In none of his works could West set himself free from the dead grey colour of the Classical school, whereas Copley's "Death of William Pitt" is the result of intimate studies of Titian and the Dutch. The way the light falls on the perukes of the men and the brown, wainscoted walls puts one in mind of Rembrandt's "Anatomical Lecture"; only, instead of a pathetic scene from the theatre, we have a collection of good portraits in the manner of the Dutch studies of shooting matches. [Illustration: _Mansell Photo_ LAWRENCE. CAROLINE OF BRUNSWICK, QUEEN OF GEORGE IV.] [Illustration: LAWRENCE. THE COUNTESS GOWER.] [Illustration: _Cassell & Co._ RAEBURN. SIR WALTER SCOTT.] That this unhackneyed conception of daily life has its special home in England is further demonstrated by the work of _Daniel Maclise_, who depicted "The Meeting of Wellington and Blücher," "The Death of Nelson," and other patriotic themes upon walls and canvases several yards square, with appalling energy, promptitude, and expenditure of muscle. By these he certainly did better service to national pride than to art. Nevertheless, with their forcible, healthy realism they contrast favourably with the mythological subjects so universally produced on the Continent at that time.