Contemporary with Wilson and Gainsborough were many artists of lesser note whose work is nevertheless important because of the cumulative testimony it bears to the growing interest in Nature. The catalogues of the Society of Artists (1761–91), of the Free Society (1761–83), and of the Royal Society which began its exhibitions in 1769,[631] supplemented by some other scattered sources of information, give an idea of the scope and the themes of this work, though not many of the original pictures are now accessible. We find, in the first place, that nearly all the artists who were painting from Nature before 1755 continued their work for periods of considerable length after that date. Boydell published forty plates from the “Derbyshire Views” of Thomas Smith who continued to exhibit till 1767.[632] Samuel Scott exhibited occasional sea and shore views to 1771. Between 1761–74 George Smith of Chichester exhibited over a hundred landscapes some of which show a reaching-out into new realms. He has not only _genre_ pictures such as “A Country Family Picking Their Own Hops” (1761)[633] and “Cottages in a Wood” (1773), but experiments such as “Moonlight,” “Mist,” “Sunset,” and eighteen “Frost” or “Snow” scenes. William Bellers is credited, between 1761–73, with seventy-seven landscapes, twenty-eight of them being views in the Lake District. Alexander Cozens lived till 1786 and exhibited many small landscapes in which he paid especial attention to “chiaro-oscuro.” His chief work, however, was as a teacher, and he published some books on art, notable among them being “The Shape, Skeleton, and Foliage of Thirty-Two Species of Trees” (1771, republished 1786). Taverner was also working as late as 1772. George Stubbs was constantly represented in exhibitions from 1761 to 1803. [Illustration: PEMBROKE CASTLE _By Paul Sandby_]