There is in the South Kensington Museum a beautiful canvas by Gilpin called “Cows in a Landscape.” It has a smooth, clear, decorative effect, the cows are broadly, simply, but realistically painted, and the landscape gives in most suggestive fashion the mists, the faintly illumined sky, the dewy feeling, of early morning.[636] [Illustration: LODORE WATERFALL _By Joseph Farington_] The men enumerated in the preceding paragraph did all of their work, or, in a few cases such as Paul Sandby and Sawrey Gilpin who painted through the century, did much of their most characteristic work, before 1785. There is still another group of men who were born about the middle of the century the bulk of whose work, or whose most significant work, belongs before 1800. Of professional marine painters we have Robert Cleveley who began to exhibit in 1780; the more celebrated Nicholas Pocock (1741–1821); and John Thomas Serres (1759–1825), all of whom carried on the traditional representation of noted ships, harbors, and naval actions. David Allan’s (1744–96) best work is his set of illustrations of “The Gentle Shepherd.” He went to the Pentland Hills and studied both the places and the people he wished to represent. “He visited,” says Cunningham, “every hill, dale, tree, stream, and cottage, which could be admitted into the landscape of the poet.... Glaid’s farm house, the Monk’s burn, the Linn, the Washing Green, Habbie’s How, New Hall House, and that little breast-deep basin in the burn, called Peggie’s pool, were all carefully drawn.” It was Allan’s endeavor to do in painting what Ramsay had done half a century before in poetry, and though his pictures are far from expressing the brightness and beauty of the poem, they fairly take rank as important attempts to represent native landscapes from careful, first-hand observation. James de Loutherbourg (1740–1812) came to England about 1770, and was constantly represented in the exhibitions during the rest of the century. His vigorous storms and sea-scapes were long popular. The public taste that could laud De Loutherbourg’s pictures and neglect Wilson’s was severely satirized by “Peter Pindar.”[637] But De Loutherbourg has another claim to recognition in that he was one of the staunchest defenders of the picturesque scenery of the British Isles as against that of other lands. He maintained that no English painter need go abroad for inspiration when he had access to the Highlands of Scotland, the Lake District of Cumberland, and the mountainous region of North Wales. It was to further this idea that he opened his panorama of English scenery in 1782, a show by which Gainsborough was fascinated, and which, apparently, prompted his visit to the Lakes in 1783.[638] Thomas Hearne (1744–1817) is of importance in the early history of water-color. In 1777 he began a series of tours through Great Britain for the purpose of illustrating “The Antiquities of Great Britain” for which he made fifty-two drawings. Mr. Cosmo