Monkhouse praises him for close and fresh observation of Nature, for excellence in atmospheric perspective, for truth of sunlight, and for beauty of trees and skies.[639] Though he lived well into the nineteenth century, much of his most finished work belongs before 1800. Joseph Farington (1747–1821) was a pupil of Richard Wilson. He exhibited almost yearly from 1765 to 1813. He may possibly have been with Wilson in Wales before 1766. At any rate he exhibited in 1768 and 1770 views of Snowdon Hill and Penmaenmawr. Between 1778 and 1784 are views of “Ambleside,” “Skiddaw and Derwentwater,” “Lodore,” “Rydal Waterfall,” “Borrodale Grange,” “Winandermere from High-harig.” Mr. Gilpin in his book on Cumberland (1786) says that descriptions are useless since there are prints so accurate and beautiful as these of Mr. Farington. Mr. Farington also has many views from Kent, Sussex, Devonshire, Oxford, and Buckinghamshire. John Rathbone (1750–1807), sometimes called “the Manchester Wilson,” began to exhibit in 1785. Of his forty-eight recorded landscapes eleven represent Lake District scenes, and most of the others are from similar scenery in Derbyshire, Lancashire, on the Wye, or in Wales. Julius Caesar Ibbetson (1759–1817) painted Welsh views after 1796 and Cumberland views after 1798. He is best known, however, as a skilful painter of animals and of groups of gay, rollicking rustic figures in an agreeable landscape setting. Of the six pictures by him in the South Kensington Museum the one called “Jack in his Glory” is most characteristic. The “Conway Castle, North Wales” (1794) has the added interest of being a moonlight scene. Abraham Pether (1756–1812) began to exhibit in 1777. From 1784 to 1800 at least a fifth of his exhibited pictures were simply entitled “Moonlight.” He painted “a water-mill,” “an iron foundry,” “a waterfall,” “a fire,” and “ruins” by moonlight. He also chose as themes “Evening,” “Sunset,” “Morning just before Dawn,” “Evening and Rain,” and other unusual and delicately discriminated natural phenomena. Edward Dayes (1763–1804), the master of Girtin, made many studies in the Lake District after 1790. The “Windermere” and “Keswick Lake” in the gallery at South Kensington attest the truthfulness and charm of his work. The most important landscape painters of the second half of the century have yet to be mentioned, Morland, Girtin, and Cozens. John Robert Cozens (1752–99) began to exhibit when only fifteen years of age. At twenty-four he was taken by Mr. Robert Payne Knight to Switzerland to make sketches of the scenery. Of the work done on this trip Mr. Monkhouse says,