Two other facts that bear upon the period as a whole should, in conclusion, be noted. The first of these is the stimulus given to the interest in Nature in England by the sketches brought home by artists who had been in foreign lands. Nearly every artist studied in Italy so that separate mention of Italian scenes is not necessary. But some artists went into newer fields. Charles Fox (1749–1809) is interesting as being the first recorded artist to visit Norway, Sweden, and Russia for the purpose of representing the wild scenery of those countries. Draughtsmen accompanied almost every public or private expedition to remote regions. William Pars went with Dr. Chandler to Greece, 1764–66, and with Lord Palmerston to various parts of the continent in 1767. Thomas Hearne was in the Leeward Islands with Sir Ralph Payne in 1771–75. John Cleveley went with Sir Joseph Banks to the Hebrides in 1772, and with Captain Phipps to the North Sea in 1774. John Webber was with Captain Cook on his last voyage to the South Seas in 1776–80. A. M. Devis was in the Orient for the East India Company in 1788. And William Alexander went with Lord Macartney to China in 1792. These men brought back hundreds of views, many of which were exhibited at the Royal Academy and later appeared as illustrations in the books describing the various tours. The interest aroused by these pictures is an evidence of the new romantic delight in whatever is remote, and especially in the landscape characteristic of distant lands. But it must be noted that the importance of this work is lessened by the two facts that most of it belongs late in the century, after English landscape art was already fairly well established, and that, in the second place, much of it is of merely curious interest and intended to show the oddities in flora or fauna or in human life in the various countries. The second point is the prolonged dominance of foreign models. Walpole in his “Anecdotes of Painting” (1762–71) said quite justly that English artists drew “rocks and precipices and castellated mountains” not because they saw such objects in England but because “Salvator wandered amongst Alps and Apennines.” But the artists were not alone in preferring to look at Nature through Italian spectacles. Poets, too, gave praise to the Poussins, Salvator Rosa, and Claude Lorrain. When Thomson in “The Castle of Indolence” (1748) had the cool airy halls of his palace decorated with landscapes he chose Whate’er Lorraine light-touch’d with softening hue Or savage Rosa dash’d or learned Poussin drew.