[567] Among Vandyck’s contemporaries in England the one who made most successful use of landscape was Mytens (in England after 1618), another foreigner, to whom is attributed the interesting portrait of “Sir Jeffrey Hudson, the Dwarf” at Hampton Court. The diminutive figure is represented as standing in a full landscape in which there is an admirable effect of distance and of clear, harmonious coloring. [568] Now in William III’s State Bedroom at Hampton Court but formerly in the Queen’s Bedchamber at Windsor Castle. [569] The ablest of Lely’s pupils was John Greenhill (1649–76). One of his portraits at the Dulwich Gallery is described by Mr. Cartwright as “My first wife’s pictur, Like a sheppardess.” It shows a charming lady in low satin bodice and pearls, her right hand resting on the head of a sheep, while behind her is a landscape of brown trees and rough tower-crowned hills under a gray and misty sky. William Wissing (1656–87), another pupil of Lely, and a rival of Kneller in popular favor, also made some attractive use of vaguely indicated stretches of landscape, but usually his portrait accessories were pillars, heavily draped curtains, stormy skies, with, as the loveliest point, a flowering rose-bush, an elaborately painted thistle, a vase of flowers, in the foreground. Two characteristic portraits are those of Mrs. Knott and Mrs. Lawson at Hampton Court. [570] Reproduced from engraving by Isaac Becket in Cyril Davenport, “Mezzotints,” p. 94. [571] Engraved by J. Smith. Reproduced in Davenport, “Mezzotints,” p.100. [572] In William III’s Presence Chamber at Hampton Court. “Lady Middleton” is No. 54. [573] Reproduced in Mrs. Oliphant’s “The Reign of Queen Anne.” [574] Reproduced in Walpole, “Letters,” IX, 484, and II, Frontispiece. [575] Engraved by J. McArdell, a famous example of his work. Reproduced in Davenport, “Mezzotints.” [576] Horace Walpole, “Anecdotes of Painting,” II, 442. [577] Lord Ronald Sutherland Gower, F.S.A., “Sir Joshua Reynolds, F.R.A.,” p. 23. [578] The last four portraits mentioned are in the National Gallery. [579] Reproduced in Lord Gower’s “Sir Joshua Reynolds.”