[600] Cosmo Monkhouse, “The Earlier English Water-Colour Painters,” pp. 35, 36. [601] Cozens had a curious way of getting hints for landscape composition. He taught his pupils to splash paint on the bottoms of earthenware plates and to stamp impressions therefrom on sheets of damp paper. The accidental forms thus struck out were counted a help to invention. The early exhibitions record many bizarre attempts at landscapes such as “A landscape done in needlework and human hair” (1772), “three drawings made upon a board with a hot iron“ (1777), “flowers cut in cork,” “three small landscapes made in oil with Trees and Shrubs in sea-weed” (1780). These were apparently exhibited in all seriousness. In 1770 there was “A landscape in colored wax.” [602] In the Print Room of the British Museum are sixty-eight small sketches made by Paul Sandby in the neighborhood of Edinburgh, but most of these are of figures. [603] Allan Cunningham, “The Lives of the Most Eminent British Painters” (1879), II, 210. [604] Brydall, “Art in Scotland.” [605] Zucarelli (1701–88) on a first visit to London painted some landscapes but he was chiefly occupied as scene painter at the opera. The great vogue of his pictures belongs in his second visit (1752–73). Jan Griffier’s sons should perhaps be mentioned. Jan (d. 1750) was especially noted as a copier of Claude’s pictures. Robert, who painted in his father’s style, died in 1760. [606] There is in the National Portrait Gallery, one of the more important of Wilson’s portraits before his Italian visit, entitled, “The Two Princes and their Tutor,” a stiff, formal, but not uninteresting picture. The most admirable portrait by Wilson, that of the artist Mortimer, deserves the high praise it has won from competent critics, and shows what Wilson could do with a congenial subject and after the enfranchisement of his art by his work as a landscape painter. Except for a portrait of himself this portrait of Mortimer is the only one done by him after his return from Italy. It came into the possession of Mr. John Britton who, in 1842, wrote a pamphlet about it and the paintings and merits of Wilson in general (Cunningham’s “British Painters,” I, 153). The portrait of Mortimer is now in the Gibson Gallery of the Royal Academy, London. Reproduced in Beaumont Fletcher’s “Richard Wilson.” [607] T. Wright, “The Life of Richard Wilson, R.A.,” p. 72. [608] Beaumont Fletcher, “Richard Wilson, R.A.,” p. 90. [609] Sir Walter Armstrong, “Gainsborough and His Place in English Art,” p. 63. [610] In 1755 there had been an exhibition started by Hogarth for the benefit of the Foundling Hospital. It was the success of this enterprise that led to the establishment of public exhibitions in 1760. [611] Reproduced in Beaumont Fletcher’s “Richard Wilson, R.A.” [612] Reproduced in “Magazine of Fine Arts,” November, 1805. [613] Engraved by W. Watts in 1786. Print Room of British Museum.