[617] John Ruskin, “The Art of England,” Lecture VI, “George Robson and Copley Fielding.” [618] Sir Joshua Reynolds, “The Fourteenth Discourse.” [619] In the “Magazine of Fine Arts,” November, 1805. [620] C. R. Leslie, R.A., “Memoirs of the Life of John Constable” (ed. 1845), p. 110. [621] William Boulton, “Thomas Gainsborough,” p. 47. [622] George William Fulcher, “The Life of Thomas Gainsborough,” p. 175. [623] William Boulton, “Thomas Gainsborough,” p. 249. [624] Sir Walter Armstrong, “Gainsborough and His Place in English Art.” [625] C. R. Leslie, R.A., “Memoirs of John Constable” (ed. 1845), p. 354. [626] A letter to Pearce at Bath. William Boulton, “Thomas Gainsborough,” p. 277. [627] Sir Walter Armstrong, “Gainsborough and His Place in English Art,” p. 149. [628] A. E. Fletcher, “Thomas Gainsborough, R.A.,” p. 161. [629] William Boulton, “Thomas Gainsborough,” p. 278. [630] In a letter to William Jackson written about 1768. [631] Algernon Graves, F. S. A., “The Society of Artists and the Free Society,” 1907; “The Royal Academy Exhibitors,” 1906. [632] Thomas Gray in his “Journal” for October 13, 1769, says, “At the ale-house where I dined in Malham, Vivares, the landscape painter, had lodged for a week or more; Smith and Bellers had also been there, and two prints of Gordale have been engraved by them.” [633] Horace Walpole in “Anecdotes of Painting” (pub. 1762–71), II, 717 (ed. 1826), suggested hop-fields as new picturesque material for artists. Scott in his “Essay on Painting” reiterated the idea, giving Walpole credit as its originator. They apparently did not know George Smith’s picture. [634] There is a fine collection of Sandby’s drawings in the Print Room of the British Museum. For particulars of his life see William Sandby, “Thomas and Paul Sandby: Their Lives and Works.” [635] Cosmo Monkhouse, “The Earlier English Water-Colour Painters,” p. 24. [636] It is said that Gilpin’s landscape backgrounds were frequently put in by other men, notably by Barret. [637] Wolcot (“Peter Pindar”) in his verse comments on the exhibitions of 1782, 1783, 1785, 1786, says in an apostrophe to De Loutherbourg: And Loutherbourg, when Heaven so wills To make brass skies and golden hills, With marble bullocks in glass pastures grazing, Thy reputation too will rise And people, gaping with surprise, Cry “Master Loutherbourg is most amazing.” But thou must wait for that event; Perhaps the change is never meant; Till then with me thy pencil will not shine; Till then old red-nosed Wilson’s art Will hold its empire o’er my heart, By Britain left in poverty to pine. But honest Wilson, never mind, Immortal praises thou shalt find, And for a dinner have no cause to fear. Thou start’st at my prophetic rhymes; Don’t be impatient for those times, Wait till thou hast been dead a hundred year.