[638] Walter Thornbury, “The Life of J. M. W. Turner, R.A.,” pp. 113–15. [639] Cosmo Monkhouse, “The Earlier English Water-Colour Painters,” p. 62. [640] Edmund Garvey, an inferior painter, had exhibited “Three Views of the Alps” in 1770, and an artist named Morris had in 1769 exhibited “A Waterfall in the Alps.” [641] Cosmo Monkhouse, “The Earlier English Water-Colour Painters,” p. 38. [642] Walter Thornbury, “The Life of J. M. W. Turner, R.A.,” p. 50. [643] Of the twenty-seven pictures by Cozens in the South Kensington Gallery all but one or two are Italian scenes. Even more interesting for study is the fine collection of drawings by him in the Print Room of the British Museum. [644] Cosmo Monkhouse, “The Earlier English Water-Colour Painters,” p. 86. [645] Many of Girtin’s drawings are in the British Museum. [646] J. T. Smith, “Nollekins and His Times,” II, 339 (London, 1828). [647] James A. Manson, “George Morland,” p. 80. [648] Many of Morland’s pictures have been engraved. There are numerous reproductions in “George Morland” by J. T. Herbert Baily (“Connoisseur,” Extra Number, 1906) and in “George Morland” by J. T. Nettleship (“The Portfolio,” December, 1898). [649] Biese in “Die Entwickelung des Naturgefühls,” pp. 209–48, gives a brief résumé of the development of landscape painting in Germany. He calls Rubens and his school the first to make the painting of Nature an independent branch of art, while Ruysdael (1681) is the one in whom “die ganze Poesie der Natur” finds expression. His chapter closes with these words: “Alle diese grossen Niederländer eilen weit der Poesie ihrer Zeit voraus; Gebirge und Meer finden im Wort erst 100 Jahre später ihrer begeisterten Schilderer, und ein in sich stimmungsvoll, abgeschlossenes, lyrisches Landschaftsbild wird erst am Ende des achtzehnten Jahrhunderts in der deutschen Dichtung geboren.” In England, it will be observed, the love of Nature finds earlier and more abundant expression in poetry than in painting, and its completest expression in Wordsworth’s poetry precedes its complete expression in the great English landscape painters of the early nineteenth century. See also for brief résumé of “Landschaftsmalerei” as an indication mainly of the increasing knowledge of distant lands, new forms of vegetation, etc., Humboldt, “Kosmos,” II, 47–58. Transcriber’s Notes: 1. Obvious printers’, punctuation and spelling errors have been corrected silently. 2. Some hyphenated and non-hyphenated versions of the same words have been retained as in the original. 3. Italics are shown as _xxx_.