e_ are seen
promenading in the park, is one of his best paintings. An engraving of
it by F. D. Soiron, produced in 1793, under the title of _Promenade in
St. James's Park_, was very popular.

Francis Wheatley, R.A., was a topographical artist, but is better known
as a painter of _genre_ subjects, especially by the engravings after
"The Cries of London." _Preparing for Market_ (Plate VIII) is a good
example of his latter work, which was somewhat insipid.

The reputation of Thomas Rowlandson, who could paint landscapes with
great ability, rests upon his caricatures, which were usually drawn in
outline and tinted. He lived a somewhat dissipated life, and possessed
an abundant sense of humour, as displayed in the _Entrance to Vauxhall
Gardens_ (Plate IX), the noted place of amusement and rendezvous of the
fashionable set in the early part of the last century.

John Robert Cozens, the son of Alexander Cozens, was the first artist
at this period "to break away from the trammels of topography, and to
raise landscape painting in water colours to a branch of fine art." He
travelled abroad and studied principally in Italy and Switzerland. The
lake of Nemi, situated in the Campagna, some sixteen miles west of Rome,
and reached by the famous Via Appia, has always been a favourite subject
with both poets and artists. Near the north rim of the worn-out crater,
in which the lake is situated, is the village of Nemi, surmounted by a
fine old castle, which passed through the hands of many noble families.
Pope, Byron, and others have sung the praises of the lake. Turner has
left at least five drawings of it, one of which is engraved in
Hakewell's "Italy." William Pars, Richard Wilson and other artists of
the early landscape school also painted the scene. Cozens made many
drawings of Nemi and the vicinity. Two are in the Victoria and Albert
Museum and another is in the Whitworth Institute, Manchester. The
painting (Plate X), belonging to Mr. R. W. Lloyd, shows the lake with
Palazzo Cesarini on a height by its side, and the Campagna in the
distance. It is a fine example of Cozens' work treated in his poetic
manner, and into which more colour than usual has been introduced.
Cozens' last visit to Italy was made in 1782 in company with the noted
William Beckford, the author of "Vathek." On his return he gradually
lost his reason. It is pathetic to think such was the sad end of a man
inspired with such artistic talents. As it has already been