rt of his life a teacher of drawing,
and he published a "Treatise on Landscape Painting and Effect in Water
Colours," in which his views are clearly stated.*

[Footnote *: The "Treatise" has recently been republished as the
Special Autumn Number of _The Studio_.]

Samuel Prout, one of the numerous Devonshire painters, also derived a
great part of his income by giving instruction in drawing and painting.
Numerous drawing copies for students were produced by him by means of
soft-ground etching. He was at first employed by John Britton, the
author of "The Beauties of England and Wales," in making topographical
drawings for this work. In 1819 he went to Normandy for the benefit of
his health. There he turned his attention to producing those paintings
of cathedrals and picturesque buildings for which he is noted. Later he
travelled through Germany and Switzerland to Italy, and visited Rome and
Venice (see Plate XIX). Afterwards he published facsimiles of many of
the drawings executed during these tours on the Continent. They were
produced in lithography by himself on the stone, an art in which he
greatly excelled. The architectural drawings by Prout are remarkable for
their picturesque treatment, rather than for correctness of
construction. Details are sparsely indicated by the use of a reed pen.
Bright effects of light and shade are, however, given, and the
introduction of groups of figures add brilliancy to these paintings.

James Duffield Harding, like Prout, from whom he received some lessons,
also excelled in lithography. Many of his paintings were reproduced by
him in a publication entitled "Sketches at Home and Abroad." He visited
Italy on two occasions. _Vico, in the Bay of Naples_, between
Castellamare and Sorrento (Plate XX), is an example of his free manner
of painting. An engraving of it appeared in the "Landscape Annual" in
1832. He was a member of the "Old" Society, and also painted in oils.
William Henry Hunt, familiarly called "Old" or "Billy" Hunt in his
latter years by his fellow artists, to distinguish him from William
Holman Hunt, was an artist with a style peculiar to himself. He painted
figures, especially young rustics, with a sense of humour, but he is
chiefly noted for his exquisite fruit and flower pieces, which were
executed with great delicacy and with a remarkable power of rendering
the effects of light and shade on the surface of the objects. To obtain
these he would roughly pencil out, sa