y, a group of plums, and thickly
coat each one with Chinese white, which would be left to harden. On this
ground he afterwards painted his colours with a sure hand. By this means
he would obtain a brilliant effect. Further, to enhance it, he would
make free use of the knife on the various surroundings to give a
contrast, and at the same time to produce a feeling of texture on the
various surfaces, so as not to have a monotonous and flat appearance.
This method of scraping up portions of the surface of the paper is
clearly shown in _Plucking the Fowl_ (Plate XXI).

James Holland commenced his artistic career by painting flowers on
pottery at the factory of James Davenport at Burslem. He came to London
and continued to paint flowers. After a visit to Paris he devoted
himself to landscapes. Subsequently he visited Venice, and produced, in
both oils and water colours, some excellent paintings remarkable for
their brilliant colouring (see Plate XXII).

James Baker Pyne, born at Bristol, was a self-taught artist. He also is
noted for his brilliant colouring, but there is a want of solidity in
his painting. He visited the Continent and travelled as far as Italy
(see Plate XXIII). His landscapes were chiefly river and lake subjects.
He published "The English Lake District" and "The Lake Scenery of
England," illustrated with lithographs of his works. He was a member of
the Society of British Artists, and became a vice-president. Like
Girtin, the illustrious young painter Richard Parkes Bonington was cut
off in life at the early age of twenty-seven. He was born at Arnold,
near Nottingham. Whilst still a boy he was taken by his parents to
Calais, where he received some instruction in water colours from
Francia. Later the family settled in Paris. Here Bonington resided the
greater part of his life. He made a few visits to England, and on the
last occasion he was taken ill and died of consumption. He practised at
the Louvre and the _Institut_, and also received instruction from Baron
Gros. His paintings, in oil and water colours, were almost entirely
executed in France; he, however, made one visit to Italy. In Paris his
works were chiefly architectural with street scenes, admirably executed,
whilst his landscapes with fine atmospheric effects (see Plate XXIV)
display great freedom in execution. It is somewhat remarkable that after
Cotman and Bonington had, in the first part of the nineteenth century,
developed a style so greatly ap