tes 1808, 1809,) occur
the magnificent Mont St. Gothard, and little Devil's Bridge. Now it is
remarkable that after his acquaintance with this scenery, so congenial
in almost all respects with the energy of his mind, and supplying him
with materials of which in these two subjects, and in the Chartreuse,
and several others afterwards, he showed both his entire appreciation
and command, the proportion of English to foreign subjects should in the
rest of the work be more than two to one; and that those English
subjects should be--many of them--of a kind peculiarly simple, and of
every-day occurrence, such as the Pembury Mill, the Farm Yard
Composition with the White Horse, that with the Cocks and Pigs, Hedging
and Ditching, Watercress Gatherers (scene at Twickenham,) and the
beautiful and solemn rustic subject called a Watermill; and that the
architectural subjects instead of being taken, as might have been
expected of an artist so fond of treating effects of extended space,
from some of the enormous continental masses are almost exclusively
British; Rivaulx, Holy Island, Dumblain, Dunstanborough, Chepstow, St.
Catherine's, Greenwich Hospital, an English Parish Church, a Saxon Ruin,
and an exquisite Reminiscence of the English Lowland Castle in the
pastoral, with the brook, wooden bridge, and wild duck, to all of which
we have nothing foreign to oppose but three slight, ill-considered, and
unsatisfactory subjects, from Basle, Lauffenbourg, and another Swiss
village; and, further, not only is the preponderance of subject British,
but of affection also; for it is strange with what fulness and
completion the home subjects are treated in comparison with the greater
part of the foreign ones. Compare the figures and sheep in the Hedging
and Ditching, and the East Gate Winchelsea, together with the near
leafage, with the puzzled foreground and inappropriate figures of the
Lake of Thun; or the cattle and road of the St. Catherine's Hill, with
the foreground of the Bonneville; or the exquisite figure with the sheaf
of corn, in the Watermill, with the vintages of the Grenoble subject.

In his foliage the same predilections are remarkable. Reminiscences of
English willows by the brooks, and English forest glades mingle even
with the heroic foliage of the Aesacus and Hesperie, and the Cephalus;
into the pine, whether of Switzerland or the glorious Stone, he cannot
enter, or enters at his peril, like Ariel. Those of the Valley of
Chamo