(^(Xn^^ (^t^V
 
 MEMOIR 
 
 OF THE 
 
 LIFE OF DAVID COX 
 
 MEMBER OF THE SOCIETY OF PAINTERS IN WATER COLOURS 
 
 WITH SELECTIONS FROM HIS CORRESPONDENCE, 
 AND SOME ACCOUNT OF HIS WORKS 
 
 BY 
 
 N. NEAL SOLLY 
 
 illustratcb tuith numerous ^hotrtcjraphs from ^rakuings bu titf Artist's oton kanb 
 
 Bettws-y-Coed Old Ciiuixli. 
 
 " Obsen-e that thy best director, thy perfect guide, is Nature. Copy from her. In her path is thy 
 triumphal arch. She is above all other teachers ; and ever confide in her with a bold heart." 
 
 Cenni.no Cennini. Rome, 1437. 
 
 LONDON: 
 CHAPMAN AND HALL, 193, PICCADILLY 
 
 1873 
 
 \The right of Translation is reset ved.]
 
 LONDON ; 
 
 PRINTED BY VIRTUE AND CO., 
 
 CITY ROAD.
 
 m
 
 Art 
 Libiary. 
 
 
 PREFACE. 
 
 ^^^^PWARDS of fourteen years have passed away since 
 
 I ^' PvM ^^^ great landscape-painter, David Cox, was carried 
 
 ^ e^i^&l to his last resting--place in the quiet churchyard 
 
 of Harborne, followed by many warmly attached 
 
 friends and relatives. 
 
 I have long felt that a memoir of this good man and true 
 artist, and a record of his principal works, was a want in the 
 literature of our day, and one which ought to be supplied, as 
 "^ a labour of love. 
 
 I have waited in the expectation that some writer would 
 
 undertake this biography, equally willing, and more entirely 
 
 qualified by reputation, for so honourable a task ; but finding 
 
 that there was no immediate prospect of this, and being 
 
 encouraged to go forward in this work by several old friends 
 
 \ and admirers of David Cox, and assured also of generous 
 
 \ help from various quarters, I now appear before the public, 
 
 ^ soliciting an indulgent construction of my endeavours to do 
 
 ^^ justice to the simplicity and truthfulness of his character and 
 
 to the originality of his genius. 
 
 The name of David Cox, although familiar to most lovers 
 of art throughout Europe and America, will probably not 
 convey to the majority of my readers the deep and varied 
 meaning which it suggests to those who have made a long 
 and careful study of his drawings and paintings. I shall 
 endeavour, therefore, to show as I proceed some of the 
 grounds on which his fame rests as the representative painter 
 
 18G9£2
 
 PREFACE. 
 
 of English and Welsh scenery, and also to indicate many of 
 those rare and peculiar merits which are now acknowledged 
 to exist in his works, merits which recommend them especially 
 to all true lovers of natural scenery. 
 
 My aim will also be to introduce my readers to the man 
 just as he was in every-day life, genial, gentle, simple-minded, 
 and modest, yet full of penetration and ardour in all matters 
 pertaining to his profession. With this object I shall give 
 some quotations from familiar . letters and relate various 
 anecdotes, which, although trifling in themselves and occa- 
 sionally without any very special reference to art, will, I 
 believe, assist in my object of showing David Cox as he was 
 known to his friends, and as he still lives in the memory of 
 those who have survived him. 
 
 Although it may be considered a truism, I cannot but 
 remark how completely Cox's life has been expressed and 
 written in his works. 
 
 The study and enumeration of what his hand and his mhid 
 produced, year after year, shows with what patient industry 
 and lifelong practice he wrought out the ideal of his life and 
 fulfilled his mission. 
 
 Continually changing the scene, but ever keeping in mind 
 one and the same object, he gradually rose to the consummate 
 knowledge and power which culminated in the deep, grand 
 feeling of his latest works. 
 
 I trust that very few who follow the career of David Cox 
 from his boyhood to his grave will feel disappointed at the 
 absence from this narrative of all exciting events. In a life 
 of such constant work, following but one pursuit, the chief 
 incidents must necessarily consist in his onward progress, 
 step by step, up the steep and rugged hill of fame. 
 
 The history of this onward progress, beset as it was in 
 early years with many difficulties, and an account of the 
 events which befell him during his long life, will. I hope, be 
 thought not only interesting but eminently encouraging by
 
 PREP'ACE. VU 
 
 many, who, like Cox, have only their own exertions to rely 
 on for their advancement. I shall endeavour to lay before 
 my readers a truthful picture of David Cox the artist, to 
 indicate how ardent was his love for nature, and how un- 
 wearied his industry. As to his genius, I need hardly 
 insist on that ; it is so plainly declared in his works. 
 
 David Cox left no auto-biography, and not very many 
 letters of general interest. 
 
 Those which have been preserved, and which are Inter- 
 woven with this memoir, will, I believe, be read with interest, 
 not on account of their possessing any particular literary 
 merit, but because they help to illustrate his character and 
 disposition, and also contain some of his views and reflections 
 on matters connected with art ; they also give some account 
 of his sketching excursions. 
 
 It was only in the year 1866 that the first short biographical 
 notice of David Cox appeared in that well-known work, by 
 Messrs. Richard and Samuel Redgrave, entitled " A Century 
 of Painters." But from the compass and scheme of those 
 volumes only a few pages could be devoted to the life of 
 each artist, and, although interesting and instructive, much 
 is necessarily left unrecorded. 
 
 The same may be said of the short memoir of this artist 
 contained in a newspaper article in the Illustrated Midland 
 Ahws, in May, 1870, written by Mr. William Hall, of Bir- 
 mingham, to whom I am indebted for much assistance. 
 
 Some of the old friends and companions with whom Cox 
 was on very intimate terms have already passed away, and 
 with'each succeeding year the difficulty of obtaining full and 
 accurate information has Increased. One or two chapters will 
 be found at the end of this book, giving an account of many 
 of his principal works In water colours and oils ; and in the 
 Appendix there is a complete list of all the drawings exhibited 
 by him In the gallery of the old Society of Painters in Water 
 Colours, of which he was a member for forty- six years ; there
 
 VIU PREFACE. 
 
 is also a chapter on the genius and character of Cox at the 
 end of the book. 
 
 It now remains for me to tender my sincere thanks for the 
 kind assistance which has been rendered to me in the progress 
 of this work, not only in the way of information and original 
 letters, but also by the loan of drawings and paintings, the 
 works of David Cox, to be copied by photography, and which 
 appear in this volume. These illustrations, by the artist's 
 own hand, of works painted by him at various dates, will, I 
 trust, be regarded with especial interest by many who have 
 no very ready means of access to the originals. To Mr. 
 David Cox, junior, and to Mrs. William Roberts my grateful 
 acknowledgments are peculiarly due ; likewise to Mr. F. 
 Craven, to Mr. H. T. Broadhurst, to Mr. Peter Allen, to 
 Mr. S. Mayou, Mr. S. Ouilter, and to Mr. Blacker, for the 
 loan of valuable works. To Messrs. E. Everitt, W. S. Ellis, 
 George Fripp, Alfred Fripp, G. P. Popkin, William Holmes, 
 William Hall, J. Hollingsworth, B. A. Hallam, J. Banner, and 
 Dr. Gibbs Blake, I am also indebted for various communica- 
 tions and assistance. 
 
 As " Bettws-y-Coed " is so peculiarly identified with the 
 name of David Cox, I have added a chapter with that title, 
 which I have devoted exclusively to a description of the place 
 and its immediate neighbourhood, and to an account of the 
 excursions he made there. Bettws was the scene of the 
 "Welsh Funeral," perhaps his most famous work. A photo- 
 graphic copy of this will be found at the beginning of this 
 preface. 
 
 In conclusion, I venture to express a hope that this record 
 of an honourable and successful life — successful in the truest 
 sense of the word — will be the means of enablinsf some of mv 
 readers to appreciate better the artist and his works, and 
 also be welcomed by a few old friends, who sincerely loved 
 the man, and who still cherish his memory. 
 
 N. N. S. 
 
 Edgbaston, Decemher, 1872.
 
 CONTENTS. 
 
 CHAP. PAGE 
 
 I. Early Life, 1783 to 1804 i 
 
 II. First Residence in London, 1804 to 18 14 15 
 
 III. Hereford, 1814 to 1827 34 
 
 IV. Works Illustrated by David Cox 51 
 
 V. Second Residence in London, 1827 to 1835 61 
 
 VI. Second Residence in London (continued) , 1835 to 1840 ... 78 
 
 VII. Progress in Art and Removal from London, 1840 — 1841 . . 93 
 
 VIII. First Years at Harborne, 1841 to 1844 107 
 
 IX. Life at Harborne till Death of his Wife, 1844 to 1846 . .129 
 
 X. Life at Harborne, and Success in Oil-Painting, 1846 to 1849 . 141 
 
 XI. Bettws-y-Coed 158 
 
 XII. Painting in Oil-Colo urs 181 
 
 XIII. Oil-Pictures 189 
 
 XIV. Life at Harborne (continued) , 1849 to 1855 216 
 
 XV. Testimonial Portrait by Sir J. W. Gordon, 1855 . . . -235 
 
 XVI. Water-Colour Drawings 246 
 
 XVII. Last Years at Harborne, 1855 to 1859 284 
 
 XVIII. Conclusion 302 
 
 XIX. Supplementary— On the Genius and Character of David Cox . 308 
 
 APPENDICES. 
 
 1. Drawings Exhibited in the Water-Colour Society, 1813 to 1859 318 
 
 II. Notice of Sales of Drawings and Sepias, 1856 to 1872 . . . 327 
 
 III. Critique on the Exhibition in the German Gallery, 1859 . . 333
 
 LIST OF ILLUSTRATIONS. 
 
 To fact ■page 
 
 I. Frontispiece. — Portrait of David Cox, a photograph from Life, taken 
 in 1855. 
 
 II. Vignette on Title-page. View of Bett\vs-y-Coed Old Church. 
 
 III. The Welsh Funeral at Bettws, photographed by A. Brothers, Man- 
 
 chester, from the celebrated water-colour drawing by David Cox, exhibited 
 in 1850, now in Mr. F. Craven's collection. Date of original 1850. Size 
 of ditto, 2 feet 6 inches by 3 feet 3 inches v 
 
 IV. Miniature Head on a Locket, photographed by A. Brothers, from the 
 
 original painted by D. Cox in early life. This Locket is in the possession 
 
 of Mr. David Cox, junior i 
 
 V. Kenilworth Castle, with a Flock of Sheep, a Composition. An 
 Autotype from the original very early drawing by David Cox, in the pos- 
 session of Mr. Blacker. Date about 1808. Size, i6f inches by 2X J inches 15 
 
 VI. The Lugg Meadows near Hereford, photographed by A. Brothers, 
 from an early water-colour drawing by David Cox, now in Mr. Peter Allen's 
 collection. Date about 181 7. Size of original, 17 inches by 26 J inches . 34 
 
 VII. Parry's Cottage, near Ailstone _Hill, Herefojid, partly built by 
 David Cox, and inhabited by him from 18 1 7 to 1824. Print by the HeUo- 
 type Company ............ 50 
 
 VIII. Old Windmill on Mosley Common, Birmingham. Copy by Helio- 
 type Company from soft ground etching. Etched on copper by David Cox. 
 Date 1819 51 
 
 IX. The Horse Fair, Birmingham. Autotype from the original water- 
 colour sketch by David Cox, now in the collection of Mr. S. Quilter, date 
 uncertain. Size of original, ']\ inches by lof inches. Being from a rough 
 sketch, it requires to be viewed from a distance 61 
 
 X. Rapid Study for the Subject of an Oil-Picture, being Scene on 
 the Coast near Hastings, low water. Photographed by R. W. Thrupp, 
 from water-colour sketch by David Cox, in the possession of Mrs. W. 
 Roberts. Date 1843. Size of original, 6| inches by 8| inches . . 78 
 
 XI. BoLSovER Castle, Derbyshire, photographed by A. Brothers, from 
 water-colour drawing by D. Cox. Exhibited 1843, now in Mr. F. Craven's 
 collection. Date 1843. Size of original, i foot 11 inches by 3 feet i inch . 93 
 
 XII. Flint Castle and Coast of North Wales. Heliotype of large sepia 
 drawing by David Cox, from the original in the possession of Mr. David 
 Cox, junior. Date 1844 107 
 
 XIII. Greenfield House, Harborne, David Cox's residence. Heliotype from 
 a sketch made about 1 848, when Cox was living there. It shows the garden 
 front of the house, and the bow ^vindow of the parlour on the side . .128
 
 Xll LIST OF ILLUSTRATIONS. 
 
 To face page 
 XIV. Bolton Abbey, Yorkshire, photographed by A. Brothers, from celebrated 
 drawing by D. Cox. Exhibited in Water Colour Society in 1847, and now 
 in Mr. H. T. Broadhurst's collection. Date of drawing 1847. Size of 
 original, 2 feet by 2 feet 10 inches . . . . . . . .129 
 
 XV. Beeston Castle, Cheshire, photographed by A. Brothers, from water- 
 colour drawing by David Cox. Exhibited in the Old Water Colour Society, 
 and now in Mr. F. Craven's collection, dated 1849. Size of the original, 
 2 feet by 2 feet 10 inches. This is one of the most successful drawings, 
 and of the best period .......... 141 
 
 XVI. Peat Gatherers returning from the Moors near Bettws-y-Coed. Auto- 
 type from the water-colour drawing by David Cox, now in Mr. David 
 Cox, junior's, collection. Date 1856. Size of original, 19 inches by 29 J 
 inches .............. 158 
 
 XVII. Bathers Frightened by a Bull. Photograph by A. Brothers, from a 
 water-colour drawing by David Cox, now in Mr. H. T. Broadhurst's col- 
 lection. Date 1853. Size of original, I o| inches by 147 inches . . 181 
 
 XVIII. Going to the Hayfield, photographed by R. W. Thrupp, Birmingham, 
 from the fine oil-painting by David Cox, in ilr. S. Mayou's collection, 
 Edgbaston. Date 1849. Size of original, 2 feet 4 inches by 2 feet 
 
 10 inches ............. 189 
 
 XIX. Broom Gatherers on Chat Moss. Photograph by A. Brothers, from the 
 well known water-colour drawing by David Cox, exhibited in the Water 
 Colour Society; formerly in Mr. Mayou's collection, now in that of Mr. F. 
 Craven. Date 1854. Size of original, 2 feet by 3 feet 10 inches . • 2x6 
 
 XX. Portrait of David Cox, painted by Sir J.W. Gordon. Hehotype from proof 
 engraving by BeUin. This is the Testimonial Portrait, now in the Public 
 Gallery, Birmingham. Date 1855. .Size of original, 3 feet by 4 feet . 235 
 
 XXI. Stoke-Say, near Ludlow — Stormy Weather. Photograph by A. 
 Brothers, from water-colour drawing by David Cox on rough paper, now 
 in Mr. Peter Allen's collection. Date 1853. Size of the original, 
 
 11 inches by 15 inches 246 
 
 XXII. The Skirts of the Forest — Part of Old Sherwood Forest — High Wind. 
 Autotype from water-colour drawing by David Cox, being his favourite one 
 of this subject, from the original in Mr. Da\id Cox, junior's, collection. 
 Date 1855. Size of original, 18^ inches by 21^ inches .... 284 
 
 Eight pages of letters, of which three contain sketches, printed as fac-similes 
 by the Heliotype Company, from the originals written by David Cox : — 
 
 The Letters dated 1st January, and 1 2th January, 1 84 1 106 
 
 The Letter dated July, 1844, from Tynllari 128
 
 THE LIFE OF DAVID COX. 
 
 EARLY LIFE. 
 
 1783 TO 1804. 
 
 m 
 
 \N a small house near the bridge, in Heath-mill Lane, chap. i. 
 Deritend (anciently" Der-yat-end), a poor suburb on j.g3j"gg 
 the south-east side of Birmingham, surrounded by 
 workshops and small forges, David Cox — the sub- 
 ject of this memoir — was born on the 29th of April, 1783. 
 His father, Joseph Cox, followed the calling of a blacksmith 
 and whitesmith, forging gun-barrels, bayonets, horseshoes, 
 and other similar articles during the war, and putting his 
 own trade-mark upon them. 
 
 His son has related, that in after years, he used to take 
 any opportunity that offered to examine the soldiers' 
 bayonets in the London parks, in search for his father's 
 mark; and also that on one occasion he derived much 
 pleasure, when out on a journey, by discovering a horseshoe 
 with his father's initials stamped upon it. The forging of 
 iron and steel had been, from a very early date, one of the 
 representative trades of Birmingham, and Joseph Cox appears 
 to have been an industrious and thriving artificer in iron, but 
 without much mental cultivation. His wife, whose maiden 
 name was Frances Walford, was the daughter of a farmer 
 
 B
 
 LIFE OF DAVID COX. 
 
 Chap. I. and miller, having a windmill on a high gravelly hill, which 
 1783— 1804. existed formerly on the left-hand side of Holloway Head, as 
 you go up from St. Martin's Church, and in the vicinity of 
 St, Thomas's Church. She was, in some respects, a superior 
 woman, with highly religious feelings, better educated than 
 her husband, and with a good deal of force of character and 
 natural good sense. Her son David has often attributed a 
 good deal of his success in after life to the watchful care and 
 good judgment of his mother, and to the right principles 
 which she instilled into his mind in early years. David Cox's 
 excellent mother died about the year 18 10; but his father, 
 who had removed to Hill Street some years before, married 
 a second wife, and afterwards went to live in a cottage at 
 Saltley, not far from Aston. He lived to a good old age, 
 and died in 1829 or 1830, having been in receipt of an 
 annuity from his son for many years, and which was con- 
 tinued as long as he lived. David was an only son, but he 
 had one sister named Mary Ann, older than himself She 
 had helped to take care of him when a child, and he was 
 always much attached to her throughout his life. She 
 married an organist and teacher of music at Manchester, 
 named Ward. For some years he kept a musical academy 
 there; but they had no family, and after Mr. Ward's death 
 he was succeeded in business by his nephew. Mrs. Ward 
 was a brunette, with a good natural expression, but without 
 any claim to be considered pretty. Although possessed of a 
 fair share of common sense, she was fond of " having her own 
 way," and she was also described by some of her acquaint- 
 ances as a strong-minded womdiXi. After she lost her husband 
 she used frequently to visit her brother at Harborne, and he 
 rarely allowed a year to pass without going to see her at Sale, 
 near Manchester. 
 
 It would be difficult for anyone who now visits Birmingham 
 — the metropolis of the trade of the Midland Counties, 
 numbering a population of 350,000, with its interminable
 
 EARLY LIFE. 3 
 
 Streets, busy warehouses, vast railway system, stately chap. l 
 halls, and large works and factories driven by steam- 1783— 1804. 
 engines — to realise the wonderful changes that have taken 
 place since 1783. Wide indeed is the difference between the 
 aspect which the town presented at that date and its present 
 one. Heath-mill Lane, the scene of Cox's birth, was a narrow 
 thoroughfare. Passing by an old pool, it joined the main 
 approach to Birmingham near the bridge over the Rea, and 
 its south corner was formed by that ancient and renowned inn 
 the Old Crown, built of black oak, with curious gables, still 
 standing, and mentioned as long ago as [531, in Leland's 
 Itinerar}^ The greater part of the lane, including Joseph Cox's 
 house, has been swept away of late years, to make room for 
 the railway approaches, and the quaint old timbered buildings 
 in that part of the town are rapidly giving place to modern 
 red-brick houses. 
 
 At the date I am speaking of, or, rather, two years earlier 
 — viz., in 1 781, when the last census was taken — the entire 
 population of Deritend and Bordesley together only numbered 
 2,125, and there were but five streets, mostly very narrow. 
 At this time the community of Birmingham altogether boasted 
 of but thirty-six private carriages ; the highest rent of any 
 house, except the inns, was ninety pounds per annum, and 
 some houses, with shops and gardens in good situations, were 
 let at ten pounds. The old covered market crosses — " The 
 Old Cross," on the site of Nelson's monument in the Bull 
 Ring, and the Welch Cross, at the junction of Bull Street 
 and High Street — still existed, and were then used for the 
 sale of butter, poultry, and other country produce. The 
 large room over the Old Cross having been used in olden 
 times as the Court of Request, and as most of the town 
 meetings used to be held there, we must Infer they were not 
 very large ones. 
 
 When about six or seven years old. Cox was sent to one 
 of the day schools which existed In Birmingham in those days, 
 
 B 2
 
 LIFE OF DAVID COX. 
 
 Chap. I. and whcre the teaching was altogether of a very elementary 
 1-83— 1804. character. At this time he fell over a door-scraper and broke 
 his leg. During the confinement caused by this accident, 
 and whilst his leg was in splints, a cousin of the name of 
 Allport (probably son of John Allport, a painter in general, 
 at 54, Bull Street, Birmingham, at the end of the last century) 
 gave little David a box of colours, and he amused himself in 
 painting paper kites which his school companions brought 
 him. The box of colours proved a source of delight and 
 unfailing amusement to the boy; when better, he procured 
 some paper and copied a number of small pictures from 
 engravings, which he coloured, and disposed of for the 
 merest trifle. 
 
 As soon as he had entirely recovered, he was sent to the 
 free school in Birmingham : but he did not long enjoy the 
 advantages of instruction there, as his father withdrew him 
 as soon as he thought he could make the lad useful in his 
 own workshop. 
 
 He was by no means a strong boy, being thin and lanky, 
 and on one occasion — when at the free school — a big boy 
 annoyed him by calling him by some derisive epithet, 
 expressive of his legs being thin and lanky. David told his 
 tormentor that if he said that again he would give him a 
 hiding. The offence having been repeated, the lads had a 
 good set-to ; and, although our hero does not appear to have 
 claimed the victory, still, his pluck had the desired effect — 
 that of silencing his opponent. 
 
 After a short trial, it was found that the work in his father's 
 shop was too much for David, and his fondness for colouring 
 pictures increasing, it was proposed that he should be 
 apprenticed to some one of the toy trades then carried on 
 in Birmingham, in which his natural bias might be turned to 
 advantage. That he might be better prepared, he was sent 
 to attend an evening school for drawing, kept by Joseph 
 Barber the elder, at the corner of Edmund Street, where it
 
 EARLY LIFE. 5 
 
 joined Newhall Street. Mr. Barber was the father of the chap. l 
 artists, Charles Barber and Joseph Vincent Barber, who 1783— 1804. 
 were learning drawing there at the same time, and David 
 Cox formed a warm and lasting friendship with Charles, a 
 man of the most estimable character. Samuel Lines was also 
 a pupil. Mr. Barber is reported to have been very strict, and 
 very particular in enforcing correct drawing : he made his 
 pupils repeat the same subject in outline many times, until 
 accuracy was attained. There is no doubt that David made 
 great progress in drawing at this school, and laid the founda- 
 tion for much of his after success. 
 
 The so-called toy trades which first gave employment to 
 young David had originated about the year 1775, through 
 the enterprise of a Birmingham worthy, Mr. John Taylor. 
 They consisted in the manufacture of buttons, gilt and 
 lacquered buckles, snuff-boxes, lockets, &c., mounted in metal 
 work and painted. The painting varied much in quality; 
 but that it was, in those days, sometimes not very good may 
 be inferred from the fact that one man in Mr. Taylor's 
 service is recorded to have once earned three pounds ten 
 shillings a week by painting the tops of snuff-boxes at one 
 farthing each. 
 
 After attending Mr. Barber's school for some time, 
 David at the age of fifteen was apprenticed to a locket and 
 miniature painter in Birmingham, of the name of Fieldler. 
 He soon overcame the difficulties of the work, and even- 
 tually learned to paint lockets in miniature very well indeed 
 under his master's instruction, as is proved by a locket 
 painted by him in early life, representing the head of a 
 young man, in the possession of Mr. David Cox, junior ; it 
 is really a beautiful work, especially for a young man, as my 
 readers will, I think, allow, after examining the photographic 
 copy which appears at the beginning of this chapter. After 
 he had been thus employed for rather more than eighteen 
 months, his apprenticeship was brought to a sudden close by
 
 6 LIFE OF DAVID COX. 
 
 Chap. I. the death of Mr. Fieldler, who committed suicide. On going 
 1783— 1804. upstairs, David was the first to discover the body of his 
 master hanging on the landing. This caused a great shock 
 to his sensitive nature, and one which he certainly never 
 forgot as long as he lived. Before finally dismissing the 
 subject of the Birmingham toy trades, I must relate an 
 anecdote of this date in connection with them : — Mr. Fieldler, 
 the miniature painter, had another apprentice at the same 
 time as David Cox, named Haseler, whose son has informed 
 me, he saw, when a boy, lockets that had been painted 
 at Fiddler's, with Cupids and subjects of Heathen Mythology, 
 besides heads. They were first traced on the ivory by means 
 of coloured paper, and then outlined with lake. The elder 
 Haseler related that he had a companion, a painter of snuff- 
 boxes, who excelled in a subject much in request seventy 
 years ago, in the early days of the French war ; a group of 
 artillery or men-of-war's men, loading and firing off cannon 
 
 with plenty of smoke Six figures besides accessories 
 
 were painted on each box at six shillings each, and by dint 
 of great assiduity the painter realised four or five pounds 
 
 a week His success rather exalted his head, and one 
 
 pay-Saturday he drove to his employer's house in a hackney 
 coach to receive his earnings. The master, surprised to see 
 a carriage at his door, inquired the cause, and on learning it, 
 quietly observed he should " take a wheel off it " next week. 
 So the following Saturday, without making any remark, he 
 paid five shillings and sixpence instead of six shillings for 
 each box, and so on each week, till he had taken off three 
 sixpences. The limner said nothing, but painted a figure 
 less each time ; at last the master observed that there were 
 only three figures on each box, but a great deal more smoke, 
 and asked *' the reason why," in a tone of complaint. 
 "Oh!" said the painter, ** you must understand that the 
 three gunners are gone to look after the three missing 
 sixpences." The master was convinced by this argument.
 
 EARLY LIFE. 7 
 
 and they soon came to a fresh and satisfactory arrange- Chap. i. 
 ment. 1783— 1804. 
 
 After the unfortunate termination of David Cox's engage- 
 ment as a locket painter, his cousin Allport, who was fond 
 of frequenting the theatre at Birmingham, which had lately 
 been rebuilt, and who was acquainted with the manager and 
 actors, took him there sometimes to see the scenery. The 
 broad and effective style of scene-painting took a great hold 
 on his imagination, and he was much pleased when Allport 
 got an engagement for him to grind colours and wait on the 
 scene-painters, and he was also enabled for a time to resume 
 his evening attendance at Mr. Barber's drawing class. 
 
 The elder Macready, father of the tragedian, was then 
 lessee and manager of the theatre. He spared no pains to 
 have his dramas well got up, and he had recently engaged 
 an Italian scene-painter from the Opera House in London, 
 De Maria, for whom young David worked as a humble 
 assistant. 
 
 He found his occupation a very congenial one, and he 
 soon made many new friends. His taste and love for art 
 were beginning to be clearly developed, and he had 
 abundant opportunities of watching the progress of De 
 Maria's work, which he admired very much. De Maria had 
 been a friend and associate of J. M. W. Turner, and Cox 
 used to compare some of the scenery painted by De Maria to 
 Wilson in colour, and to Claude in composition. Even to a 
 late period of his life, Cox was never tired of speaking of De 
 Maria's works, and often regretted that they had probably 
 been long since destroyed. On one occasion (at least forty 
 years after his employment at the Birmingham Theatre), Cox 
 was staying at a friend's house at Sevenoaks, the terrace of 
 which overlooked the beautiful Knowle Woods : there 
 he used to enjoy walking up and down smoking a cigar, and 
 he would then describe with enthusiasm the scenes painted 
 by De Maria, especially a wooded landscape, and after
 
 8 LIFE OF DAVID COX. 
 
 Chap. I. a detailed account of its effect and breadth, he added 
 1-83—1804. earnestly, how very much he should like to see it again. 
 
 Cox was too modest to offer to assist in the painting 
 of scenery, but he made friends with the chief carpenter, who 
 had charge of all the mechanical arrangement of the theatre, 
 and this led to his confiding to him his previous training in 
 art, and his desire to be allowed to try his hand in that 
 department. The carpenter was not slow in 'commu- 
 nicating to De Maria what young Cox had said about 
 his practice in painting, and that he thought he could assist 
 him with the side-scenes. He was allowed before long 
 to make a trial ; the subject to be represented being some 
 groups of village folk, congregated together at a country 
 fair, with a rustic having his pocket picked. 
 
 Cox's success in this first essay led to his further employ- 
 ment in the same line. 
 
 The facility and ease of handling, as well as the mastery 
 of effect, which are learnt by scene-painting, and which Cox 
 had the opportunity of studying under a good master, greatly 
 assisted him in his subsequent career. It gave him a large 
 manner and taught him breadth, as has been the case with 
 Stanfield, Roberts, and many other good artists. 
 
 As I may not have occasion to revert to De Maria again, 
 I will now mention an anecdote in connection with him, 
 although somewhat anticipating dates. Cox lost sight of his 
 friend and master, De Maria, for some years after he left 
 Birmingham, and it was not until Cox had joined the Society 
 of Painters in Water Colours, in 1813, that they met in this 
 wise : — Cox one day, according to his habit, was standing 
 incognito near some of his own works in the Exhibition, 
 listening to the remarks and criticisms of the visitors, when 
 an elderly gentleman, who was looking at one, happened to 
 turn round, and Cox recognised in him his old friend the 
 scene-painter. Cox said he was very glad to meet him after 
 so many years, and that he had always considered himself
 
 EARLY LIFE. 
 
 very much indebted to him in matters of art. "What!" chap. i. 
 said De Maria, "are you the David Cox, the painter of this i;83-i8o4. 
 picture, the same young lad who used to grind my colours 
 at Birmingham ? Then, indeed, I assure you that, if I 
 taught you something formerly, I have now learnt a great 
 deal more from you." 
 
 Some time after Cox commenced to paint the side- 
 scenes, a play was to be brought out which had never 
 before been acted in Birmingham, in which the denouement 
 of the plot depended on the production of a lady's por- 
 trait, the likeness of the heroine. Search was made, but 
 nothing could be found that would at all answer the purpose ; 
 time pressed, the chief scene-painter happened to be absent, 
 and the performance of the evening seemed likely to be 
 nonplussed. Cox, feeling confidence in his own ability, 
 having painted so many heads on lockets, and hearing 
 of the difficulty, was overheard to say that he could 
 do it. This was at once communicated to Macready. Cox 
 had been too modest to apply himself to the manager, 
 but when sent for said, " I think, sir, I can produce 
 what is wanted if you will allow me to try." Macready 
 looked at the young man with surprise, as he doubted his 
 ability; but he said, "Well, you s/ia/liry.'' The actress, a 
 Miss Decamps, was coming to the rehearsal. Cox was told 
 to look well at her. He at once commenced the picture, she 
 sat to him afterwards for its completion, and it turned out a 
 complete success. Thus Cox's promptness and ability 
 enabled the piece to be performed, and this led to his 
 engagement by Macready as his scene-painter. This was of 
 the more importance, as, besides the Birmingham Theatre, 
 he had several other provincial theatres under his manage- 
 ment, where scenery required to be painted. Cox was 
 about eighteen or nineteen years of age at this time, and he 
 retained this engagement for about four years. Macready' s 
 son, W. C. Macready, who became so celebrated as an actor
 
 lO LIFE OF DAVID COX. 
 
 Chap. I. in after life, was then a child ; and Cox, with his usual 
 1783IT804. kindness, painted a complete set of miniature scenery for 
 various dramas, to be used in a toy or puppet theatre, which 
 had been made for the little boy probably by one of the 
 carpenters. These scenes were so much prized and so well 
 taken care of, that they were still in existence only a very 
 few years ago. The esteem so early formed for the youthful 
 scene-painter in young- Macready's mind, lasted until the end 
 of his career, as is proved by a most friendly letter written 
 half a century afterwards by the great actor, when the 
 testimonial portrait of David Cox was projected, and to 
 which he sent a subscription of two guineas. 
 
 It was the custom in those days for a company of provincial 
 actors, or players as they were then generally called, to move 
 from town to town, giving representations sometimes in 
 extemporised theatres, and accompanied by the scene-painter. 
 
 In this way Cox travelled about with the "players" to 
 Bristol, Leicester, Sheffield, Manchester, Liverpool, &c., and 
 occasionally he would take a minor part on the stage ; and 
 once, when Macready was at fault, he used to relate that he 
 enacted the role of clown in a small country town. 
 
 Although Cox seems to have caught a relish for the 
 humour and intellectual stimulus of such society, he was not 
 at all pleased with the freedom of manners, nor with the 
 scanty and dirty accommodation which they had often to put 
 up with on their travels. On one occasion he was par- 
 ticularly disgusted at being requested, after breakfast at an 
 inn, to keep a sharp look-out to see that nobody was coming 
 whilst one of his companions cut off as much cold beef as 
 made a meal, and pocketed it. After working hard at paint- 
 ing for some hours, by way of change and exercise he used 
 sometimes to summon the carpenters to hold the blanket 
 for him, that he might take a harlequin leap. In those 
 seasons of the year when his services were not required at 
 the theatre, young Cox turned his time to account by drawing
 
 EARLY LIFE. I I 
 
 and sketching from nature with the Barbers. After he had chap. i. 
 led this life for some years, during which he gained much ex- 1783—180 
 perience in producing scenic effects, the hasty temper of the 
 elder Macready was the cause of a quarrel. I have heard 
 the following account of the misunderstanding, although, pro- 
 bably, there were other causes of dissatisfaction. Cox had 
 failed to please Macready at all times, and the latter pointing 
 to a scene that he was under the impression had been 
 painted by some other artist, told Cox it was far superior 
 to anything he could produce. The remark was resented by 
 Cox, as the scene in question had really been painted by 
 himself some time before (as his signature at the foot after- 
 wards shown to Macready proved), and he determined to 
 embrace the first opportunity that offered of terminating his 
 engagement at the theatre. 
 
 His practice in scene-painting was regarded by him as 
 merely a stepping-stone to something higher, he had set his 
 heart on becoming a landscape-painter, and in giving up his 
 appointment at Birmingham, he thought he should be clear- 
 ing the way in that direction. He was the more fortified in 
 this resolve by his mother's wish, as she feared that the con- 
 tinued companionship with actors might contaminate his 
 morals, and she particularly objected to his travelling about 
 the country with them. She is reported to have used her 
 influence with Mrs. Macready to get her son David liberated 
 by Mr. Macready, and the matter, after some difficulty, was 
 arranged to their mutual satisfaction. Cox appears, before 
 going to London, to have made use of his temporary leisure 
 in making some sketching excursions, amongst other places 
 to Kenilworth. There still exists in his son's possession a 
 view of Kenilworth Castle, date 1804, very correctly and 
 boldly drawn ; and he cut his name with this date on one of 
 the old staircases, leading, I believe, to Caesar's Tower. 
 About this time Astley, the proprietor of Astley's circus, 
 visited Birmingham, and, seeing what Cox could do as a
 
 12 LIFE OF DAVID COX. 
 
 Chap. I. scenc-painter, offered to employ him at his circus or theatre, 
 1783^804. in Lambeth, if he would come to London. Cox was then 
 twenty-one years of age, and his great desire to go to London 
 - induced him to accept Mr. Astley's proposal; and as soon as 
 arrangements could be made, he started by coach on his first 
 journey to the metropolis, accompanied by his mother, who 
 rather dreaded the gaiety of London for her son. This was 
 in 1804. Travelling in England was a very different thing 
 then from what it now is, and sleeping on the road was a 
 necessity. On arriving in the metropolis they proceeded to 
 Lambeth, and there, in a quiet road, not far from the 
 Elephant and Castle, near the back of Astley's Circus, Mrs. 
 Cox secured board and lodgings for her son, at the house of 
 a widow lady, Mrs. Ragg, who was residing there with her 
 two unmarried daughters. The eldest of these, Mary, was 
 destined in the course of a few years to become David Cox's 
 wife. Mrs. Ragg had also another daughter, married to Mr. 
 Hills, and her youngest daughter afterwards married Mr. 
 Gardener, who held a situation under Government, in con- 
 nection with the sale of the ordnance and other maps. To 
 the widow and her two daughters Mrs. Cox confided her son, 
 begging them to look to his comfort and welfare, and so she 
 left him and returned to Birmingham. Cox soon went to 
 Astley's Theatre, in the hope of entering on his promised 
 engagement in the scene-loft, but he found that there were 
 already several painters employed, and, it being the end of the 
 season, he felt a delicacy as to forcing himself in their way. 
 He therefore never painted at Astley's, but he had some com- 
 missions for scenery for the Surrey, and also for the Swansea 
 theatre. Determined to seek other employment in London, 
 he succeeded in this before long, as we shall see in the next 
 chapter. At the time Cox went to London, in 1804, he was 
 on friendly terms with Mr. Allen Everitt (grandfather of the 
 present Mr. Allen E. Everitt), who at that time kept a shop 
 for the sale of drawings, drawing materials, and paper, in
 
 EARLY LIFE. I 3 
 
 Union Street, Birmingham. He always kept up a friendship Chap. i. 
 with Mr. Everitt's family, and often stayed at their home in 1783—180 
 after years. Mr. Everitt's son Edward was one of his earliest 
 pupils, and he introduced Cox to many of his early friends. 
 Cox had at that time two young companions who intended to 
 become artists, and who were his special friends, Charles 
 Barber, already mentioned, and Richard Evans. They 
 followed Cox to London, taking lodgings near him, and all 
 three used to go out sketching together. Richard Evans was 
 poor in those days, and Cox, who was much more proficient 
 in landscape art than his friend, kindly lent Evans many of 
 his own sketches in Indian ink, which Evans copied and sold 
 to help himself along. I have seen several of these drawings 
 by Evans in Indian ink, copies after Cox, of that very early 
 date. The subjects are chiefly buildings, such as castles, 
 cottages, or old houses, rather square and simple in form 
 with decided shadows. Richard Evans became a portrait- 
 painter of some distinction, and used to work under Sir 
 Thomas Lawrence, making duplicate portraits of members of 
 the Royal Family, which were much in request. Charles 
 Barber, after exhibiting landscapes without much success for 
 a few years in London, removed to Liverpool, where he soon 
 took a good position, and where he continued to reside as a 
 landscape-painter for a period of forty years. He filled for 
 many years the office of President of the Liverpool Academy 
 of Painting, exhibiting occasionally at the Royal Academy in 
 London. 
 
 He was also one of the earliest members of the Liverpool 
 Literary and Philosophical Society. Cox made many sketch- 
 ing excursions with Barber in early years, and till within a 
 few years of his death he used frequently to meet him at 
 Bettws ; indeed, their friendship endured throughout life. 
 
 Among the deceased landscape artists who also com- 
 menced their career in Birmingham, and who have after- 
 wards attained to a high position and wide-spread re-
 
 14 LIFE OF DAVID COX. 
 
 Chap. I. nown, the names of Thomas Creswick, R.A., and George 
 1783— 1804. Mason, A.R.A., must not be overlooked. With Creswick 
 Cox was for several years on very friendly terms. The death 
 of George Mason has happened whilst these pages are being 
 prepared for the press. Like Cox, Mason was endowed with 
 a very poetical mind, and one that was in harmony with all 
 that was graceful and impressive in nature ; he possessed 
 great power added to a thorough knowledge of art, acquired 
 during a long residence in Italy ; he had risen rapidly to the 
 foremost rank of landscape-painters, and his loss will be 
 severely felt and lamented by all true lovers of art in England.
 
 II. 
 
 FIRST RESIDENCE IN LONDON. 
 
 1804 TO 1 8 14. 
 
 IRECTLY after David Cox was located in Lambeth Chap. ii. 
 in 1804, he commenced sketching from nature and 1804— 1814. 
 making drawings, which he offered at very low 
 prices to the London dealers ; among others to 
 one of the name of Simpson, who kept a shop in Greek 
 Street, Soho, for the sale of works of art. These drawings 
 were often bought up by country drawing- masters, who 
 wanted them as copies for their pupils. 
 
 Cox has related that he sold some of these at this time at 
 the almost nominal price of two guineas a dozen. 
 
 Mr. Simpson was pleased with what the young artist 
 brought, but he told him that he thought his art knowledge 
 would be much improved by copying the works of some of 
 the old masters. Cox having replied that he should like 
 nothing better if the opportunity of doing so offered, Mr. 
 Simpson, who possessed a fine landscape by Caspar Poussin, 
 gave him permission to make a copy of it, provided he liked 
 to do it in his shop. The offer was accepted, and, in spite 
 of the difficulties of the locality. Cox made a very good eopy 
 of the oil picture in water-colours, which is now at Brixton 
 Hill. It represents classical figures, and a flock of sheep 
 passing by a pool, with old buildings and trees in the 
 distance. The composition is good, and the colour rich but 
 rather dark. The influence of this picture may be traced in
 
 i6 
 
 LIFE OF DAVID COX. 
 
 Chap^ii. some of Cox's works painted shortly afterwards, especially a 
 1804— 1814. mill at Penmachno, of the date of 1807. In order to improve 
 himself in composition, Cox purchased, soon after he came to 
 London, a collection of etchings from paintings by Caspar 
 Poussin, Salvator Rosa, and Claude, published by Pond in 
 the years 1741, 1744, and 1746, and well known as " Pond's 
 Etchings." These he found very useful with regard to com- 
 position and light and shade, and he used to refer to them 
 frequently in after life. He greatly admired the works of 
 the artists above named, as well as those of Hobbema and 
 Velasquez. 
 
 Soon after Cox had completed his copy of the Gaspar 
 Poussin in Simpson's shop, he made a large drawing, about 
 16 by 20, in rivalry of that work, the subject being a com- 
 position, with a flock of sheep and a man and dog, also some 
 trees and Kenilworth Castle. The arrangement and effect 
 are good, but the touch is somewhat constrained. 
 
 It is interesting as being one of the earliest drawings of 
 large size which he made. The date cannot be later than 
 1806 or 1807, and, I believe, before he had lessons from 
 Varley. It is now in the possession of a gentleman in 
 London, Mr. Blacker, and through his kindness I am enabled 
 to give a photographic copy of it at the commencement of 
 this chapter. 
 
 In order to provide subjects for his drawings. Cox used at 
 this time to frequent Battersea fields, Old Bonner Hall, in 
 Lambeth, and the wharves on the banks of the Thames ; 
 indeed, for many years the Thames, with the grand and 
 picturesque -buildings adjoining it, such as Westminster 
 Abbey, Greenwich Hospital, Somerset House, and the 
 London Bridges, afforded the materials required for many 
 of his drawings. 
 
 Cox used frequently to offer his drawings at the shop of 
 Palser, then living near Astley's Theatre, in the Westminster 
 Road. There he saw drawings by other London artists, which
 
 FIRST RESIDENCE IN LONDON. ^ I7 
 
 he admired and tried to emulate, especially those of John chap. ii. 
 Varley. Cox thought he might get on better if he had some 1804— 1814. 
 regular instruction in water-colours, and he considered for 
 some time whether he should apply to John Varley, John 
 Glover, or William Havell. Finally he determined to apply 
 to Varley, and he often said, in after life, how much he 
 rejoiced that he came to that decision. 
 
 At this time John Varley lived at No. 16, Broad Street, 
 Golden Square, and there Cox made the acquaintance of 
 several other artists. He took several lessons in water- 
 colours, for which he was to pay at the rate of ten shillings 
 each ; but, after he had had a few lessons, Varley, addressing 
 his pupil, said, " I hear you are an artist, Mr. Cox." *'No, 
 sir," he replied, "I am only trying to become one." "Well," 
 said Varley, " however that may be, I shall be happy to give 
 you any advice or assistance in my power, and I hope you 
 will come here and see me draw as often as you please ; but 
 I cannot take any more of your money." 
 
 In 1805 Cox made his first journey into North Wales. He 
 appears to have been joined by his friend Charles Barber, 
 and the two young men made an interesting tour through 
 the wildest parts of Merioneth and Carnarvonshire. The 
 love for North Welsh scenery which sprung up in Cox's 
 heart on this occasion was never extinguished as long as he 
 lived. Some of the sketches made at this time, dated 1805, 
 represent the following subjects: — " Bridge leading to Cain 
 and Mowddach Waterfalls," " Near Llanilltyd," " Bwlch-y- 
 Garnedd," " Llansilian Vale," " River Dee," " Owen Glyn- 
 dwr's House," " Pistyl-y-Cayne, on the road to Trawsfynydd," 
 " Moel Shabod," " Vale of Gynnarit," &c. They are rather 
 slight ; some only in outline, and others tinted with Indian 
 ink, good in composition, but without much effect. I have 
 also seen sketches made in Wales in 1806, when he carried 
 with him a few colours — indigo, gamboge, purple lake, and 
 sepia, dissolved in bottles, with which he painted on the 
 
 c
 
 1 8 LIFE OF DAVID COX. 
 
 Chap. II. spot ; likewise a broad and effective water-colour of Kenil- 
 
 1804— 1814. worth Castle, dated 1806. 
 
 The colour is low in tone in these sketches, but truthful, 
 and somewhat in the manner of Barrett and Varley. At 
 this time he used also to sketch rather boldly in chalk on 
 blue paper. On returning to town he occupied himself in 
 making drawings from his sketches, visiting exhibitions, and 
 occasionally painting scenery for provincial theatres. A 
 commission was offered him for some large scenery for the 
 West of England, I believe by ''Little Cherry." Cox 
 demurred at first because he had no room large enough for 
 the work ; but Mr. Hills, a connection of Mrs. Ragg, 
 happening to possess a builder's yard, and being himself a 
 carpenter, kindly offered to set up a hoarding of boards and 
 frame in the yard where Cox might paint. This was done, 
 and Cox has often described his anxiety to get his work done 
 before rain fell. The time of year was midsummer, and he 
 fortunately completed a set of scenes in distemper, the 
 weather being fine. 
 
 An interesting proof still exists, however, that Cox occa- 
 sionally turned his knowledge of scene-painting to account 
 after he went to live in London, in the shape of a bill in 
 Cox's own handwriting, which I have seen, and of which the 
 following is an exact copy : — 
 
 1808. Mr. Stretton to David Cox, Dr. 
 
 Feby. 15th. To painting 310 yards of scenery at 4s. pr. square yard, £b2 o o 
 
 The above document is in the possession of Mr. John 
 Wood, of High Street, Wolverhampton, where it may be 
 seen, and I have to acknowledge his courtesy in allowing a 
 copy to be taken. I am informed that this Mr. Stretton was 
 either the lessee or the manager of the Wolverhampton 
 Theatre in 1807 and 1808, and the scenery was probably 
 painted in the summer or autumn of 1807 in the carpenter's 
 yard in Lambeth. The receipt came into Mr. Wood's 
 possession from Mr. Roebuck, whose family resided at
 
 FIRST RESIDENCE IN LONDON. 1 9 
 
 Manchester, near to Mr. and Mrs. Ward, and were said to Chap. ii. 
 be friends of Mrs. Ward (Cox's sister). This account of 1804— 1814. 
 painting done at four shillings the yard suggests the strange 
 vicissitudes which time brings to pass. Work by the same 
 hand has lately been competed for at prices which may be 
 computed at some thousand pounds per yard. 
 
 In the spring of the year 1805 the Society of Painters in 
 Water Colours opened their first exhibition at Lower Brook 
 Street. At first it consisted of sixteen members only. Cox 
 did not join that society until 1813 ; but a rival society was 
 started in Bond Street, to which Cox belonged. I have not 
 been able to obtain an exact list of the members. Heaphy, 
 Henry Richter, Luke Francia, S. Owens, Dorrell, Goodwin, 
 and some others exhibited there ; I believe probably also 
 W. Turner, C. Fielding, and Robson, as these artists did not 
 join the regular Water Colour Society until some years after 
 it commenced. This rival society was not very prosperous ; 
 and I may as well state here that, after a few years, it came 
 to a disastrous close, as the expenses exceeded the income, 
 in consequence of which the works of many of the exhibitors 
 were seized to pay the rent of the gallery. Among the 
 principal sufferers on this occasion was David Cox. His 
 finances were by no means flourishing at the time, and the 
 blow fell on him very heavily. Mr. J. Allnutt, of Clapham 
 Common, purchased several of Cox's drawings at the forced 
 sale which took place at the time. Fifty years later, namely, 
 about 1 86 1, after the death of Mr. Allnutt, his executors 
 were preparing to sell his collection at Christie's, and 
 amongst the drawings were the identical ones just referred 
 to. One of these was a fine drawing, 4 feet by 3 feet, 
 representing Windsor Castle rising up grandly beyond a 
 reach of meadows, with trees and water in the foreground, 
 the distance dark and powerful, and the whole highly 
 finished. The sides of the drawing were pasted down on a 
 stretching-board, and the edges having got stained, were 
 
 c 2
 
 20 LIFE OF DAVID COX. 
 
 Chap^ii. slightly decayed under the frame. Mr. David Cox, junior 
 1804-1814. (who had been asked by Mr. Carr, Mr. Allnutt's son-in-law, 
 to look over the collection), removed the drawing from the 
 board, when, to his surprise, another very nice drawing of 
 the same size appeared underneath, representing the Vale of 
 Llanilltyd ; and, more surprising still, on removing this one, 
 again a third drawing, of which the subject was a Pool at 
 Sutton Coldfield, with trees and hills in the distance, was 
 discovered. No doubt, in the early days when these draw- 
 ings were produced. Cox placed but small store on his works, 
 of which he had great difficulty in disposing. His mind was 
 depressed, and he may have thought that, as he should paint 
 many better ones before long, he would place these th^ree to 'Z< 
 support his exhibition drawing of Windsor Castle, or he may 
 have forgotten that he had placed other drawings already on 
 the board. 
 
 In 1808 David Cox, who had continued to board and 
 lodge in the house of Mrs. Ragg, married her eldest 
 daughter, Mary, and shortly afterwards he rented a small 
 cottage at the corner of Dulwich Common, just passing 
 the College on the road to the right. 
 
 Into this cottage the young couple moved soon after their 
 marriage, and there their only child, David, was born In the 
 following summer. Mary Ragg was a slight, gentle, delicate 
 woman, and had never very strong health, especially in early 
 married life. Her son David says that his first recollection of 
 his mother was of the '' pale lady who could just walk round 
 the garden." This refers to a period when the child, a few 
 years old, had been staying away from home at his aunt's. 
 Mrs. Cox had good taste in literature, and used to read a 
 great deal out loud to her husband while he drew. Works of 
 biography, travels, and occasionally a novel, were what he 
 liked best to listen to. She always took much interest in art, - 
 she occasionally drew herself, and her opinion was always 
 asked and valued by her husband on his works during their
 
 FIRST RESIDENCE IN LONDON. 21 
 
 progress. She was some years his senior, naturally of a Chap. ii. 
 
 cheerful disposition, and, without doubt, she exercised great iSoT^s^. 
 
 influence for good on his character. When Cox first went to 
 
 live on Dulwich Common it was a lonely and rather wild spot, 
 
 much frequented by gipsies, who hovered about the extensive 
 
 woods belonging to Dulwich College, which then fringed the 
 
 common in unpruned luxuriance. He made many studies 
 
 on the common of gipsies, their donkeys and encampments, 
 
 and these served him in good stead as "incidents" in his 
 
 drawings in after life. Cox used to relate that on one 
 
 occasion he was coming home from London late at night, 
 
 his pockets stuffed with packets of tea, sugar, &c., and he 
 
 had nearly crossed a field leading to the common, when 
 
 suddenly he espied the legs of a man, crouched down close 
 
 to the stile, as if lying in wait. Immediately he started 
 
 off at full speed, and gained his home by a wide circuit, the 
 
 sugar beating a tattoo on his sides as he ran. In 1809 Cox 
 
 took his wife and son on a visit to his father and mother in 
 
 Birmingham, who were then living in Hill Street, near the 
 
 corner of Swallow Street. His young friend Edward Everitt 
 
 took lessons from him on that occasion, and he well remembers 
 
 how Cox would leave off in the middle of the lesson for a few 
 
 minutes, saying he must go and nurse the " baby." They 
 
 went out sketching frequently, and made studies of Moseley 
 
 Common, Sutton, Aston, and many other places. I have 
 
 seen these drawings, which still exist, and which are broad 
 
 and powerful, with little finish, now somewhat faded in colour, 
 
 but still pleasing and truthful. 
 
 As I have already stated. Cox used to sell his early 
 drawings at Falser' s shop in the Westminster Road, and there 
 they were seen and admired by Colonel the Hon. H. Windsor 
 (afterwards Earl of Plymouth), who at once determined to 
 take lessons from him, and inquired where the artist lived. 
 Falser at first hesitated to inform him, but on being pressed 
 he said that he was a young man from the country, who now
 
 i8o4 — 1814. 
 
 22 LIFE OF DAVID COX. 
 
 Chap. II. lived in a cottage on Dulwich Common, ''a long way out 0/ 
 towny That was, however, on the Colonel's way as he drove 
 in every day from Beckenham, so he called at once. Cox 
 was fortunately at home, and the first lesson was given. 
 Cox used humorously to observe that this first lesson cost 
 him his dinner. A joint or a fowl was down at the fire 
 roasting, and almost ready to serve, when the Colonel 
 arrived. Before the lesson was over the meat was, as Cox 
 said, crying out aloud that it was burnt, and that he was 
 astonished the Colonel did not smell it, for it was quite spoilt. 
 Colonel Windsor proved a valuable friend, he took many 
 lessons from Cox at various times ; but what was of more 
 importance, he introduced and recommended him to the Hon. 
 Misses Eden, to Lady Gordon, to Lady Arden, and to other 
 families of distinction. Cox used to walk all the way from 
 Dulwich to the West-end and back ; but he said that seeing 
 his new style in art appreciated gave him confidence. He 
 had obtained quite a .start in teaching at the West-end 
 during the London season, and he was soon enabled to raise 
 his term for an hour's lesson from five shillings to half a 
 guinea. He used generally, at this time, to leave his work 
 with his pupils, and some of these little drawings, which cost 
 their possessors only ten shillings, have since been sold for 
 thirty or forty guineas each. Amongst his early pupils at 
 the West-end, besides those already named, were Miss 
 Tylney Long, Lady Sophia Cecil, and Lady Burrell. Whilst 
 he was living at Dulwich, Cox had the misfortune to be 
 drawn for the militia. Besides his instinctive repugnance to 
 anything resembling a military life, he felt that to sacrifice 
 the time necessary to serve would sadly interfere with his 
 progress in art. He made the necessary representation at 
 head quarters, but without success, as they declined to take 
 his name off the roll, although others, who were less truthful 
 than himself, had got off. He therefore paid for a substitute 
 at Croydon, but for some cause he was refused, and Cox left
 
 FIRST RESIDENCE IN LONDON. IT^ 
 
 home quietly for a time. Afterwards, when the prospects of Chap. ii. 
 peace caused less strictness in the enrolment, he was able to 180^814. 
 return, being no longer afraid of being arrested as a deserter. 
 Times were hard for poor artists, and Cox struggled on, 
 giving what lessons he could, and occasionally selling a 
 drawing at a low price. Still he could not but feel anxious 
 for the future, and often felt troubled in spite of the cheering 
 sympathy of his wife, who was always ready to take a 
 hopeful view of the situation. It was on a day of unusual 
 despondency that Mrs. Cox suggested to her husband that, 
 by way of trying something new, he should advertise to give 
 lessons in perspective. This struck Cox as being a good 
 idea, and he set to work at once to give it effect, and hastened 
 to procure some books in London to brush up his recollection 
 of the rules. The elements of Euclid were recommended to 
 him, amongst other books, as containing the instruction he 
 was desirous of imparting to others. Cox had never learned 
 geometry, and he did not know exactly what to expect ; but 
 he sat down after tea to study his new acquisition. He soon 
 found he had got more than he had looked for ; the longer he 
 endeavoured to master the propositions, the more the diffi- 
 culties increased. At last his head began to ache, and his 
 courage to fail, and, after one or two more useless attempts, 
 he shut the book up with an exclamation of disgust, and flung 
 it from him in despair. The partition of the room in which 
 he sat was old, and being merely composed of lath and 
 plaster, the book — flying like a shot — made a hole through 
 it, and fell down inside the battens. Cox, in his humorous 
 way, used to tell this story with much glee in after life, 
 remarking that without doubt the book was still lying where 
 he had flung it. The experiment was, however, in other 
 respects more successful, as Cox soon got pupils, to whom 
 he taught the elements of perspective— builders, and the more 
 respectable class of artizans, who required to make drawings 
 and elevations in connection with their work. It is interesting
 
 24 LIFE OF DAVID COX. 
 
 Chap. II. to note the pHces obtained by Cox about this time — 1811, 
 180^814. ^^^^' ^"^ 1813— for his lessons and drawings. In an old 
 
 account book of the date are the following entries in his own 
 
 handwriting : — 
 
 1811. 
 
 Nov. 15. Sold to Mr. Everitt, Birmingham- 
 View of Lambeth and London . 
 Village of Crowhurst, in .Sussex . 
 Nymphs Bathing 
 View of Warwick Castle 
 
 Nov. 30. I dozen Sepia drawings at 8s. each 
 Village of Castor, Wilts . 
 Old House, near Knowle . 
 
 
 
 
 jCs 
 
 5 
 
 o 
 
 
 
 
 4 
 
 4 
 
 o 
 
 
 
 
 3 
 
 3 
 
 o 
 
 
 
 
 2 
 
 2 
 
 o 
 
 
 
 
 4 
 
 i6 
 
 o 
 
 
 
 
 I 
 
 I 
 
 lO 
 
 o 
 
 o 
 
 o 
 
 l8l2. 
 
 July 23. Coloured Drawing of stack-yard, ;ri iis.6d. Coast Scene, ^,^1 is.od. 
 Ditto of Peiry Bridge, £1 Js. od. Pevensea Castle, 15J. Ditto of West- 
 minster Bridge, ^^2 2s. Barley Field, J^i i is. 6d. Sion House on the 
 Thames, 15J. Thames Fishermen, 18s. Smugglers, 18s. Hastings 
 Fishermen preparing to go out, ^2 2S. od. Hastings Fishermen landing 
 Fish, ;^2 2s. od. Chertsey-on-Thames, _^i is. od. Windsor Castle, 
 from Datchet, ^i 5J. o^. London, from Kennington Common, £l is od. 
 Near Hampton-on-Thames, los. 6d. Rocks near Hastings, j^i is. od. 
 Hay-field near Windsor. Seventeen Drawings. 
 
 Total £21 70 
 
 Note. — D. C. agrees to let Mr. Everitt have the above for ;^i8 i8s. od. 
 instead of ^21 Js. od. 
 
 Lessons. 
 
 1812. Lady Arden, a double lesson,;^! is. od. Single lesson, los. bd. 
 1812 — 1813. Miss Tilney Long, lessons at 7^-. each. 
 ,, ,, Miss Tongs, Croydon, lessons. Air. Goodwin, ditto. 
 
 Sales. 
 
 181 1. Mr. Goodwin (a London dealer), 2 Heath scenes, ^^i los. od. Small 
 Heath scene, i^s. Cader Idris from Llanfair, 15J. Small Drawing, near 
 Norwood, £1 IS. od. 
 
 In the same book the following sales of water-colour 
 drawings are entered to Mr. Smith of Birmingham : — 
 
 1812. 
 
 Jan. 23. View near Bromley, ^^r is. od. Stacking Hay, £1 is od. Fisher- 
 man's Cottage at Hastings, £1 is. od. View on Sydenham Common, 
 los. bd. Sketch from Nature, los. bd. Half a dozen Sepia Dravidngs, 
 £2 8s. od. 
 
 Also in the same year, 1812, another small sale to Mr. 
 Everitt as follows : — 
 
 View of Lord Auckland's Farm 
 Gravesend Fishing Boats 
 Stackyard ... . . 
 View of the Sussex Coast 
 
 '.^550
 
 FIRST RESIDENCE IN LONDON. 25 
 
 The following entries of drawings sold to Mr. RadclyfTe, chap. ii. 
 the engraver at Birmingham, also occur : — 1804— 1814. 
 
 1811. 
 
 Oct. 17. One Small Drawing, "js. Nov. 21, one Coloured Drawing, lO-y. Gd. 
 
 1812. 
 Jan. 13. One Coloured Drawing, los. 6d. One ditto, 12s. One ditto, 15.C 
 
 One ditto, iSs. 
 Dec. 9. Oneditto, ^i iij. 6d. One ditto, ^i lu. Gd. One ditto, 10s. Gd. 
 
 1813. 
 Feb. 4. One ditto.^i iis. Gd. July22,_^i lis. Gd. Sept. 19, one large coloured 
 drawing, jfG os. od. 
 „ Mr. Macdonald, view of Chertsey, ^^5 os. od. 
 
 1814. 
 Jan. 8. Sale of Drawings to Mr. Everitt, Birmingham — 
 
 Sheep-shearing, ^i lis. Gd. Lane near Dulwich, ^i lis. Gd. View near 
 Norwood, £1 IIS. Gd. Windmill and Heath, /^i lis. Gd. Edinburgh 
 Castle,;^! IS. od. Wrekin, Shropshire, _^i is.od. Hay-field, ^^i is. od. 
 Cold Harbour Lane, 15J. Hastings Fishing Boats, 15^. Hastings Fish 
 Market, i^s. 
 
 Nearly every year during his residence in London, and 
 afterwards at Dulwich, Cox made a journey to his native town, 
 Birmingham, to visit his old father and his other friends there. 
 He often sold drawings there, as we have noticed by the 
 extracts copied out of his account book, and he sketched a 
 good deal on those occasions in Warwickshire, and sometimes 
 also in Staffordshire. When at home his favourite excursions 
 were on the banks of the Thames both above and below 
 London — Battersea, Chertsey, Windsor, and Eton ; also 
 Millbank, Lambeth, Westminster, and Gravesend. Views in 
 these places are very numerous among his early drawings. 
 
 At the latter end of the spring of 1812, Cox took his wife 
 and child to Hastings, where he found many subjects for his 
 pencil. I have seen several of these a good deal like the 
 coast scenes in Turner's " Liber Studiorum ;" the effects of 
 storm and rain, with fishing boats and figures in their every- 
 day occupation on the coast, and rough seas with the moon 
 rising, are beautifully drawn and fine in feeling. Tie engaged 
 lodgings at Hastings in a street just opposite to a house in 
 which his friend, William Havell, the artist, was staying at
 
 26 LIFE OF DAVID COX. 
 
 Chap. II. |-]^g time. They went out sketching together, and Cox 
 1804— 1814. brought home, in addition to the studies by the seashore, 
 several inland views — Battle Abbey, and other places in the 
 neighbourhood. 
 
 At that time Hastings was a picturesque old place with a 
 great many fishing boats, and St. Leonards did not exist. 
 David, although a very little boy, often accompanied his 
 father to the beach. One day the child, in his rambles, dis- 
 covered a silver watch on a ledge of rock under the cliffs, and 
 brought it to his father, who was sitting near sketching. 
 Presently they saw a fisherman wandering about in rather a 
 distracted manner; Cox hailed him, and he had soon the 
 pleasure of restoring to him his lost watch. During this visit 
 to Hastings Cox painted occasionally in oil. There are many 
 little oil sketches on millboard of this period. Havell was 
 also beginning to turn his attention to oils. Early and late 
 they pursued their employment, and Cox used to boast that 
 he painted a sunrise in June, and then awoke his friend by 
 flinging pebbles at his bedroom window to show what he had 
 done whilst the other slept. 
 
 In the year 18 13 Cox was elected a Member of the Society 
 of Painters in Water Colours on its reconstruction. It now 
 exhibited in the great rooms in Spring Gardens, and had 
 hitherto confined itself exclusively to water-colours. This 
 year, however, the society determined to give a wider scope 
 to their exhibition by admitting oil pictures also, as was 
 explained by the following notice which was issued : — " 18 13. 
 The Society of Painters in Water Colours, stimulated by 
 public encouragement, and gaining confidence from success, 
 have ventured this year on a considerable extension of their 
 plans. Pictures in oil and in water-colours, portraits, models, 
 and miniatures are admitted into the present exhibition ; and, 
 should these increased efforts receive from the public that 
 liberal support which has always accompanied the former 
 exhibitions of this society, every year may produce fresh
 
 N FIRST RESIDENCE IN LONDON. 27 
 
 sources of amusement, and each succeeding exhibition become chap. ii. 
 more worthy of approbation and patronage." This new plan i8o~Z^8j 
 does not appear to have been attended with the good results 
 which were anticipated, as in the year 1821 the society 
 reverted to the original plan of an exhibition in water-colours 
 only. In the first year of his membership David Cox 
 exhibited seventeen drawings. They were chiefly views near 
 Dulwich, but the subjects also comprised Llanberris Lake, 
 the Wrekin, and many views on the banks of the Thames. 
 Although joining the society was a great event in Cox's life, 
 he does not appear to have gained much advantage from it 
 for some years in the way of the sale of drawings. They were 
 ignored by the public, who were unable to appreciate their 
 originality and peculiar merits, for even at that time David Cox 
 had a distinct style of his own, but his name was almost un- 
 known. The long war which had been waged with France had 
 depressed trade, and made living dear, and people generally 
 had but little to spare for objects of luxur}'. Cox had many 
 difficulties to contend with ; but he continued to work steadily 
 on at his art with untiring industry and perseverance. He 
 often drew the same subject several times over, making 
 changes in the arrangement, or additions, until he had 
 succeeded in realising the idea and expression he desired. 
 The drawings of this period, and, indeed, I may say the same 
 of most of those produced in the first years of his residence in 
 London, partake of many of the qualities which distinguished « 
 his more mature works. There are generally much breadth, a 
 feeling of repose, and an absence of any attempt at drawing- 
 master dexterity, or at the still more objectionable prettiness 
 which are the characteristics of feeble work. His handling 
 was less free and colouring less fresh and pure than in later 
 years, and partook unmistakably of the low tones of some of 
 the older masters ; his foliage also was somewhat heavy. Cox 
 was one of the earliest subscribers to the "Liber Studiorum," 
 which was being published by J. M. W. Turner. That he
 
 2 8 LIFE OF DAVID COX. 
 
 Chap. ii. did SO at this time, when his means were so straitened, is a 
 1804— 1814. proof how highly he prized this admirable work. With 
 respect to the "Liber Studiorum," Cox related that Turner 
 hung up a prospectus of that work in his rooms on first open- 
 ing an exhibition of his works, also a frame containing the 
 drawings in sepia for the first proposed numbers ; it was 
 reported also that Turner was induced to undertake this work 
 from the advice of a friend at Tunbridge, a water-colour 
 artist, in this" wise : — They were turning over Claude's " Liber 
 Veritatis" together, and when near the end, his friend 
 exclaimed, " Turner, you could do better things if you 
 chose." The idea appeared to be acceptable to Turner, 
 and, after further conversation, some of the illustrations were 
 at once determined on. 
 
 There can be no doubt that no artist appreciated Turner's 
 genius more than Cox did, and every year during his 
 residence in the neighbourhood of London, he used to watch 
 with ever-increasing interest for the appearance of the noble 
 pictures which Turner was producing at that period. The 
 following anecdote will be welcome to my readers as tending 
 to illustrate this feeling. On one occasion Cox had to give 
 a lesson to Lady Arden, at the West-end, and, on arriving 
 at the appointed time, he found she had not yet descended 
 to breakfast. Cox, therefore, took the opportunity of going 
 to see some of Turner's recently painted pictures, and was 
 particularly charmed with "A Harvest Dinner, Kingston 
 Bank, on the Thames," reapers at dinner, painted in 1809, 
 and now exhibited in the Turner Collection in the National 
 Gallery, No. 491. He remained for a long time in front of 
 this picture quite entranced, and on his return to give 
 the lesson to her ladyship. Cox said he had been so delighted 
 with Turner's "Kingston Bank," that he could think of 
 nothing else, and that he should like to draw a recollection 
 of it for the lesson. No drawing paper could be found at the 
 time, except the cover of a piece of music, but on this Cox
 
 i8o4 — 1814. 
 
 FIRST RESIDENCE IN LONDON. 29 
 
 made a small but charming and delicate drawing, very like Chap. ii. 
 the "Kingston Bank" in arrangement and colour. His 
 remembrance of Turner's picture was much valued by Cox, 
 and it still exists in his son's collection at Brixton Hill. 
 The original painting by Turner is quiet in tone, and Cox's 
 drawing is perhaps rather more sunny. The figures, 
 especially that of the lad stooping down with his head close 
 to the water to drink, are admirably given. Cox used to 
 relate, that during the years he lived at Dulwich, many and 
 many were the works which he tore up and put down the 
 drains of London, without consulting his wife, as she always 
 took the opportunity of rescuing them from destruction 
 whenever she could. In later years, when walking with a 
 friend on the south side of London, he stopped suddenly on 
 one occasion opposite to a large grating, and said, " Look 
 there ! That was the favourite spot where I used to send 
 the fragments of my drawings floating down into the 
 Thames." When out sketching he frequently felt dissatisfied 
 with his work, even in later years, and with the modesty 
 always inherent in true genius, he would throw down his 
 brush exclaiming, " Ah ! I cannot do it! it's of no use trying. 
 Nature beats me. She is very beautiful, in all her aspects, 
 and I will not disgrace her." 
 
 It was in the summer of 1813 that Cox was offered an 
 appointment as teacher of drawing at a military college — 
 to this we shall refer more at length presently. The difficul- 
 ties he had lately had to contend with, and his anxiety about 
 the future, induced him to accept this, but probably without 
 sufficient reflection. This engagement caused him to break 
 up his pleasant home at Dulwich, where he had passed 
 several years, happy on the whole, although not unchequered 
 with care. Before leaving, he sent his first contributions to 
 the Water Colour Society's Exhibition, In Spring Gardens, 
 thirteen drawings in all. Among the subjects were views in 
 North Wales, Westminster Abbey from Lambeth, Windsor 
 
 .{• 
 
 K'. 
 
 q - >^|^.%-|^
 
 30 LIFE OF DAVID COX. 
 
 Chap. II. Castle from St. Leonard's Hill, &c. Besides the members 
 1804^814. of the society, other artists were at this time allowed to send 
 works for exhibition to the gallery in Spring Gardens, and I 
 observe that in this year Cox's early friends, Charles Barber 
 and J. Vincent Barber, exhibited one or two pictures each : 
 they had rooms at 49, Brewer Street, Golden Square, a 
 favourite locality for artists in those early days. 
 
 When Cox gave up his cottage on Dulwich Common, his 
 wife removed to her mother's house in Camberwell, and their 
 little boy was sent to stay for six months with his grandfather 
 at Birmingham, and from thence he went on a visit to his 
 aunt Ward at Manchester. Cox himself, at the same time, 
 proceeded to Farnham, and took up his abode in the military 
 college there, as teacher of drawing to the senior officers who 
 were studying in that establishment. I understand this 
 college was founded by the British Government, in conse- 
 quence of the want felt by many officers during the war of a 
 more thorough training in the scientific branches of military 
 knowledge. The French, and other foreign officers, were 
 reputed to be more proficient in those respects, and Sir 
 William Napier, and other officers of distinction, had joined 
 the college, and Cox used to speak of the pleasure he 
 derived from becoming acquainted with them. The junior 
 officers were taught drawing by Mr. Andrew Wilson, a 
 Scotch artist, a friend of David Cox, who persuaded him 
 that he would be able to undertake all the duties of the 
 appointment. Cox applied for it and obtained it. Whilst 
 at Farnham he resided in the college, and had the compli- 
 mentary title of "Captain," with a servant to wait on him. 
 He, however, soon found that he had made a mistake. The 
 mechanical drawing and military mapping, mapping out the 
 configuration of ground, were very irksome, but the restraint 
 and discipline were still more so, as he could not go to London 
 without asking leave of absence, and he became unhappy. Sir 
 Howard Douglas, the governor, was very kind. He and the
 
 FIRST RESIDENCE IN LONDON. 3 1 
 
 Other officers appear to have recognised the talents of the chap. ii. 
 artist, but also that he was not quite suited to the position i8oZI^8i4 
 which he occupied at the college, and after the end of the 
 first term or two he was allowed to retire, and he then 
 rejoined his wife at her mother's house. There is little doubt 
 Cox's residence in the military college was attended with 
 some advantages. He himself used to acknowledge that the 
 discipline was of use in strengthening his character, and that 
 it helped him towards the success which he afterwards 
 achieved. It, however, interfered a good deal with the tem- 
 porary progress of his career in art, as may be judged from 
 the fact that in the following year, 1815, he did not exhibit 
 a single draiving at the Water Colour Exhibition. Soon 
 after Cox's return from the military college, he saw in the 
 Times an advertisement that a good master to teach drawing 
 and painting was wanted in a ladies' school in the city 
 of Hereford, and that a liberal salary would be given. He 
 answered It, and the consequence was that the head of the 
 establishment, a Miss Croucher, came up to London, and 
 had an interview with Cox, who referred her to two of his 
 artist friends. The terms proposed were ^100 a year for 
 teaching in Miss Croucher' s school twice a week, with 
 liberty to take other pupils in the town and neighbourhood. 
 
 Cox used to say that several reasons conduced to determine 
 him to accept this engagement besides the certainty of the 
 salary. These were that the cost of living in that part of the 
 country was very moderate as compared with London ; that 
 there would be cheap education at the Hereford Grammar 
 School for his son, and also that it was so near to North Wales 
 and to the picturesque scenery of the Wye. I think it must 
 be allowed also, that as far as Cox's advancement In his 
 profession was concerned, no more fortunate event than 
 a residence In the rural county of Hereford could possibly 
 have occurred. There was full scope on every side for 
 the development of his love for homely country subjects
 
 32 LIFE OF DAVID COX. 
 
 Chap. II. connected with farming ; and how well he availed himself of 
 1804—1814. this, and ivorkcd the viine almost under his feet, such grand 
 pictures as " Changing the Pasture," " Going to the Hay- 
 field," " Carting Vetches," &c., painted in after years, fully 
 proves. 
 
 Cox at first went down to Hereford alone, to look round 
 and see what accommodation he could find for his family ; 
 at the end of two months he engaged a cottage, and 
 returned to London for his wife and child, who forthwith 
 accompanied him to the picturesque old city. 
 
 Lady Arden advanced him ^40 to defray the expenses of 
 their removal, and in order to discharge this debt, Cox 
 painted on commission for her ladyship "A Fish Market at 
 Hastings," and one or two commissions for other parties 
 which made up the amount. 
 
 A short time before leaving London, Cox received a letter 
 from one of his old pupils, a lady of rank, which I will here 
 insert, as it shows how much he was esteemed by those to 
 whom he taught drawing ; but, being on this subject of his 
 teaching, I must first copy what one of his old pupils and 
 dear friends has written : "I am sure no man was ever 
 so lavish of his favours as David Cox ; none ever communi- 
 cated every atom of what a pupil wanted to know with such 
 a winning simplicity ; none scattered his treasures of know- 
 ledge so bountifully. I remember his saying to me once on 
 a private view day that a lady had said to him, 'Oh, Mr. Cox, 
 how do you manage that foreground? ' without a moment's 
 pause he replied, * I take a dry brush an4 dip it into rather 
 strong colour, and sweep it lightly over the paper. I find it 
 gives the rough effect I want.' On another occasion he told 
 me that one of his brother artists had laughed at him as 
 having showed all the tricks of the trade ; but the fact was 
 David Cox had no tricks." I think that one of the secrets of 
 Cox's success in life was his openness, his genial kind- 
 ness, and thorough unselfishness. He always made friends
 
 FIRST RESIDENCE IN LONDON. 33 
 
 wherever he went, and became known quite as much with the chap. ii. 
 
 poor as with the rich : indeed, the way in which he was 1804— 1814. 
 loved and trusted by the poorer classes was very remark- 
 able. The pupil's letter referred to above was as follows : — 
 
 "Burgley, July 14th, 1814. 
 
 "Lady Sophia Cecil's compliments to Mr. Cox, and 
 is much obliged to him for his good wishes for her recovery. 
 Lady S., in her way to town last August, called at Mr. Cox's, 
 to discharge her debt, but was told the house was let, and 
 the people could not inform her of Mr. Cox's direction. 
 Lady S. has enclosed three pounds, as she perceives Mr. 
 Cox has omitted the lesson he gave her last year of etching. 
 Lady Exeter and Lady Sophia most sincerely trust that no 
 disappointment occasions Mr. Cox to leave Dulwich, and 
 assure him of their very best wishes for his health and 
 prosperity in Herefordshire. 
 
 " Lady Exeter desires Mr. Cox, if he should again come to 
 town, to call at Privy Gardens, as both she and Lady S. will 
 be always happy to see him, and to hear of his welfare. 
 They both hope Mrs. Cox and his child are well. Lady S. 
 will be very glad if Mr. Cox will send her his direction when 
 settled in Herefordshire." 
 
 D
 
 Chap. III. 
 
 III. 
 
 HEREFORD. 
 
 1814 TO 1827. 
 
 iT the close of the autumn of 18 14 Mr. and Mrs. Cox 
 and their little boy arrived at the ancient city of 
 %J%Mk Hereford, famous for its venerable cathedral and 
 churches, and in olden time for its extensive monas- 
 teries and castle. The latter, situated on the northern 
 bank of the pleasant river Wye (deservedly renowned for 
 its scenery), was formerly considered one of the strongest 
 fortresses in England, and, with the massive town walls and 
 embattled watch-towers, defended the inhabitants of the city 
 from the attacks of their turbulent Celtic neighbours. 
 
 During the civil wars the castle and city were frequently 
 besieged ; but, with the advent of more peaceful times, the 
 defences have been swept away, except here and there a few 
 dilapidated and detached portions of the old walls which still 
 remain, overgrown with moss and weeds, relics of an age 
 now happily passed away. The Wye winds partly round the 
 city, and is spanned by a fine old bridge, from which there is 
 a pretty view looking up the river and over green fields 
 towards distant wooded hills. Not far off is the river Lugg, 
 with its rich meadows well shaded with fine trees, destined 
 to become the favourite sketching-ground of Cox. 
 
 When they arrived at Hereford their fortunes were at an 
 unusually low ebb, and they first rented an old cottage at 
 Lower Lyde, in the parish of Homer, near Ailstone Hill, and
 
 HEREFORD. 35 
 
 about two miles and a half off on the north side of the city. Chap. iir. 
 It was in a very lonely situation in a small wood, and, in 1814— 1827. 
 olden times, had probably been a small farmer's or game- 
 keeper's house. The floors were paved with flagstones, the 
 accommodation was of the simplest character, and in winter 
 the night winds whistled mournfully through the branches of 
 the surrounding trees. Doubtless it was a very dreary place 
 to pass a winter in, so in the spring following, that of 181 5, 
 Cox removed into a small but more cheerful house rather 
 nearer the city, called George Cottage, in the adjoining 
 parish of All Saints, and situated on the north side of Ail- 
 stone Hill. Their son David was then only five and a half 
 years old, but he has a distinct recollection of this cottage, 
 in which they resided for two years. 
 
 Cox set to work making sketches of the city and neigh- 
 bourhood as soon as he was settled in his new and humble 
 home. I have seen several of his drawings of these subjects 
 of the years 1 8 1 5, 1 8 1 6, and 1 8 1 7. They are low in tone, but 
 pleasing in composition and in the arrangement of light and 
 shade. The colours have often faded, especially the blues ; 
 the prevailing tones now being various shades of browns, 
 russets, and greys. His residence at Hereford was very 
 useful in producing a love for rustic subjects — ploughing, 
 haymaking, lane scenes, &c., but his drawings were seldom 
 exact copies of what he saw. Skies appear from a very early 
 date to have been much studied, and in many of his earliest 
 drawings it is easy to recognise the same fondness for gloom 
 and grandeur which characterized his latest works. He has 
 often in late years said, on looking at some of his old 
 sketches, "Ah! I began in the right way." Early dawn — 
 twilight — storm on the coast, moor scenes, and heaths under 
 cloudy or rainy effects, are certainly very often found among 
 his early works, and are the subjects he most frequently 
 reproduced. 
 
 Throughout the year 181 2, and at the commencement of 
 
 D 2
 
 36 LIFE OF DAVID COX. 
 
 Chap. III. 1814, Cox had been employed by S. and J. Fuller, of Vere 
 
 1 814— 1827, Street, afterwards of Rathbone Place, to make soft ground 
 
 etchings on copper from his own drawings, with the view to 
 
 the publication of a work on landscape art, which was 
 
 published in 18 14. 
 
 They, however, gave him a further commission for more 
 of these soft ground etchings after he arrived at Hereford, 
 and at these he worked in 1815. It" gave him more trouble 
 to carry this out at a distance from all the appliances needed, 
 but he was very successful and very original, as the works 
 themselves (to which I shall refer more at length in my next 
 chapter) fully prove. Some of the plates were to be worked 
 off in colour, and in these he tried to vary the effect of day- 
 light as much as possible. 
 
 The boarding-school kept by Miss Croucher, at which Cox 
 had been engaged to teach, stood at the bottom of Wide- 
 marsh Street, on the right-hand side going out of the town, 
 and is called "The Gate House," being close to the site of 
 the old Widemarsh Gate, demolished in 1798. This house, 
 reported to have been the residence of the governor when 
 Hereford was a walled city, is of the Early Tudor period, with 
 much quaint carved woodwork outside, and the rooms wain- 
 scoted inside with old oak. It has a good-sized garden or 
 playground at the back, running down to a portion of the 
 massive old city wall still remaining. Here Cox spent many 
 weary hours every week, as he did not find his pupils very 
 promising ; and the young artist, whose mind was tuned in 
 sympathy with nature in her grandest aspects, was obliged 
 to take to flower-painting, still-life subjects, and other similar 
 work ; indeed, to meet the wishes of pupils, he often quitted 
 his own style, and taught figures, hands, and heads. There 
 are also in existence some excellent groups of flowers, with 
 natural treatment, which he drew at this time in water-colours. 
 He did not even disdain to work on white wood in Chinese 
 fashion, including bronzing! Cox's natural good-nature setting
 
 HEREFORD. 
 
 37 
 
 him to accomplish, in his own original way, whatever was Chap. hi. 
 requested and sought for. Unfortunately he found little 181^1^827. 
 appreciation at Hereford for landscape, the only walk in art 
 for which he really cared. Some time later he copied the 
 knife, kept at Home Lacy, with which, according to tradition, 
 Felton stabbed the Duke of Buckingham. This was a com- 
 mission from Walter Fawkes, Esq., and it drew forth a 
 gratifying letter of thanks. 
 
 I find, by a memorandum written by Cox in one of his old 
 account books, that he began to teach at Miss Croucher's 
 school on the 26th October, 18 14, and that he taught there 
 continuously till the end of 1819. He also commenced to 
 teach at the Hereford Grammar School on the 2nd February, 
 18 1 5, and he continued to do so for a great number of years. 
 That he also taught at a school kept by a Miss Poole is 
 proved by the following entry in his note-book : — 
 
 1816. Miss Poole Dr. to D. Cox. 
 
 Half-a-year's instruction to five young ladies, each 3 guineas . ^1515 o 
 Entrance money .........220 
 
 Five drawings . . . . , . . . . . 2126 
 
 The arrangement for teaching at the Grammar School was 
 by no means an advantageous one for Cox, as he only 
 received for this work a yearly stipend of six guineas. In 
 those days, especially in the provincial towns, the art of 
 design was regarded altogether as rather an inferior and 
 unimportant accomplishment. 
 
 He soon found that there was little to be done in Hereford 
 in the way of obtaining private pupils, and he was obliged to 
 seek for these at the residences of the county gentry at some 
 distance, and also to eke out his income by giving lessons at 
 schools in Leominster and some other neighbouring towns. 
 This took up a great deal of time. About the second year 
 of his residence at Hereford he made the acquaintance of the 
 Rev. Mr. Hopton, of Canon-Frome Court, by whom he was 
 engaged to give lessons to his daughters. Mr. Hopton had 
 an old worn-out hunter running about the park, and, as he 
 
 1889£2
 
 38 LIFE OF DAVID COX. 
 
 Chap. III. had been used to carry weight, he thought he could certainly 
 1814— 1827. carry Cox (who was not a tall man) in his rides to and from 
 the houses situated a few miles from the city, and he offered 
 to make him a present of the horse. Cox gladly accepted 
 this offer ; but it soon became lame, and had to end its days 
 in the park. He was next persuaded by a young man (an 
 apprentice of the bookseller Mr. Watkin), to whom he gave 
 early morning lessons in drawing, to try a young horse. Cox 
 mounted him in a field, but the horse was too fresh and 
 restive ; Cox was thrown on the first trial, and unfortunately 
 dragged, with his foot in the stirrup, round the field. He 
 still made another essay. This time it was an old pony which 
 had belonged to an apothecary, and had been ridden by the 
 boy who took out the basketsful of draughts, mixtures, &c., 
 considered so essential in those days for the cure of all human 
 ailments. The pony, which was called "Jack," however, had 
 a will of his own ; he had been used to stop at nearly all the 
 white gates leading to the houses and cottages around Here- 
 ford, and whenever Cox approached one of these gates, 
 Master Jack, who thought he knew best what was right, 
 came to a dead halt, in spite of all his rider could do. Cox 
 thought this more trouble than walking, so he soon parted 
 with Jack, and made no further experiment in horse-flesh all 
 the remainder of his life, considering that three failures 
 were enough for any man. 
 
 In the first or second year of his residence at Hereford he 
 made an excursion down the Wye as far as Chepstow, visiting 
 Ross, Monmouth, and Tintern, and making many sketches. 
 In the year 181 6 he exhibited seven drawings in the rooms of 
 the Water Colour Society in London, some of which were 
 near Hereford and on the Wye. I believe that they did not 
 meet with a very ready sale ; the public were beginning to 
 feel the pinch of the hard times which followed the close of 
 the long French war. The following year, viz., in 181 7, Cox 
 sent nothing whatever to the Water Colour Exhibition. This
 
 HEREFORD. 39 
 
 was caused in part by the great absorption of his time in Chap. hi. 
 going about the neighbourhood giving lessons, but still more 1814— 1827. 
 by a serious illness which laid him low for some time in the 
 spring of that year, and for which he had to be bled. He 
 was attended by Mr. Samuel Cam, a well-known and highly 
 respected surgeon in Hereford ; and this led to his forming a 
 warm friendship with that gentleman, which lasted for many 
 years. Mr. Cam had several early drawings from Cox, which 
 still exist, and which I have seen in the house of his nephew 
 and successor, Mr. Thomas Cam, in St. Owen Street, Here- 
 ford. One of these is a river scene, probably the Lugg, 
 somewhat in Varley's style. Another, dated 1 815, is interest- 
 ing as being a view in the High Street, of the Butchers' Row, 
 and other old houses in the centre of the city which have 
 since been pulled down. It is very carefully drawn, with a 
 great many characteristic figures, and the effect is pleasing. 
 
 Cox made the acquaintance at Hereford of Mr. Honiatt, of 
 St. Owen Street, who took much interest in his drawings ; 
 also of a Mr. P. B. Watkin, bookseller, stationer, and dealer 
 in engravings, &c., at the corner of Widemarsh Street, whose 
 shop was a very favourite lounge ; Mr. W. H. Cole was another 
 stationer and dealer in drawings, with whom Cox often 
 disposed of his works at exceedingly modest prices. Mr. 
 Spotsy, manager of a bank at Hereford, was also a valued 
 and early friend. I believe these are all now deceased. 
 
 At the end of 181 7 Cox left George Cottage, and moved 
 into a thatched one in Parry's Lane {alias Holmer Road), 
 Ailstone Hill, of which I give a view at the end of this 
 chapter. When Cox first thought of renting this cottage, 
 which was prettily situated in a country lane, there was not 
 sufficient accommodation in it for his family, and no room 
 that would do as a studio ; so he asked the owner, Mr. Parry, 
 if he would add what was required. To this Mr. Parry 
 replied, that, as artists' ideas did not always agree with those 
 of other people, instead of making the alterations himself he
 
 40 LIFE OF DAVID COX. 
 
 Chap. III. would give forty pounds towards any change or additions that 
 1814^827. Cox might desire, which he could then make to please himself; 
 and that he would not raise the present rent, which was only 
 eight pounds per annum. Inhere was a good garden opposite, 
 belonging to the cottage, full of fruit-trees, and Cox gladly 
 closed with this offer. He added twenty or thirty pounds of 
 his own, and built a comfortable room on the north side, 
 which served as studio and parlour, and a good bedroom 
 over it. In front of the cottage Cox put up a broad verandah, 
 covered with thatch and supported on rustic columns. In 
 the course of years the verandah, having become decayed, 
 has been taken down and a simple porch put up in its place, 
 as shown in the picture. When Cox resided there the little 
 garden in front, which is now full of bushy evergreens and 
 other shrubs, only contained hollyhocks and roses, which 
 must have bloomed there in profusion, as appears in a sketch 
 of the cottage made at that time by Mrs. Cox. This is rather 
 interesting, as it shows that the love for hollyhocks, which 
 was manifested in Cox's garden at Harborne in 1855, existed 
 nearly forty years earlier at Hereford. 
 
 In this cottage Cox resided for five and a half years. At 
 that time the windows of the studio looked into a pleasant 
 meadow, but of late a road has been made alongside the 
 cottage where grass used to be. At the bottom of the 
 garden there was an old-fashioned draw-well in a shady spot, 
 and here, in summer weather, when the cottage larder was 
 not cool enough, Mrs. Cox used to hang the joints of meat 
 down the well that they might keep better. It was a joke 
 against her that on one occasion, a guest being expected to 
 partake of the Sunday's dinner, a leg of mutton had been 
 suspended in the well, but in the night a rogue, more sly 
 than honest, having discovered the secret, forestalled Mrs. 
 Cox, who found nothing there in the morning, and the party 
 in Parry's Cottage were obliged to partake of less substantial 
 fare. This well, which had the disagreeable habit of over-
 
 HEREFORD. 4 1 
 
 balancing the winders if not very strong, was afterwards Chap. hi. 
 bricked over. 1814— 1827. 
 
 Cox took several pupils during his residence at Hereford, 
 both in Parry's Cottage and Ash Tree House, to whom he 
 taught drawing and painting. The first who came was the 
 son of the agent of the Duke of Beaufort, a young man of 
 the name of Turton, who remained two years. He was 
 succeeded by Mr. J. M. Ince, son of a surgeon at Presteign. 
 Frederick Birch, from Norwood, and a young man of the 
 name of Parry, from Monmouth, were the two last. Of these 
 pupils, Mr. Ince is the only one who appears to have attained 
 to any success as an artist in after life. Mr. Ince got a good 
 appointment at Cambridge as teacher of drawing and paint- 
 ing, and also resided some years in Presteign and London, 
 painting landscapes, which sold fairly, by which he realised a 
 good independent property. He was always very careful in 
 his expenditure, and never married. It appears by his note- 
 book that Cox received at the rate of seventy pounds per 
 annum for some of his pupils, and seventy guineas for others, 
 for board, lodging, and instruction. 
 
 Cox exhibited thirteen drawings this year (18 18) in the 
 Water Colour Society, one of the most important being a 
 view on the river Lugg, near Hereford. The Lugg meadows 
 were early selected by him as a favourite place of resort, as 
 some very fine trees grew near the river. He used to visit 
 London every spring to see the exhibitions, often giving 
 lessons there to some of his old pupils, who also purchased 
 some of his drawings. His sales, too, at the exhibitions 
 gradually increased, and he was now enabled to lay by a 
 little each year towards his favourite project of building a 
 cottage for himself on his own freehold. 
 
 In his annual journeys to and from London he passed 
 through Birmingham, where he still kept up several of his 
 old friendships, and where he was in the habit of selling 
 drawings. He generally stayed in Birmingham, at the house
 
 42 LIFE OF DAVID COX. 
 
 Chap. III. ^f -^/^^ Everitt, on his way home. I find the following- sales 
 1814— 1827. to Mr. Everitt noted down, made on one of these visits: — 
 1817. 
 
 ilay 15. Mr. Everitt, Birmingham, Dr. 
 
 Six Indian ink drawings, at Js. each. 
 
 Six ditto ditto at 4^. each. 
 
 Drawing of Warwick Castle. Snowdon from Beddgelert. Morning. No price. 
 
 Also the following drawings sold to Messrs. S. and J. 
 Fuller, London : — 
 
 1818. 
 
 Feb 18. One Drawing, Berry Pomeroy . . . . . _^i 5 o 
 
 One ditto, View below Gravesend . . . . . 150 
 
 Four ditto, i8j. each 3 12 o 
 
 Twenty-one ditto, 8s. each . . . . . . 880 
 
 On one of these journeys, about this time, he revisited 
 Hastings, and made several drawings. He also made an 
 excursion to North Wales in 1818. In May, 1819, a young 
 maid-servant, Ann Fowler, whose parents resided near 
 Hereford, entered the service of Mr. and Mrs. Cox, where she 
 remained for forty years. She became housekeeper after the 
 death of Mrs. Cox, and never left her master as long as he 
 lived. She proved herself a very faithful, efficient, and 
 attached servant. This spring Cox took his son with him 
 to London to see the exhibitions for the first time. They 
 made a great impression on him, especially Wilkie's picture 
 of the " Chelsea Pensioners." Cox had ten drawings in the 
 Water Colour Society's Exhibition, chiefly views on the Wye 
 and in North Wales, and also a view of the town of Hereford. 
 The picturesque bits of the old city afforded many subjects 
 for his pencil ; one, which was afterwards lithographed, was 
 of Old Cabbage Lane (near the cathedral), in which there was 
 a quiet eating-house where Cox and his friends used occasion- 
 ally to get their dinners. In this year (1819) Cox also made 
 a journey by himself into North Devon, and he revisited Bath, 
 where, two years previously, he had executed a commission 
 for views, six of which, including a general view of the town, 
 Lansdown Crescent, the Pump Room, &c., were published by
 
 HEREFORD, 43 
 
 S. and J. Fuller in 1820. This journey was often referred to chap. iii. 
 by him as a very dull one because he was alo7ie ; he always 1814— 1827. 
 liked to have a companion whenever and wherever he could. 
 Cox also made a tour in North Wales this year during the 
 summer vacation, and was accompanied by some young 
 friends from Hereford — Mr. Buhner, and Mr. John Parker, 
 and William Henry Parker. They went along the Upper 
 Wye, Rhaiadr Buillt, and Hay, to Aberystwith, and thence 
 through some of the chief points of interest in Merionethshire 
 and Carnarvonshire. His companions appear to have been 
 more bent on amusement than art, so his sketches on this 
 occasion were chiefly in pencil, or memoranda in chalk, 
 which he worked up at home. They were not very 
 satisfactory, and, although he made a great many studies, 
 few of them were ever worked up into drawings. 
 
 In 1820 Joseph Hume, the political reformer and economist, 
 visited Hereford, and was warmly welcomed by the Liberal 
 party. Cox, whose opinions were of the advanced Liberal 
 order at that time, formed one of the committee to receive 
 him, and, with two others, subscribed to present him with a 
 hogshead of the best Herefordshire cider. A public dinner 
 was given on the occasion, followed by the usual speeches. 
 This was one of the very few public dinners at which Cox 
 was ever present. On his return home in the evening, Cox 
 said he would celebrate so important a day by planting a 
 number of acorns and chestnuts in his garden. He had 
 always an especial love for forest trees. The young trees 
 came up and grew till they were too large for the garden, and 
 Mr. Parry informed me that they have since been trans- 
 planted into the adjoining fields. Cox had taken great 
 interest the preceding year in the trial of Queen Caroline, 
 and many were the arguments which he had on the subject 
 with his friends. His wife, whenever the discussion waxed 
 warm, used to step in as a pacificator. At that time Cox 
 took in Cobbett's "Register," the raciness of which he
 
 44 LIFE OF DAVID COX. 
 
 Chap. III. appreciated. Not relishing the high taxes then in force, and 
 181^827. disliking the policy which had led to their imposition, Cox 
 tried to drink Hunt's roasted corn, and, not liking that, the 
 idea occurred to him that new hay would make a morning 
 beverage to the detriment of the revenue, so he purchased 
 some and had a tea-pot full prepared. On the return of Sir 
 R. Price for the county he went to hear him address the 
 electors, and at the conclusion of the address. Cox exclaimed, 
 " That's the man who can speak," a compliment not always 
 echoed even by his supporters. Although Cox was a reformer 
 in principles, and advocated Liberal measures at this period 
 of his life with the enthusiasm that might have been expected 
 considering his ardent temperament, his views became very 
 much moderated with the advance of age, and in his latter 
 years, although he used to enjoy occasionally hearing the 
 Examifier and other Liberal papers read out loud, he took 
 little interest in politics, his mind being absorbed in the 
 pursuit of art. He also devoted a good deal of time to his 
 garden, the produce of which was a valuable aid to the 
 economy of his house. 
 
 In the year 1820 Cox exhibited the unusual number of 
 seventeen drawings in the Water Colour Exhibition. Views 
 in Herefordshire predominated ; but there were also some 
 Welsh scenes, and several other subjects, such as " Hay- 
 makers," "Ploughing," " Boy Angling," &c., of which very 
 few appeared in his earlier exhibited drawings, but which 
 had been suggested by his walks round Hereford, and which 
 form the staple of his best and most characteristic works in 
 later years. Indeed, he ever held that the matter or subject 
 of a sketch was inferior to its treatment or sentiment. 
 
 It has already been remarked that Cox had great admira- 
 tion for the works of Turner, and he never omitted an 
 opportunity, when he paid his annual visit to London at the 
 time of the exhibitions, of going into the Turner Gallery in 
 Queen Ann Street. Turner was on friendly terms with him,
 
 HEREFORD. 
 
 45 
 
 and used always to greet him as " Daniel." '' Well, Daniel, chap. hi. 
 how are you?" The origin of this joke I believe Cox 1814II7827. 
 himself could never explain. On Cox's return home in 182 1 
 he determined to paint a large drawing, 2 feet 5 inches by 3 
 feet 7 inches, in recollection of the glowing and imaginative 
 pictures lately produced by Turner. This resulted in the large 
 drawing now in the possession of Mr. W. Quilter, of 
 Norwood, " JEnesiS approaching Carthage." This draw- 
 ing was exhibited in 1825 in the Water Colour Society's 
 Exhibition, under the title of " Carthage, /Eneas, and 
 Achates," and sold for fifty pounds. The passages from 
 which it is taken are as follows, from the first book of the 
 ^neid : — 
 
 "Ipse uno graditur comitatus Achate," 
 
 and 
 
 " Instant ardentes Tyrii ; pars ducere muros." 
 
 The drawing was a long time in hand; it is very unlike 
 Cox's usual work ; the colouring is bright, and the fore- 
 ground highly finished. The buildings have some resem- 
 blance to the grand, stately architecture of Martin's works. 
 
 In the year 1 82 1 Cox exhibited only four drawings, twelve in 
 1822, and eighteen in 1823. This latter year there was also 
 a loan collection of drawings exhibited in the Water Colour 
 Society's rooms, which comprised five works by Cox. The 
 greater number of the drawings exhibited in the above years are 
 views in North Wales, where Cox went almost every summer, 
 also views on the Thames, especially near Gravesend, and at 
 Hastings. Cox used to stay with his relations in London for 
 a month or two, before the exhibitions opened, when he used 
 to complete his works for exhibition, and was enabled to 
 make sketching excursions on the Thames, &c., when the 
 weather permitted. Some of the latter years of his residence 
 at Hereford he gave as many as three lessons a week to some 
 of his old pupils, who were very glad to avail themselves 
 of his temporary abode in London. His teaching had by
 
 46 LIFE OF DAVID COX. 
 
 Chap. III. this time a good deal increased, as appears by his old 
 181^827. account books, fortunately preserved, and which I have seen. 
 The prices charged were still very moderate, varying from 
 seven-and-sixpence to half-a-guinea a lesson. In 1824 he 
 had also several private pupils at these rates in the neigh- 
 bourhood of Hereford: Miss Parkinson, the Misses Hopton, 
 and some of the family of the Rev. J. Lelly, of New 
 Court. He made a pretty sketch of that gentleman's seat, 
 which he afterwards lithographed himself, and it was printed 
 by G. Hullmandel. He also made an etching of the new 
 Town Hall, Hereford, which is interesting from the vast con- 
 course of people, about eighty, in the old-fashioned costumes 
 of the period. In the summer of 1824 Cox had a commis- 
 sion from Monsieur Ostervald,. of Paris, for seven drawings, 
 which he charged to him at three and four guineas each. 
 The subjects were as follows : — " View of the Town of Hay ;" 
 " Fishing Boats on the Thames ;" " Fishermen at Hastings ;" 
 "Corn-field View in Herefordshire;" "View of Goodrich 
 Castle;" " Tintern Abbey ;" " Lymouth Pier." Mr. Oster- 
 vald was a publisher and dealer in works of art. And this was 
 followed by another commission from him to paint some French 
 subjects, views on the Mediterranean, &c., from outlines for- 
 warded to him from Paris. He used also, at this time, often 
 to dispatch small drawings — views on the Wye, on the 
 Thames, and in Wales — to Mr. Clay and other dealers in 
 London, views of Rhaiadr Bridge, Devil's Bridge, &c., for 
 which he charged two guineas each. 
 
 Cox's great industry during the last few uneventful years 
 at Hereford, added to the receipts from taking pupils, &:c., 
 had resulted in considerably improving his finances, and he 
 now began to turn over in his mind his favourite project 
 of building a house for himself, the cottage he lived in in 
 Parry's Lane being too small for much comfort. There is, 
 under date 5th April, 1824, in one of his account books, a 
 calculation of how much money it would take to build a small
 
 HEREFORD. 47 
 
 house, with an estimate in detail amounting to ^3 17 10^. /\d. Chap. iii. 
 
 Every brick and piece of timber are carefully detailed in 181^827. 
 
 this calculation. About this time he purchased a piece of 
 
 land, very pleasantly situated on the brow of Ailstone Hill, 
 
 and he then lost no time in commencing to build. He was 
 
 his own architect and clerk of the works, rising at five o'clock 
 
 to inspect the work of the day. The house was built on 
 
 gravel, and stood sideways to the road ; it was finished by 
 
 the end of the year, was thatched with straw, and had also a 
 
 thatched verandah, which ran round three sides of the 
 
 building. In front was a circular drive up to the house, in 
 
 the centre of which stood a large ash-tree, in consequence of 
 
 which it was named "Ash Tree House;" and behind was a 
 
 good-sized garden, surrounded by some elms and other large 
 
 trees, which are still flourishing. This house is now known 
 
 as " Berbice Villa," and is in excellent repair. The thatched 
 
 roof having caught fire, has been replaced by tiles, and the 
 
 verandah has disappeared. Cox removed into this house at 
 
 the end of 1824, but he only lived there two years, as at the 
 
 end of 1826 he had an offer to purchase his house from a 
 
 Mr. Reynolds, who had lately returned from Berbice, in the 
 
 West Indies. The bargain was soon struck, the price being 
 
 about a thousand pounds, and early in the year 1827 Cox 
 
 left it. 
 
 Mr. William Radclyffe and Mr. Edward Everitt, of Bir- 
 mingham, visited Cox at Hereford more than once, and he 
 often went to stay with them in return. On one of these 
 occasions, in 1825, Mr. Everitt introduced Cox to Mr. 
 Charles Birch, then residing in the Black Country, who not 
 only admired his drawings, but entered thoroughly into their 
 meaning and understood their originality, and with this 
 gentleman he formed a long-enduring friendship. Mr. 
 Birch had a true feeling for art, and Cox deferred very much 
 to his judgment and opinion, which was generally right. 
 
 The Water Colour Society moved into their new gallery,
 
 48 LIFE OF DAVID COX. 
 
 Chap. III. 5, Pall Mall East, in 1823, and from that time Cox increased 
 181^827. the number of the drawings he exhibited.. Indeed, he and 
 Copley Fielding were the largest contributors for many 
 years. In 1824 he sent the large number of twenty-three 
 drawings, and thirty-four in 1825. The subjects were 
 exceedingly varied, those in North Wales, Hampshire, 
 (especially on the Wye), and on the Thames, being the most 
 numerous. Lord Northwick appears to have been a purchaser 
 in 1825, but the prices Cox realised were much too low, 
 averaging chiefly from three to six guineas each, as marked 
 on one of his own catalogues. 
 
 Mr. Edward Everitt relates that he spent a fortnight 
 with Cox in Wales, in 1825, and also visited Tintern, 
 Goodrich Castle, and other places on the Wye ; on 
 this occasion Cox made a very highly finished view of the 
 castle in black-lead pencil, which he presented to his friend, 
 and also an etching of a cottage and pigsty, equally highly 
 finished, both of which exist. I have stated that Mr. W. 
 Radclyffe visited him more than once, and on one of these 
 occasions, viz., January 19th, 1825, he sold him the following 
 drawings: one small drawing, £\ 5^.; "View of a Wind- 
 mill," /6 6^. ; "Water Mill at Festiniog," /6 6.?. ; " Cader 
 Idris," ^12 125. The following drawings were forwarded 
 to Mr. Clay, London, in February, 1825: "Oxen at 
 Plough," "Cows up the Medway," "Greenwich," "Pas- 
 sengers going on board an East Indiaman," " Greenwich 
 from Sydenham Hill," " Vale Crucis Abbey," " Tunbridge 
 Priory." 
 
 In 1826 Cox again sent twenty-two drawings to the 
 exhibition, and went to London, accompanied by his son, a 
 few weeks before it opened. His brother-in-law, Mr. 
 Gardener, was then established at No. 163, Regent Street, 
 as agent for the sale of the Government Ordnance Maps. 
 Soon after their arrival in town Mr. Gardener told Cox that 
 he held a commission from government to proceed to Brussels
 
 HEREFORD. 49 
 
 to see a large map of the world, which had lately been Chap. hi. 
 published there, and he urged him to accompany him and 1814— 1827. 
 take David also, adding that the trip would not occupy much 
 time. So agreeable a plan wanted but little persuasion, 
 and they shortly started by coach for Dover, crossed to 
 Calais, where they stayed a day or two, and then travelled 
 on by boat and diligence, via Dunkerque and Bruges, 
 to Brussels. After engaging lodgings, they visited the 
 Museum, Town Hall, and other sights, including Waterloo, 
 and Cox m.ade several drawings in the city, and sketches of 
 the country people and market women, in their quaint caps. 
 He had heard that the Hoptons, of Canon-Frome, were 
 travelling on the Continent, and on inquiring at a bookseller's, 
 he ascertained that they were lodging in the next street. 
 Mr. Hopton welcomed him warmly, and said he had actually 
 written lately to ask Cox to join him and his family in a tour 
 through Belgium and Holland, which they were making 
 in their travelling carriage, and in which he pressed him 
 to take a seat. Cox consented to join the Hoptons, and 
 they left Brussels for Ghent and Antwerp in a few days, 
 whilst his son returned with his uncle Gardener to England. 
 After quitting Belgium, they visited Dort, Rotterdam, 
 Delft, the Hague, Leyden, Amsterdam, and Haarlem. 
 Cox made many sketches on this tour, chiefly in pencil, 
 as time pressed. Those still existing include very clever 
 street views at Ghent, a view of Haarlem, from the Amster- 
 dam canal ; the Fish Market at Amsterdam ; Dort, on the 
 canal ; view on the canal from Leyden to Haarlem ; sketches 
 near Rotterdam, Barges at Dunkerque, &c. They were 
 made as they glided along the canals, and have the colours 
 sometimes written down, as cobalt, yellow, &c. They have 
 low horizons, with figures and cattle cleverly introduced, 
 reminding one of Cuyp, with the clouds in outline, slight, but 
 graphic. Drawings from some of these sketches appeared 
 afterwards in the Exhibition of the Water Colour Society. 
 
 E
 
 50 
 
 LIFE OF DAVID COX. 
 
 Chap. III. It was in the autumn of this year, after his return home, 
 1814IT827. that Cox negotiated the sale of his house. Several consi- 
 derations appear to have weighed with Cox, and to have 
 determined him to take this step. He rarely came to any 
 important decision without due deliberation ; but he had been 
 long convinced that it would be desirable if a good opportunity 
 offered to remove from Hereford; the following were some of 
 his reasons :— He felt that London would afford a better opening 
 for his son, then just growing up, and destined to be an artist. 
 Also that he would himself be able to associate more with 
 other artists. Living for so many years constantly amid 
 rural scenes, Cox had often felt a longing (as his son relates) 
 for the inspiration to be derived from intercourse with artists 
 and art lovers. It is certain nevertheless that the intimate 
 knowledge he acquired of the routine of farming and of 
 English country life in Herefordshire, immensely assisted 
 and led forwards to the success which he afterwards achieved. 
 Early in 1827 Cox and his family quitted Hereford, and took 
 up their abode at No. 9, Foxley Road, Kennington Common, 
 on the south-east side of London. Mrs. Cox's health had 
 been very delicate for some years, but after her return 
 to London she soon became stronger, and was able to take 
 longer walks ; she had also the pleasure of being near her 
 own relatives.
 
 ^ 
 
 \
 
 IV. 
 
 WORKS ILLUSTRATED BY DAVID COX. 
 
 I HE first work containing soft ground etchings on Chap. iv. 
 copper, etched by Cox himself from his own 
 drawings, was published in 1814, by S. and J. 
 Fuller, of 34, Rathbone Place. It was entitled, " A Treatise 
 on Landscape Painting and Effect in Water-Colours," by 
 David Cox. It had been in progress for upwards of two 
 years, some of the plates having been etched as far back as 
 the beginning of 181 2. The same firm published several 
 repetitions or editions of this work at different dates, and again, 
 in 1825, they brought out " The Young Artist's Com- 
 panion, or Drawing Book," by David Cox. These series are 
 illustrated in a very interesting manner, being all studies 
 from nature by the artist himself. Some are in outline, with 
 a little free-hand shading ; some in aquatint, to represent 
 sepias, and some are also coloured. They are intended 
 as examples of composition, light and shade, effect and 
 colour. The illustrations bear various dates between 18 12 
 and 1823 ; many have much of the originality and feeling of 
 his later works. It is interesting also to trace the same 
 idea in these very early etchings as in the subjects of many 
 of his latest pictures, such as "Changing the Pasture," 
 " Going to the Mill," &c. Besides landscapes and sea- 
 coast subjects, there are several studies from still-life. The 
 first few sheets are for beginners, and are simple, unaffected, 
 and well selected. In the " Treatise on Landscape Painting 
 
 E 2
 
 52 LIFE OF DAVID COX. 
 
 Chap. IV. and Effect," there are twenty-five pages of etchings and 
 thirty-two ditto of aquatints. In the ** Young Artist's 
 Companion " there are forty pages of etchings and twenty- 
 four pages of aquatints, some of the latter being coloured. 
 
 By a memorandum in Cox's account book I learn that in 
 February, March, April, and May, 1812, he received eighteen 
 guineas each month for etching six copper plates, at three 
 guineas each ; he was also paid five shillings for colouring 
 four sporting prints. In September of the same year he 
 received ^39 7^. 6d. for twenty-five plates of sepia drawings; 
 in October at the rate of three guineas per plate for four 
 coloured drawings, and for four ditto at^i 8^. per plate. In 
 January, 18 14, he received for colouring six large sepia 
 plates twelve shillings, and for colouring twelve small sepia 
 plates also twelve shillings. In 1816 Messrs. S. and J. 
 Fuller are debited by Cox, for etching twenty-four copper 
 plates, at £2 125. (^d. each, for the months of January, 
 February, March, April, May, and July =^ £^Z' March 27th, 
 1 81 8, they are also debited for four views in Bath, sixteen 
 guineas, and afterwards, for two ditto, eight guineas. These 
 were made for the illustrated work on Bath they were 
 about to bring out. It is rather rare now, but I have 
 fortunately seen a copy, of which I will give a description. 
 It is entitled, "Six Views of the City of Bath," from 
 drawings made by David Cox, price, in colours, £\ los., dated 
 1820. The views are engraved by Smart and Sutherland. 
 The drawing and perspective of these views are excellent, and 
 prove how admirably Cox could draw street architecture. The 
 first in order is the '* Town Hall and Abbey, Bath." In the 
 foreground is a stage-coach and horses, with passengers, 
 market people at a stall selling poultr}^ and a man driving a 
 brewer's horse, with beer barrels on a sort of trolly. The 
 next subject represents the " Royal Crescent, Bath," with 
 figures promenading in quaint costumes, the ladies with very 
 short waists. The third is " Lansdown Crescent, Bath,"
 
 WORKS ILLUSTRATED BY DAVID COX. ^;^ 
 
 two sedan chairs with their bearers are waiting on one side Chap. iv. 
 of the road, and the other is crowded with ladies and ' 
 
 gentlemen. The fourth is " The Pump Room, Bath." The 
 buildings in this view are all admirably finished, and it 
 is very amusing from the number of Bath, a/i(7s sedan chairs, 
 eight or nine carried by young men in livery, and young fops 
 bending forwards to salute the ladies. The fifth view is of 
 " Pultney Street, Bath," with a beautiful perspective effect; 
 and the last is a general view of " Bath from the Beacon 
 Cliffs : " its arrangement is like some of the older masters. 
 These views must have been made by Cox in 1817, as he 
 was paid for them all at the beginning of 1818, although the 
 book bears date 1820. Without doubt a year or two was 
 necessary for the engravers to complete their work, and for 
 the colouring, which was done by hand. As regards arrange- 
 ment and effect they are superior to most views of cities 
 published in the present day. 
 
 The subjects of " Cox's Treatise on Landscape Painting," 
 published by Messrs. Fuller, comprise views at Edgbaston, 
 Dulwich, Hampton-in- Arden, Kenilworth Castle, Aston 
 Hall, Hereford, Hastings, Northfleet, Bridgwater, Lambeth, 
 Windsor, Eton, Battersea Marshes, the banks of the Wye, 
 and many parts of North Wales. Picturesque bits of Old 
 England abound in these books — rustic bridges, cottages, 
 and quaint old houses, such as scarcely exist in these latter 
 times, when so much that was endeared to the artist has 
 been swept away by the hands of modern " improvers." It 
 will, I think, be interesting to ascertain the ideas and views of 
 Cox, at that early period of his career, on the scope and 
 aim of landscape-painting, as published in the Treatise : I 
 will therefore give an extract, containing the hints which he 
 thought would be of use to the student of landscape art at 
 that day, showing what, in his opinion, should be aimed at, 
 and what avoided : — 
 
 "The principal art of Landscape Painting consists in
 
 54 
 
 LIFE OF DAVID COX. 
 
 Chap. IV. convcying to the mind the most forcible effect which can be 
 produced from the various classes of scenery which possess 
 the power of exciting an interest superior to that resulting 
 from any other effects, and which can only be obtained by a 
 most judicious selection of particular tints, and a skilful 
 arrangement and application of them to difference in time, 
 seasons, and situations. 
 
 " This is the grand principle upon which pictorial excel- 
 lence hinges, as many pleasing objects, the combination of 
 which render a piece perfect, are frequently passed over by 
 an observer because the whole of the composition is not 
 under the influence of a suitable effect. Thus a cottage or a 
 village scene requires a soft and simple admixture of tones 
 calculated to produce pleasure without astonishment. On 
 the contrary, the structures of greatness and antiquity should 
 be marked by a character of awful sublimity, suited to the 
 dignity of the subjects, indenting on the mind a reverential and 
 permanent impression, and giving at once a corresponding 
 and unequivocal grandeur to the picture. Much depends on 
 the classification of the objects, which should wear a magnifi- 
 cent uniformity, and much on the colouring, the tones of 
 which should be deep and impressive. 
 
 " In the selection of a subject from nature the student 
 should ever keep in view the principal object which induced 
 him to make the sketch, whether it be mountains, a castle, 
 group of trees, a corn-field, river scene, or any other object. 
 The prominence of this leading feature in the piece should 
 be duly supported throughout ; the character of the picture 
 should be derived from it ; every other object introduced 
 should be subservient to it, and the attraction of the one 
 should be the attraction of the whole. The union of too 
 great a variety of parts tends to destroy, or at least to 
 weaken, the predominance of that which ought to be the 
 principal of the composition, and which the student, when he 
 comes to the colouring, should be careful to characterize by
 
 WORKS ILLUSTRATED BY DAVID COX. 55 
 
 turning- upon it the strongest light. All objects which are Chap. iv. 
 not in character with the scenes should be most carefully- 
 avoided, as the introduction of any unnecessary object is sure 
 to be attended with injurious consequences. This must 
 prove the necessity of becoming thoroughly acquainted with 
 and obtaining a proper feeling of the subject. The picture 
 should be complete and perfect in the mind before it is ever 
 traced upon the canvas. Such force and expression should 
 be displayed as would render the effect at the first glance 
 intelligible to the observer. Merely to paint is not enough, 
 for when no interest is felt nothing is more natural than that 
 none should be conveyed. When the pupil has made a correct 
 and decided outline all timidity vanishes, and he will work 
 with spirit and freedom. The reverse is the cause of so 
 many failures in the commencement of art. The last and 
 surest method of obtaining instruction from the works of 
 others is not so much by copying them as by drawing the 
 same subjects from nature immediately after a critical 
 examination of them, while they are fresh in the memory. 
 Thus they are seen through the same medium, and imitated 
 upon the same principles, without preventing the introduc- 
 tion of sufficient alterations to give originality of manner, or 
 incurring the risk of being degraded into a mere imitator." 
 
 The following is an extract from "The Young Artist's 
 Companion, by David Cox, 1825 : " — 
 
 " The great merit of a picture depends on the most appro- 
 priate effect given to each scene. Abrupt and irregular lines 
 are productive of a grand or stormy effect, while serenity is 
 the result of even and horizontal lines. Morning effect, for 
 instance, may be displayed in any composition, the form and 
 character of which are pleasing to the eye, where the pendent 
 forms of trees, combined with other objects, communicate to 
 the mind a delightful impression. Owing to the great glare 
 of light in mid-day effects, hay-fields, corn-fields, or any 
 busy scene on rivers, are suitable. As regards evening and
 
 56 LIFE OF DAVID COX. 
 
 Chap. IV. twilight, such effects being calculated to convey to the mind 
 
 impressions of grandeur, the composition should be studied 
 
 ■ to produce the same, and the colouring ought to be perfectly 
 
 in unison with the peaceful repose or the gloomy majesty 
 
 which contrasts the scene. 
 
 " A flat country on the marshy banks of a winding river 
 should be seen beneath a grey-coloured sky. The transient 
 effect adapted to such a landscape is provided by the fleeting 
 lights of the sunbeams struggling between the interstices of 
 the flowing clouds. The old pollard-willow is strictly charac- 
 teristic of this scene and its situation, and its situation in the 
 landscape might be such as to carry the eye through all the 
 various meanderings of the stream. 
 
 " In landscapes which are low, and on the whole less pro- 
 lific in interest, and less gratifying to the eye, an additional 
 feature of interest should be thrown into the sky, to aid, by 
 the contrast it would afford, the effect of the whole ; and 
 where the scene itself is naturally full of interest, the picture 
 will of course admit of a less beautiful and imposing sky." 
 
 In 1840 a new edition of the "Treatise on Landscape 
 Painting" was brought out by S. and J. Fuller, in twelve 
 monthly folio numbers. It was preceded by rather an 
 elaborate prospectus setting forth the advantages and objects 
 of the work. How this came about will be best explained by 
 the following letter addressed by Mr. Samuel Fuller to 
 David Cox : — 
 
 " 34, Rathbone Place, January 31st, 1840. 
 
 " Mr. D. Cox. 
 
 *' Dear Sir, — It is now six-and-twenty years since we 
 published your work, ' A Treatise on Landscape Painting 
 and Effect,' and during this time a new family and many 
 aspirants to the art have appeared, and many are forth- 
 coming, so that I think if your work was to appear again 
 there are many who would be inclined to take to it. With
 
 WORKS ILLUSTRATED BY DAVID COX. 57 
 
 this in view, we propose to republish it, in monthly numbers chap. iv. 
 again, the first number to appear next March. The plates 
 have been proved, and found to be in good condition, par- 
 ticularly the soft ground, which I consider as good as ever. 
 The sepia or shadow and effect will want some little attention, 
 and which I shall thank you to be so good as to look over ; 
 but I believe that I am in possession of some proof impres- 
 sions that may assist the engraver. As I propose to advertise 
 this to the world, it will give much publicity to your name, 
 and I hope it will give an interest and a demand for the art 
 again. I have no doubt but you will be surprised to find 
 that it is twenty-six years since you commenced this work. 
 Time has passed away, and many changes have taken place, 
 but I do not think myself that anything has been added 
 new by those who have brought out similar publications. I 
 have been these last three weeks laid up with a cold, but 
 should the day prove fine on Sunday next, I will take the 
 advantage and come and take my tea with you. Hoping 
 you and Mrs. Cox are quite well, 
 
 " I remain, dear sir, 
 
 "Yours truly, 
 
 '* Sam. Fuller." 
 
 About the year 1835 Cox was engaged, in conjunction with 
 Cattermole and Creswick, to illustrate the " Wanderings and 
 Excursions in North Wales," about to appear from the pen 
 of Mr. Thomas Roscoe. Of the fifty-one beautiful engrav- 
 ings in this work, twenty-nine are from subjects sketched 
 from nature in water-colours by David Cox. They are all 
 well-chosen and effective, but the following are especially 
 noteworthy from their spirit and their grand representations 
 of mountains overhung with mists and clouds, wild passes 
 and rock-bound torrents :—" Pass of Llanberris," ''Falls of 
 the Machno," "The Trifaen Mountains," " Llyn Idwal," 
 "Falls of the Ogwen," " Nant Frangon," "Entrance to
 
 58 LIFE OF DAVID COX. 
 
 Chap. IV. the Menai Straits," " Penmanmawr," "Pont Aberglaslyn," 
 "Harlech Castle," and " Rhaiadr Cwm." The view of 
 Chester is also a fine work, with a good deal of delicate 
 finish in the distance, and with something of Turner's feeling. 
 The "Vale of theLlugwy" is interesting partly on account of 
 the introduction in the foreground of a girl blowing a cow's 
 horn. Cox used to be summoned to dinner in this way when 
 staying in a remote part of North Wales, and he painted a 
 figure subject of the girl with her horn from nature. I shall 
 never forget the pleasant evening I spent in 1836 in the 
 company of David Cox, looking through the whole of these 
 sketches soon after his return from North Wales, and the 
 pleasant anecdotes and descriptions with which he illustrated 
 them, whilst showing them to Mr. Charles Birch and myself. 
 
 David Cox also supplied the following illustrations for a 
 second work published by Thomas Roscoe, " Wanderings 
 in South Wales, including the Scenery of the River Wye," 
 which came out shortly after the " North Wales : " — " Here- 
 ford," "Rhaiadr," "Brecon Church," " Coldwell Rock," 
 " Goodrich Castle," " Vale of Towey," " Hay on the 
 Wye," " Scene near Trecastle Road, Carmarthen," " Lang- 
 harn," " Kilgarren," " Ragland Castle New Weir," 
 "Water Mill on Tervy," "Devil's Bridge," "Cardigan," 
 "Kidwelly Castle," and " Llangadog Bridge." These are 
 as good artistically as the North Wales series, although the 
 scenes themselves are generally less grand and interesting. 
 These sketches were made in consequence of an agreement 
 with Wrightson and Webb, the publishers, New Street, 
 Birmingham, who agreed to pay at the rate of four guineas 
 each for half, and five guineas for the remainder. This charge 
 was the more moderate when it is taken into account that 
 Cox had to travel over four hundred miles to complete the 
 scenes. 
 
 In 1829 an account of Warwickshire was published, with 
 illustrations by D. Cox, P. de Wint, Clarendon Smith, J. N.
 
 WORKS ILLUSTRATED BY DAVID COX. 59 
 
 Barber, J. D. Harding, Mackenzie, and W. Westall. Those Chap. iv. 
 by Cox were done in sepia, and the original drawings are 
 now exhibited in the Public Art Gallery at Birmingham. 
 They are beautifully finished, and very charming, as showing 
 how differently subjects may be treated. They were engraved 
 by W. Radclyffe. The following are some of the subjects of 
 the illustrations by Cox : — " The Session House, High 
 Street, Warwick," a beautiful, highly finished water-colour, 
 with numerous figures; "St. Martin's Parsonage," a com- 
 monplace subject, but delicate in treatment ; " Guy's Cliff, 
 Warwick;" " Stoneleigh Abbey," a very beautiful, tender 
 sepia, with figures and dogs introduced ; " Market Place, 
 High Street, Birmingham, and St. Martin's Church in the 
 distance : " this is the gem of the series, as the arrangement 
 and treatment of the foreground, composed of market folk, 
 poultry stalls, &c., with rows of ducks and geese, are wonder- 
 fully clever, and show Cox's readiness of resource and 
 admirable drawing. 
 
 In 1862 and 1863 the Art-Union of London published a 
 series of twelve beautiful line engravings by Edward Rad- 
 cliffe, from water-colour drawings by David Cox. The sub- 
 jects are all characteristic ones, and well selected. They 
 comprise well-known pictures, such as the "Welsh Funeral," 
 "Lancaster Sands," "Outskirts of the Forest," "Peat 
 Gatherers on a Windy Day," &c. 
 
 In 1866 the Art-Jourjial published " Hay-Time," from 
 Cox's painting; and in 1868, " Carreg-Cennen Castle," from 
 the beautiful drawing by Cox, in the collection of Mr. Tom 
 Taylor. The first-named is engraved by Edward Radcliffe, 
 and the Art-Jourjial remarks on it at some length. The 
 following is a short extract : — " The character of the scenery 
 is Welsh, probably on the borders of one of the lakes, a 
 portion of which is seen in the distance. It is one of those 
 open landscapes we often find in the works of this artist — a 
 wide, outspread tract of level ground, backed by a range of
 
 6o LIFE OF DAVID COX. 
 
 Chap. IV. hiUs here standing out in partial sunshine against a mass of 
 purple clouds. Cox possessed a rare faculty of representing 
 space and distance by light and shade intermingled, and 
 this power is abundantly evident in this picture." 
 
 Of " Carreg-Cennen," which is engraved by W. Chapman, 
 it is remarked : — " The ruined fortress before us tells its own 
 story far more fittingly, as we now see it, than if it were 
 represented under a bright, sunny sky and a breathless 
 atmosphere. The artist has surrounded it, as it were, with 
 all the attributes of its own fortune — storm, disquietude. 
 Clouds career wildly over its head, and the rain-torrents are 
 driven against its massive walls. The intelligent observer 
 will not fail to note how beautifully the light is thrown from 
 the lifted clouds on to the centre of the picture." 
 
 When Frederick Tayler brought out his portfolio of 
 original designs in lithotint in 1844, and G. Cattermole pro- 
 duced a similar work from his drawings in 1845, Cox thought 
 he might like to follow in the same track, and with that 
 intention he made several clever lithotints, still in existence, 
 from his own works, which I have seen. He was probably 
 not satisfied with the result, as he shortly afterwards aban- 
 doned the idea. His time and thoughts, too, became so 
 much engrossed by his increasing practice in oil painting, in 
 addition to water-colours, that henceforth he was unable to 
 take up again any description of book illustrations.
 
 V. 
 SECOND RESIDENCE IN LONDON. 
 
 1827 TO 1835. 
 
 'avid COX'S removal from Hereford and return to chap. v. 
 
 London must be regarded as an important epoch 1827— 1835. 
 
 in his art life. He felt the need of being more in 
 the world of art, and of a wider scope for the development 
 of his practice and increasing powers of execution. It is 
 to be noted that it was after this change of residence that 
 he sought in Derbyshire, Nottinghamshire, Yorkshire, and 
 Lancashire new scenes for the exercise of his pencil. For 
 many years, beginning with 1831, I find a series of visits 
 recorded to Haddon Hall, Hardwick Hall, Bolsover Castle, 
 Bolton Abbey, and the neighbourhood of Lancaster. 
 
 He left London at the end of 18 14, when difficulties 
 appeared to be looming around him on every side. The 
 public patronage of art at that time was at the lowest ebb : 
 so low, indeed, as compared with the present day, that it is 
 difficult to realise the great change that has taken place. 
 When he returned to London, in 1827, the trade and resources 
 of Great Britain, fostered by many years of peace, had greatly 
 improved, and the pursuits connected with art had shared in 
 the general return of prosperity. Cox himself was now 
 possessed of a certain though very modest independence, and 
 he felt that he was justified in moving into a better and more 
 commodious house, which he engaged at No. 9, Foxley Road, 
 Kennington. He continued his London teaching, and during
 
 62 LIFE OF DAVID COX. 
 
 Chap. V. the season he had as many pupils as he desired. It was the 
 1827— 1835. fashion in those days for ladies to have albums containing 
 highly finished drawings by various artists, and Cox used to 
 relate that when teaching in London he often occupied many 
 consecutive lessons in making a water-colour, which he 
 afterwards sold at five to ten guineas, his pupils being glad 
 to secure the work they had seen in progress ; by this means 
 he realised much more than by the lessons only. The 
 exhibition of the Society of Painters in Water Colours left 
 but a small surplus in those days — not much more than two 
 hundred pounds, and this was divided into sums of about thirty 
 pounds each, which were balloted for by the members. This 
 used to give about six prizes ; and it was agreed between the 
 members that those who obtained the money should spend it 
 in making studies from nature, to be afterwards exhibited, and 
 Cox was fortunate among others in drawing a prize. He 
 still had many of his drawings returned unsold, and the 
 former secretary of the society, Mr. George Fripp, has related 
 to me that on one occasion he went to the gallery a few days 
 before it closed, and, on looking round, he was pleased as 
 well as surprised to find the blue ticket, indicating "sold," 
 on all Cox's works; the more so, as although Copley Fielding, 
 and one or two favourite artists of the day had sold a great 
 many works, only one or two of Cox's had to within a week 
 of that time been purchased. On remarking this to the keeper 
 of the gallery, Mr. Abraham Worley, he replied, "Oh, that 
 is Mr. Cox's own doing. On looking round the other day 
 he appeared rather vexed, and said, ' Go at once and put a 
 ticket of "sold " on all my drawings. They shall not have 
 another chance now.' " 
 
 There is not the least doubt but that Cox, with all his 
 modesty, well knew how much his drawings were under- 
 estimated by the public. He used to relate a story that, on 
 one occasion he was quietly looking on at the exhibition, 
 when an elderly lady was being wheeled in a chair round the
 
 SECOND RESIDENCE IN LONDON. 63 
 
 gallery, accompanied by a young lady as companion, who Chap. v. 
 readout the numbers. " Well, my dear, whose is that?" 1827— 1835. 
 said the lady. Response: "By Copley Fielding." My 
 Lady : "Oh, how very beautiful ! what a lovely effect ! And 
 whose is that curious drawing, my dear, just above the 
 other?" "Oh, that one is by David Cox." My Lady: 
 " Oh, indeed ; go on, if you please, go on ! " Another lady 
 is reported on one occasion to have said, " Pray, Mr. Cox, 
 do you not think it would be worth while to take a few lessons 
 from Mr. m finish ? " 
 
 In 1827 Cox sent seventeen drawings, many of them views 
 in North Wales and some near Birmingham, but there are 
 no longer many subjects in the neighbourhood of Hereford 
 or of the Wye. In 1828 he sent twenty-six drawings, and in 
 1829 thirty-five to the gallery of the Water Colour Society. 
 Amongst the most noteworthy of those exhibited in the last- 
 mentioned year are several views in France and Belgium, 
 such as "The Entrance to Calais Harbour," "Calais Pier," 
 "Fruit and Flower Market, Brussels," "Boats on the 
 Scheldt," &c. 
 
 The journey which Cox made to Belgium and Holland in 
 1826 had, without doubt, stimulated his desire to see more 
 of the Continent. The sketches and drawings that he made 
 on that occasion had been successfully exhibited, and now, 
 in the summer of 1829, he determined to give himself the 
 relaxation of a more lengthened tour in France in company 
 with his son. Their original intention was to work their way 
 slowly to Paris, sketching en route, and from thence to Orleans, 
 and along the banks of the Loire. They started from London 
 in June, and crossed from Dover to Calais, where they 
 remained about a week, as Cox found many subjects to 
 sketch about Fort Rouge, the jetty and harbour, which 
 pleased him very much. From these he afterwards made 
 many beautiful pictures both in oil and water-colours. Luke 
 Francia, an artist in water colours, who painted clever sea
 
 64 LIFE OF DAVID COX. 
 
 Chap. V. and coast views, had taken up his residence in Calais. In 
 18271^^835. 1826 he was still there, and Cox renewed his acquaintance 
 with him. Cox and his son took the diligence from Calais to 
 Amiens, remained there two days, sketched the cathedral 
 from the citadel, the Rue de Conde, and other subjects. 
 From Amiens they walked to Beauvais, and stopped there 
 to sketch for three days. They had intended walking on to 
 Paris, but the weather had become excessively hot, and 
 finding the country in France near the high roads far from 
 picturesque, they again took the diligence for Paris, where 
 they put up at the Hotel de Tours. 
 
 John Pye, the engraver, was living in Paris at that time. 
 He made haste to welcome Cox and his son, and to offer his 
 services as cicerone. The second day after their arrival Pye 
 took them to see the Palais Royal, and, amongst other sights, 
 they must needs go up and see rouge-et-noir played in one 
 of the gambling saloons of the Palais. In descending the 
 stairs Cox unfortunately sprained his ankle rather badly, and 
 this incapacitated him from walking about Paris all the six 
 weeks he remained there. This also put a stop to the pro- 
 jected tour along the banks of the Loire. He, however, was 
 not to be baffled in his intention of sketching the monuments 
 of Paris ; so, with his usual spirit, especially when the pursuit 
 of art was in question, he used to drive out in a fiacre, or cab, 
 every day, and making it stop when he came to an interesting 
 subject that took his fancy, he painted away indefatigably for 
 many weeks, seated in the cab, or occasionally in a chair 
 near the Seine or in some other not overcrowded spot. In 
 this way he secured views of the Tuileries, Palais de Justice, 
 Chambre de Deputies, Rue St. Honore, Montmartre, the 
 bridges over the Seine, and many others. Cox exhibited 
 views of these places for some years afterwards in the Water 
 Colour exhibition. 
 
 Cox only went abroad once more after this visit, and then 
 only for about a week. King Charles X. had in the interval
 
 SECOND RESIDENCE IN LONDON. 65 
 
 retired from France, and in his place his cousin Louis Chap. v. 
 Philippe had been raised to the throne. A grand review 1827— 1835. 
 was to take place not far from Boulogne, and Frederick 
 Bruce, Cox's former pupil, persuaded him to accompany him 
 thither. Cox was fond of describing this review, its dust 
 and brilliancy, and the many scampers to get out of the way 
 of the troops. He used also to relate as a joke that his 
 young friend had partly beguiled him across the Channel by 
 boasting how well he could speak French ; but that at 
 breakfast the first morning in a French hotel Bruce could not 
 recollect the French word for eggs, and so Cox, with his 
 readiness in pantomime, helped him out by showing how 
 eggs were eaten with a spoon. They made an excursion as 
 far as St. Omer, sketching in that neighbourhood before 
 returning home. Cox also visited Dieppe, and made 
 sketches of the pier and harbour there ; one of a thunder- 
 storm passing off, and reflections on the wet pier, is very 
 beautiful. He was always fond of the banks of the Thames, 
 and in 1829 he took lodgings for his family at Gravesend, 
 Mrs. Cox's sister, Mrs. Hills, occupying apartments in the 
 same street opposite to them, which made it more cheerful 
 when Cox was absent on his frequent sketching excursions. 
 Several drawings of views near Gravesend, and on the 
 Thames, resulted from this visit. How moderate were the 
 prices Cox still obtained for his drawings may be gathered 
 from an entry made by him in an old account book of the 
 following sale to Mr. Everitt, Birmingham : — 
 
 1830. 
 
 July 5. Five Water Colour Drawings, viz., Calais Pier, View in Ghent, 
 Boat on the Scheldt near Dort, Minehead, and Landscape in 
 Wales — price for the five, /^12 os. od. 
 
 In the year 1830 Cox made one of his first excursions 
 into Yorkshire, and the following spring he exhibited for 
 the first time a view on the river Wharf near Bolton Abbey; 
 also scenes in Yorkshire, and many views in France, &c. 
 
 F
 
 66 LIFE OF DAVID COX. 
 
 Chap. V. ThIs year William Radclyffe, junior, of Birmingham, 
 18271^835. painted an oil portrait of Cox, which is now in his son's 
 possession. The costume is very unbecoming, as he has 
 a coat with the very broad stiff collar of that period. 
 The face is represented as close shaven, which was his 
 constant practice throughout life ; it is rather full, but paler 
 than in later years, when he had generally a good hale 
 colour. The bright grey eyes look out very intelligently 
 from beneath the full and rather bushy eyebrows, and are 
 the most distinguishing feature of the face. Cox was of 
 middle stature and active, though by no means robust. He 
 was plain but neat in his dress, especially on Sundays, or if 
 going out to dine with a friend. On such occasions he was 
 anxious to look well dressed, and before going out he would 
 often say, " Now tell me am I all right." 
 
 About the year 1830, or 1831, Cox made the acquaintance 
 in London of Mr. William Stone Ellis, which shortly ripened 
 into a warm and life-long friendship. Mr. Ellis had first 
 become acquainted with the works of Cox, by seeing some 
 of his sepias at Palser's, in the Strand, about 1825. Speak- 
 ing of these in i860, Mr. Ellis wrote — "They were very 
 broad and beautiful ; I would sooner meet with these than 
 with the Turner sepias in Marlborough House." He had 
 also purchased some drawings by Cox which he had seen 
 in the shop window of a dealer in Ludgate Hill, of the name 
 of Clay ; some of them being very early ones. He had been 
 taking lessons in water-colours from the well-known artist, 
 George Robson, in 1829, and he told him what he had seen 
 at Palser's, and described as well as he was able, and rather 
 enthusiastically, the subjects and mode of treatment ; but he 
 did not know who had painted them. Robson exclaimed, 
 " Ah ! you mean Old Farmer Cox. Go and have lessons of 
 him if you fancy it." This appellation of " Old Farmer," 
 was without a doubt given to express the unsophisticated 
 simplicity of Cox's manners and address. That Robson
 
 SECOND RESIDENCE IN LONDON. 67 
 
 should recommend his pupil Ellis to go to David Cox Chap. v. 
 for further advancement in art is interesting, as it shows the 1827— 1835. 
 appreciation and esteem entertained for him at that period 
 by a brother artist. Cox gave lessons in Russell Square 
 to Mr. Ellis, who introduced him to another friend, Mr. 
 Norman Wilkinson, who was a young man at that time, and a 
 resident in London. Mr. Wilkinson also possessed a small 
 cottage at Streatham, where many artists congregated at 
 times, and at these pleasant gatherings Cox was ever a 
 welcome guest. No one understood Cox's genial character 
 or appreciated his genius better than this gentleman, and 
 a life-long and warm friendship was formed between them. 
 
 On the ist of August, 1831, the New London Bridge, 
 which had taken seven years to build, was opened with great 
 ceremony by King William IV. and Queen Adelaide. Cox, 
 who had formerly painted the embarkation of George IV. at 
 Greenwich for Scotland, went down to a coal wharf near St. 
 Saviour's Church, Bankside, to sketch the preparations, &c., 
 in water-colours. The gentleman who narrated this to me 
 was a little boy at that time. He w^atched the artist all day 
 at his work on the wharf, which was occupied by the boy's 
 father. He had an early taste for art, and when the drawing 
 (a very beautiful one) was finished, he asked for it for his 
 own. "Oh! my lad," replied Cox, "do you know it is 
 worth five pounds?" This drawing, I am informed, has 
 since been sold for a hundred pounds. 
 
 Speaking of Greenwich reminds me that Greenwich 
 Hospital was a subject of which Cox was very fond, and 
 of which he has made a good many beautiful early drawings. 
 I have seen one lately, showing the whole of one of the front 
 porticoes and the side of the hospital ; light in tone, very 
 correctly drawn, and admirable as respects the arrangement 
 of light and shade. In front of the building a number of 
 pensioners are seen loitering about. 
 
 In the summer of 1831, Cox, accompanied by his son, went 
 
 F 2
 
 68 LIFE OF DAVID COX. 
 
 Chap. V. to Stay at the Peacock, in Derbyshire, intending to make a 
 1827—1835. series of drawings at Haddon Hall. The inn, in those days, 
 was kept by some very kind people, Mr. and Mrs. Severn. 
 The esteem between the hosts and their guests appears 
 to have been mutual, and for many years after this Cox 
 seized eveiy opportunity of returning to the Peacock, apd 
 revisiting " dear old Haddon," as he always used to call it. 
 Mr. William Roberts, of Birmingham, joined them there, 
 and remained part of the time. Cox had made the acquaint- 
 ance of Mr. Roberts about the year 1825, during his 
 periodical visits to Birmingham, and that gentleman, who 
 was an enthusiastic amateur, and a great admirer of Cox's 
 genius, made many subsequent sketching excursions with 
 him, and became one of his most intimate and very dear 
 friends. The following letter, written at this time to Mr. 
 Roberts, speaks for itself: — 
 
 From David Cox to W. Roberts, Esq. 
 
 "Rowsley Inn, near Wirksworth, Derbyshire, 
 Sunday Evening, August 28ih, 1831. 
 
 " My DEAR Sir, — Thanks for your kind letter. It gave 
 both myself and son great pleasure to learn that you got safe 
 home. We should have been much gratified if it had been 
 possible for you to have joined us again ; but, as that cannot 
 be at present, I hope by the end of the w^eek to see you 
 in Birmingham, there to show you a few additional sketches 
 of this delightful old Haddon ; and, as it will be utterly 
 impossible for me to make all the subjects which I see and 
 feel pleased with, I must defer it until another year. We have 
 therefore resolved to take our leave on Tuesday or Wednes- 
 day morning towards Ashbourne and Dovedale, where we 
 hope to meet with some little work for the pencil, and 
 afterwards to work our way to Birmingham. We have 
 visited the Hall each day since you left. To-day we had 
 Mr. Severn's car and went to Chatsworth, and round by
 
 SECOND RESIDENCE IN LONDON. 69 
 
 Bakewell, but did not see anything striking ; but I do Chap. v. 
 not expect to be much pleased with anything this country 1827— 1835. 
 can afford after my favourite old Haddon. Indeed, that 
 alone is quite enough for one summer. The weather has 
 been very fine until yesterday afternoon, when we had heavy 
 rain and thunderstorm, but got home dry in the evening, 
 and it afterwards turned out fine. To-day it has been 
 beautiful for the effects. I shall expect when I have the 
 pleasure of seeing you in Birmingham to find that you have 
 begun several pictures from your sketches. Begin while the 
 scenes are fresh in your memory. I shall also expect to see 
 that Mr. Lines has several on the easel. Pray make my 
 respects to him. I shall be happy to show him what I have 
 done when I meet him in Birmingham. My son begs to 
 join me in kind wishes, and believe me to remain, my 
 dear sir, 
 
 " Yours very truly, 
 
 "David Cox." 
 
 Cox stayed several weeks with his son on this occasion, 
 spending the whole day at Haddon, and having their mid- 
 day dinner conveyed thither from Rowsley and spread out on 
 the old table in the great hall. Cox loved, with the love of 
 an artist and poet, the old terrace at Haddon, with its 
 broad flight of old stone steps and balustrades, and yew- 
 tree walk on the top ; the interior of the grand old 
 mansion, with its antique tapestries, panellings, and 
 carvings ; the quaint domestic arrangements of the time of 
 Henry VII. ; and, not least, the old park, full of ancestral 
 forest trees, beneath which flows a broad trout stream 
 fringed with water plants, with many a curve, as described 
 in Tennyson's idyl, " The Brook : " — 
 
 " It winds about, and in and out, 
 With here a blossom sailing ; 
 And here and there a lusty trout, 
 And here and there a grayling."
 
 yO LIFE OF DAVID COX. 
 
 Chap. V. Here Cox found a great variety of charming subjects 
 1827^835. for his rapid pencil. Of the series of water-colour sketches 
 which he made on this visit, he sold twelve, some time 
 afterwards, for a hundred pounds, to Mr. George Proctor. 
 I have seen a letter from this gentleman to his brother, 
 the Rev. Dr. Proctor, mentioning that he had just 
 purchased this collection of drawings for that sum. It is 
 dated in January, 1837. One of the finest, "An Interior 
 of the Great Hall, Haddon," was exhibited in London in 
 1832, and "The Bedroom," "The Entrance," and "The 
 Garden, Haddon," also appeared in the same exhibition. 
 Cox likewise found some subjects at Rowsley, especially 
 the picturesque water-mill, upwards of three hundred years 
 old, with an undershot wheel, and quantities of willow 
 herbs, candocks, and other wild plants growing about it, 
 which he sketched several times. It cannot be seen from 
 the road, and is, therefore, sometimes missed by tourists. 
 He also went this year to the English Lake District, and 
 made sketches of " Langdale Pikes," "Windermere during 
 the Regalia," &c. 
 
 In the years 1830, 1831, and 1832, he exhibited respectively 
 in the Water Colour Society's Gallery thirty, nineteen, and 
 thirty-five drawings. The last-named year is especially rich 
 in the variety of subjects. Besides views in France, Belgium, 
 the Lake District, Yorkshire, Derbyshire, Westminster, and 
 Windsor, it contains numerous views in North Whales, one 
 being of a "Peat Moor." This subject is one of which he 
 was particularly fond in his latter days, and it afforded scope 
 for grand effects of approaching storm and gathering mists, 
 the figures introduced being of peat gatherers hurrying 
 home, and bending under their loads. Cox continued to 
 give many lessons in London. In some cases he allowed 
 his pupils to keep the drawing which he had made before 
 them, and in a memorandum book of the year 1832 I find the 
 following entries : —
 
 SECOND RESIDENCE IN LONDON. 7 1 
 
 Captain Rawdon, lessons in drawing (to keep the drawing) February to July, Chap. V. 
 
 1832, 18 lessons at one guinea each. Honourable Miss Leveson Gower, 
 
 9 lessons at half-a-guinea. Countess of Verulam, 4 lessons at half-a- guinea, 1827 — 1835. 
 &c. &c. 
 
 A year or two later he discontinued the plan of parting 
 with the drawing, as he discovered It was more valuable than 
 the extra price charged for the lesson. 
 
 It was in this year, 1832, that Cox made his last trip 
 across the Channel, and he also went to North Wales, and 
 many new views of different parts of the Principality were 
 taken this year. It was of about this period that Mr. Henry 
 Gastineau, one of the oldest members of the Water Colour 
 Society, who resided at Camberwell, spoke to me of his 
 having spent pleasant evenings occasionally at Cox's house 
 in Foxley Road, where he was always kindly and hospitably 
 received. He remarked that Cox's heart and hand were 
 at all times in his work with unceasing industry — early and 
 late, it was always the same — and that he cared but little for 
 games or any description of amusement. In those days, too, 
 Cox would encourage the younger members of the society, 
 as related by Mr. G. Fripp. They often had to endure the 
 disappointment of seeing all, or nearly all, their exhibited 
 works returned unsold. Cox would say to the new associates 
 and others, in the kindest manner possible, " Don't be dis- 
 couraged ; don't be cast down; have patience. The same 
 thing has formerly happened to me many and many a time. 
 I have had nearly all my drawings returned unsold ; but it 
 is better now than in those very early days, when the brunt 
 and burden of the day had to be borne by the earliest 
 members." 
 
 The Miss Hills, nieces of Mr. Cox, used often to come to 
 Foxley Road, and one of them has related to me how very 
 kindly their uncle David always behaved to them when they 
 were children. He was ever ready to enter into all their 
 games and little pleasures, which he had the knack of doing 
 in a very diverting way. All his life he was fond of the
 
 y2 LIFE OF DAVID COX. 
 
 Chap. V. society of the young, and he would exert himself for their 
 182^835. entertainment in various ways. For the amusement of 
 children (who might be pleased with it) he would some- 
 times throw himself into whimsical pantomime positions, 
 even down to a late period of his life. Sometimes, if he 
 remarked that his nieces came into the parlour in a shy or 
 awkward manner, he would take the trouble to get up and 
 go out of the room himself, then open the door and enter, 
 giving a lesson in deportment. On one occasion he pre- 
 sented his eldest niece with a beautiful water-colour, his 
 own work, but, expecting something brighter, she did not 
 express much pleasure at the gift. Cox evidently felt rather 
 disappointed, but he only said, " Well, my dear, I think it 
 is really a very nice drawing." Always gentle and kind, he 
 never indulged in a cross word or sharp rebuke. 
 
 Although Cox was delighted with what he saw of the 
 coast of France, and some of the rivers in Holland and 
 Belgium, he did not at all admire the scenery of the interior 
 of France, and he never expressed a wish to return again 
 to the Continent in after life. He thoroughly believed in the 
 superiority of English rural scenery to any other ; he said he 
 best understood English subjects. When any one showed 
 him any Continental views he would exclaim — "Oh! that's 
 foreign,'' which expression became a by-word. Boulogne 
 and Calais, however, had special attractions for him, from the 
 opportunity they afforded of displaying space over sands, with 
 bright figures and reflections. On one occasion a gentleman 
 who had travelled abroad a good deal tried to persuade Cox's 
 son to go to Switzerland to paint, saying it was so much 
 superior to anything at home. Cox listened quietly, and 
 at the end of the conversation he remarked, "Don't 
 try to induce David to go on the Continent in search of 
 scenery. Wales, Yorkshire, and Derbyshire have been 
 good enough for me, and I quite believe they may yet do 
 for him."
 
 SECOND RESIDENCE IN LONDON. 73 
 
 In the year 1833 Cox exhibited at the Water Colour Chap. v. 
 Society thirty-six drawings, thirteen of which were views 1827—1835. 
 in France, views at Calais predominating; namely, "Fort 
 Rouge," "The Harbour," and "Pier." The forts and 
 sands of Calais were also a favourite subject with J. M. 
 W. Turner. Both these great artists have produced some 
 of their finest effects of sea and sky, full of light and move- 
 ment, on this part of the coast of France. There were also 
 several views in Yorkshire and Wales, and of Haddon Hall, 
 in this year's exhibition. Cox continued at this time to 
 exhibit small drawings each year at the rooms of the 
 Liverpool Academy and other provincial exhibitions, the 
 prices obtained being about five to six guineas each. 
 
 At the end of July, 1834, Cox made another excursion to 
 the north of England, visiting Lancaster and the adjoining 
 sea-coast, where he made his first series of drawings of the 
 broad expanse of Ulverstone Sands, a subject which he after- 
 wards frequently repeated, and treated under a variety of 
 effects, both early morning and at sundown. The Ulverstone 
 and Lancaster drawings are generally enlivened with groups 
 of market folk crossing the sands, sometimes stretching far 
 away into the yellow haze of evening, their long shadows 
 thrown across the wet sands, and their retreating forms at 
 the same time reflected downwards. The flutter and shim- 
 mer of innumerable sea-birds often add life and movement 
 to these subjects. This trip included visits to Bolsover 
 Castle, Bolton Abbey, and other places in Derbyshire and 
 Yorkshire. Cox was accompanied on this sketching tour for 
 the first time by Mr. W. S. Ellis, of London, his son having 
 gone by himself to Scotland. In after years Mr. Ellis, whose 
 tastes and sympathies were quite at one with those of Cox, 
 often accompanied him to these parts of England, and also 
 to North Wales. The following letter, written just before 
 starting, relates to this expedition : — •
 
 74 LIFE OF DAVID COX. 
 
 Chap V " 9' Foxley Road, Kennington Common, 
 London, June 8th, 1834. 
 
 ' ^7-1 35- ,, j^ William Roberts, Esq. 
 
 " My dear Sir, — I am much obliged by your kind and 
 friendly letter, wherein you express a wish that Mrs. Cox and 
 myself should join you and Mrs. Roberts in Yorkshire. I 
 regret exceedingly that it will be quite out of my power to 
 leave London until the middle of July ; at all events not 
 until I have sent home the drawings from the Exhibition, and 
 I do not expect we shall close until the first week in July. 
 
 " I have made up my mind to visit Yorkshire again, and 
 shall try to get as far as Barnard Castle ; perhaps to Carlisle. 
 My plan is to go to Manchester, where I expect to meet a 
 young friend, who will accompany me from thence to Lan- 
 caster, Hornby Castle, Kirby Lonsdale, Hawes, Richmond, 
 &c., &c. I may perhaps make some change in part of my 
 plan. David is going to Scotland alone. He also starts in 
 the middle of July. 
 
 " When you and Mrs. Roberts come to London, Mrs. Cox 
 and myself and son will be delighted to see you in Foxley 
 Road. If there should be any alteration in your plans, pray 
 give me a line to say where you will be about the early part 
 of August, as I think that the most likely time for my being 
 in Yorkshire. 
 
 " Believe me to remain, 
 
 " Yours obliged and truly, 
 
 "David Cox." 
 
 There were twenty-four drawings exhibited by Cox this 
 year, 1834, in London, amongst the most important of which 
 were — "A Bridge on the Derwent, near Chatsworth," and 
 a " Lane Scene in Staffordshire." There were also again 
 views on the coast of France, and his favourite subjects in 
 Wales. 
 
 The drawings which I have seen of this middle period are
 
 SECOND RESIDENCE IN LONDON. 75 
 
 pure in colour, with a considerable amount of finish. Those ^"^p- ^• 
 especially painted for albums are highly finished, and, 1827— 1835. 
 although they have perhaps less breadth than those very 
 early works which, in their neutral low tones and flat washes, 
 resemble the works of John Varley and the early efforts of 
 Prout, they gain on the other hand in brilliancy and atmo- 
 sphere, or feeling of space, and were more liked by the 
 public. Cox objected, even when finishing highly, to the 
 use of body colour, and on the rare occasions where he trans- 
 gressed this rule, it was merely for small and sparkling 
 touches of light. He worked with a large swansquill brush, 
 full of colour, putting on his tints very wet, so that they 
 dried full and powerful, but without blackness. To give 
 richness he hatched over again with repeated touches, but he 
 avoided washing over the tints when once applied, as he con- 
 sidered that the plan of washing made the effect weak and 
 poor. The range of his colour-box was of the simplest 
 description, and the rarer pigments sometimes used by 
 artists were unnecessary to him. When half-finished, or 
 even when more advanced, his sketch or drawing would 
 sometimes look flat and tame, as he reserved the full power 
 of his pallet for the finishing, when his consummate know- 
 ledge enabled him with a few powerful touches on the figures, 
 and a rather dry brush dragged over the foreground, to give 
 point and force to the whole, and clear up the half-shadows, 
 putting everything into its right place. It was not until a 
 year or two later than the time we have described that Cox 
 commenced to use the very rough Scotch paper, an account 
 of which will be given by-and-by, on which his latest and 
 finest drawings were generally painted, and which are more 
 poetical, and partake of a deeper sympathy and feeling for 
 nature. Indeed, I must repeat that Cox never went back, 
 or even halted in his wonderful industry and constant practice, 
 and this, added to his ever-increasing knowledge of and love 
 for nature, made some of his latest works, like the " Welsh
 
 76 LIFE OF DAVID COX. 
 
 Chap. V. Funeral " and " On the Moors near Bettws," the finest of all. 
 
 182^^835. The depth of his poetical feeling may perhaps account for his 
 occasional fits of melancholy and depression of spirits. On 
 these occasions his wife, who was, as we have seen, a thought- 
 ful woman, and an ever-ready helpmate to her husband, 
 would manage him admirably. At times he would say, " Oh, 
 Mary, I cannot go out this morning to teach — I feel I cannot 
 do it." She would gently combat this notion with cheering 
 words, and, putting on her bonnet and mantle, would offer to 
 accompany him. The effort once more made, his spirits soon 
 rose, and the work, when fairly commenced, generally went 
 right. During the London season he had quite as much 
 teaching as he wished. He used to relate with some amuse- 
 ment that on one occasion he went to teach the daughter of a 
 lady of rank: she sat in the breakfast-room during the 
 whole of the lesson, and when it was over, addressing the 
 artist, she said, " Mr. Cox, I have been trying to imagine, 
 but I cannot, where you sell all the pictures you paint." To 
 this Cox replied that the merchants and manufacturers of 
 London, Liverpool, Manchester, and Birmingham were the 
 best patrons of art in those days, and purchased most of 
 them. " Ah, indeed! " said the lady, "I suppose those mer- 
 chants must be very rich." Sometimes when Cox saw a 
 drawing by another artist that struck his imagination, he 
 would make a study of it at home from recollection. In this 
 way, the first time he visited Birmingham, after seeing 
 J. Martin's picture of " Belshazzar's Feast," he sat down, 
 and in an hour or two produced a slight but graphic repre- 
 sentation of that celebrated picture, which he gave to Mr. 
 Edward Everitt, who still possesses it. In the same way he 
 reproduced Cattermole's " Battle of the Bridge," a drawing 
 which was long valued by his friend Mr. Roberts, and which 
 sold for thirty-two guineas when that gentleman's collection 
 was brought to the hammer after his decease. At times, 
 although rarely, Cox occupied himself in making a copy of
 
 SECOND RESIDENCE IN LONDON. 77 
 
 some work which he particularly admired. Thus he obtained ^hap. v. 
 permission from Sir Robert Peel to copy the grand work by 182^835. 
 Meindert Hobbema, now in the National Galler}^ represent- 
 ing an avenue of trees, with cultivated fields, and a Dutch 
 village in the distance. He also copied two figure subjects 
 by R. P. Bonnington, which I have seen at Brixton Hill. 
 These of course were only for practice, and have never been 
 offered for sale.
 
 VI. 
 
 SECOND RESIDENCE IN LONDON— {Continued). 
 
 1835 TO 1840. 
 
 Chap. VI. S^^^ T the end of July, 1 835, Cox visited Lancaster, where 
 o — c ^Pvft he remained some time sketching the scenery of 
 
 1835 — 1840. ^y^ ) V? 
 
 ^^^jm that neighbourhood — the river, with the bridge and 
 tower rising up in the distance, and the picturesque 
 and finely situated castle. But what again especially attracted 
 him, as on preceding visits, was the expanse of the Lancaster 
 and Ulverstone sands, with market people preparing to 
 cross, or dimly seen in the distance, under various effects 
 of weather, at sunset, or by the tender light of early morning. 
 From these sketches he made several drawings, which were 
 exhibited the following spring in London. 
 
 After quitting Lancaster he paid a short visit to Liverpool, 
 and whilst there he stayed at the house of Mr. Samuel 
 Eglington, secretary of the Liverpool Academy, with whom 
 he was on very friendly terms. He arranged to send him 
 some drawings, four of which were sold in the Exhibition for 
 /^23 los. One of these was " Market People crossing Ulver- 
 stone Sands," which went for/5 10^. ; and another, " Fish 
 Market on the Coast," was purchased by Mr. William Lassells, 
 the astronomer, for the same sum, On leaving Liverpool, he 
 visited his sister, Mrs. Ward, at Manchester ; and then pro- 
 ceeded to Derbyshire, where Mr. W. Roberts joined him. 
 The following letter refers to this visit : —
 
 p-. 
 
 'h 
 
 : ?iHf i
 
 SECOND RESIDENCE IN LONDON. 79 
 
 "Lancaster, September 5th, 1835. Chap. VI. 
 
 " To William Roberts, Esq. 183511^^840. 
 
 "My DEAR Sir, — I received your kind letter two days ago, 
 and delayed answering until I could fix the time of our meet- 
 ing. It is my intention to leave this for Liverpool on Mon- 
 day morning, where I shall stop one day, and on Tuesday 
 evening reach my sister's, at Manchester, where I shall spend 
 Wednesday, and on Thursday will start for Bolsover, which I 
 hope to reach by five o'clock. If you have not seen Bolsover, 
 I think you will be pleased with the distant views of it. 
 There is another castle within seven miles of it — Hardwick 
 Hall, one part in ruins. It stands equally as fine as Bolsover, 
 but there is no good inn near. However, we must contrive 
 to see it. The interior is fine, and there are some good pic- 
 tures. With regard to Conisborough, I am afraid it will be 
 too far off for me, as I shall have only a week that I can 
 remain, and I thought we might return either by way of 
 Nottingham (distant view of castle, &c.), or else return by 
 way of Rowsley, and spend one day at old Haddon ; but this 
 matter can be settled when we meet. My excursion hitherto 
 has been a ver}^ pleasant one, though I have not coloured so 
 much as I could have wished ; the weather has been so 
 excessively hot. I suppose my son has told you that my 
 excursion has been principally to the Lancaster and Ulver- 
 stone sands. 
 
 " Believe me, my dear Sir, 
 
 ** Yours most sincerely, 
 
 " David Cox. 
 
 " Please direct to me at Mr. Ward's, 55, Spring Gardens, 
 Manchester." 
 
 Cox exhibited twenty drawings in 1835 ^t the Water 
 Colour Exhibition, one of which was " Waiting for the 
 Ferry-boat," afterwards repeated in oil. The scenery is that
 
 8o LIFE OF DAVID COX. 
 
 Chap. VI. of the River Wye. The water, on which some ducks are 
 1835— 1840. swimming-, forms the immediate foreground. On the left the 
 river-bank rises up covered with candock and rushes, and a 
 rough stone causeway leads down to the stream. At the top 
 an old man on horseback, and another rustic figure with a 
 basket, apparently in conversation with a woman, are waiting 
 for the boat, the proximity of which is indicated by a rope 
 wound round a primitive windlass, which, passing over a 
 pulley, is thrown across the river. Near the figures are 
 some trees, with cottages behind. In the distance there is a 
 view of some precipitous hills, partly wooded, and a little 
 peep of the bright river winding far off. The sky is quiet, 
 and the whole picture is thoroughly imbued with quiet 
 country life. Another drawing in the same exhibition, 
 " Returning from Ploughing," has the same charm of rural 
 seclusion and repose manifested especially in Cox's works 
 during the latter years of his residence at Hereford. 
 
 It was in the year 1836 that Cox first met with the rough 
 Scotch wrapping paper which on trial turned out to be very 
 unabsorbent of colour when used for water-colours, pro- 
 ducing a powerful effect. The surface is hard and firm, 
 the paper being made from old linen sailcloth well bleached. 
 Cox obtained the first few sheets by chance at Grosvenor and 
 Chater's, and on showing it to S. and J. Fuller, their traveller 
 ascertained from the Excise mark stamped upon it, 84B, that 
 it was manufactured at a paper-mill at Dundee, North Britain. 
 There a ream was ordered for Cox, and it was some time 
 before it could be obtained. On its arrival he was rather sur- 
 prised to find that it weighed two hundred and eighty pounds, 
 and cost eleven pounds. However, Mr. Roberts was willing 
 to share in the purchase, and after some years Cox rather 
 regretted that the quantity ordered had not been larger, as 
 he was never able to obtain the same quality of paper again. 
 Whilst on the subject of paper it may be worth mentioning 
 that when Mr. Gardener, who married Mrs. Cox's sister, had
 
 SECOND RESIDENCE IN LONDON. 8 1 
 
 the sale of the Government Ordnance maps he was commis- Chap. vi. 
 sioned to get some superior paper made for them at the paper- 1835— 1840. 
 mills at Uxbridge. He went there once or twice on this 
 errand. Some sheets were made beyond the order, and these 
 and some cuttings of the paper were obtained for Cox, who 
 prized them as being superior and less absorbent of colour 
 than any other kind. Some of Cox's most powerful studies 
 and drawings after this period were painted on the rough 
 Scotch paper. It gave the texture he required, and suited 
 his peculiar mode of rapid work with a large brush, charged 
 as full as possible with very wet though rich colour. It 
 enabled him to obtain poimr at once. The paper was very 
 thick, not quite white, with here and there little black or 
 brown specks. In the landscape part these specks were of 
 no consequence, but they looked out of place in the sky. On 
 one occasion being asked what he did to get rid of them, he 
 replied, " Oh, I just put wings to them, and then they fly 
 away as birds ! " 
 
 In the summer of 1836 Cox went to Rowsley with Mr. 
 Roberts, Mr. Norman Wilkinson, and Mr. Ellis. Mrs. 
 Roberts had preceded them there. It was an expedition 
 for painting at Haddon Hall, and they spent two or three 
 weeks very agreeably in that pretty neighbourhood. Cox 
 used to get up very early to sketch before breakfast, and one 
 of his friends relates with what raciness he used to expatiate 
 on the sweetness of the air on a summer's morning in July. 
 He had been suffering, however, from rheumatism, and his 
 friend Wilkinson persuaded him to take a few baths at 
 Buxton. 
 
 When he came back to Rowsley Mrs. Roberts and other 
 friends went out to meet him and inquire how the baths had 
 suited. His reply, equally unexpected and demonstrative, 
 was to commence dancing and skipping about in a very- 
 lively fashion. In his early days Cox had been a good 
 dancer; even in his latter years the sound of dance music
 
 82 LIFE OF DAVID COX. 
 
 Chap. VI. appeared to reawaken the old feeling, and Mrs. Everitt has 
 i83]^84o. told me that she could generally make Cox begin to waltz, if 
 she played one of his favourite old tunes on the piano. 
 
 Cox spent some time in North and South Wales in the 
 autumn of 1836, making drawings for the illustrations to 
 Roscoe's work. He also appears to have sketched in the 
 neighbourhood of Birmingham, where he stayed at the house 
 of Mr. W. Radclyffe (No. 6, George Street, Edgbaston, now 
 George Road), who had undertaken to engrave all the illus- 
 trations for the work on Wales. The following letter, 
 referring to this work, was written at this time : — 
 
 " 6, George Street, Edgbaston, October 13, 1836. 
 
 "William Roberts, Esq. 
 
 " My dear Sir,— I beg to thank you for your kind 
 invitation to dine with you to-day, but I made an engagement 
 to go out to dinner while I was in town this morning, which 
 was when your messenger arrived with your note ; and I find 
 that the engravers are waiting for a drawing for the Welsh 
 work. This will also prevent my seeing you to-morrow, 
 which I very much regret, as I am anxious to receive your 
 kind information in regard to oil painting ; but I hope, as 
 soon as I return from my friend Birch's, at Dudley, to call 
 and benefit from your ver)^ kind assistance. Mrs. Cox is 
 much better than when I saw you yesterday, though still 
 weak. She hopes to call and sit an hour or two with you 
 and Mrs. Roberts when we return. 
 
 " I beg to remain, dear Sir, 
 
 " Yours obliged and sincerely, 
 
 " David Cox." 
 
 It was about this time that on one occasion Mr. Charles 
 Birch, who then lived at Burnt Tree, near Dudley, called at 
 the Birmingham Society of Artists' Rooms, then situated in 
 Temple Row, for Cox. They were to go over to Dudley to
 
 SECOND RESIDENCE IN LONDON. ^83 
 
 sketch, but on going out Cox saw before him such beautiful chap. vi. 
 colour on the porch of St. Philip's Church, that he stopped 1835-1840. 
 and said that he hoped his friend Birch would excuse him, 
 but that he really must make a study of it. He had his 
 sketching materials with him, so he immediately set to work, 
 and in a short time produced an "upright," very lovely in 
 its variety of changing greys, and admirable as a specimen 
 of correct and rapid work. This sketch, which is without 
 figures, is now in the possession of ]\Ir. J. Jaffray, of Park 
 Road, Birmingham. That gentleman has also a still earlier 
 but beautiful little drawing of St. Martin's Church, Birming- 
 ham, taken from the old Moat Lane, showing the water of 
 the moat in front. The colour is true, tender, and delicate, 
 and it is the more interesting from the circumstance that this 
 part of the town was modernised, and the houses pulled 
 down, many years ago. 
 
 Cox exhibited the unusual number of thirty-four drawings 
 in the Water Colour Society's gallery this year, 1836, and of 
 these four were views in Scotland, taken from sketches which 
 his son had made during his tour in that country in the year 
 1834. Cox himself was never in Scotland until he went 
 there to have his portrait painted in 1855. Amongst the more 
 important drawings exhibited were " Ellerside Peat Moss, 
 Lancashire," " Lancaster Sands — Market People returning 
 from Ulverstone ; " " Bolton Castle — Twilight ; " and " Had- 
 don Hall." 
 
 During the whole of his residence in Foxley Road, Cox 
 continued to give lessons throughout the London seasons, 
 chiefly to his old pupils. Copley Fielding did the same. It 
 was almost a necessity in those days, as works of the highest 
 excellence in w^ater-colours used to produce such very small 
 prices. Cox continued to lay by a little money each year, as 
 he was careful and simple in his expenditure. The end of 
 the summer and the autumn were always passed travelling in 
 Wales and England, sketching from nature, and in the winter 
 
 G 2
 
 84 LIFE OF DAVID COX. 
 
 Chap. VI. he made finished studies from his summer work ready for the 
 .83^840. spring exhibition. In this he was Indefatigable, working late 
 every evening by artificial light, with sepia, and sometimes 
 in chalk and colours. Indeed, he has been known to make 
 three sepia drawings after dinner, In one afternoon and 
 evening. 
 
 He was, however, beginning to feel that it would be of 
 advantage to him in his art-life to remove into the country. 
 By so doing he would be able more easily to relinquish 
 teaching, and turn his attention to larger works, especially in 
 oil, and the sequel proved that in this he was quite right. 
 He was also desirous to escape from the importunities of 
 some of the London dealers — Roberts, of Henry Yard, 
 Oxford Street ; Houghton, in the Poultry ; Hixon, a print- 
 seller, and others — who were continually applying to him for 
 more of his small drawings, which had a very ready sale at 
 the low prices charged. Referring to a memorandum of the 
 sale of his drawings at the exhibition. Pall Mall, in 1837, I 
 observe that out of seven drawings sold, six guineas was the 
 highest price obtained, with one exception, " A Mountain 
 Road — Infantry on the March," which was purchased by Mr. 
 J. H. Maw for thirty-five guineas — a large sum for Cox to 
 receive in those days. This was a large drawing ; the scene 
 represented was the Vale of Nan Frangon. A grand moun- 
 tain range towers up partly wreathed with mists. A stream 
 is descending into a peaceful valley in the distance, near 
 which a few cattle are grazing. This year twenty-three 
 drawings were exhibited. One of them — " Gleaners return- 
 ing at Evening" — suggested the subject for Cox's fine oil 
 picture, with Dudley Castle In the distance, now in the 
 collection of Mr. S. Mayou. There were also exhibited 
 many views of the Ulverstone Sands, and of various parts of 
 North Wales. 
 
 It was this year, 1837, I believe, that Cox first visited 
 Powis Castle, the seat of Lord Clive, and made several
 
 SECOND RESIDENCE IN LONDON. 85 
 
 sketches there. One, of the Garden Terrace, which I have ^^^^- ^^^ 
 seen, is beautifully fresh in colour. I have been told, with 1835— 1840. 
 reference to this and other journeys, that at Powis Castle, 
 Hardwick Hall, and similar places. Cox appeared to be quite 
 at home, and well-known to the stewards, gardeners, &c., 
 who all seemed pleased to see him. He was in the habit, 
 too, of walking about, quite unattended, wherever he liked ; 
 but he was a good deal afraid of the bloodhounds at Hard- 
 wick Hall, and would go half-a-mlle round to avoid them. 
 The easy way in which he made friends with all classes of 
 society throughout his life may be accounted for by his 
 modest, unassuming bearing to all, his kindness and bene- 
 volence. I may mention amongst other instances of this 
 unselfish disposition, that besides giving his father an annuity 
 as mentioned. Cox always arranged to pay the old man's 
 doctor's bill. Old Mr. Ledsam, a well-known doctor in 
 Birmingham in those days, was the medical attendant, and, 
 as he liked art. Cox gave him a drawing every year instead 
 of money. Many years afterwards, upon seeing these 
 drawings, he said they were only " pot-boilers," and insisted 
 on changing them for better ones. This practice of squaring 
 his debts by paying in drawings instead of money was one 
 which appears to have been often followed by Cox, and rather 
 to have increased with advancing years. No doubt it was a 
 mistake, at least in a pecuniary point of view, but a very 
 harmless one, by which he himself was the only sufferer. 
 Cox also visited Bolton Abbey, Castleton, and Hardwick 
 Hall in 1837. The celebrated drawing of "Returning from 
 Hawking, Haddon Hall," was suggested on this occasion, 
 and several others were from sketches made at the same 
 place. On the 29th March, 1838, Cox accompanied his wife 
 to Seabrook, near Hythe. They stopped there in a cottage 
 called Mill-house, lent to them by Mr. Norman Wilkinson, 
 and remained about six weeks. Mrs. Cox had been far from 
 well, and the change was very beneficial to her, whilst it
 
 86 LIFE OF DAVID COX. 
 
 Chap. VI. afforded Cox the opportunity of sketching on the Kentish 
 18351^840. coast. He visited Dover, and made a drawing of the pier. 
 
 The following is an extract from a letter written by him at 
 
 this time to his son : — 
 
 " Seabrook, May nth, 1838. 
 
 *' I have been out sketching the last three or four days. I 
 have been to Saltwood Castle, and made several sketches. 
 To-day I have been about five miles to Lymne Castle. 
 
 "It is very small, but stands on a bold situation over- 
 looking Romsey Marshes. The atmosphere has been very 
 clear for more than a week, and we can see the French coast 
 quite distinct. To-day it was more clear than I have before 
 seen it, and the sea of a most beautiful colour. 
 
 (Signed) " David Cox." 
 
 The visit above mentioned to Lymne Castle gave the out- 
 line and first idea of the beautiful drawing afterwards painted 
 of "Peace and War, with Yokels," now in Mr. Quilter's 
 collection. 
 
 In August of this year he visited some of his Birmingham 
 friends, and afterwards spent a month in Derbyshire. 
 
 On this occasion he went to Rowsley and also to Hardwick 
 Hall, where he made the three celebrated drawings of the 
 interior of the picture-gallery. The perspective, colour, and 
 appearance of truth in these drawings are excellent ; the more 
 they are examined the better they appear. 
 
 This success is the more remarkable as the subject was 
 rather foreign to Cox's usual style. He had, however, 
 previously made some very admirable sketches of the interior 
 of Haddon Hall. The resemblance, also, to the old masters 
 on the walls is carefully adhered to, although the handling 
 is free ; the effect also is rich and very pleasing. The 
 two following letters to Mr. Roberts relate to this visit to 
 Derbyshire : —
 
 SECOND RESIDENCE IN LONDON. 87 
 
 " Rowsley, Monday, August 20th, 1838. Chap. VI. 
 
 " My DEAR Sir, — When I passed through Birmingham 1835— 1840. 
 about a fortnight ago I learnt that you were on a journey, 
 and would be absent there a fortnight. As it is about the 
 time of your return, I send you a few lines to say how much 
 pleasure it would give me to have your company for a few 
 days or a week, or more if you like. I have been to one or 
 two places in this neighbourhood, where T should like to 
 accompany you. I think of paying a short visit to my sister 
 in Manchester, No. 55, Spring Gardens, where I shall stay 
 till the middle of the week, about the 28th, so that if you 
 should not get this time enough to write here, a letter to 
 Manchester would find me, so that we might arrange to meet, 
 as I wish very much to go to Hardwick. Let me know by 
 return of post, if possible, that I may go to Manchester, pay 
 my visit, and return here by the end of this or beginning of 
 next week, as time is drawing to a close when I must return 
 to London. Give my kindest remembrances to Mrs. Roberts, 
 and believe me, my dear Sir, 
 
 " Yours very truly, 
 
 '* David Cox. 
 
 *'P.S. — Cotman was to have accompanied me from London 
 to Birmingham, but he failed in his engagement. Mr. and 
 Mrs. Severn send kind regards." 
 
 " Manchester, August 29th, 1838. 
 
 " My dear Sir, — After remaining at Rowsley eight days, 
 the whole of which I had rain, so that I could do but very 
 little, on Sunday morning last I left, and reached Manchester 
 in the evening. I rather expected when I reached Birmingham 
 that I should have tempted you to have gone with me, and I 
 was much disappointed when I learnt you were not likely to 
 return under a fortnight or three weeks, so I left Birmingham 
 in rather a sulky mood. I went by Nottingham and Mans-
 
 88 LIFE OF DAVID COX. 
 
 Chap. VI. field to Bolsover and Hardwick, and found some good 
 1S35— 1840. sketching, but was rather uncomfortable at the time ; and, 
 as I had requested Mrs. Cox to write to me at Rowsley, I 
 bent my way there : and it was so far fortunate, as I got to a 
 comfortable house during a very rainy week. I was bound 
 to come to see my sister here, and now intend returning by 
 Hardwick, as I have several of my sketches to finish, and I 
 intend to be in Birmingham about the loth of September, 
 where I really hope I may be fortunate enough to meet with 
 you before you leave for Rowsley, as I shall not be able to 
 return that way. I was in Birmingham with my son, and it 
 was he who called at your house. He, his wife and child, and 
 myself were in Birmingham. Mrs. Ward desires to be kindly 
 remembered to you ; and believe me, my dear Sir, to remain, 
 
 " Yours very truly, 
 
 " David Cox." 
 
 John Sell Cotman, the well-known artist of the Norwich 
 School of Old Crome, who had thought of accompanying 
 Cox on this occasion, was an associate exhibitor of the 
 Water Colour Society. He was Professor of Drawing at 
 King's College, and the originality, knowledge of composi- 
 tion, light, and shade displayed in his works were fully 
 appreciated by Cox, who never lost an opportunity of speaking 
 well of them. 
 
 In 1838 Cox exhibited thirty-two drawings, and twenty- 
 six in 1839, i^ th^ Water Colour Society's gallery. The 
 subjects are very varied. The usual favourite scenes in 
 Lancashire, Derbyshire, and Yorkshire abound, and, for the 
 first time, a picture appears with the title of " Going to the 
 Hay-field." This was the subject of many fine works in oil, 
 painted in later years ; and, although so often repeated, there 
 is a variety in the incidents of each. In 1839, amongst the 
 sales of Cox's drawings at the Exhibition, were two purchased 
 by the Marquis of Conynham for her Majesty, No. 280,
 
 SECOND RESIDENCE IN LONDON. 89 
 
 " Battersea Fields," and 297, "A Castle in the Olden Time." Chap. vi. 
 Cox used always to make a point, if possible, of being 1835— 1840 
 present on the private view day at the Water Colour 
 Exhibition, as he met there so many of his friends. On 
 one of these occasions a lady wanted to purchase a small 
 drawing by Cox which he had marked as " sold," as not 
 wishing to part with it, thinking it too slight. He said 
 he had rather not sell it, it had so little finish he really 
 could not put a price on it. And, when she still insisted, 
 he made it part of the bargain that he should first put 
 some more work into it, to make it what he considered 
 more equivalent to the money paid. 
 
 In the year 1839 W. J. Miiller returned to England from 
 that long journey through Greece and Egypt, in which so 
 many of his most celebrated works were painted. He deter- 
 mined to fix his abode in London, and, although at that time 
 only twenty-seven years of age, he had attained to wonderful 
 power and dignity in his works, which few could understand 
 and appreciate so well as Cox did. Miiller was on intimate 
 terms with George Fripp the artist. They had known each 
 other from boyhood, had sketched and travelled abroad 
 together ; and now Fripp, hearing from Cox that he was 
 turning his thoughts to oil painting, spoke to him about 
 Miiller's style of manipulation, and offered to introduce him, 
 so that he might see him paint. Cox gladly embraced this 
 suggestion, which resulted in Miiller's giving Cox a few 
 lessons in oils. Cox afterwards told Fripp how much he had 
 been pleased, and that his expectations had been even more 
 than fulfilled. There is but little doubt that the experience, 
 he gained of Miiller's work impressed him deeply, and 
 assisted in forming his latest and best style of manipulation 
 in oils. Miiller was left-handed, but he could paint nearly 
 equally well with his right hand, and, when interested in his 
 work, he would paint with both hands at once. Cox related 
 that the first lesson he had, Miiller nearly painted a small
 
 go LIFE OF DAVID COX. 
 
 Chap. VI. picture at one sitting, painting all the time with great ease 
 1835— 1840. and rapidity. When he went for his second lesson Miiller 
 had wiped out this picture, saying that he was not satisfied 
 with it. He then commenced another, the subject of which 
 was '*The Ammunition Waggon." He made great progress 
 with this also ; and, when Cox called the next time, he was 
 surprised to find it nearly finished, the horses, soldiers, and 
 other incidents having all been introduced, and the rest of 
 the picture a good deal worked up. When Cox afterwards 
 went to live at Birmingham he used often to urge his friends 
 there to purchase Miiller' s paintings. They followed his 
 advice, and, in consequence, acquired some of his most 
 beautiful works ; but the fact that Cox gave this advice 
 proves, if any proof were wanting, how far he was removed 
 from any feeling of jealousy. Indeed, I believe he did not 
 know what professional jealousy was. 
 
 Mr. William Roberts, of Harborne, was fond of painting 
 in oil, and he urged Cox to paint some pictures to be 
 exhibited in London, and gave him some hints about the 
 use of vehicles. The following letters refer to these 
 subjects : — 
 
 " 9, Foxley Road, Kennington Common, London, 
 i^I.iy 20th, 1840. 
 
 " To W. Roberts, Esq. 
 
 " My dear Sir, — I have delayed answering your letter 
 several days in expectation of receiving some information 
 respecting Blackpool from a gentleman at Liverpool, as I have 
 no knowledge of it myself. Should I hear anything worth 
 communicating, I will write again. 
 
 " I have so many things on hand at present that I cannot 
 say at what time I shall be able to leave London, but I think 
 most likely about the end of July, and, as I must go to 
 Manchester to spend a short time with my sister, I should 
 like, if it were possible, for us to meet, as I should be most 
 happy to go with you a short trip. For the reasons
 
 SECOND RESIDENCE IN LONDON. 9 1 
 
 I have stated respecting my professional engagements, I chap. vi 
 must decline entering into any engagement to make drawings 1835— 184( 
 for your friend, the Rev. Mr. Kennedy, to whom you have 
 kindly recommended me, and, in fact, I have no sketches in 
 Shropshire. My son has sketches in the neighbourhood of 
 Shrewsbury, Buildwas, &c., &c., which he made last year 
 when on a visit to a friend there. 
 
 " I am making preparations to sketch in oil, and also to 
 paint, and it is my intention to spend most of my time in 
 Birmingham for the purpose of practice, when I hope to avail 
 myself of your guidance and instruction. 
 
 " I expect to see Mr. Birch in London very soon, and will 
 then mention to him your plan for us three to make an 
 excursion, and I really and sincerely hope I may be allowed 
 that pleasure. 
 
 " Mrs. Cox, my son, and his wife, join me in very kind 
 remembrances to yourself and Mrs. Roberts. 
 
 " I remain, dear Sir, 
 
 *' Yours very sincerely, 
 
 " David Cox." 
 
 J^rom David Cox ^0 W. Roberts, Esq. 
 
 " 9, Foxley Road, Kennington Common, London, 
 June 2nd, 1840. 
 
 " My dear Sir, — I cannot sufficiently thank you for your 
 very friendly and kind invitation to your house, and, although 
 I am very far from ceremonious, yet to know that I am not in 
 any way disturbing Mrs. Roberts's family arrangements 
 would be an additional inducement to visit you, and I hope 
 to spend a week or nine days with you. I have also 
 promised my friend, Mr. Birch, I would spend some time 
 with him, and, as I am determined to make a fair trial in oil 
 painting, I expect to gain a good deal of information by 
 having his pictures to look at, and with your instruction 
 in the vehicle and use of the oils, I hope to produce some-
 
 92 LIFE OF DAVID COX. 
 
 Chap. VI. thing which may encourage me to pursue the study. It is 
 1835^840. also my intention to practise from Nature as much as 
 possible, and I am getting a small contrivance to hold the 
 millboard whilst I paint. It is very simple, and may be 
 made to hold large or small millboard, or even a stretcher, 
 with canvas, (at least two feet). I do not know whether I can 
 describe it, but will endeavour. The box to carry my 
 colours is what they sell at the shops, and 1 believe there 
 cannot be anything better; a tin japanned box, with divisions 
 for the bladders and bottles. 
 
 " I shall be most happy to join you at Blackpool for the 
 purpose of having a short ramble, sketching, and shall be 
 glad to go as far as Derby Dale with you. I wish also to 
 get several good views of Lancaster, though after all I am 
 fearful my time will not suit yours, as I cannot leave London 
 till towards the 20th of July, as I must wait to send home 
 the drawings I have sold in the exhibition, and we shall not 
 close until the nth of July. Perhaps you will write again 
 and tell me more of your plans, as to the time you will be at 
 Blackpool. I here send you a short account of Blackpool, 
 which my friend at Liverpool has sent me. He has copied 
 it from Gorton's 'Topographical Dictionary.' This descrip- 
 tion has been written in a very great hurry, but pray excuse 
 it, and believe me to remain 
 
 " Yours very sincerely, 
 
 "David Cox." 
 
 Note. — The description of Blackpool was copied out by 
 Cox in this letter, and occupied an entire page.
 
 VII. 
 
 PROGRESS IN ART AND REMOVAL FROM 
 LONDON. 
 
 1840 TO 1 84 1. 
 
 AM now entering on that period in the life of David Chap. vii. 
 Cox when it may be said that he attained to the 184^841. 
 height of his power in technical knowledge and 
 manipulation as a painter in water-colours. After 
 his return to London, in 1827, he soon freed himself from 
 all conventional ideas in his foliage and foregrounds, attain- 
 ing perfect looseness in the former and a rough, varied sur- 
 face in the latter. The transparent shadows full of reflected 
 lights, and the dewy sparkle which characterize his land- 
 scapes of the middle period, appear to have been produced 
 with the easiest possible sweep and dash of his brush, and 
 this charm is to some extent missed in his earlier works. 
 At the same time he got rid of a somewhat fettered manner, 
 into which he was probably led by the habit of making a 
 great many drawings for young pupils. 
 
 I have seen a good many drawings, principally small ones, 
 of the dates between 1820 and 1826, in which there is a good 
 deal of delicate finish, but often the foliage is rather stiff and 
 constrained, and the high lights on the trees are occasionally 
 touched in with body-colour : this method Cox discarded in 
 after years ; the lights, if not left, being taken out with the 
 brush or handkerchief. The figures also in the drawings of 
 the early period now referred to, are brighter in the colours
 
 94 LIFE OF DAVID COX. 
 
 Chap. VII. of their dress, they have less depth of shadow, and are 
 1840^841. deficient in the movement and action, which are so admirable 
 in the incidents and figures of his more mature works. 
 
 After 1834 and 1835 especially, his exhibited works had a 
 well-marked character and originality of their own, different 
 from his earlier drawings, and very distinctive of Cox's works 
 as compared with those of any other artist. These works of 
 his middle period are clear, fresh, full of play, and delicate 
 in execution ; no touch but has its meaning, whilst his choice 
 of subjects, his knowledge of means to produce a beautiful 
 or striking effect, and his power of concentrating the interest, 
 are probably equal to anything in the whole range of land- 
 scape art. But his later works, especially those of the last 
 few years, although less defined and looser in the handling, 
 are grander and fuller of a deep feeling for Nature in her 
 most solemn moods and phases. Those exhibited in 1857, 
 1858, and 1859, above all others, are endowed with a pathos 
 and a power to touch the heart, and awaken the higher 
 sympathies of man, which to kindred minds is altogether 
 irresistible. 
 
 He had, however, in this middle period of which I am now 
 treating, nothing to learn, either in composition or in breadth 
 of light and shade. He had, moreover, attained to that rare 
 power retained by him to the last, of investing the simplest 
 subject with a poetic charm which speaks directly to our 
 feelings, because its truth, thoroughly broad and unconven- 
 tional, has been transmitted through a true artist's mind. 
 For instance, a meadow with a gate and a few trees, a hay- 
 field with a low range of distant hills, or a country lane with 
 cottages, in which most people would see little but what was 
 commonplace, become transformed, by the magic touch of 
 Cox's genius, into a true pastoral poem, simple, yet full of 
 pleasant country life, " nothing consciously sought for, but 
 the nature of the man speaking out in his works." The 
 series of drawings which he made about this period in North
 
 PROGRESS IN ART AND REMOVAL FROM LONDON. 95 
 
 and South Wales— the coast near Penmaenmawr, the passes chap, vil 
 of Nant Frangon and Aber-Glaslyn, the falls of the Llugwy 184^841. 
 and Ogwen, the Vale and Castle of Conway, the Castles of 
 Carreg-Cennen and Harlech— are rich in subject and 
 beautiful in their treatment and colour. The pastoral scenes 
 too, in which Cox especially excelled, where flocks of sheep 
 are seen crunching through turnip fields, or meadows are 
 represented with cows knee-deep in the rich grasses, may be 
 cited as thoroughly characteristic of his best and most 
 frequent work. The same may be said of his often-repeated 
 views of the Ulverstone and Lancaster Sands, his lanes in 
 Warwickshire, and his sketches at Haddon Hall, Bolton 
 Abbey, Barden Tower, and other places in Derbyshire and 
 Yorkshire. These bring at once to the eye and mind not only 
 what is most beautiful in the scenery of our islands, but by 
 the representation of sunshine breaking through the drifting 
 clouds, the movement of the wind bending the boughs of trees, 
 or passing over the long grass, the scenes are clothed with an 
 individual charm and meaning which are altogether the crea- 
 tion of the genius of the artist himself. This ray of genius 
 which had originally fallen on the young Birmingham scene- 
 painter, had been cherished and developed by incessant self- 
 culture, until it shone out well defined and unmistakable in the 
 works of his middle and later period ; quite as much in his 
 rapid sketches as in his more finished productions. 
 
 The pre-eminence of Cox is at last beginning to be under- 
 stood and acknowledged; hereafter, I believe, this will be 
 more fully the case even than it is at present. This cannot 
 but exercise a healthy influence on the School of Landscape 
 Art, as his works are so free from trick and false sentiment, 
 and so true to Nature in their broad, simple mode of 
 treatment. 
 
 At the risk of repeating what has been to some extent 
 previously expressed, I have felt compelled to offer these 
 remarks, believing as I do, that in insisting on the truths
 
 96 LIFE OF DAVID COX. 
 
 Chap. VII. here referred to consists the chief usefulness of bringing 
 1840- 1841. prominently before the public an account of the works and 
 art-life of David Cox. 
 
 As I intend to describe many of his representative and 
 celebrated drawings in a separate chapter, I shall for the 
 most part postpone until then any detailed account of these 
 works. A chapter will also be devoted to the consideration 
 of his more important works in oil — works which are rivalling 
 in public estimation his finest drawings, and which are 
 realising very large prices. A gentleman, who has lately 
 been purchasing many of Cox's finest oil paintings, and has 
 for many years past been a collector of his drawings, 
 remarked to me the other day that although he often parted 
 with the works of other artists, he never liked to sell anything 
 by David Cox that had once come into his possession, for this 
 simple reason, that although he often got tired of other 
 pictures, he never tired of Cox's, but liked them better the 
 more he looked at them. 
 
 One of the secrets of the pleasure conveyed by the draw- 
 ings and sketches of Cox consists, I believe, in the way in 
 which he always introduced his incidents and figures, so 
 naturally, and so appropriate to the place. He never lost an 
 opportunity of making a rapid sketch or memorandum of 
 any groups or figures which struck his fancy and imagination, 
 and these he worked up a little, always adding the right 
 colours as soon as he got home. Thus in a sketch of a 
 village in North Wales, which I have lately seen, an Italian 
 organ-grinder is leading a bear, which is being saluted by the 
 village curs, and gazed at by the wondering natives ; the 
 bear is true to Bruin's nature, and the whole is very natural 
 and easy. It impresses you, too, as being a real scene. 
 
 I must now proceed to give my readers some account of the 
 remaining years which Cox passed at his residence in Foxley 
 Road. In July, 1840, Cox paid a short visit to Birmingham, 
 and then proceeded to his sister's house, at Sale, near 
 
 I
 
 PROGRESS IN ART AND REMOVAL FROM LONDON. 97 
 
 Manchester. Mr. and Mrs. Roberts were staying at the same Chap. vii. 
 time at Blackpool, and he had promised to join them there, 1840^841, 
 with the intention of having some sketching. The following 
 is an extract from a letter written at this time to his son : — 
 
 " Sale, July 29th, 1840. 
 
 " This is certainly a very pleasant place to live at. The 
 countr}^ is country, and the walks quite rural — green lanes 
 and cornfields in great abundance. The land hereabout, and 
 for several miles around, is entirely wheat and other corn, and 
 quantities of vegetables ; indeed, the country for six or eight 
 miles is the corn and market garden of Manchester. The 
 scenery for sketching is not very picturesque ; but three miles 
 beyond is wood, rather picturesque, and some very extensive 
 views. I have not been to Manchester yet, nor have I a wish, 
 as this place is so delightful. We have the best bread you 
 ever eat, equal to the potatoes ; meat and coal cheap — the 
 former sevenpence-halfpenny all joints — coal eleven shillings 
 per ton, and then, to make the comfortable more comfortable, 
 we have plenty of peat. I wish you and Fanny could enjoy 
 it with us. 
 
 " David Cox." 
 
 The reference in the above letter to peat is characteristic, 
 as it illustrates the love Cox always felt for the smell of peat, 
 which reminded him of North Wales. While living in the 
 Foxley Road he would occasionally buy turf or peat from the 
 Addington Hills brought to the door by hawkers' carts, and 
 placing a block on the fire, when the blue curling smoke sent 
 out its peaty perfume, he appeared to feel quite happy. 
 
 Early in August he went to Blackpool, and was the guest 
 of Mr. and Mrs. Roberts. He complained that he could find 
 nothing there worth painting, and that the scenery in the 
 neighbourhood of Manchester was far prettier. He made 
 two sketches, however, in front of the town with the seashore 
 and some houses, which included a view of the lodgings they 
 
 H
 
 98 LIFE OF DAVID COX. 
 
 Chap. VII. occupiecl. He presented these to Mrs. Roberts, and they 
 i84a^»4i. were afterwards mounted and framed. Blackpool was a very- 
 primitive place at that time, and with nothing going on in the 
 way of amusement, so after three days Cox and Mr. Roberts 
 started on a sketching excursion to Dent Dale and other 
 places, which does not appear to have prospered very well, 
 judging from the account which he wrote of it to his son 
 after his return to Sale. This letter, from which the follow- 
 ing is an extract, gives an amusing and graphic account of 
 the difficulties artists have to encounter in their sketching 
 expeditions : — 
 
 " Sale, August loth, 1840. 
 
 " I returned a day or two since from my excursion. Mr. 
 Roberts and I met at Blackpool as agreed, and started for 
 the long-talked-of Dent Dale. But what a disappointment ! 
 I never saw so uninteresting a place for sketching. I was 
 almost miserable to think I had been waiting for my friend a 
 fortnight, and, after travelling nearly one hundred miles from 
 Sale, to meet with nothing but green hills ; rivers dried up ; 
 trees not larger than our pear-trees ; no oak excepting three 
 small ones at the entrance of a very poor, ill-built village. I 
 was out of spirits ; I really could not sketch, nor, in fact, 
 was there anything worth going two miles for. I made one 
 coloured sketch in water-colours of some dock leaves. You 
 will wonder 1 did not go further, but I had no wish to go so 
 far out, and so decided on returning ; but, unfortunately, we 
 had promised our friend Birch to wait at Dent, as he had 
 promised to meet us there. But on the Tuesday afternoon a 
 letter came from him to say he was detained on business, and 
 could not leave home. We then immediately returned to 
 Kirby Lonsdale, where I made a sketch. We spent two days 
 there ; it rained most of the time, so we made up our minds 
 to go to Hest Bank, on the Lancaster Sands. The inn there 
 was so full of visitors we could not have beds, and again we 
 moved on to Lancaster. There also we were disappointed.
 
 PROGRESS IN ART AND REMOVAL FROM LONDON. 99 
 
 The judges were sitting In assize, and every room at respect- Chap. vil 
 
 able inns was crowded to the roof; so there was no alterna- i84oiri'84i. 
 
 tive but to take the railroad and get back to Manchester the 
 
 same day, and Mr. Roberts went to Blackpool to Mrs. R. 
 
 and the children. I assure you I am greatly put out, as my 
 
 sketching Is done up entirely for the season unless I go to 
 
 Wales or return to Lancaster Sands as soon as the assizes 
 
 are over. To Wales It would be nearly one hundred miles, 
 
 and a great deal by coach ; to Lancaster the railroad would 
 
 take me In three hours. I have promised we will be in 
 
 Birmingham in a fortnight, when I hope to sit and make a 
 
 picture or tw^o in oil. 
 
 "David Cox." 
 
 He did not return to Birmingham, except for a few days 
 about the 21st of August, till the latter end of September. 
 However, on 8th of October, 1 840, he wrote from thence to 
 his son : — 
 
 " I am, thank God, very well, and am happy to say going 
 
 on well with my oil painting. Mr. Roberts gives me much 
 
 praise for my late picture, ' A Woody Lane near Hard- 
 
 wlcke,' about twenty Inches, a tolerable size for me, a young 
 
 beginner. It is not yet finished ; but I myself think it is 
 
 pretty good. 
 
 " David Cox." 
 
 He always, in his early clays of oil-painting, consulted Mr. 
 Roberts as to the mediums to be used, method of putting on 
 the colours, &c., as he thought a good deal of his experience 
 and judgment. When they were in the neighbourhood of 
 Lancaster he made the sketch this year for a picture which he 
 afterwards painted ver}' successfully in oil. The subject 
 chosen was " Market People crossing Ulverstone Sands." 
 On a subsequent occasion, when Cox and Mr. Roberts were 
 staying at th-^; Inn at Lancaster, two commercial travellers, 
 
 H 2
 
 lOO LIFE OF DAVID COX. 
 
 Chap. VII. overpowered with fatigue (as the weather was ver}^ hot), fell 
 1840^841. asleep after dinner, and Cox, struck with the drollness of the 
 subject, and urged on by his friend, made the two sketches 
 which were sold in 1867, and are now in the possession of 
 Mr. Thrupp. The elder traveller, with the handkerchief over 
 his head, woke up when the sketching was partly finished, 
 and opening one eye, looked out for a minute or two amused 
 at what was going on, and then relapsed into a profound 
 slumber. 
 
 Amongst the oil pictures which Cox painted in 1840 was a 
 clever landscape with a waggon on the road, and a peasant 
 crossing a rustic bridge. This was purchased by Mr. E. 
 Bullock, at whose sale, in May, 1870, it produced two hundred 
 and forty-five pounds. Mr. Bullock was one of Cox's earliest 
 patrons for his works in oil ; amongst those in his collection 
 was one dated as far back as 1831, the subject, '^Carrying 
 Vetches." 
 
 In 1840 Cox exhibited at the Water Colour Society's Gal- 
 lery eighteen drawings, but only ten in 1841. The small 
 number exhibited in the latter year may be accounted for by 
 the fact that he had now begun to devote a good deal of his 
 time to working in oil, and he sent some pictures that year to 
 the British Institution, as well as to Suffolk Street, , and he 
 also commenced a picture for the Royal Academy. 
 
 He had been thinking for some time of leaving the neigh- 
 bourhood of London, as already mentioned in the last 
 chapter. His son was now married, and settled as an artist 
 in London, and Cox thought he would certainly be able to 
 take charge of some of his pupils ; besides, he had never 
 liked the bustle of London, and this feeling had increased 
 very much as he grew older. He desired also to be nearer 
 to Nature, which he loved so well. Towards the close of 
 1840, therefore, he determined to look out for a house in the 
 neighbourhood of Birmingham, his native town. There many 
 of his oldest and dearest friends resided, and there he turned
 
 PROGRESS IN ART AND REMOVAL FROM LONDON. lOI 
 
 with the feelings not unusual to many true-hearted men, who Chap, vil 
 desire to return in the evening of life to that spot which is 1840— 1841. 
 associated with the bright aspirations of youth, and where 
 their earliest days have been spent. He also had some idea 
 that he might benefit in his practice in oil by painting in the 
 gallery of Mr. Charles Birch, at Harborne, surrounded by the 
 works in oil of many distinguished artists. The following 
 letters, dated the ist and 12th January, of which I give fac- 
 simile copies at the end of this chapter, and those of the 
 26th Februar}^ and 28th March, 1841, refer to his progress 
 in oil painting, and also to his proposed removal to the 
 neighbourhood of Birmingham : — 
 
 " 9, Foxley Road, Kennington Common, London, 
 February 26th, 1841. 
 
 " My dear friend Roberts, — Your letter, which con- 
 tained more than a brother's kindness, I duly received. I 
 have no words to express the gratitude I feel for the assist- 
 ance you have afforded me in acquiring some knowledge in 
 that delightful branch of the arts — oil painting. So far from 
 being discouraged, I like it better every day, and feel I really 
 now make some progress, though I know I do not paint in 
 that regular way a professional would ; I mean I cannot keep 
 the shadowed part of some objects quite free from opaque 
 colour, so that I am obliged to paint it to look transparent. 
 I perceive this in many of the old masters — Claude, for 
 instance. I have improved the small picture of the * Heath,' 
 but it is not one at all to my mind. It was really very un- 
 finished when I sent it to the Institution, and the directors 
 have therefore done me a kindness. I shall send the ' Heath ' 
 and ' Water Mill ' to the Suffolk Street Gallery on Monday. 
 I wish you could see them. Your wish to purchase the 
 ' Heath ' is very kind, and I estimate your kindness much, 
 but really I cannot consent to your purchasing a pic- 
 ture unseen ; and if it should sell I am sure I could paint
 
 I02 LIFE OF DAVID COX. 
 
 Chap. VII. something much better, and more worthy of your patronage, 
 184^841. which will be more agreeable to my feelings. After the 
 Monday I shall commence a picture for the Royal Academy, 
 26 X 38 ; there will be just a clear month for me. I have 
 two or three subjects, and I have sent two in a letter by this 
 post to our friend Birch, who I hope will show them to you. I 
 hope to have a letter from you when you have seen them. The 
 third subject is the ' Lane,' with oak-trees, near Coleshill, 
 like the small one I painted for Mrs. Roberts. I have intro- 
 duced gipsies, &c. My friend Birch has written me a long 
 letter, and mentions a cottage he has seen half-way along the 
 flat to Harborne, but from what I can recollect of it I do not 
 like the situation. I do not see how it will be likely that my 
 good friend can quite fix on a house ; it will therefore be as 
 well that I should pay a short visit to Birmingham, for the 
 purpose of walking round with you both to look out for one. 
 However much I may wish to be living near to you, I should 
 have been very sorry to have dropped in on the day of your 
 dinner party, as my enjoyment would have been something 
 like dear Mrs. Roberts's. 
 
 ** Mrs. Cox desires her kind love to Mrs. Roberts, and 
 joins with me in sincere wishes for your health, happiness, 
 
 and comfort. 
 
 " My dear friend, very faithfully, 
 
 " David Cox. 
 
 "You do not mention the Tots. I hope they are both 
 quite well." 
 
 From David Cox to W. Roberts, Esq. 
 
 " 9, Foxley Road, Kcnnington Common, London, 
 March 28th, 1841. 
 
 " My dear friend Roberts, — I am much gratified by 
 your very friendly and kind letter. The weather turning out 
 so unfavourable last Sunday afternoon was a great disappoint- 
 ment for me, as it prevented you and Mrs. R. from coming
 
 PROGRESS IN ART AND REMOVAL FROM LONDON. IO3 
 
 to Harborne. I should have liked much to have spent a few chap. vil 
 hours with you in talking over matters before I left, and it i84^Z^84i. 
 was my intention at one time to have driven round by your 
 house as I came off to the railroad, but feared you might 
 not be up so early ; and it was lucky I did not, as I was only 
 just in time to get seated before we were off. I arrived in 
 town at a quarter past one, found all quite well, and much 
 pleased with the description of my cottage at Harborne. 
 David and Hannah are much pleased with the idea of remov- 
 ing into my house, though not with the thought of our being 
 so far apart. David has given notice to leave his house, and 
 it is my intention to remove to the country at Midsummer, or 
 as soon after as possible. We are busily employed in our 
 plans of what goods to take with us. And here I will pre- 
 sume to encroach on your kindness in allowing me to pur- 
 chase at your warehouse a few articles of hardware goods, 
 as it will not be advisable to take with us such heavy things 
 as fire-irons, pots, fenders, &c. Your kindness on a former 
 occasion served me very much, but, as I know it must be 
 rather against your rules in business, I am rather reluctant 
 to make the request : and if your partner should make the 
 least objection, I beg you, my dear friend, will not scruple to 
 let me know. I have only my poor thanks to offer you for 
 the kindness in undertaking to speak to Messrs. Pickford 
 respecting the conveyance of goods to Birmingham. Long 
 ere this you will have seen our friend Birch, who would 
 inform you what I thought of my pictures in the Suffolk 
 Galler}\ ' They look chalky for want of glazing,' &c., which 
 could not be done, as the day appointed for the purpose of 
 touching, &c., was during my short visit to Birmingham. 
 However, I am prepared for some disappointments, and 
 therefore shall not hurr}^ my present picture to send it to the 
 Royal Academy, having had some teaching since my 
 return, and having several drawings to finish, which have 
 been begun for some weeks. Notwithstanding, I hope to see
 
 I04 LIFE OF DAVID COX. 
 
 Chap. VII. you ill town, as you ^^'•ive me hope to expect when the exhi- 
 1840^841. bitions are open. I have not seen Cattermole since my 
 return to town, but as soon as I can procure the exact mate- 
 rials for the vehicle he mentioned, I will send it. I hope you 
 will not suppose that I am at all discouraged by my pictures 
 not looking well. On the contrary, I feel the more anxious to 
 follow it up, as I now see more of what I wanted to produce 
 — richness. I have done but little to my picture since my 
 return, and, as I do not intend to exhibit it at the Academy, 
 it will be all the better I should take more time ; and as I 
 hear of several gentlemen very anxious to see what I have 
 done, I shall have a much better opportunity of showing it to 
 them at my own house or at theirs. I cannot sufficiently 
 return my thanks to dear Mrs. Wilmot for her great kindness 
 in sending such a veiy bountiful present of biscuits — a 
 hamper sufficient to feed half-a-dozen children for six weeks. 
 David and his wife beg I will give their grateful thanks to 
 Mrs. Edward, and also beg to join my wife in kind love to 
 Mrs. Roberts ; and pray give my kind remembrances to 
 them, and tell them they, with the young folks, must come 
 to my cottage and eat raspberries and cream. Indeed, it 
 will give both Mrs. Cox and myself much pleasure to have 
 them in our humble way as often as they possibly can come ; 
 and I fully expect you will come and see me, and spend 
 some of your hours with me. Indeed, it will be one of the 
 enjoyments I have calculated on in living in the country. 
 When I left, our friend Birch gave me some expectations he 
 should come up to London on the 3rd of April ; if so, I shall 
 have only a few days to wait. I shall impatiently wait the 
 time. If he does not come, pray ask him to write me a 
 letter, and tell me all about the house, if the person is gone 
 out, and whether the repairs are begun. With kind regards 
 to dear Mrs. Roberts, believe me to remain, my dear Friend, 
 
 " Yours very sincerely, 
 
 " David Cox.
 
 PROGRESS IN ART AND REMOVAL FROM LONDON. IO5 
 
 " I have a great deal more to say on the subject of my chap. vil 
 moving, and on the subject of painting, and of the time we 184^841 
 may hope to spend together. Pray write me a few lines 
 soon." 
 
 The desire to become an oil-painter as well as a water- 
 colour painter, had now taken full possession of Cox's mind, 
 and I think the letter of the ist of Januarys is especially 
 interesting as showing the energy with which he had taken 
 up this comparatively new branch of art. It appears that 
 Mr. Birch was rather anxious that Cox should confine himself 
 to water-colour painting, as that in which he was so pre- 
 eminent ; and he (Mr. Birch) had said to Mr. Roberts that 
 he was incurring great responsibility, in his opinion, by 
 urging their friend to take up oil-painting. Referring to this 
 in his letter. Cox writes, with his usual ardour, '' I ivill 
 succeed ./ " 
 
 In the visit which Cox made to Birmingham in March, 
 1 84 1, he arranged to take a lease of Greenfield House, 
 situated in Greenfield Lane, in the village of Harborne, 
 about two miles from Birmingham, and not far from the 
 residences of his friends Birch and Roberts. The house was 
 an old one, and wanted a good deal doing. The landlord, 
 however, undertook the repairs, and also agreed to put a 
 good-sized bow-window into the principal sitting-room, which 
 would then command -a pleasant view of the garden. This 
 was to be all finished before Midsummer, and on the 20th of 
 June, 1848, David Cox and his wife took leave of their 
 relations in Kennington, and accompanied by their trusty 
 servant, Ann Fowler, started by train for Birmingham. They 
 had spent fourteen years in Foxley Road, successful ones on 
 the whole, but Cox felt veiy happy at the idea of living in 
 the country again, and having more leisure for painting. 
 
 They spent the first few days at the house of Mr. Birch, on 
 arriving at Harborne, and then removed into Greenfield
 
 I06 LIFE OF DAVID COX. 
 
 Chap. VII. House. I purpose giving a description of their new home in 
 
 1840— 1841. my next chapter. 
 
 Cox liked his change of residence very much, and he con- 
 tinued to carr}^ on his labours there for many years with 
 unwearied industry and with increasing success. It may 
 indeed be said with truth that it was only after his removal to 
 Harborne that he attained to the height of his fame as an 
 artist, the feeling and knowledge displayed in his latest works 
 excelling all his earlier efforts.

 

 
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 VIIL 
 FIRST YEARS AT HARBORNE. 
 
 I84I TO 1844, 
 
 .REENFIELD HOUSE, which was destined hence- Chap.viii. 
 forth to be the home of David Cox, was pleasantly 1841— 1844. 
 situated in the village of Harborne, about two 
 miles and a-half from Birmingham. It soon be- 
 came truly a home to him : he had chosen it after many 
 changes and wanderings, and he loved its quiet situation, 
 which contrasted pjeasantly with the populous London 
 suburb, Kennington, in which he had passed so many 
 preceding years. With increase of years, his love and 
 preference for the country, as compared with the bustle of 
 cities, took a deeper and firmer hold on his mind. 
 
 His house stood in a lane leading to Harborne Church, 
 beyond which meadows and open country stretched out in 
 the direction of Hagley. There were also many trees and 
 undulating hills on this side, which became a sort of "home 
 preserve" where Cox could always find subjects for sketches 
 near at hand and without fatigue. 
 
 Greenfield was rather an old-fashioned place when he went 
 to live there. From a desire to be very quiet and retired, he 
 kept the front door facing the road always fastened up, and 
 all comers entered by the garden-door at the back — the one 
 shown in the view of the house given in the book. All this 
 is altered now, and a street divides the garden. On the 
 ground-floor was the parlour or dining-room, with the bow-
 
 I08 LIFE OF DAVID COX. 
 
 Chap. VIII. window mentioned in the last chapter, the other two windows 
 1841— 1844. in that room having- been converted into blanks. On the 
 other side of the passage was a small smoke-room, a front 
 and back kitchen ; and up-stairs there were two or three bed- 
 rooms, and a long room used as a studio. This was lighted 
 by a skylight and by one window facing the north. The 
 approach to the studio was by a back staircase leading out of 
 the kitchen. In this studio Cox kept a great many portfolios 
 full of old sketches and studies of various kinds. His easel 
 was a large mahogany one, rather solid, and strongly con- 
 structed, and one or two simple tables and old chairs com- 
 pleted the furniture. No bric-a-brac or elaborate carvings of 
 any kind. In the winter this studio was very cold. He 
 therefore at that time of year generally transferred his easel 
 and painting apparatus to the dining-room. The house also 
 was very simply furnished, but in his dining-room he had 
 several oil-pictures on the walls. Two of these were by 
 Anthony, one of them being a representation of " Ennis 
 Cathedral ; " a large unfinished painting by J. W. Miiller, a 
 "Mill and Salmon Trap," and "An Interior of a Welsh 
 Cottage ; " also an early landscape, by R. Lee ; a head of St. 
 Cecilia — being a present from Mr. Hollingsworth — a portrait 
 of a Persian prince (I have not been able to ascertain the 
 name of the artist who painted the two last), and several of 
 his own works in oil, some being rather unfinished. The 
 interior by Miiller was a very picturesque one of a cottage in 
 the Lledr valley, which Cox afterwards painted himself. 
 
 The garden was a large one surrounded with trees, and he 
 took great interest in it, often working there himself. He 
 planted a good many young forest trees, which he preferred 
 to any others. These grew well and made the place rather 
 bushy, but they have since been cut down. There was also 
 an avenue of filberts and nut-trees in the garden, and a 
 large willow-bush, of which Cox was immensely proud, 
 having been originally a cutting from the willow which grew
 
 FIRST YEARS AT HARBORNE. IO9 
 
 over Napoleon's tomb at St. Helena. A friend going to chap. viir. 
 India sent him two or three cuttings of that willow, and one 1841^844. 
 of these grew and had thriven well under his constant care. 
 
 Cox cultivated broad-leaved plants in his garden, such as 
 rhubarb and different kinds of docks ; also Scotch thistles, of 
 which, as well as of hollyhocks, he was especially fond. He 
 had always a beautiful variety of hollyhocks, and one year he 
 made a study of them in blossom, which I have seen. It is 
 very successful and charming in colour, showing how well 
 flowers may be treated en masse in water colours, with a 
 full-flowing brush, when handled by a master. He had many 
 of the old-fashioned herbaceous and cottage-garden flowers 
 also, and a variety of tulips, which last he was fond of 
 exchanging with his friends. 
 
 On arriving in Birmingham, before going to Mr. Birch's 
 house, where they were invited to spend a few days whilst 
 their furniture was being arranged, Mr. and Mrs. Cox drove 
 direct to Greenfield House. Cox was eager to show the 
 house he had taken to his wife, and to set to work immedi- 
 ately the trusty carpenter, Lewis, who had accompanied him 
 down from London. 
 
 In his first letter to his son he told him how much pleased 
 they were with the cheerful appearance of the large old- 
 fashioned kitchen, and especially with his painting-room, 
 although it had not yet been papered. One of the recom- 
 mendations of the kitchen which he remarked upon, was that 
 there were " plenty of hooks on which to hang up bacon and 
 hams." One of the inmates of the house was a cat, a great 
 favourite, but they kept no dog, for the reason, Cox said, 
 that they liked to be very quiet and undisturbed. They had 
 several old congenial friends living in the neighbourhood ; to 
 be near them had been one of the inducements to remove to 
 Harborne and their society, and their sympathy in his work 
 was a source of constant interest and pleasure. Cox's wants 
 were few and simple ; his ambition took no flight beyond the
 
 IIO LIFE OF DAVID COX. 
 
 Chap. VIII. constant aim of his life, namely, to excel in the practice of his 
 1841— 1844. art. The inexhaustible wealth of nature, his genius and the 
 love of his family and friends sufficed to fill his cup with 
 more happiness than is allotted to most men ; even when his 
 steps were fast approaching that goal to which all human 
 efforts tend, he was still serene and generally cheerful. 
 Among the first things to which Cox turned his attention 
 after he and Mrs. Cox had got comfortably settled in their 
 new home, was to prepare some work to be sent off to the 
 Manchester Exhibition. The most important of these were 
 his three drawings of the interior of Hardwick Hall, which 
 were afterwards purchased by Mr. Bullock. He also began 
 to sketch in the green lanes and neighbouring fields, which — 
 simple subjects as they were — treated after his swift and 
 peculiar manner, and enriched with foreground plants and 
 the broad shadows he loved, became delightful pictures of 
 English midland scenery. 
 
 Although full of years when he came to Harborne, Cox 
 was yet in the full maturity of his powers, in which for many 
 years there was no appearance of failing. His works, I 
 think, prove that it was even rather the other way, and his 
 medical attendant, Mr. Bindley, has told me that when in 
 good spirits Cox used sometimes to exclaim that he felt still 
 quite young. After they were settled at Greenfield House, 
 Mrs. Cox again resumed the long-established practice of 
 reading out loud to her husband, whilst he painted, articles 
 from newspapers and occasionally from books. He had 
 ceased, as I have already mentioned, to take much interest 
 in politics ; indeed I do not find that he had taken any 
 active part in them since he was living at Hereford, but the 
 Exmnincr, which he took in, was still favourite reading with 
 him, for he never quitted the '* liberal camp," but afterwards 
 he took in the Illustrated London N'ezvs instead. 
 
 Mrs. Cox was now rather advanced in years, and far from 
 strong. Mrs. Roberts, who lived near her at Metchly, relates
 
 FIRST YEARS AT HARBORNE. I I I 
 
 what a kind old lady she was. She often went to see her, chap. viii. 
 and on those occasions Mrs. Cox was very glad of her arm 184131844. 
 to walk round the garden. Cox would then sometimes ask 
 his wife to sit down or stand as a model for a figure to be 
 introduced into one of his pictures, and for this purpose he 
 would throw a shawl or a cloak round her so as to obtain the 
 form and mass of colour and shadow which he required. 
 
 She had been conversant with art all her life, and Cox had 
 a high opinion of her judgment. He used always to show 
 her his work in progress, and, after she had passed her 
 remarks on it, he would say, " Oh, Mary, you are too hard on 
 me; no one else criticizes my pictures as you do." "Yes," 
 she replied, " I always tell you of your faults, and the whole 
 truth to the best of my judgment, w^hich others do not like to 
 do if unfavourable." He never left home, even to go into 
 Birmingham, without first going to take leave of his wife ; 
 and, on her side, she would exert herself to get her household 
 duties all finished whilst he was out, so that she might be 
 quite at leisure to read to him and companionise him when 
 he returned. A lady, who knew Mrs. Cox, has mentioned to 
 me that she used often to receive letters from her at the time 
 of the London exhibitions containing very clever criticisms 
 on the pictures, and also that Cox himself was never quite 
 satisfied with any picture he had painted until his wife had 
 approved of it. When he had got his drawings ready to 
 send up to the Water Colour Exhibition, he used to show 
 them to Mr. Roberts and other friends, and tell them the 
 prices he was going to put on them. These were often much 
 below their value, but it was generally with much difficulty 
 that he was persuaded to put an increased price on them. 
 Mr. William Holmes, of Birmingham, who sold many of 
 Cox's drawings and pictures after he came to live at Green- 
 field House, how^ever, says that Cox was not unconscious of 
 the value of his works, and that he was often rather reluctant 
 to part with them, especially in later years, as he wished to
 
 112 LIFE OF DAVID COX. 
 
 Chap. VIII. bequeath some of the best to his son. Many times he has 
 1841— 1844. said to Mr. Holmes, "Oh, I wish they would not want all 
 my drawings; I should much rather keep them." On one 
 occasion, after looking over a portfolio of drawings and 
 sketches in the studio at Greenfield, Mr. Holmes picked out 
 five or six, and said, " Pray, Mr. Cox, will you name a price 
 for these? I should so much like to buy them." He replied, 
 *'Ihad rather not part with them;" but shortly, selecting 
 two out of the lot, he added, " I should like to present you 
 with these two, if you will accept of them, instead of selling 
 you the others, which I should prefer to keep." This reminds 
 me of another anecdote showing the same simple-hearted 
 kindness. An artist in Birmingham had asked Cox to paint 
 an oil picture for him. The price was fixed at ten pounds ; it 
 was a very successful work, but, when the purchaser put down 
 the two notes to pay for it. Cox said, "I think I have charged 
 you too much; you must take back a sovereign," which being 
 declined on the ground that the picture was worth much 
 more. Cox insisted, and put the sovereign into the artist's 
 waistcoat pocket. Such facts as these tend to disprove an 
 assertion which has been made, and for which I believe there 
 is no just ground, that Cox was very fond of money. 
 
 After he got matters somewhat straight at Greenfield 
 House, he commenced painting in oil very assiduously. He 
 wrote, on the 5th of July, to his son, "Lewis, the carpenter, 
 is making my easel." On the 5th of August, 1841, Mrs. 
 Cox writes to her son, " Your dear father is getting on 
 with his large painting of ' The Sands ' to his satisfaction — 
 it is the size of the old ' Cader Idris ' — and is having 
 the old frame regilt for it to exhibit at the Birmingham 
 Exhibition." 
 
 In the middle of September of this year he started, with 
 Mr. Birch and another friend, on a sketching expedition to 
 Bolton Abbey. Some account of this is given in the following 
 extract from a letter to his son : —
 
 FIRST YEARS AT HARBORNE. II3 
 
 " Otley, Yorkshire, September I7lh, 1S41. Chap. VIII. 
 
 "We arrived at this very beautiful country yesterday at six 1841-1844. 
 o'clock, all quite well, and, whilst dinner was getting ready, 
 we strolled out, and before breakfast this morning I made 
 several small sketches. We are now about to start for Bolton 
 Abbey, twelve miles. We have a most beautiful morning and 
 fine scenery, which gives all three most excellent spirits, and 
 the change of air very great appetites. I expect we shall 
 remain at Bolton until Tuesday or Wednesday, when Mr. 
 Birch and myself shall most likely go on our way for 
 Manchester. 
 
 "David Cox." 
 
 Directly after he returned home he recommenced painting 
 in oil. At this time he did not possess any painting by 
 Miiller, and we shall see in the following letter how much he 
 desired to possess one of Miiller' s works to look at, and how 
 much he admired them. It is written to his son. 
 
 "Greenfield House, October 15th, 1841. 
 
 " If you can make it convenient to call on Mr. Rought and 
 remind him, he said he would procure me a picture by Miiller 
 before he left for Egypt. I should certainly wish and like to 
 have one, if he (Mr. Rought) can oblige me, and take it out 
 in drawings. I very much admire Mr. Miiller' s style, it is 
 quite to my feeling, both in breadth and colour. I should 
 much prefer a scene with some trees and water, with a 
 distance seen, &c. Perhaps Mr. Rought may have one by 
 him which he would have no objection to let me have. Please 
 try to go to him as soon as you can. I have this day began 
 oil-painting again, so hope to paint a few pictures which have 
 been ordered. 
 
 "David Cox." 
 
 The following letters from Cox and his wife, to their son, 
 
 I
 
 114 L^^^ °^ DAVID COX. 
 
 CHAP.yiii. also refer to oil-painting, and to a picture by Miiller which 
 1847^844. he had just obtained. 
 
 Fro7n Mrs. Cox to her Son. 
 
 " Greenfield House, October 24th, 1841. 
 
 " I am glad to hear my dear David spoke of painting. I 
 hope in seven weeks on Tuesday to show him a small painting 
 by Miiller, his father has got by exchange for drawings. It 
 is quite David's subject— the figures are clumsy, but the 
 background and colouring are beautiful. I think you will 
 like to copy it. Your father has three pictures in hand, of 
 middle size, oi goo^ promise. The Gallery (in Birmingham) 
 will be closed when you come, but the best pictures, except 
 those you have seen in London, have been purchased by 
 friends, and you will see them." 
 
 From David Cox to his Son. 
 
 "Greenfield House, October 24th, 1841. 
 
 " I believe I may say we are all very happy. I, at least, 
 can answer for myself. I like my painting, too, very much, 
 and I hope it may please God to give me health to practise 
 for a few years to enable me to enjoy the practice. 
 
 " Your mother has told you that I have purchased a small 
 picture by Miiller, but / do not wish to prevent your calling 
 again on Mr. Rought, as I still wish him to send me one by 
 Miiller ; nor do I wish you to tell him that I have one, as 
 that might prevent his sending. I have several pictures in 
 hand, and hope to finish one or two soon, as Mr. Darby is 
 anxious to possess one. I have also several to paint for 
 Mr. Roberts, but I am particular what I let go out of my 
 
 hands. 
 
 "David Cox." 
 
 On the 31st December, 1 841, he again writes to his son:— 
 "I have finished Mr. Darby's picture, and have begun
 
 FIRST YEARS AT HARBORNE. II5 
 
 another small one for him. I have also dead coloured one, Chap.viii. 
 about two feet, the best thing I have ever made." 1841— 1844. 
 
 Soon after Cox had got settled at Greenfield House, he 
 wrote to his son to send him from London a water-colour 
 sketch, which he had left there, of Wyndcliff, near Chepstow, 
 as he intended painting a large oil picture of it for the 
 Birmingham Exhibition. It did not, however, progress very 
 fast, and was not finished by the end of the year. On the 
 22nd of January, 1842, he thus writes to his son : — 
 
 "The gentleman who purchased my 'Lancaster Sands,' 
 has given me permission to exhibit it at Suffolk Street, and 
 I am endeavouring to finish the 'Wyndcliff,' to send with it. 
 
 "D. Cox." 
 
 After Cox had sent one of these pictures to London for the 
 Suffolk Street Exhibition, he began to wish he had retained 
 it in Birmingham, the more so as the last he had sent there 
 had not been well hung. The following extract from a letter 
 from Mrs. Cox to her son refers to this subject : — 
 
 "Greenfield House, February 14th, 1842. 
 
 "Your father regrets sending his picture, and wishes he 
 could see it with others to judge for himself, and is in doubt 
 if he will send to the Academy. Mr. Birch is sorry it should 
 be scandalized ; he is convinced it is a good picture, and per- 
 suaded him not to send another picture." 
 
 On the 31st March, 1842, Cox writes to his son : — 
 
 " I am gratefully obliged for your letter, with an account 
 of the Suffolk Street Gallery. I find it will not do to send 
 pictures to the ' British Artists' any more." 
 
 On the 1 8th April, 1842, Mrs. Cox again writes to her 
 son : — 
 
 I 2
 
 Il6 LIFE OF DAVID COX. 
 
 Chap. VIII. " Your father spent the day at Mrs. Roberts's yesterday to 
 18413^844. meet a gentleman from Worcester, to whom he is giving 
 lessons, and he went again this morning before breakfast 
 to p-ive him another lesson before he returns to Worcester." 
 
 The gentleman referred to was Mr. Taunton, a solicitor at 
 Worcester, who had great admiration for Cox and love for 
 art. Although Cox had determined not to give any more 
 lessons after he left London, he was persuaded to make an 
 exception in favour of Mr. Taunton, and these he continued 
 for some years. In April of that year Cox went up to London 
 as usual to stay with his son and arrange his drawings for the 
 Water Colour Exhibition. He exhibited eighteen drawings 
 this year in Pall Mall. The following were the most im- 
 portant: — "Lancaster," " Distant View of Kenilworth Castle," 
 " The Old Holyhead Road near Penmachno," "Twilight," 
 " Bolsover Castle," and " Powis Castle." Whilst staying on 
 this visit in London he wrote as follows to his wife : — 
 
 "June J 9th, 1842. 
 
 " Oh, how much I should like to take you into Wales ! 
 I hope to do so yet. It is the pleasantest country to go to 
 for quiet and grand scenery ; but it is in the truly rural 
 simple state of nature — that is one of the great delights 
 of going there, not forgetting the dear peat." 
 
 And again, on the 3rd of July, just before leaving London, 
 he writes to his wife : — 
 
 " I have agreed to go with Mr. Roberts into Yorkshire — 
 Bolton Bridge. We shall be absent about nine days or a 
 fortnight." 
 
 This time Cox took a portable easel and materials for 
 painting in oil to Yorkshire, and worked from nature in oils, 
 besides making many sketches in water-colours. Some of
 
 FIRST YEARS AT HARBORNE. I 1 7 
 
 the subjects painted on this occasion were — " On the Wharf, Chap.viii. 
 near Bolton Abbey;" "Wharton Hall, Yorkshire," " Sher- 184TII7844. 
 wood Forest," " Bolsover Castle," &c. 
 
 He gives the following account in a letter to his son : — 
 
 "Bolton Bridge, July 17th, 1842. 
 
 "We arrived here last Thursday. We work hard, and 
 have had five days in the last week most excellent weather 
 for our pursuits. I have been at work in oil, and Mr. 
 Roberts tells me I have succeeded extremely well. I feel 
 myself that what I have done is much better than anything I 
 ever made yet, and will assist me very much in making a 
 picture. Indeed, I feel I know more about it than I should 
 have done in three years' painting in a room, as I have had a 
 subject before me which has assisted me in the knowledge 
 when to use the transparent and half-transparent colours 
 when required." 
 
 Towards the end of July Cox returned home, and he then 
 asked his son to accompany him to North Wales, as he said 
 that Wales, besides being nearer home, afforded him "more 
 matter" than any other place; besides, he was a^nxious to 
 keep up his practice from nature in oils, as he considered he 
 had got quite a start, and been really successful with his 
 sketches in that medium in Yorkshire. 
 
 They started from Birmingham about the middle of 
 August, halted for a day or two at Rhyl, and were at Conway 
 on the 20th August, on their way to Bettws-y-Coed. Cox 
 made several sketches in Wales, and returned to Greenfield 
 House on the 27th August. The weather had been unusually 
 hot, and this helped to turn their steps homewards sooner than 
 they had intended. On the 4th September he again left 
 home for Kenilworth, where he passed a fortnight hard at 
 work. On the 5th he writes to his wife : "I made one sketch 
 on my way here (Kenilworth), and have made two since
 
 Il8 LIFE OF DAVID COX. 
 
 Chap. VIII. dinner." He was exceedingly fond of Kenilworth, and often 
 1841— 1844. took an opportunity of going there for a few days. Whilst 
 staying there this time he wrote a note of congratulation to a 
 little girl on her birthday, which was accompanied by two 
 sweet little sketches in water-colours as a present — one of a 
 blacksmith's forge, and one of the Castle, which I have seen, 
 thus showing his ever-ready wish to give pleasure to children. 
 Cox now settled down to his autumn work at home, making 
 occasionally short excursions to sketch in the neighbourhood 
 of Birmingham, when the weather permitted. Thus I find as 
 late as the 2nd November, it is recorded that he went to 
 Bromsgrove by railroad to sketch a water-mill, accompanied 
 by Mr. Birch and by Mr, Roberts. After a hard day's work 
 he felt great relief to his spirits in the occasional society of 
 these friends, who lived very near. He used often to stroll 
 in and spend an hour or two with one or the other in their 
 gardens, smoking a cigar ; or, if in winter, by their firesides, 
 talking over the wide domain of art, an inexhaustible topic of 
 interest ; or planning future excursions for sketching and 
 painting. The following letter about practice, in charcoal, 
 and colours, appears to have been written to his son in conse- 
 quence partly of Mr. Norman Wilkinson having written to 
 Cox that he thought his son's recent drawings " were more 
 black, but had less force from contrast;" hence the advice 
 as to the use of colours and method of leavinor lio-hts : — 
 
 To his Son. 
 
 "Greenfield House, Harborne, November iSth, 1842. 
 
 "Yesterday was so fine I went to Birmingham, and after- 
 wards called and dined with my good friend Roberts. I got 
 home by five to tea, and worked at a coloured drawing by 
 lamplight. I find that what I do by lamplight in general 
 turns out better by daylight than what I do by daylight. I 
 am speaking now more of the effect, but I have been very 
 lucky in my colouring. I have in many of my late studies 
 
 i
 
 FIRST YEARS AT HARBORNE. II9 
 
 been most fortunate in mountainous scenes; they certainly Chap.viii. 
 
 afford scope for more effect, and sentiment in the effect ; and 1841— 1844. 
 
 I have been three nights in studying one subject. In a short 
 
 time I may alter my feeling, and be altogether as much 
 
 pleased with very extensive views, as a short time ago I was 
 
 for lane scenes. All are good, but each requires a good 
 
 deal of thought. Try by lamplight a subject in charcoal, 
 
 and don't be afraid of darks, and work the subject throughout 
 
 with charcoal in the darks, middle tint and half, and with 
 
 some very spirited touches in parts to give a marking. When 
 
 you have done all this, have your colours quite soft, and 
 
 colour upon the charcoal. Get all the depth of the charcoal, 
 
 and be not afraid of the colour. 
 
 "When you look at it by daylight, and clean it with bread, 
 you will find a number of light parts which have been left 
 when the colour would not exactly adhere over the charcoal. 
 For a distant mountain I have used cobalt and vermilion, 
 and in the greyer part I mix a little lake and a small quantity 
 of yellow ochre with the cobalt. In the middle distance I 
 work each part separately, in fact, something like mosaic 
 work. The foreground the same, taking care to leave the 
 reflected lights clear for a distant cool or bluish tint. I use 
 very similar colours for the middle distance as for the three 
 (query, foreground), for green, indigo, lake, and gamboge, 
 with its varieties ; occasionally for the rocks, cobalt, vermi- 
 lion, and yellow ochre, and sometimes lake instead of the 
 vermilion. In the foreground I use indigo and van-brown, 
 and indigo and brown-pink. Sometimes add sepia to the indigo 
 and brown-pink. I use for the grey in the sky cobalt and 
 vermilion, and for the more neutral, grey, cobalt, and light red. 
 
 "David Cox." 
 
 He also mentioned at this time that he was hard at work 
 on an oil picture of Harlech Castle. 
 
 Early in the year 1 843 Cox was getting forward with a
 
 120 LIFE OF DAVID COX. 
 
 Chap. VIII. large picture of the outskirts of a forest, which he was 
 i84~844. thinking of sending to the Academy, but for some reason he 
 does not appear to have done so. In the spring of this year 
 he exhibited fifteen drawings at the Water Colour Society : — 
 *' Sands at Rhyl," " Penmawr Mawr," " Cader Idris," 
 "Stubble Field, with Gleaners," and "Bolsover Castle," were 
 some of the most important. 
 
 Mr. Roberts was thinking about this time of making a 
 tour in North Wales with his family, and Cox not only drew 
 for his friend a coloured map, or plan of the country, which I 
 have seen, with all the roads, towns, villages, waterfalls, 
 watermills, and the places of interest marked on it, with 
 remarks as to which was the most beautiful, but he also made 
 a list of all the distances, and of the probable cost of travel- 
 ling from place to place. The tour proposed was to Bala, 
 Dolgelly, Barmouth, Machynlleth, Towyn, Aberdovy, Abe- 
 rystwith, Beddgelert, Capel Curig, &c., including a visit to 
 all the lakes and waterfalls. A more interesting document it 
 is difficult to imagine. 
 
 In the summer of 1843 Cox had rather a serious attack of 
 illness. This left him less strong than usual, and in the 
 autumn he went to stay at Sale, near Manchester, with his 
 sister, in order to recruit, and make sketches in different parts 
 of Lancashire. The following letter to Mr. Roberts, whilst 
 on this visit, appears to have been written when he was 
 rather out of spirits : — - 
 
 " To William Roberts, Esq. 
 
 " Sale, near ^Manchester, October I2th, 1843. 
 
 '* My dear friend Roberts, — I began writing to you 
 yesterday, but felt so poorly I gave up the idea ; but when I 
 read your very kind letter it roused me again, and I cannot 
 help expressing the great pleasure it gave me, and telling 
 you how much I feel indebted for your kindness in writing 
 and thinking of me. The information you received of the
 
 FIRST YEARS AT HARBORNE. 12 1 
 
 death of your old master, together with the loss of two other Chap.viii. 
 dear friends, all within a very few weeks, must have been a 1841— 1844. 
 shock indeed. These events, I have no doubt, are ordered 
 for our good, to warn us of the precarious nature of our 
 poor frames. Since my little illness at Greenfield I have not 
 been the same as I used. I feel feeble, and all at once get 
 very old. Indeed, I have been but poorly ever since I have 
 been here, and the weather has been so rainy and unfavour- 
 able for going out. Only once I have gone out sketching, 
 and was then driven back by rain ; but thanks to my dear 
 sister's good nursing, and a little medicine, I feel much better 
 this morning. 
 
 ** I have visited Manchester twice since I came, one day to 
 the exhibition, which is a very poor one — not any picture as 
 a striking feature. Their Art Union took place last week ; 
 they had upwards of ^700, ^100 of which was laid out in a 
 print, leaving ^600 for the lottery ; there was besides about 
 ^^600 made in purchases. Times have been bad, or it was 
 expected there would have been a much larger sum sub- 
 scribed. I wish I had sent a picture here ; it is really one of 
 the most spirited places I ever knew. I have not been to 
 Liverpool, nor do I think of going now, though I am told 
 their exhibition is a very good one. I must think of return- 
 ing about Tuesday next, or Wednesday at the latest, when I 
 hope to find you and dear Mrs. R. and the two dear little 
 girls all quite well. I have not said anything to Mrs. Cox 
 about my being poorly — as it has not been anything serious 
 — to alarm her, and I believe my spirits have been very low. 
 I have not been able to go out, nor to do much painting ; all 
 tends to make me down. 
 
 " Pray, my dear friend, believe me, ever faithfully, 
 
 " David Cox. 
 
 " P.S. — I will endeavour to write to Mr. Birch ; but if he 
 is in London it will not meet him, so must write to my wife. 
 Direct to me as before."
 
 122 LIFE OF DAVID COX. 
 
 Chap. VIII. In 1 843 Mr. Charles Birch received a letter from J. W. 
 
 1847^844. Miiller, which is still preserved ; it contains a message for 
 Cox which is interesting, as it shows the kindly feeling which 
 was still subsisting between these two artists. Miiller wrote — 
 ** Give my kind regards to Mr. David Cox, and tell him if he 
 will call on me I shall be very glad to show him my ' Lycia ' 
 and my sketches." Two years after this Miiller died. 
 
 It is a matter of great regret to me that since Mr. Birch's 
 death any letters or papers that he may once have possessed 
 relating to art and to his friend, David Cox, have been either 
 lost or dispersed. There were probably many that might 
 have proved of interest in this memoir. In 1843 Cox painted 
 more oil-pictures, I believe, than in any preceding year ; 
 indeed, he was already beginning to like oils better than 
 water-colour, a fact which he expressed in a subsequent 
 letter. One of his best works in oil this year, and which 
 produced at Mr. Gillott's sale nine hundred guineas, was 
 called "Washing Day," and represented two women at a 
 pool of water, and a cottage in the distance with clothes 
 hanging out to dry. It was painted for Mr. Froggett. 
 Another beautiful oil-picture was painted this year for Mr. 
 W. Roberts, " Outskirts of a Wood, with Gipsies." The 
 scenery represented was that of Sherwood Forest, sketched 
 some years before, and this picture was so much admired 
 that Cox subsequently repeated it many times. 
 
 Cox sent eleven drawings to the Water Colour Exhibition in 
 the spring of 1844 '> the following were the most important : — 
 "Scene in Bolton Park, Yorkshire;" "A Mill near Broms- 
 grove;" " Summons to the Noonday Meal, North Wales," 
 a girl blowing a cow-horn in the foreground, and two or 
 three other subjects in North Wales. 
 
 The following extracts from letters written early in 1844 
 will, I think, be read with interest : —
 
 FIRST YEARS AT HARBORNE, 1 23 
 
 *' From Mrs. Cox to her Son's Wife. Chap^iii. 
 
 " Greenfield House, February 8th, 1844. 1841 — 1844. 
 
 " David will remember the picture he persuaded his father 
 to alter — the subject, ' Carreg-Cennen Castle ;' he will be 
 g-lad to learn that it is considered by himself and friends the 
 best subject and work he has done yet. It is entirely 
 repainted, and he hopes to finish it this week. We have 
 received a long letter, and a ver}'- kind one, from Norman 
 Wilkinson ; he is very indignant with the hanging com- 
 mittee for not receiving your father's picture, especially as 
 they have rejected one of Smyth's. He tells us also that 
 Lewis has sent a picture of Grand Cairo." 
 
 The above picture referred to as being rejected was a small 
 one which Cox had sent to the British Institution, Pall Mall, 
 and was a beautiful little work, the subject, " Going to the 
 Hayfield." He received it back on the 12 th February, and I 
 do not find that he sent many pictures there afterwards. On 
 the 14th March, 1844, he wrote to his son : — 
 
 " I begin to fear I shall not have so much to exhibit in 
 large drawings as I expected. I get on but slowly. .1 have 
 had one subject which has been a teaser to me, and I don't 
 know whether I shall not give it up yet. I begin to feel 
 quite furious, and, therefore, hope to succeed much better." 
 
 And again Mrs. Cox writes, March i8th, 1844, to her 
 son : — 
 
 " Mr. Birch did not return until Saturday evening. He 
 brings a bad account of the gallery pictures except Danby's 
 and Webster's. He thinks the former very grand. He says 
 your father's ' Going to the Hayfield ' would have been a 
 little gem amongst them. Your {■d.\}ciQ.r' ?> fujHousness ended 
 in washing out part of a large subject, ' The Wyndcliffs,'
 
 124 LIFE OF DAVID COX. 
 
 Chap. VIII. (junction of the Wye and Severn), which we all thought very 
 1847III844. promising. He has taken up the ridi oil sketch in Bolton 
 Park which you so much admired, and Mr. Birch says if he 
 finishes It as well as he has began, he saw no drawing in 
 London that equals It. He has also finished the ' Bala 
 Lake,' which was begun for last year, and which you, 
 David, saw. He has taken out the cows and put in a bolder 
 foreground, and that is all that Is done at present." 
 
 The drawing referred to in the foregoing letter as having 
 been partly spunged out became afterwards one of his most 
 noted works, and was exhibited at the Manchester Art 
 Treasures Exhibition In 1857, and at the Great Exhibition 
 in London, 1862. 
 
 Mrs. Cox again writes to her son about the progress of her 
 husband's work : — 
 
 " Greenfield House, March 25th, 1844. 
 
 " I trust your father will return in good spirits, for with 
 him much depends on his spirits. Both Birch and Roberts 
 think so highly of his works that he can't want encourage- 
 ments ; but If they suggest the slightest alteration, he begins 
 to sponge away and then fancies he has destroyed the spirit. 
 However, he has three good-sized ones (drawings) rich in 
 colour, that I should hope are so forward as to be out of 
 danger ; one from the Bolton oil sketch, ' Bala Lake,' and 
 ' The Mountain Path ;' but your letter so animated him, 
 that he seems determined at present to try to finish the 
 ' Carreg-Cennen,' which is considered the finest subject 
 and best work of anything he has attempted In oil, and was 
 put by to be finished at leisure ; but your description of what 
 is done has given him much encouragement." 
 » 
 
 On the 3rd of April Cox sent ofif two pictures In oil for the 
 Royal Academy to the care of Ford. The subjects were
 
 FIRST YEARS AT HARBORNE. I 25 
 
 " Carreg-Cennen," and a small one of " Going to the Hay- Chap.viii. 
 field." I believe the former is now In Miss Phipson's coUec- 1841— 1844. 
 tion at Edgbaston. Shortly after that he went up to London, 
 as usual, to stay with his son at Brixton, to see the exhibitions, 
 and finish his drawings for the Water Colour Society. Cat- 
 termole's celebrated drawing of the " Battle of the Bridge " 
 was exhibited there this year ; that is the one referred to in 
 the following letter to his friend Roberts : — 
 
 " Streatham Place, Brixton Hill, London, 
 April 25th, 1844. 
 
 " Your letter gave me very great pleasure to learn that you 
 are all well. I shall be very glad when the time arrives for 
 my return ; the bustle here is too much for me. I hope I 
 may not have created too great expectation with regard to 
 Cattermole's drawing, and have, therefore, sent you a rough 
 sketch from recollection. It gives but a poor idea of the 
 beautiful work and drawing. This morning I took David to 
 see Turner's picture at Mr. Griffith's, also several of Catter- 
 mole's. I told Mr. Griffith I hoped you would be in town, 
 and that you should go and see them. He was expecting 
 Mr. Gibbons this day. I will go the first opportunity. I 
 have seen a box which was made at Messrs. Robson and 
 Miller's, Long Acre, with moist colours in bottles, and India- 
 rubber stoppers. We will go and select one when you come. 
 Please, both you and Mrs. Roberts, accept sincere thanks for 
 kind attentions to my dear wife. I must conclude, for the 
 post leaves Brixton Hill at four o'clock. 
 
 " Yours ever faithfully, 
 
 "David Cox." 
 
 N.B. — This letter accompanied the drawing from memory, 
 by David Cox, after the one by Cattermole, " Battle of the 
 Bridge," sold at Mr. Roberts's sale for thirty-two guineas. 
 
 He soon returned home, and towards the end of June he
 
 126 LIFE OF DAVID COX. 
 
 Chap. VIII. set out Oil a journey to North Wales, in company with a 
 1841— 1844. young friend, Mr. Harry Johnson, an artist who has since 
 attained to considerable eminence. Johnson had worked in 
 Miiller's studio, and was a great favourite with Cox. On this 
 occasion they became more fully acquainted with the fine 
 scenery of the Vale of Clwyd, and Cox made sketches for the 
 beautiful pictures he afterwards painted of this subject. 
 After visiting- Ruthin, Denbigh, St. Asaph, and Conway, and 
 sketching in all these parts, he proceeded to Bettws-y-Coed. 
 Mr. David Cox, junior, has in his possession two of his 
 father's large sketches, rather slight, of the " River Conway, 
 from Llanyfrwd." They show the rapidity of Cox's work 
 from nature at this time, and are both dated the 2nd July, 
 1844. The following letter, dated the ist of July, gives 
 some account of this journey into North Wales : — 
 
 " Ruthin, half-past six, morning, 
 July 1st, 1844. 
 
 " My dear friend Roberts, — I write a few lines to tell 
 you that I and my fellow-traveller are quite well and in high 
 spirits. We reached this place' on Saturday evening about 
 eight. We had one hour in Chester and I made one sketch, 
 and a second I made on my reaching this place. Yesterday 
 morning to church ; after dinner a long walk. This morning 
 we are going out to make two little hand-book bits in the 
 town ; then breakfast, after which a car to Denbigh. In the 
 afternoon to Abergele, where we most likely shall sleep, and 
 to-morrow to Conway, and there spend Wednesday and 
 Thursday. So if you write a line by return of post just to 
 say how you all are, and, if you please, tell me how my folks 
 are getting on at my mansion, you will greatly oblige. The 
 weather is, as usual, delightfully fine, and the atmosphere 
 very clear. I shall not go to Rhyl, so shall not see Mrs. 
 Roberts. My young friend Johnson is a very agreeable 
 travelling companion ; he begs to send his kind regards to
 
 FIRST YEARS AT HARBORNE. 1 27 
 
 you. I will expect a line from you directed for me, Post Chap. vni. 
 Office, Conway, North Wales. i84T^?44. 
 
 " Ever yours faithfully, 
 
 " David Cox. 
 
 " Eight o'clock. Just returned from making two sketches, 
 one of them a mill. Now to breakfast, and then off to 
 Denbigh." 
 
 I also give on the next page a facsimile of a letter written 
 ten days afterwards, containing a graphic sketch of the little 
 Welsh inn where Cox and his young friend were staying in 
 order to sketch the beautiful scener}^ of this part of Carnar- 
 vonshire. The original is firmly outlined in black chalk, with 
 just awash or two of colour. It is very rough, but it breathes 
 the atmosphere of North Wales most unmistakably. The 
 "Mill, near Conway," which is referred to in this letter, was 
 exhibited the next year in London, as also " Cottages in 
 Cheshire," sketched during this trip. 
 
 Cox and his companion stayed at Llanbeder a week, and then 
 proceeded to Bettws-y-Coed, where he spent between a 
 fortnight and three weeks at the Royal Oak, and made good 
 use of his time. His visit to Bettws impressed him very 
 much, so much so that from this time forth he was never 
 happy unless he paid an annual visit to that favourite spot. 
 He also formed the project of purchasing a freehold cottage 
 there. Cox arrived at his home in Harborne at the end of 
 July, having, as he said, exceedingly enjoyed the whole of 
 this trip. I must remark here that when out on a sketching 
 excursion. Cox by no means confined his work to grand 
 subjects, such as mountains, moors, and rocky streams. He 
 was very fond of sketching old houses, picturesque bits of 
 street architecture, and interiors of Welsh cottages. Quaint 
 figures in the costume of Wales were also often jotted down 
 in his pocket sketch-book.
 
 128 LIFE OF DAVID COX. 
 
 Chap. VIII. I havc seen several drawings by him of curious Welsh 
 18471^844. kitchens, with the broad, open fireplace, clothes hanging- from 
 the walls, three-legged stools, and marvellously old dressers. 
 Streets in Conway, too, with gabled houses, dating back 
 almost to the time of King Edward III., and figures, unmis- 
 takably Welsh in their costume and gait, walking along the 
 causeway.
 
 4 
 
 M,
 
 
 
 
 
 
 ,'76 c^V^^^^ 
 
 1 ^tvv^ - -^ 
 
 ^ ^ eu^.^M^vv^^^^ Cry
 
 i 
 
 i
 
 IX. 
 LIFE AT HARBORNE TILL DEATH OF HIS WIFE. 
 
 1844 TO 1846. 
 
 ^^^^OX did not remain long at Harborne after his return chap. ix. 
 
 from North Wales, but set off again on a painting 184^846. 
 
 expedition at the beginning of September. This 
 
 time he bent his steps to the Devonshire Arms, near 
 
 Bolton Abbey, where his companions were Mr. Roberts and 
 
 some other friends, all fond of art. He wrote as follows 
 
 from this place on the 5th of September, 1844, to his son : — 
 
 " My dear David, — Our party here seem all to enjoy 
 themselves very much, but to-morrow three are to leave for 
 Malham, and on Saturday Mr. Roberts, Mr. Spiers, and 
 myself are to leave for Knaresborough. When we have been 
 there a day or two we shall decide upon our further move. 
 The weather has been most delightful, and we work until six 
 and seven in the evening from nature. I am sorry to say I 
 cannot please myself with my oils, but have been looking 
 over one of our party, and I have gained a good deal of the 
 practical knowledge, and now I must put it into practice. 
 
 " Saturday, September 'jth. — We left Bolton Bridge yester- 
 day, and arrived at this place (Knaresborough) safe at seven 
 at night. I went out and made a chalk sketch, and this 
 morning another. I think it will afford several good subjects. 
 We think of remaining here until Wednesday next. 
 
 "David Cox." 
 
 K
 
 130 LIFE OF DAVID COX. 
 
 Chap. IX. The large drawing of Knaresborough Castle exhibited in 
 184^117846. London in 1845 was the result of this expedition, and several 
 other views in the north of England. The excursion to York- 
 shire referred to in the preceding letters was much enjoyed, I 
 have heard, by all parties. The plan at Bolton was to engage 
 boys to carry out their painting traps after breakfast, when 
 each went his separate way, to meet again for the mid-day 
 lunch at some place previously agreed upon. In the evening, 
 when congregated in the parlour at the Devonshire Arms after 
 the day's work was done, they compared and criticized each 
 other's work. On one of these occasions Nesfield the artist, 
 who was one of the party, felt so dissatisfied with his own 
 performance that he crumpled it up in his hand and threw it 
 towards the fire. Cox, who was present, started up exclaim- 
 ing that it was a really fine work, and that he would rescue 
 It, which he did. After carefully damping the drawing and 
 getting out all the creases, it was mounted, and eventually 
 Cox gave it to Mr. Roberts. It was framed and hung up in 
 Mr. Roberts's house, and at the sale after his death it was 
 disposed of under the title of " A Landscape (by Nesfield) 
 near Bolton Abbey." 
 
 After Cox's return from Yorkshire in September, 1844, he 
 set to work again immediately at his oil-paintings. The 
 following letter, written to his son, refers to his projected 
 work : — 
 
 " Greenfield House, October 5th, 1844. 
 
 " I have received my unsold drawings from Mr. Foord, 
 with the exception of the ' Summons to the Noonday Meal,' 
 which he understood was intended for you ; but as I think of 
 doing .something from it for next year, I will write for him to 
 send it down to me. What subject for an oil-picture shall I 
 think of for the Institution ? Tell me, and for the Royal 
 Academy also. I have one subject which I think good, 
 Knare.sborough Castle ; but I have not yet studied for an 
 effect. Mr. Birch wants me to begin a large picture from the
 
 LIFE AT HARBORNE TILL DEATH OF HIS WIFE. I3I 
 
 old drawing of Cader Idris. Mr. Roberts wishes me to make chap. ix. 
 one from Knaresborough. The worst is, I cannot finish. By- 1844— 1846. 
 the-bye, I am told my ' Carreg-Cennen ' looks very well in 
 our exhibition, and is thought the best landscape there ; it is 
 on the line." 
 
 Mrs. Cox wrote to her son as follows from Harborne on the 
 9th of October, 1844 : — 
 
 " Your father can't make up his mind about going to 
 London. He is finishing the ' Calais Pier,' and wants to 
 see the sea. He talks of going to Liverpool. He has sold 
 in that exhibition a small oil-painting, ' Young Anglers,' for 
 £20) the first week." 
 
 There is no doubt that Cox used to feel at this time very 
 sensitive about the position his oil-pictures would take in the 
 estimation of the public ; and whenever he sent off a work 
 he was nervous until he had heard how it looked when hung 
 in juxtaposition with other pictures. Many were put away in 
 the cupboard under his studio staircase, as he would only send 
 out those with which he was satisfied. 
 
 The following are extracts from letters written to his son: — 
 
 " Greenfield House, February 9th, 1845. 
 
 " I have not yet begun any of my drawings for the Exhi- 
 bition, but keep making studies. One or two small ones 
 upon your sized paper are full in tone, and bear out the 
 colour most beautifully. I wish I could have some larger 
 paper. I have made a trial with a piece of the sized paper 
 and a piece of my old favourite cartridge joined together in 
 one drawing, and the same tint washed over both papers is 
 not at all the same. 
 
 '' David Cox." 
 
 K 2
 
 132 LIFE OF DAVID COX. 
 
 Chap. IX. 
 
 " Greenfield House, February 14th, 1845. 
 
 1844— 1846. " I feel a great wish to see what others are doing, and am 
 frightened to think when my pictures are exhibited that they 
 will look all wrong. I am finishing one, Kit-Cat size, which 
 you saw (mountain rather dark), which I intend for the Royal 
 Academy. I hope it may not disappoint you and my friends. 
 
 " David Cox." 
 
 " Greenfield House, March 30th, 1845. 
 
 " I have four large drawings in hand. One, Knares- 
 brough, one distant view of Brough, one Garden Terrace, 
 Haddon, and one distant view of Kenilworth ; the two former 
 23 by s^, the two latter 25^ by 30. I have six small ones, 
 10 by 14I, but all unfinished, so what I may be able to send 
 I do not know. I have my oil-picture packed up, and shall 
 send to Foord's the day before I leave, so that I may have it 
 up at your house to finish, as I mean to send it to the 
 Manchester Exhibition by the i6th of May." 
 
 The winter of 1844-5 had been a hard one in England, 
 and Cox suffered from a severe cold on the chest in the 
 spring. This did not prevent his psLjmg his usual visit to 
 London before the opening of the Water Colour Exhibition, 
 to which he sent sixteen drawings. In the following letter 
 he describes how some of these were hung ; several do not 
 appear to have been at all favourably placed, but he makes 
 no complaint : — 
 
 " Streatham Place, Brixton Hill, London, 
 April 23rd,^i845. 
 
 " To William Roberts, Esq. 
 
 *• My dear friend Roberts, — Thank you for your kind 
 letter of this morning. It was my intention to have written 
 to you before this, but really I have nothing to tell you worth 
 the trouble of your reading. You do me great kindness in 
 talking of me so frequently with my friend Birch, and I have
 
 LIFE AT HARBORNE TILL DEATH OF HIS WIFE. 1 33 
 
 no doubt, all are anxious about my health and welfare, for chap. ix. 
 which I thank you. My chest has been very sore and bad 1844— 1846. 
 for the last two or three days ; indeed, I do not think I shall 
 ever get quite well. I am thankful I am able to go about ; 
 and when I can get off into Wales I hope to breathe the 
 sweet mountain air. I have made some inquiries about the 
 little property in Wales, and hope in a week or nine days to 
 hear more, as it is necessary for the person to write down for 
 all particulars. I have seen one or two who have resided 
 there in the winter, artists, who agree that it is a great deal 
 warmer in Bettws than in London. I have also been intro- 
 duced to a lady who was born in the neighbourhood of 
 Bettws, and she tells me how much warmer it is at Bettws 
 than in London. This all tends to give me a better idea of 
 the place, and I hope I may be able to purchase the place I 
 wish for within a moderate sum ; but land about Llanrwst 
 fetches ^120 to ^130 per acre. A gentleman I have seen 
 has purchased some, and gave more than ^100 per acre. 
 He is now about building a house there. But why do I 
 speak so much of this matter ? I finished my drawings last 
 evening, and am quite dissatisfied with them. They are too 
 slight, and I hope and wish I may never make another 
 large drawing ; I cannot finish to please the public. ' The 
 Garden Terrace, Haddon,' is on the row above the line ; 
 ' Kenilworth ' up quite at the top, consequently only a bold 
 sketch, and I have put prices accordingly; ' Knaresborough ' 
 is in the next place ; ' Brough ' next. These two I have 
 done but little to. My ' Haddon ' is the best work. If it 
 could have been hung upon the floor it would have had the 
 light falling upon it. As it is, it hangs forward a little, and 
 this causes it to look gloomy; whereas, upon the floor, it 
 looks bright, I was going to say beautiful. The Exhibition 
 is not a striking one. Cattermole has a drawing the size of 
 the one I sold to Mr. Ellis, the subject very like it in com- 
 position, Holy Men coming down from a Monastery to meet
 
 134 LIFE OF DAVID COX. 
 
 Chap. IX. Crusaders, or something of that kind, I do not know his title, 
 1844^846. but, as usual, it is worth hanging in the very first collection 
 in the kingdom ; and I very much wonder some gentlemen 
 who are lovers of the art do not beset him and procure a fine 
 drawing, for they will never get oil paintings from him, for 
 he is so particular about his oils going forth to the public. 
 His water-colours are more under his command. I shall see 
 Birch on Friday or Saturday, I expect, but you I shall expect 
 when I see you, as I know you are some time making up 
 your mind. With best and kindest wishes to Mrs. Roberts 
 and the young ladies, I remain, 
 
 " Ever faithfully yours, 
 
 " David Cox." 
 
 I have seen a memorandum which he made respecting two 
 pictures in oil which were painted for Mr. Birch in 1845, ^^^ 
 being a large view of "Carnarvon Bay," for which he received 
 nineteen pounds, and a small "Lane Scene," eight pounds. 
 He also made a powerful drawing of large size on the rough 
 Scotch paper, full of colour, with an exceedingly beautiful 
 windy sky, for Mr. Birch for twenty-five pounds. " The 
 Stubble Field " is the title of this drawing, which is one of 
 his most celebrated ones. 
 
 After Cox returned from London, towards the middle of 
 May, he again went to stay at Rowsley, accompanied by his 
 friend Ellis. They spent a fortnight sketching there, prin- 
 cipally at Haddon Hall ; and on his way home he again 
 visited Hardwick Hall and also Sherwood Forest. The follow- 
 ing letter refers to this visit to Derbyshire : — 
 
 " Severn's Rowsley Hotel, near Bakewell, Derbyshire, 
 IMny 26th, 1845. 
 
 *' My dear FRIEND RoBERTS, — Did you ever know of two 
 poor fellows being so unfortunate in the weather for a fort- 
 night's sketching excursion? Rain all day Saturday, 
 yesterday, and now this morning promises to be quite equal !
 
 LIFE AT HARBORNE TILL DEATH OF HIS WIFE. 1 35 
 
 " We had three days last week rather fine, but severely Chap. ix. 
 cold. Notwithstanding, I made a number of hand-book 18443^846. 
 sketches, which I have coloured. Painting in oil has been 
 quite out of the question, though I take my colours with me 
 every day in the hope I might be fortunate in having a fine 
 day for effects. My friend Ellis begins to despair of having 
 it fine or warmer than it now is, and he must be in London 
 on Saturday, and has agreed to start from this on Thursday 
 afternoon. We intend spending one clear day between 
 Matlock and Ambergate, and think of sleeping at Birley's 
 Hotel, Stanwell Bridge, which is two miles from Ambergate. 
 Severn says it is a very clean comfortable house. Hope for 
 our having better weather, then I wish it may tempt you to 
 come to us. We occupy the same quarters as to rooms at 
 the Rowsley inn, and the house will be quite to ourselves, as 
 the only family remaining are going by mail to Manchester 
 at eleven. I wish you could come and help up with our 
 drooping spirits. We should be mightily glad to see you ; 
 pop in and surprise us. Then you and I could go to Hard- 
 wick, where I fancy the weather must make a change by that 
 time. I shall be very dull there by myself, and you are 
 aware that Mrs. Riggott is poor company. However, I hope 
 to be well occupied, as I wish to make several sketches in 
 the Hall, and that will not be quite so bad as sitting at the 
 inn all day. I am happy to learn from my wife that you are 
 all well, and that dear Mrs. Roberts has been so kind in 
 going to see her every day ; for such kindness I am sure my 
 wife and myself are greatly obliged. So, with every sincere 
 and the best wishes, I conclude, as heretofore, 
 
 "David Cox." 
 
 He also wrote the following letter to his son : — 
 
 " Severn's Rowsley Hotel, May 25th, 1845. 
 
 " My dear David, — The weather has been wretchedly 
 cold, although it has not deterred us from going up to the
 
 136 LIFE OF DAVID COX. • 
 
 Chap. IX. old Hall cach day and sketching till four o'clock, until yester- 
 1844^846. day, which was raining the whole day, and we sat indoors ; 
 I working upon my sketches which I have been making for 
 my friend W. Ellis. 
 
 " Mr. Ellis must be in London on Saturday, and it is his 
 wish to go for one day into the neighbourhood of Ambergate 
 Station for the purpose of sketching, where we shall separate 
 — he for London, and I to spend two or three days at Hard- 
 wick. I believe, from what Mr. Ellis says, that Norman 
 Wilkinson will like two or three interiors at Hardwick." 
 
 Although Cox complains of the weather in the two pre- 
 ceding letters, he must have made excellent use of his time 
 during the fortnight he spent at Rowsley and Haddon, judging 
 from the beautiful series of sketches which I have seen in 
 Mr. Ellis's portfolios, all made on this occasion; several were 
 sketched before breakfast at Rowsley on the banks of the 
 old mill-stream, very powerful and admirable in arrangement 
 and colour, also front and side views of the Peacock inn ; 
 the latter, a late sunset effect. Is very poetical in its treat- 
 ment. The series of Haddon Hall sketches, especially that of 
 the Monk's Bridge and the old steps leading up to the court- 
 yard, are as fine as possible, evidently very rapid, but nothing 
 is wanting, except more finish, to make ver}' lovely and 
 powerful drawings. 
 
 Later in the summer of 1845 Cox made a journey into 
 North Wales, and stayed for some time at the Royal Oak, 
 Bettws-y-Coed. 
 
 This was the second of his annual visits to this favourite 
 spot. In his latter years the name of David Cox was com- 
 pletely identified with Bettws, through the series of drawings 
 and paintings made by him, year after year, of its varied and 
 beautiful scenery, and each succeeding visit he appeared to 
 cling to it with Increasing affection. I intend to devote a 
 future chapter to a description of Bettws and his visits there.
 
 LIFE AT HARBORNE TILL DEATH OF HIS WIFE. 137 
 
 This year he made drawings of Bettws Mill, Vale of Dol- chap. ix. 
 wyddelan, cottages at Bettws, &c. After his return home 184^846. 
 to Greenfield House, he wrote to his son, October 14th, 1845, 
 a letter of home news chiefly," but from which the following is 
 an extract : — 
 
 " I went over to Dudley yesterday for the purpose of 
 making a sketch of the castle for an oil-picture for Mr. 
 Twamley. Mr. and Mrs. Birch and Mr. and Mrs. Roberts 
 also went. We had a delightful day. I must conclude, as I 
 am anxious to get all Mr. Wilkinson's sketches ready before 
 Mr. Ellis comes. 
 
 "David Cox." 
 
 The oil-picture referred to in the preceding letter was very 
 successful ; it represents Dudley Castle in the distance, with 
 meadows in front in which cows are feeding. It is still in 
 the possession of Mr. Charles Twamley. 
 
 This year, 1845, closed in great sorrow and gloom for 
 David Cox. His wife's strength had been gradually failing 
 for some time, and her death took place on the 23rd Novem- 
 ber, at the age of seventy-four years. She was buried under 
 a chestnut-tree in the parish churchyard of Harborne. Cox 
 deeply felt his loss, but, being a truly religious man, he did 
 not mourn as one without hope. The following letter, written 
 to his son and daughter-in-law about a month after this 
 event, describes to some extent his feelings at this epoch of 
 his life : — 
 
 " Greenfield House, Harborne, December 2ist, 1845. 
 
 " My dear David and Hannah, — Your two letters, also 
 the one I received this morning, have been the greatest 
 comfort and gratification to me. I learn that you are all in 
 good health. I certainly was very much out of spirits when 
 I wrote on Thursday, but I am much better now ; and I 
 believe I have no real cause to be otherwise, for all things I
 
 138 LIFE OF DAVID COX. 
 
 Chap. IX. feel are ordained for the very best for my good. I have been 
 1844—1846. at my work with more calmness, and shall, I have no doubt, 
 do better and be better in all ways, with God's grace and 
 assistance. Your letter was of the most encouraging kind, 
 too, with regard to my work, and yesterday I took your 
 advice and immediately took up a canvas to begin in oil 
 for the Institution. I hope I may be able to please myself 
 and get ready with my picture for the Institution, which I 
 believe ought to be delivered there on the 12th or 13th of 
 January. If there is any alteration in the day for taking 
 pictures, perhaps you will let me know, &c. 
 
 "David Cox." 
 
 Shortly afterwards he wrote the two following letters : — 
 
 " Greenfield House, Harborne, January 2ist, 1846. 
 
 " My dear David, — I want you to do me a kindness, 
 which is to call at the British Institution, and learn whether 
 my picture is hung up. Perhaps it will be as well to ask to 
 see Mr. Barnard, who will best be able to tell you ; and, if it 
 should be hung, request him to ticket it as sold to Norman 
 Wilkinson, Esq. I will now give you my reasons for wishing 
 you to make this inquiry. Mr. Wilkinson has written to me 
 to say he had seen my picture at Rought's, and had bought 
 it, and wished me to write to Mr. Barnard, giving the neces- 
 sary directions. The parcel is not yet come, but I hope to 
 receive it this evening, as I may see Mr. Bullock to-morrow ; 
 he sometimes comes over to dine with Mr. Roberts. I also 
 want the sketch of Rhyl Castle and the Valley, for a picture 
 I want to begin. Love to all. 
 
 " Your affectionate Father, 
 
 " David Cox." 
 
 "Greenfield House, January 7th, 1846. 
 
 " My dear David, — I have finished my picture except a 
 little more glazing, which, if it is quite diy enough, I shall
 
 LIFE AT HARBORNE TILL DEATH OF HIS WIFE. 1 39 
 
 do to-morrow. I fear it will look very queer among such chap. ix. 
 high-finished works as are usually sent to the Institution. 1844^846 
 
 " I call my picture ' Wind, Rain, and Sunshine ; ' the size 
 about 26 inches by 18 (canvas). I intend asking thirty 
 guineas for it, and if it does not sell I don't care, but perhaps 
 
 they will not receive it 
 
 " Your affectionate Father, 
 
 " David Cox." 
 
 The picture referred to above was a very successful one. 
 It represented a woman on horseback holding an umbrella 
 bent over against the pelting rain ; a stormy sky, and trees 
 bending before the blast, and gleams of sunshine on the 
 distant hills. The title was suggested without doubt by 
 Turner's impressive picture of " Rain, Steam, and Speed," 
 exhibited at the Royal Academy in 1844, and now in the 
 Turner Gallery of our national collection. Cox admired that 
 picture very much, but it was almost the last of that great 
 artist's works that he did thoroughly admire. Before com- 
 mencing the next chapter it may be worth while to pause for 
 a few moments to consider which, of all the great qualities in 
 which Turner excelled, had most impressed and influenced 
 Cox in the treatment and the selection of his subjects. 
 Although I have shown that the large drawing of "^neas 
 approaching Carthage," painted by Cox in 1825, after 
 Turner's manner, was not altogether a success, I think pro- 
 bably that this work, and the careful study of Turner's pic- 
 tures, led the way to a more careful selection by Cox of 
 objects, and their combination in such a manner that they 
 should be thoroughly in harmony with each other. In other 
 words, that the detail of every part should be entirely at one 
 with the feeling and ideal intended to be conveyed by the 
 work as a whole. 
 
 Turner, perhaps more than any other landscape artist, 
 looked on his subject as a whole, and disregarded minute
 
 HO LIFE OF DAVID COX. 
 
 Chap. IX. details and accidental forms if they interfered with the mass 
 1 844 -1 840. of cool or warm colour. He sought at all times all that 
 was most poetical by a comprehensive and generalising 
 treatment. He was most careful, nevertheless, in his selec- 
 tion and arrangement of colour, and the blending of light 
 and shadow, so as to obtain those difficult, but, to a painter, 
 most invaluable qualities — light and mystery. 
 
 I think by comparing Cox's later works with his earlier 
 ones, we may trace some of this influence and feeling for 
 mystery in his works, the same as in Turner's ; but as Cox's 
 mind and character were very dissimilar to those of the great 
 painter of light and mystery, there is naturally a very marked 
 and great difference in their work. This is the more pro- 
 nounced probably from the fact that Cox relied always more 
 on a close and truthful imitation of nature than on the teach- 
 ings and refinements of art, much as he valued the important 
 aids which art affords to painters. Without doubt Cox was 
 strongly impressed early in his career with the great im- 
 portance of cultivating the imitative faculty as the real basis 
 of all true excellence in art. His early study of flowers, still- 
 life subjects, shipping, and architecture, prove that he felt 
 that this was the only safe road to success.
 
 K 
 
 X. 
 
 LIFE AT HARBORNE, AND SUCCESS IN 
 OIL-PAINTING. 
 
 1846 TO 1849. 
 
 LTHOUGH the shock caused by the death of his chap. x. 
 wife paralyzed for a time Cox's interest In painting, 184611^849. 
 that state of feeling did not long prevail ; and, 
 after he had been induced to resume his usual 
 occupation, he followed. It with renewed ardour. 
 
 I consider 1846 and the ten following years as those in 
 which the artistic power of Cox may be said to have cul- 
 minated. A great majority of his most celebrated works 
 were produced within that period, especially in oils. His 
 first large oil-picture of the " Vale of Clwyd " was painted 
 in 1846, also the "Peace and War, with Troops marching 
 towards the Town of Lancaster," for which the competition 
 at Mr. Gillott's sale was so keen, that, although rather a 
 small picture, it produced the large sum of ^3^601 10.?. 
 " Gipsies crossing a Common" and "Going to the Mill" 
 may also be cited among the successful and well-known oil- 
 paintings of this year. Although these works have much 
 richness and finish, the handling Is rather less free than those 
 painted a few years later. Cox also made many large water- 
 colour drawings this year — "Caer-Cennen Castle," the "Vale 
 of Clwyd," and several others, were much admired. 
 
 The following Is extracted from a letter written to his son 
 and daughter-in-law : —
 
 142 LIFE OF DAVID COX. 
 
 Chap. X. "Greenfield House, February I2tli, 1846. 
 
 1846— 1849. " My work has not plagued me so much as sometimes. I 
 
 have begun for the Water Colour Exhibition, and have two 
 
 tolerable size ones nearly finished. I have also begun a large - 
 
 oil-picture, 4^ feet by 3 feet. I hope to get it finished ready I 
 
 for the Royal Academy. ^ 
 
 " I suppose David knows that my picture is rejected at the 
 
 Institution, but they must have a great many much worse 
 
 there. If it is unfairness on their part in not hanging my 
 
 picture, I am terribly vexed. 
 
 "David Cox." 
 
 And again he writes Februar}^ 15th, 1846 : — 
 
 " I am greatly pleased to hear say what he does of 
 
 my picture. I conclude he has seen it. Tell him also that 
 encouragement spurs me on, and he shall see a better if 
 please God I am spared to finish what I have begun. I have 
 better ideas for subjects than ever." 
 
 He also writes from Greenfield House : — 
 
 " March 29th, 1846. 
 
 " I find the time draws near for sending my oil-picture (if I 
 can get it finished) into the Royal Academy. I almost wish 
 I had to paint it over again ; I am sure I could improve upon it. 
 However, I have of course done my best ; we all try to do 
 that, but cannot always succeed. It is a bold scene, and the 
 work is also bold, or rather coarse. I keep on at my water- 
 colours a little each morning while my room is getting 
 warmed, and then work at my oil until dusk. At lamplight, 
 at my water-colours again. 
 
 " David Cox." 
 
 The above letter shows how indefatigably he worked even 
 in the winter season, the studio up-stairs being reserved for
 
 SUCCESS IN OIL-PAINTING. 1 43 
 
 his work in oil, and the parlour on the ground-floor, which Chap. x. 
 was warmer, for his water-colour. When on his usual spring 1846— 1849. 
 visit of about six weeks' duration to London, he made 
 arrangements with Mr. Ellis and other friends to go to Bolton 
 Abbey in May. The party put up as usual at the Devonshire 
 Arms. Mrs. Wilson was the name of the landlady at that 
 time. She and her niece, Miss Wyatt, were very desirous to 
 do all in their power for the comfort of their guests, and Cox 
 entertained a very friendly feeling for them. He made Mrs. 
 Wilson a present of several of his water-colour sketches. 
 Some of these were originally in the Visitor's Book, but they 
 have long adorned the walls of the hotel. The following 
 letter describes this visit : — 
 
 " Devonshire Arms, Bolton Bridge, near Otley, Yorkshire, 
 May 30th, 1846. 
 
 " My dear friend Roberts, — I ought to have written 
 to thank you for sending me the spectacles. One pair suits 
 very well ; the others I will return when I see you. I have 
 no doubt you and our friend Birch have often thought how 
 lucky I and my companions have been in the weather ; 
 indeed, it could not have been finer. Of course we have 
 been a great deal of our time in the open air. My friend 
 Ellis is as tough as any one I ever knew. He is out early 
 and late, and has made a great number of coloured sketches. 
 For myself, I cannot say so much, as I do not go out at all 
 before breakfast, nor in the evening, as my breathing has 
 been very much tried in walking up some of the hills. But 
 Mr. Ellis is very kind, and has had the car out most days. 
 We have been to Bardon three times, and last Monday we 
 went to Malham, and did not return till nine at night. I have 
 made a number of hand-book sketches, but few of a larger 
 size. I cannot find out much that is new to interest me very 
 much, though the country is very beautiful, and I have quite 
 made up my mind that there is nothing like being out a great 
 deal in the country. We purpose leaving this on our return
 
 144 LIFE OF DAVID COX. 
 
 Chap. X. on Thursday next, the 4th, and I hope to be at home at seven 
 1846— 1849. that evening. 
 
 *' Ever truly yours, 
 
 "David Cox." 
 
 On the 1 2th of July, 1846, he wrote to his son from Green- 
 field House, " My landlord is going to send some workmen 
 to repair the roof of the house, paint, &c., so I cannot leave 
 home till the middle of July. I am not able to finish the 
 ' Vale of Clwyd ' for the Birmingham Exhibition, as they 
 take in pictures on Tuesday next." The picture mentioned 
 here was the large one sent to Liverpool this year. On the 
 17th July he writes, " I have just sent off my picture (' Vale 
 of Clwyd ') to Liverpool." 
 
 Cox exhibited twelve drawings this year (1846) in the 
 Water Colour Society's Gallery. The subjects were very 
 varied, and the "Outskirts of the Forest" was the finest. 
 He again went to Bettws-y-Coed this year, and also visited 
 his sister in Manchester. At the latter end of October his 
 friend, Mr. Ellis, came to stay with him at Greenfield House, 
 and, as the season was fine, they were enabled to go out for 
 a good deal of sketching together. Mr. Ellis describes that 
 on one occasion they had been out soon after breakfast, and 
 were walking home to dinner, which was always ready punc- 
 tually at one. It was past the time, but Cox, after looking 
 up, stopped suddenly, exclaiming, " Look there ! " and turn- 
 ing round, drew with the end of his stick the outline of a 
 large picture in the dust of the road, and commenced rapidly 
 filling in the details of the effect which had arrested his atten- 
 tion. Generally he was very particular to get to his mid-day 
 meal, and would leave his work incomplete, trusting to his 
 memor}' to finish it at home, when his companions would 
 gladly have remained longer on the spot. On another occa- 
 sion, when Mr. Ellis and David Cox and his son were walking 
 near Harborne, Cox, who was always on the look-out for "an
 
 SUCCESS IN OIL-PAINTING. 1 45 
 
 effect," suddenly exclaimed, "Look, look, David!" and Chap. x. 
 pointed to an effect of sky reflected in a window near them. 1846— 1849. 
 When out he would often stop short, and sketch any instan- 
 taneous effect of sky, or anything else which struck him. 
 Indeed, he always had a small sketch-book and a piece of 
 chalk or pencil in his pocket wherever he went. His attention 
 and interest in the aspect of nature appeared never to flag or 
 slumber. On one occasion, his sketching companions missing 
 Cox from his place, found that he had turned round and 
 was engaged sketching a donkey that had been looking over 
 their heads. The following letters, dated September loth 
 and November 26th, 1846, written to his son, are not without 
 interest, as showing the happy frame of mind he was in, and 
 his thought for others : — 
 
 " Greenfield House, September loth, 1846. 
 
 ** My dear David and Hannah, — Your letter gave 
 much pleasure to learn that you were all quite well, and 
 enjoying yourselves with the scenery around you, and that 
 my sister Hills enjoys herself. I sincerely hope she will gain 
 strength and benefit by the change. Please take care of 
 yourselves. We have had rather a bad accident on the 
 Liverpool line ; several persons hurt severely. I received a 
 letter from Ann this morning. She tells me it is the music 
 meeting at Hereford, and she fears she may not get a place 
 by coach on Saturday morning, so I have written to say I 
 will not expect her till Monday or Tuesday. Tom is very 
 busy planting the garden with a winter crop. I think of 
 going to see my sister some day towards the middle or latter 
 end of next week. Mr. Birch and his young family are all 
 
 quite well, but Miss is in rather delicate health. I 
 
 think she has too much on her hand, and too much care. She 
 would like to go out, but has no one to go with her. I 
 received a letter from my dear friend Ellis on Sunday, and he 
 tells me he is going to Sevenoaks to see his brothers and 
 
 L
 
 146 LIFE OF DAVID COX. 
 
 Chap. X. sisters, and shall write to ask you to meet him at Chilham. 
 1846— 1849. And now, with love to all, and may God bless you, is the 
 prayer of 
 
 " Your affectionate Father, 
 
 " D. Cox." 
 
 "Greenfield, Harborne, November 26th, 1846. 
 
 " My dear David and Hannah, — I could not let the day 
 pass by and not write a few lines, although I expect you will 
 see my kind and dear friend William Ellis this evening, who 
 will tell you more about me" and what I am doing than I could 
 think of. He was kind enough to take a basket of our home- 
 made bread, and would send you the half. I hope you will like 
 it, and that my dear little darlings will eat very plentifully of 
 it, especially of the brown. I am now calculating on seeing 
 my dear David at Christmas, when we shall have a pleasant, 
 happy chat. I rather think Norman Wilkinson will come down 
 before Christmas, as he promised two months back that he 
 would come. It is now very delightful weather, and it tempts 
 me to go out sketching, for I hardly know how to tackle to 
 work after the pleasant days William Ellis and I have had this 
 week ; though I have a great deal more to do than I can get 
 through before the exhibition, so will finish, with love and 
 affection, ever 
 
 "David Cox." 
 
 With reference to the home-made bread mentioned in the 
 preceding letter I ought, perhaps, to remark that the bread 
 made at Greenfield House had quite a reputation amongst 
 Cox's friends for being better than any other. Mr. George 
 Briscoe especially used to say it was the sweetest bread he 
 ever tasted. 
 
 In 1847 Cox continued to work very industriously in oils, 
 and produced many fine pictures, one of the most successful 
 being "Counting the Flock." With reference to this ex-
 
 SUCCESS IN OIL-PAINTING. 1 47 
 
 quisite picture a friend relates that, after looking at it for Chap. x. 
 some time with admiration, he turned round and asked Cox 1845117849. 
 whether he himself did not think it was very successful ; to 
 which Cox replied, with a quiet, amused smile on his face, 
 "Well, I did rather feel as if my hand was in it." 
 
 The following are extracts from letters written to his son, 
 from Greenfield House, in the early part of this year : — 
 
 '•January 2ist, 1847. 
 
 " Mr. Ellis says you wish me to paint the ' Flood in North 
 Wales,' but I believe the ' Mountain Top ' is to my mind 
 more suitable to my feeling, as I wish to have something 
 like the ' Dolw}ddelan.' Everybody likes it better than 
 anything I show them." 
 
 " February 4th, 1847. 
 
 "I have bought another Miiller — an unfinished one; it 
 was sold at the sale of his works. I have given one picture 
 for it, and my parlour is pretty well hung with drawings and 
 paintings." 
 
 "May 13th, 1847. 
 
 "To-morrow I am going with Mr. Hall to spend the day 
 at Mr. Briscoe's, near Wolverhampton. He is one of my 
 patrons, and has ordered three large pictures of me, and is 
 very anxious to see one of them in hand." 
 
 Mr. Briscoe resided in a fine old country house called Old 
 Fallings, about three miles beyond Wolverhampton ; such a 
 place as Cox would take a fancy to, as it was surrounded by 
 lofty trees. Mr. Birch, Mr. Roberts, and Mr. Bullock were 
 also invited to meet him. 
 
 "The Old Mill at Bettws-y-Coed," with geese in the 
 foreground, was painted this year for Mr. Carritt, who paid 
 forty pounds for it. It is a beautiful picture, and was 
 sold in 1872 for fifteen hundred and seventy-five pounds. 
 
 L 2
 
 148 LIFE OF DAVID COX. 
 
 Chap. X. "Going to the Mill" is another of the celebrated oil- 
 1846^849. pictures painted this year; also "The Hayfield," with a 
 man riding and leading- a white horse, which the late Mr. 
 James Bagnall purchased from Cox for forty pounds, and 
 which, at the sale of that gentleman's pictures in 1872, 
 sold for fifteen hundred and fifty guineas. The following 
 characteristic letter, dated from his son's house at Brixton 
 Hill, gives some account of the Water Colour Exhibition this 
 year, and describes the disappointment Cox felt at the 
 absence of Cattermole's works, which he felt the more 
 because he had great admiration for the originality and 
 talent of this artist, and used often to express the pleasure 
 he derived from seeing his works : — 
 
 " Laurel Cottage, Streatham Place, Brixton Hill, 
 London, April 30th, 1847. 
 
 " My dear friend Roberts, — I dare say you have ere this 
 expected a letter from me ; but, having seen but little and 
 heard but little in the way of the Arts, I have delayed writing 
 till I received a letter. The latter part of last week and the 
 beginning of this I have been occupied in touching up my 
 drawings. I have done but little to them, however, and the 
 members were very anxious I should do but little — do nothing 
 to my ' Bolton Abbey,' which they all seem to agree is the 
 very best drawing I have ever m.ade, and they have used the 
 most expressive words of praise I have ever received. I do 
 not expect the newspapers will have the same feeling. The 
 great man, Cattermole, has behaved rather shabby ; he has 
 not sent one drawing, and from all I can learn his excuse is 
 the most lame. I think his conduct is unfeeling towards his 
 brother members ; for what use is it for a body of men 
 agreeing to unite their strength and abilities to assist each 
 other, and be deceived at the very last moment — that he could 
 not send one drawing ! We all think very highly of his 
 talent, and if four, or half-a-dozen, were to act in the same 
 way, where would be the stability of a society ? But, not-
 
 SUCCESS IN OIL-PAINTING. 149 
 
 withstanding, we shall have a fair exhibition ; but his pictures Chap. x. 
 
 were a feature that created interest, and he must know that. 1846^849. 
 
 I think his treatment will be the cause of most of the other 
 
 members uniting- to exert themselves next year, not relying 
 
 upon men who can deceive. You will excuse me taking up 
 
 so much of my note on the above subject ; but knowing his 
 
 ability, and rapidity in work, I, for one, feel his treatment the 
 
 more vexatious. The other members have contributed their 
 
 usual numbers — De Wint rather better ; Fielding much the 
 
 same ; one picture very good— quite a Claude ; Hunt as 
 
 usual ; Nesfield the same ; Evans, of Eton, two very large 
 
 drawings, very interesting, but too much white body colour ; 
 
 Bentley, Callow, Gastineau, and all the rest, seem to have 
 
 done well ; but we want works of figure subjects. I went to 
 
 Suffolk Street, and I think, on the whole, it was not a good 
 
 exhibition. Pine is the best, but very papery, and nothing 
 
 solid in them ; Anthony characteristic ; one small morning 
 
 scene good in grey effect; Holland several small pictures, 
 
 but not so good as I have seen. I have not yet been to the 
 
 British Institution, and I hear it is no loss, but next week I 
 
 intend paying a visit to them and the National ; the Monday 
 
 following the Royal Academy, and on the Wednesday or 
 
 Thursday to home, quiet home. London is quite Babylon ; 
 
 the WHIRLING of carriages quite bewilders me, and makes 
 
 me giddy. I learn that Bond is about to come to London, 
 
 but whether to take up his abode I don't know. He has sold 
 
 an oil picture at the British Institution for fifty guineas. 
 
 Creswick, I hear, is giving dinners to his friends. I suppose 
 
 this is preparatory to the election for academician. I hear 
 
 of a number of artists going into Wales this summer. I 
 
 understand from Ann she has received notice to pay the 
 
 tithe on Monday. Will you have the goodness to let your 
 
 man-servant take it to the Bell, as I think Ann will not like 
 
 to go ? How is my friend Birch ? Has he any more 
 
 pictures ? Pray write me a letter, and tell me all the news
 
 150 LIFE OF DAVID COX. ^ 
 
 Chap. X. you can think of, and say when I may expect to see you in 
 1846^849. London. Receive the best and sincere wishes for you, 
 Mrs. Roberts, and children. 
 
 -D. Cox." 
 
 The large drawing of '' Bolton Abbey," mentioned in the 
 foregoing letter, is very highly finished, and is unusually 
 brilliant in colour. There are few more picturesque remains 
 in England than those of this fine old abbey, which was 
 founded in 11 5 1 , and was held by monks of the order of St. 
 Augustine, at the time of its dissolution by Henry VIII., in 
 1540. The abbey is represented surrounded by trees, and 
 reflected in a large pool of water, towards which cattle are 
 descending, as is their habit on a hot summer's day. The 
 sky is a bright cerulean blue with fleecy clouds, and on the left 
 hand is a grand group of trees. It is now in the collection 
 of Mr. H. T. Broadhurst, of Manchester, and by his kind 
 permission I give a photographic copy of it, at the commence- 
 ment of this chapter. 
 
 Cox sent thirteen drawings to the Water Colour Exhibition 
 this year. The most interesting, besides " Bolton Abbey," 
 were " Caer Cennen Castle," "Windsor Park," "Vale of 
 Dolwyddelan," and " The River Llugwy, from Pont-y- 
 Kefyn." There was also one of a very unusual subject, 
 " George's Dock, Liverpool." 
 
 In the autumn he spent some time again at Bettws, making 
 sketches. This visit will be noticed in the chapter on Bettws, 
 at which place Mr. Hall joined him. The following is from 
 a letter to his son, written after his return from London : — 
 
 " Greenfield House, June 4th, 1847. 
 
 " My dear David, — When the Exhibition in Westminster 
 Hall is opened, tell me what is thought of a picture by 
 Dobson. . . . He was late member of the School of Design 
 here in Birmingham, and has been painting some pictures for
 
 SUCCESS IN OIL-PAINTING. 
 
 151 
 
 a gentleman in the town. The one sent to Westminster is chap. x. 
 one of them, and is spoken of very highly. 1846— 1849. 
 
 "David Cox." 
 
 After his return home from Bettws, he wrote as follows to 
 his son : — 
 
 " Greenfield House, Haiborne, August 30tli, 1847. 
 
 ** My friends here tell me I have brought home some very 
 good sketches, but I fear very deficient in many respects, and 
 I must not lose sight of Nature, and therefore intend to 
 follow up my practice as long as the weather holds fair." 
 
 Again he wrote from Sale, where he had gone on a visit 
 to Mrs. Ward ; the incident referred to, of his being up the 
 ladder painting the sign is one that has been much spoken 
 about. 
 
 " September 6th, 1847. 
 
 " I suppose it was Mrs. Ashley who told you she saw me 
 upon the ladder painting the sign of the Royal Oak. The 
 sign was in so bad a state I thought I could not damage it 
 much, and I set to work, and in a very short time made a 
 tree much fresher in its looks than it was before." 
 
 "Greenfield House, October 12th, 1847. 
 
 " I had Mr. Froggatt here on Saturday. He came down 
 on purpose to see me and my works ; he was very much 
 delighted with what he saw, and wished to purchase one of 
 my Welsh sketches in oil, but I had declined selling any of 
 them at present. He says Mr. Lucas talked of coming 
 down with him, but he has no doubt he will come, as he 
 would like to mezotint from some of my works." 
 
 "Greenfield House, December 17th, 1847. 
 
 " I have lately received more orders for pictures, one for 
 seventy guineas ; besides which, I have to make three large.
 
 152 LIFE OF DAVID COX. 
 
 Chap. X. 3 ft. 6 ill. by 2 ft. 6 in. for Mr. Gillott. He also bought six small 
 ,84^849. ^^^^ I had begun by lamplight, but they will take me some 
 time to finish by daylight. You will be astonished to see 
 how well I succeed by lamplight. I do not know whether 
 you recollect the two Miillers I had. One a * Cottage 
 Scene,' the other ' Pandy Mill, Penmachno.' The former I 
 sold for ^70. I gave ^35 in drawings for it; the latter, the 
 Mill, I gave /30, and sold it for /90, and a frame into the 
 bargain. Last week I bought a Miiller, and gave one of my 
 oil pictures for it. I think of keeping this, as it is quite an 
 artist's bit, though I have been offered /30 for it; but I 
 won't take it. 
 
 *' David Cox." 
 
 In the first months of 1848 Cox was much occupied in 
 preparing his drawings for the Water Colour Exhibition, to 
 which he contributed fourteen drawings this year. 
 
 The following is from a letter written to his son, and 
 referring to those drawings : — 
 
 " Greenfield House, March i6th, 1848. 
 
 " You wished to know what my subjects were I was doing 
 for the Exhibition ; but, as I have only three in hand, and 
 two are very backward, I do not like to make too sure, but I 
 feel pretty certain to-day that I may finish them. One, 
 * The Skylark ; ' second, ' Gipsies in a Wood Scene ; ' 
 third, 'Peace and War,' though I don't think I shall call 
 it by that name ; ' Dungeness Bay ' is the real view. I 
 have several small ones, but they are unfinished. 
 
 " David Cox." 
 
 Besides those mentioned in the preceding letter was the 
 " Lower End of the Vale of Clwyd," which was purchased by 
 Mr. Joseph Parrington, of Croom's Hill, for forty guineas. 
 This gentleman also purchased " A Green Lane, Stafford-
 
 SUCCESS IN OIL-PAINTING. I 53 
 
 shire," one of Cox's very powerful and celebrated drawings. Chap. x. 
 " Going- to the Hayfield," was another fine drawing exhibited 1846^849. 
 this year; the one referred to by Cox as "Gipsies in a 
 Wood Scene," appears in the catalogue under the title of 
 "Sherwood Forest." The drawing mentioned above as 
 "A Green Lane, Staffordshire," is now in Mr. Ouilter's 
 collection ; he also possesses a note written by Cox to Mr. J. 
 Parrington on the subject of this drawing, of which the 
 following is a copy : — 
 
 "Bettws-y-Coed, North Wales, August 13th, 1848. 
 
 " Dear Sir, — I have received your kind note, and beg to 
 thank you for the liberal patronage you have shown me. I 
 feel most happy to have you the purchaser of my drawings. 
 I have sent notice to my home to have the drawing of 
 * Green Lane ' carefully packed, and sent directed as you 
 requested, and hope you will be pleased with it. It was my 
 favourite of all my own drawings. I must also beg to thank 
 you for paying the amount to Mr. Ellis, who has given me 
 notice of the same. I have had very bad weather since I 
 have been here (a month) until yesterday it was fine the 
 the whole of the day, and to all appearance the weather is 
 looking ' as taking up,' and I hope to make a few sketches 
 in the remaining fortnight I think of staying. I beg to 
 subscribe myself 
 
 " Your most obedient servant, 
 
 " David Cox. 
 
 "J. Parrington, Esq., 20, doom's Hill, Greenwich." 
 
 The drawing of " The Skylark," which Cox exhibited 
 this year, is now in Mr. Albert Levy's collection. It is one 
 of the most delightful in feeling, for, like the oil picture of the 
 same subject (painted in 1849), it conveys the sense of perfect 
 repose, so characteristic of English rural life. The aspect 
 of the country is bright and cheerful, but the interest is
 
 154 LIFE OF DAVID COX. 
 
 chap.x. concentrated on the group of children, who appear to 
 184611^849. be listening with delight to the song of the skylark 
 hovering above them. It would be difficult to imagine a 
 scene more suggestive of Shelley's beautiful lines com- 
 mencing — 
 
 " Hail to ihee, blithe spirit ! 
 Bird thou never wert, 
 That from heaven or near it 
 Poorest thy full heart 
 In profuse strains of unpremeditated art ! 
 
 " Higher still, and higher, 
 
 From the earth thou springest ; 
 Like a cloud of fire 
 
 The blue deep thou wingest — 
 And singing still dost soar, and soaring ever singest." 
 
 I have fully described these pictures in the chapters on 
 oil-pictures and water-colour drawings. 
 
 The following is from a letter written to his son whilst on 
 the visit to Wales this year : — 
 
 " Royal Oak, Bettws-y-Coed, August i6th, 1848. 
 
 " We have very wet weather, and I am fearful we shall not 
 have it better during my stay in Wales, as I think we shall 
 have it raining during the moon. I have made fewer 
 sketches this year than any former year, and I give it up 
 as a lost summer, as I think of returning home towards 
 the end of next week or early the week following. You must 
 know that with the sales of my drawings in the exhibition, 
 my July dividend, and the sale of my ' Green Lane,' 
 altogether enabled me to buy ^200 stock. The parting 
 with the drawing of ' Green Lane ' was the most unpleasant 
 part of the transaction, but I hope to do better things 
 some day. 
 
 " David Cox." 
 
 He painted a great deal in oil this year. Among the 
 more important works was the large one of " The Vale of
 
 SUCCESS IN OIL-PAINTING. 1 55 
 
 Clw}^d," for Mr. George Briscoe, for which he received ^95, chap. x. 
 but which has lately been sold for ^2,500. Also " Dudley 1846— 184( 
 Castle, with Gleaners returning Home, Sunset," a highly 
 finished and beautiful picture, rich in subject and colour. 
 These are more fully referred to in the chapter on oils. 
 
 The following are extracts from letters written to his son 
 in the autumn of this year : — 
 
 " Greenfield House, September 29th, 1848. 
 
 " I think will like to see my sketches which I 
 
 made in Wales. I have one or two oil sketches which are 
 better than anything I have hitherto done. One I have sold, 
 but it is not yet sent home, and I half repent having parted 
 with it. I have also painted a picture in oil since my return 
 from Wales, but it is not a Welsh subject ; it is one of my 
 very best. My friend Birch says the above pictures are the 
 best I have yet painted, and he, you know, is a good judge. 
 
 "David Cox." 
 
 "October 20th, 1848. 
 
 " I am happy to tell you my work goes on very well. I 
 have nearly finished the large ' Mountainous Scene.' I 
 thought to have finished it by to-morrow night, but there is 
 always something to require a little more finish or alteration. 
 Mr. Bullock came over yesterday to see it, and was quite 
 delighted with it ; so also was Mr. Roberts and Mr. Birch. 
 Indeed, I never had so much praise for any oil-picture, 
 notwithstanding I must be careful how I receive so much 
 praise from friends ; three other gentlemen would be anxious 
 to have had it. 
 
 ''David Cox." 
 
 " November 3rd, 1848. 
 
 " I am ashamed to say I have not quite finished my large 
 picture, owing in a great degree to the very dark days ; 
 however, it is nearly finished, but I have been taken from
 
 156 LIFE OF DAVID COX. 
 
 Chap. X. it, to paint two Small pictures which I hope to have out of ^ 
 1846— 1849. hand on Monday." 
 
 "November i6th, 1848. 
 
 ** I finished a picture for Mr. Froggatt, which I sent off 
 to him last Monday. I think it was one of the best I have 
 painted, and I am happy to say I go on much more rapidly 
 in my painting than I did, and if I have my health I shall get 
 my orders a little under." 
 
 " November 24th, 1848. 
 
 " My work goes on as well as I can expect in these dark 
 days, and, if there is a bright day, I am sure to have some 
 one or more call to look at what I am about. I have done 
 but little by lamplight ; the fit has not come yet, and what 
 little I have done has been of the same feeling, that is, rather 
 of the heavy style." 
 
 Cox used occasionally to go to dine, quite without cere- 
 mony, at the houses of his friends at Harborne. He took 
 but little wine, and, as soon as he had smoked his half cigar, 
 it was his happiness to have his colour-box out, or, if by 
 artificial light, generally his sepia, and, setting to work 
 would make one or two spirited drawings in the course of 
 the evening. Whilst so employed, if any one would play to 
 him on the piano, he was delighted, as he always could get 
 on much better whilst music was going on. He was never 
 happier than when at work ; and in this constant practice, as 
 already remarked, we may discover one of the secrets of his 
 success. When advice was offered to Cox that he did not 
 wish to act upon, he would turn it off with a joke. Thus, on 
 one occasion, whilst working in his studio at a drawing for 
 Mr. Birch, that gentleman came in to see it. " Now," said 
 Cox to him, "will that do?" "Yes," replied Mr. Birch ; 
 " only I think just a few more ripples in the water would be 
 an improvement." Cox immediately handed him the brush
 
 SUCCESS IN OIL-PAINTING. 1 57 
 
 with which he was working-, and said, " Do it, do it ! " But Chap. x. 
 Mr. Birch wisely declined the honour. On another occasion i846^84( 
 he had painted a " Landscape near Coventry," with some 
 figures in it, for a gentleman, who, when he came to see the 
 picture, remarked that he thought the figures wanted just a 
 little more of the artist's spirit andyf/r in them. Cox merely 
 replied, pointing to the grate, " Pray put it in, and then they 
 will have plenty of fire." 
 
 Cox was in the habit for several years of entrusting a good 
 many of his works for sale to Mr. William Holmes, the dealer 
 in Birmingham. He was fond, when he went there, of strolling 
 into Holmes's rooms and looking at the pictures which were 
 exhibited there, and on one or two occasions, when standing 
 in front of his own works, he has been overheard, saying in a 
 low voice, as if addressing himself, " Not very bad, either, 
 David. Not very bad, David." 
 
 Mr. Holmes knew the market value of Cox's paintings in 
 those days probably better than any one. During several 
 years a great many of his works, both in oil and water colour, 
 had passed through his hands ; and, in the early days of his 
 oil-painting, they had frequently found no purchasers, and 
 had to be returned to Greenfield House. Cox, however, 
 never appeared to regret having a picture sext back to him : 
 indeed, he often expressed regret at parting with one, 
 especially if it was at all a favourite. 
 
 The next chapter will be devoted to an account of Bettws- 
 y-Coed, and I shall then proceed with an account of his 
 method of oil-painting, and with the promised description 
 of his pictures.
 
 XL 
 
 BETTWS-Y-COED. 
 
 Chap. XI. 
 
 URING many years David Cox made Bettws his 
 
 head-quarters in North Wales. He had, from his 
 
 youth upwards, traversed repeatedly almost every 
 
 foot of the wild scenery of this part of the country, 
 
 but in his latter years he quite made up his mind that Bettws 
 
 bore the palm over all other spots. 
 
 It is situated in a valley in Carnarvonshire, on the banks 
 of the Llugwy, close to the picturesque bridge of Pont-y- 
 Pair, and not far from its junction with the river Conway. 
 The scenery is unusually varied and beautiful, and it has 
 long been chosen as the favourite rendezvous of English 
 landscape-painters in the summer and autumn months. It is 
 surrounded by rocky glens and deep wooded valleys, which 
 open out occasionally into broad fields and meadows, shaded 
 by a variety of trees. Through these the mountain streams, 
 the Machno, the Lledr, and the Llugwy, flow on towards 
 their junction with the Conway, now sleeping in dark, 
 deep salmon pools, and now foaming and fretting over 
 huge boulders, pent in between lofty walls of rock. All 
 these streams are spanned by old and picturesque bridges, 
 well known to lovers of art and Welsh scenery, and their 
 banks also adorned by several ancient water-mills ; of these, 
 Pandy Mill, on the Machno, is the chief, on account of 
 its romantic situation and the fine old oaks which surround
 
 BETTWS-Y-COED. 1 59 
 
 it. Starting from the vicinity of the beautiful Beaver Pool chap. xi. 
 and the Beaver Bridge on the Conway, the old Holyhead 
 road follows upwards the banks of the river at some distance 
 below the new road. You look down on one side into a deep 
 rocky and richly-wooded pass of the Conway, not far from 
 its celebrated falls. This is the Faiery Glen, of which the 
 foliage is very varied and luxuriant ; ferns and mosses also 
 clothe the tops of the rocks, which are worn into many 
 fantastic shapes and hollows by the constant action of the 
 running stream. The views from the upper part of the 
 road are unsurpassed for grandeur and extent, by anything 
 in North Wales. The whole of the wild and beautiful valley 
 of the Lledr and Dolwyddelan is spread out before you, 
 guarded on one side by the giant form of Moel Siabod, and 
 beyond these the peaks of the Glyder mountains and Snowdon 
 may be seen in the far distance in fine weather. 
 
 Close to the village of Bettws is its little Welsh church, old 
 as the venerable yew-trees which nearly encircle it. A 
 vignette of this appears on the title-page. Formerly there 
 was a chancel, but this was destroyed many years ago by 
 the encroachments of the river Conway, which runs at the 
 foot of a very steep bank close to the churchyard. In this 
 chancel was the tomb of Gruffydd Goch, a descendant of the 
 Welsh princes, who died in the fourteenth century, and who 
 was a nephew of Llewellyn, the last prince of North Wales. 
 His effigy, which surmounted the tomb, is still preserved in 
 the church ; it is well carved in stone, of life-size ; he is repre- 
 sented as a knight in a full suit of armour, and underneath is 
 the following inscription : "Hie jacet Gruffyd ap Davyd 
 Goch, agnus Dei miserere mei." 
 
 The old road leading to this church started from the turn- 
 pike road almost exactly opposite the Royal Oak, it also led 
 to the old farmhouse belonging to the inn and its large and 
 pleasant garden ; but of late years this road has been swept 
 away, or, at least, the greater part of it, as well as the farm-
 
 l60 LIFE OF DAVID COX. 
 
 Chap. XI. house, by the new railway station and its approaches ; the 
 fine old " Big Meadow," too, has been cut up, and may be 
 said to exist no longer. The village, as it existed in Cox's 
 time, with its picturesque cottages and primitive inhabitants, 
 is much changed ; indeed, it is scarcely to be recognised, so 
 much has it been " modernised." 
 
 This remark applies also to the old water-mill which stood 
 
 close to the farm, and which has lately been rebuilt. A very 
 
 favourite subject this used to be with the artists stopping at 
 
 the Oak, who generally chose it as their first essay after 
 
 arriving. The falls of the Conway have been already referred 
 
 to ; the beauty of this spot has of late been rather marred by 
 
 the construction of an ugly stone salmon-ladder, which 
 
 greatly detracts from its former wild aspect. Many other 
 
 fine waterfalls exist in the neighbourhood of Bettws, the chief 
 
 being the Rhaidr-y-Wenol, or Swallow Falls, a mile and a 
 
 half on the road to Capel Curig, also those of the Llugwy 
 
 and the Machno. After heavy rain the water comes foaming 
 
 down, dyed of a deep amber colour from the peat bogs 
 
 through which it has passed. The mountainous road behind 
 
 the Oak leads upwards to a high tract of wild and rather 
 
 desolate moorland: here peat bogs abound, and here Cox 
 
 drew his inspiration for some of his most impressive works. 
 
 Following along in the direction of the Dolwyddelan valley, 
 
 you arrive at a high and lonely mountain tarn, named 
 
 Llyn Elsi ; it is almost destitute of trees, but there are fine 
 
 rocky banks, which compose well with the distant peak of 
 
 Moel Siabod, seen towering high above them. 
 
 The subjects which Cox most frequently chose for his pictures 
 were views of the rocks behind the Royal Oak, the heights above 
 the valley, the mill at Bettws and the salmon trap, Bettws 
 Church, the river Lledr, Beaver Pool, Pont-y-Pant, Pont-y- 
 Kefyn, Pont-y-Pair (or the Cauldron Bridge), the Machno and 
 Pandy Mill, also views from the old Holyhead road, of which 
 subject he painted one or two fine finished drawings. Of late
 
 BETTWS-Y-COED. l6l 
 
 years he worked a great deal out of doors at Bettws with oils, c^^^- ^^• 
 Cox used to say he could find any number of subjects 
 close to the Royal Oak, and of these the "Big Meadow" 
 was, perhaps, the one in which he delighted the most. These 
 views, when transferred to the paper or canvas of Cox, were 
 generally powerful, and always thoroughly broad and truthful 
 pictures ; they give not only the outward forms, but the 
 exact sentiment and feeling of the spot, so that, in looking 
 at them, you feel for the time that you are really face to face 
 with the wild scenery of North Wales. 
 
 In the numerous excursions Cox made through Wales 
 during the long period of years whilst he resided at Here- 
 ford and London, Capel Curig, Bettws-y-Coed, and the 
 neighbourhood of Conway were occasionally visited ; but 
 it was not until the year 1845, a-fter he had come to live 
 at Harborne, that he made this district regularly his head- 
 quarters in North Wales, and took up his residence for 
 some weeks every autumn at the Royal Oak. When he 
 first knew Bettws, that inn did not exist, far less the present 
 large hotel of that name, which was erected fourteen years 
 ago on the exact spot once occupied by the old inn, and 
 which was pulled down to make room for its more ambitious 
 successor. 
 
 The little inn at which Cox first stayed was the Swan, 
 represented in Creswick's picture of Bettws, and situated on 
 the west side of the Bettws turnpike. An old Welsh woman, 
 who lived to be ninety, of the name of Owen, was the land- 
 lady in those days, assisted by her daughter. The former 
 used to relate that Cox when young stayed there with other 
 artists, and started a sketching club. He used to get any 
 artists staying in the neighbourhood to come, and all worked 
 together on wet days and exchanged drawings, a word being 
 given as the subject of the day's work. The excursion Cox 
 made to North Wales in July, 1844, with his young friend 
 Harry Johnston, led him to Bettws-y-Coed, which was the 
 
 M
 
 1 62 LIFE OF DAVID COX. 
 
 Chap. XI. first of the seHes of his annual visits there. On this occasion 
 he wrote the following letter to his son : — 
 
 " Bettws-y-Coed, July 15th, 1844. 
 
 ** I cannot be at home under a fortnight from this time, 
 and it is possible I may stay a few days longer. I find so 
 much to do at every place I go to, I really believe Wales 
 grows more beautiful and romantic every time I see it. We 
 stayed at Llanbedr a week and one day, and when we went 
 had planned only two or three days at most, and now we are 
 at Bettws, where we arrived on Friday evening. We agree 
 to stop a week ; there is no end of the fine river scenery and 
 rocks and mountains. 
 
 " Creswick is here ; he is a very agreeable companion ; he 
 
 is communicative, and I wish he was going to stay longer, 
 
 but expect he will go in a day or two, as he is going into 
 
 Switzerland. I very much regret my friend Roberts cannot 
 
 be with us, as I feel quite sure he has no idea at all of North 
 
 Wales. In rocky-bedded rivers there is nothing I have seen 
 
 can come up to them. 
 
 "David Cox." 
 
 The sketching excursions Cox had hitherto made with his 
 friends, Roberts, Birch, Ellis, and Norman Wilkinson, had 
 been almost exclusively in Derbyshire, Lancashire, York- 
 shire, and Cumberland, or only just to the border country of 
 Wales ; but now he was impressed with the fact that Bettws 
 was of all others the place for good and impressive subjects, 
 and he never lost sight of this. The pleasure of congenial 
 companionship undoubtedly gave zest and spirit to his work 
 during this journey in 1844, and, indeed. Cox always liked 
 to have a companion to travel with him when going to Bettws. 
 He used to leave Birmingham in July or at the beginning of 
 August by the old Grand Junction Railway (the Stour Valley 
 line did not exist in those days) and travel by way of Chester
 
 BETTWS-Y-COED. 1 63 
 
 and Rhyl to Conway. At the latter place he was generally chap. xi. 
 met by an open Welsh car sent down on purpose from the 
 Royal Oak, and in this he proceeded up the valley of the 
 Conway. Whenever the opportunity offered, Cox preferred 
 these Welsh jaunting cars to any other mode of conveyance, 
 as the scenery could be seen so well whilst driving along the 
 road, and he could stop when he wished to admire a view or 
 make memoranda. Stage coaches he never liked, and always 
 avoided if possible. Tunnels in railways were especially 
 distasteful to him. The landlord of the Royal Oak, Mr. 
 Edward Roberts, was delighted to honour David Cox, and 
 he was assisted by his daughter, Miss Mary Roberts, whose 
 arrangements gave great satisfaction. The inn was a small 
 quiet one in those days, and the large bedroom was always 
 reserved for him. There were two beds in it, and on wet 
 days he would often work there, having four or five drawings 
 or more in hand at once, which he used to spread out on the 
 beds to dry whilst he worked at others. If the sky looked 
 overcast, he would sometimes say, "I think it will rain to-day, 
 so I shall only go down to the ' Big Meadow,' and do a sky 
 or two." If an effect of clouds struck him when out of doors, 
 he would dash away with chalk and colours, leaving the 
 sketch to be finished afterwards at home, with a streak of 
 blue distance, and a few trees and plants in the foreground. 
 He was always ready to give advice to any young artist who 
 might be out sketching at Bettws. If he saw one working 
 timidly, with little colour and small brushes, he would ex- 
 claim, "Don't be afraid; dab, dab, dab it!" Once it 
 happened that a young artist unknown to fame came to 
 study at Bettws. Cox, pleased with his assiduity, asked him 
 to go out sketching with him, but, after a short time, the 
 young man said he must leave at the end of the week ; he 
 was evidently getting on well, but could not be persuaded 
 to stay. Cox, hearing this, seized an opportunity of taking 
 him quietly aside, and said that if the state of his purse was 
 
 M 2
 
 164 LIFE OF DAVID COX. 
 
 Chap. XI. the cause of his resolution to leave, he hoped his young 
 friend would allow him to become his banker, and to defray 
 the cost of his board and lodging at the Royal Oak. In 
 those days many artists came to that quiet Welsh inn for 
 real work, and the old parlour was the common ground 
 where all met in the evening to talk over their day's work 
 and to compare notes. At these gatherings Cox was looked 
 up to as the great ruling spirit of the place, although always 
 kind and unassuming to all. The inn parlour had a door in 
 it, fastened up and plastered over, but not papered ; Cox 
 thought this could be improved, so one wet day he set to 
 work and painted a fresco on the plaster, the subject being 
 Redgrave's cartoon, Catherine Douglas securing the door 
 of the bed-chamber of her sovereign with her bare arm 
 against murderers. The following letter written by Cox 
 from Bettws in August, 1846, refers to the time when the 
 waterspout broke over the Vale of Corwen, and did con- 
 siderable damage. He had arrived in July, and his friends 
 Edwin Bullock, Dr. Kittermaster, and William Roberts were 
 with him, but the latter had left at the end of that month. 
 
 " Royal Oak, Bettws-y-Coed, Llanrwst, North "Wales, 
 August I3tli, 1846. 
 
 "My dear friend Roberts, — I received your welcome 
 letter, and am glad to tell you I also received the stool on 
 Friday last, after I had sent my last letter to you. It had 
 been sent to Bangor, where it was for several days. If you 
 had sent me a letter by post I should have got it the next day 
 after you had written it, though the newspaper you talked of 
 sending off on Monday has not yet come to hand, but, as my 
 friend Birch sent me two, we have amused ourselves during a 
 wet day or two. I suppose you have heard of the very awful 
 storms of rain we have had. The road at Corwen has been 
 completely stopped from the large stones washed down from 
 the mountains at the back of the inn there. It has filled the
 
 BETTWS-Y-COED. 1 65 
 
 road for some distance, a quarter of a mile at least, and it chap. xi. 
 has buried carts, and covered the walls on the sides of the 
 roads more than two yards deep. Many of the houses oppo- 
 site the inn Owen Glendour have heaps of stone up to the 
 bedroom windows. One poor woman was killed by a stone 
 washed against her, and swept away in the flood. I was most 
 agreeably surprised and pleased on Tuesday evening to see 
 Mr. Coleman and Mr. Hall, artists, arrive. There was no 
 room for them that night, so they went on to Llanrwst to 
 sleep. Next morning, Wednesday, I went over and break- 
 fasted with them, and we took a car, and have made arrange- 
 ments for them to sleep at the Royal Oak. In the afternoon 
 we went to Pandy Mill, and returned to dinner at five. We 
 had a most delightful day. I should have told you, on our 
 return from Llanrwst we found Mr. Gillott and his two 
 daughters were waiting to see me. We were all of us, of 
 course, very much pleased to meet. We stopped about half 
 an hour. This morning, Thursday, we had the most heavy 
 rain I ever witnessed. The river Llugwy has risen nearly 
 three yards. It is much higher than I ever saw it. All the 
 rocks at the fall above the bridge are completely hidden, and 
 I fear we shall hear of more serious effects at Corwen. I 
 have done but little in painting since you left ; the weather 
 has been so bad. I have received a very kind letter from 
 Mr. Sherrington, wherein he expresses a wish I would make 
 him a sketch as large as the one I made at the Stepping 
 Stones, up in Dolwyddelan Vale ; but I do not think the 
 weather will permit, if I should stay long enough ; but if I 
 don't travel with Messrs. Coleman and Hall to Beddgelert, 
 and round by Carnarvon, Menai, Bangor, Conway, and so 
 through the Vale of Clwyd to Chester (if they cannot return 
 by Saturday, 22nd), I will return in a car by myself on Mon- 
 day. I beg to thank dear Mrs. Roberts and Miss Wilmot for 
 their kind remembrances of me. Mr. Coleman is painting 
 Mr. Hoyle's portrait, the weather being quite unfit to go
 
 1 66 LIFE OF DAVID COX. 
 
 Chap. xi. out. Mr. Iloyle hopes you will send him Ibbotson by next 
 mail. I must now conclude, and believe me ever, 
 
 " Yours truly, 
 
 "D. Cox." 
 
 This letter was sealed with a black seal, engraved with a 
 bundle of sticks, and the motto " Union is strength." Mr. 
 William Hall, the artist referred to above, has related to me 
 his recollections of this journey. He says that he and his 
 friend Coleman slept at Llangollen on their way to Bettws. 
 All night it blew " great guns," and rained in torrents. 
 They, however, pursued their journey next morning up the 
 valley, but on arriving at Corwen they witnessed an extra- 
 ordinary scene. A waterspout had burst on the mountains, 
 and torrents were rushing down the hills on each side, sweep- 
 ing rocks and earth before them, knocking down cottages, 
 and covering the road with spoil. They had great difficulty 
 in getting on to Bettws, where Cox met them at the door of 
 the Royal Oak. He came out and told them there was no 
 room just then, but directed them to comfortable quarters at 
 Llanrwst. The next morning the inn servant knocked at 
 their door before they were up, and said a gentleman was 
 waiting to see them down-stairs. On descending they found 
 David Cox, who had walked over from Bettws, across the 
 fields, quite three miles, to breakfast with them ; and he told 
 them they could now be accommodated at the Royal Oak. 
 Having related to Cox what had happened in consequence of 
 the waterspout, a day or two afterwards, on his way home, he 
 made one or two sketches of the effect of the storm, from 
 which he painted pictures on arriving at Harborne. It was 
 in such weather as this, though a few years later, that he was 
 told that the River Llugwy had swollen with the heavy rain 
 to a great height, and was rushing and boiling grandly under 
 the bridge. Cox, who had always a number of small pieces 
 of drawing-paper ready, hurried to the spot, and made a rapid
 
 BETTWS-Y-COED. 1 67 
 
 sketch of the torrent. The subject pleased him so well that Chap. xi. 
 he went on adding bit after bit, until he had achieved a con- 
 siderable work. Arrived at home, the pieces, four in number, 
 were carefully joined together, and, when mounted on a 
 board, became an interesting and very effective drawing, 
 which was afterwards exhibited, the joinings hardly showing 
 at all at a little distance. It was whilst staying at Bettws in 
 1846 that Cox made a lovely drawing from the window of the 
 Royal Oak, looking towards Pont-y-Pair Bridge, and up the 
 valley in the direction of Capel-Curig, with cattle, ducks, 
 and geese in the foreground. There were not nearly so 
 many houses in the village at that time, so that the view was 
 much less obstructed than at present, and it was one of his 
 best and most characteristic works of this year. I am in- 
 formed that he made a present of this to Mr. Bond, the artist, 
 who afterwards sold it, and at the sale of Mr. Bullock's col- 
 lection, in 1870, it went for the sum of ^230. 
 
 During the long visit of more than a month which Cox 
 made at Bettws in 1847, he wrote several letters to his son, 
 from which I shall now present my readers with some 
 extracts : — 
 
 "Royal Oak, July 21st, 1847. 
 
 " My dear David, — I left home on Monday at ten, and 
 arrived at Chester at 2.30. An omnibus took the passengers 
 about two miles beyond Chester to the railway beyond the 
 bridge which broke down. I went on by rail to Rhuabon, and 
 there a coach took me to Llangollen, where I immediately 
 took a car to Corwen. None of my friends from Birmingham 
 went with me, but when I arrived at Corwen I was agreeably 
 surprised to meet with Messrs. McKewan, Bennett, and 
 Price. We all agreed to take two cars to Pentre-Foelas, 
 and reached there at ten at night. The following morning 
 Mr. Price and I took a car on to Bettws. We were fortunate 
 enough to find an empty house, and occupied their four beds.
 
 1 68 LIFE OF DAVID COX. 
 
 Chap. XT. " The weather Is very fine — too fine and hot to sit out in the 
 middle of the day ; but we have each done something-. 
 
 "David Cox." 
 
 "Royal Oak, July 25th, 1847. 
 
 " We all intend to go to Festiniog on Tuesday morning, 
 
 where we shall stay until Saturday, as Bennett, McKewan, 
 
 and Price wish to reach Liverpool on that day, so I shall join 
 
 one of them in a car to Pentre-Foelas. I shall there leave 
 
 them, and walk to Bettws, as I may have by that time Mr. 
 
 Roberts, and Mr. Sherrington from Yarmouth, a gentleman 
 
 who was with us last year. 
 
 " David Cox." 
 
 " Royal Oak, August 6tli, 1847. 
 
 " I was very agreeably surprised yesterday, after a wet 
 morning's sketching, to find my friend Birch at the inn. He 
 had no engagement with me, but good-naturedly thought I 
 should not be disappointed of all my Birmingham friends. 
 
 "David Cox." 
 
 In the year 1847 Cox painted a sign-board in oil colours 
 for the Royal Oak Inn — the subject. King Charles in the tree 
 at Boscobel, with cavaliers on horseback galloping beneath, 
 and dogs in the distance. An old sign previously existed, 
 which hung up in front of the inn, and Cox mounted up on a 
 ladder to repaint the same in the way described. Whilst he 
 was busily employed in this position, a lady drove up — Mrs. 
 Ashley, an old pupil and acquaintance. Stopping her car- 
 riage, she greeted our artist, much to his astonishment, thus : 
 "Oh, Mr. Cox, is it really you ! I hardly expected to see 
 you here, mounted up so high on the ladder of fame." This 
 sign -board is now carefully varnished, and framed with 
 twisted branches of oak from which the bark has been 
 removed, and hangs on the right-hand side, in the entrance-
 
 BETTWS-Y-COED. 1 69 
 
 hall of the new Royal Oak Hotel. Cox's pallet, which has Chap. xi. 
 been gilded, and brush, are placed over it. It has long been 
 considered too precious for any other position. Two years 
 after the sign was painted it wanted varnishing, and Cox, 
 with his usual kindness, again mounted up on the ladder for 
 this object. 
 
 As the following letter refers to this sign, I think it may 
 interest my readers if I insert it here : — 
 
 To WiLLiAAi Roberts, Esq., Rhyl, N'orth Wales. 
 
 "Greenfield, Harbome, Birmingham, July 15th, 1S49. 
 
 " Pray go to Bettws and sketch, and on Saturday, 
 
 the 28th, or Monday, the 30th, I hope to be with you. I 
 do not yet know whether my son will be able to come down 
 to go into Wales, as he has received summonses to go else- 
 where. I hope to receive a .letter from you to say you are 
 safe, and comfortably seated at the Royal Oak at dear old 
 Bettws ; and remember and look at the sign, as painted by 
 myself I expect now it will want retouching (two years since 
 I painted it). Give my kind remembrances to Mrs. Roberts, 
 and believe me, my dear friend, 
 
 " Very sincerely, 
 
 "David Cox." 
 
 When Cox visited Bettws he used generally to paint a 
 good many pictures out of doors in oil. The privilege of 
 carr}dng his painting traps and easel was one for which there 
 was keen competition amongst the village lads, who coveted 
 this post of honour. He was universally respected and 
 beloved by the poor Welsh people, and many were the little 
 gifts he bestowed on them, the old women being often 
 employed by him in knitting worsted stockings. On one 
 occasion he was out in a field at Bettws, painting in oils, 
 accompanied by an artist. His companion, hearing him 
 throw his pallet down with a dash, and exclaiming, '' It's no
 
 lyo 
 
 LIFE OF DAVID COX. 
 
 Chap. XI. use, I can^ t do it!" hurried to Cox, and found him about to 
 wipe his picture off the canvas. " Mr. Cox!" he exclaimed, 
 "what are you doing?" "Oh," he replied, "I can't 
 manage It at all to my satisfaction, and must wipe out my 
 work." The picture was a very nice one; so after some 
 further remonstrances. Cox said, " Well, I want a tube of 
 Indian yellow, and If you have one to spare, and will give It 
 me In exchange for my picture, you shall have It." As may 
 be supposed, the bargain was soon made. Besides painting 
 the sign of the Royal Oak, Cox presented the landlord 
 with a visitors' book. He walked over one morning by the 
 old road over Pont-y-PaIr Bridge to Llanrwst, and ordered a 
 handsome one, bound in dark leather, and when It arrived he 
 was the first to sign his name and address, with the date July 
 27th, 1846. He also made a water-colour sketch In the book 
 for the sign of the Royal Oak, which he painted next year on 
 panel. This sketch has since been taken out, and Is now 
 pasted inside the cover of a more recent visitors' book. The 
 old book, although rather dilapidated, is still preserved in 
 the Royal Oak, as a relic of the olden times. 
 
 An artist who resided for many years at Plas Myria, near 
 Bettws-y-Coed, where Cox was an annual visitor then, 
 Mr. George P. Popkin, has favoured me with the following 
 reminiscences of David Cox and Bettws In the olden time : — 
 " I first knew David Cox In 1846 or 1847, and from that 
 date till within one or two years of his death, hardly one 
 passed that he did not spend a few weeks at Bettws — always 
 at the Royal Oak except the last two visits ; the last but one 
 he came accompanied by an old housekeeper. But artist-life 
 at the Oak had entered on a new phase ; the old faces were 
 missing ; the house was In new hands ; the snug but seedy 
 old parlour had disappeared ; the * inn ' had become an 
 ' hotel;' the new race of artists were rollicking, and 'knew 
 not Cox.' The old ideas and manners had departed with 
 the old faces, and the failing strength of the old man could
 
 BETTWS-Y-COED. I7I 
 
 not endure the new regime ; so he took lodgings at the farm- chap. xi. 
 house close by the church in the fields where he had so often 
 sketched ; it is in the lane which supplied him with materials 
 for his ' Welsh Funeral,' one of the last and most solemn 
 and impressive of his works. Old David's feeling for Nature 
 was so intense, that the materials he used made no difference. 
 I have seen mere charcoal outlines made by him before com- 
 mencing to colour, which suggested to the mind's eye of any 
 one familiar with his works exactly what the drawing would 
 be when finished. I think I have seen it remarked, by-the- 
 bye, that it is impossible to visit North AVales and not ' see 
 Cox ' in every bit of its scenery. He so entered into the 
 spirit of its character, that Cox and Wales are synonymous 
 terms. And no other artist has ever, or can ever, represent 
 its moods and phases unless he adopts the peculiar style and 
 method he practised, and to do this successfully one must have 
 a considerable degree of talent and boldness in using it. 
 
 " Cox had no preconceived ideas of his own, no master always 
 present in his mind ; Nature was before him, and time was an 
 object. He had none to waste in high and laborious finish ; 
 he must get the effect as quick as he could, and by the 
 readiest and simplest means, and it was thus that he became 
 quite independent of artists' colourmen, and proved the pos- 
 sibility of representing Nature in her every mood without 
 having recourse to the glaring, glittering, dangerous inven- 
 tions so much in use in these days. I do not mean to say 
 that he would not have used any means at hand to produce 
 what he wanted ; but he never relied on them, never went out 
 of his way to obtain them. To the end his colour-box con- 
 tained the same simple list of colours which he had used from 
 the beginning; no Chinese white, no chromes, no aurelian 
 Viridian, et id genus omne. I did not even see cadmium there. 
 I know he had emerald green, for I recollect once seeing him 
 use it for a mossy rock on which he stood at the time (it was 
 down in the ravine called Foss Nowddin, below the Conway
 
 172 LIFE OF DAVID COX. 
 
 Chap. XI. Falls), which rock he had placed in the foreground of his 
 sketch. And here I should observe that he made a great 
 distinction between sketches and drawings. When before 
 Nature he was too ardent and impulsive to consider the 
 means ; he got the nearest tint and texture he could, and as 
 qtcick as he could. ' I don't care what I use,' he said to me, 
 when I expressed surprise at his using emerald green, ' if I 
 can but get the colour I want and see ; it is time enough to 
 think when one is working at home.' I was told by an old 
 friend of his that he worked at home by candle or lamplight 
 till bed-time, seeming happier so. Work was enjoyment to 
 him — he needed no ' rest.' His habits at Bettws were exceed- 
 ingly simple and primitive. In the evening he sat on the 
 sofa in the parlour of the Royal Oak inn, which in those 
 days was an artists' club pur d simple. Here he took his 
 cigar (he smoked no pipe) and his pint of ale, with one or two 
 cronies by his side, willing to listen and willing to teach. 
 There was no racket, no shouting, no fastness or slang; it 
 was an intelligent, rational, pleasant evening's amusement, 
 and I have heard French, German, Hungarian, English, and 
 Welsh flowing on like a polyglot stream at the same time in 
 that same dingy parlour. Then on Sunday morning, as 
 regular as Sunday came, there was Mr. Cox's car to take him 
 and any friend to Llanrwst Church • at that time there was no 
 nearer English service. He was a sincerely religious man, 
 with no show but great earnestness ; in fact, this earnestness 
 was a great feature in his character in all that he did, and so 
 great was his influence, that the most roistering son of the 
 brush that ever ventured from Cockagne never attempted to 
 dispute his dictum. Nevertheless, he was a mild and kind 
 despot, and ruled more by love and esteem than by any other 
 means. The desecration of the Sabbath was the only way of 
 raising his indignation ; he banished his favourite colour-box 
 and brushes totally, and dressed distinctly diff"erent on this 
 day. As for this said colour-box, it contained, as already
 
 BETTWS-Y-COED. 1 73 
 
 Stated, only the usual list of colours. He was well aware that chap. xi. 
 it was not the material that made the artist, neither was it talent 
 only ; nothing but constant and unceasing practice could 
 in his opinion, obtain success. Even when he had reached 
 the highest rank in art he continued to be the most earnest 
 student of Nature ; indeed, I never met a man with a more 
 humble opinion of his own works. I have frequently been 
 out sketching with him, when mere tyros have come up to 
 see him at work, and get some ' wrinkles ' from the good old 
 man, who never showed the least objection to their presence, 
 or testified the slightest approach to jealousy or dislike to 
 having what I have heard artists of half his genius and 
 position term, ' having their brains sucked,' that is, having 
 their secrets or mode of work watched. Dear old Cox had 
 no secrets, he knew well enough that his genius could not be 
 copied, though his manner might. So far from showing dis- 
 like to their presence, I have often heard him say over his 
 shoulder, ' If you see anything wrong I wish you would tell 
 me ; ' and if one said they had come to learn and not to feack, 
 
 he would say, * Ah, Mr. , it is a difficult business, a 
 
 difficult business ; one has never done learning at it. After 
 all the years I have been working I only know very little.' 
 On one occasion I asked him if he would allow me to become 
 his regular pupil. He replied that he had given up teaching, 
 but that I was heartily welcome to see him work and ask any 
 questions which occurred to me, saying at the same time, 
 ' But really you do not want lessons ; all you require now is 
 practice, practice, practice, and that you will require, as we 
 all do, to the end of our lives.' At another time he called at 
 my house with an old acquaintance. Dr. Kittermaster, and 
 said, ' Popkin, you asked me about lessons the other day ; 
 here is Dr. Kittermaster has just asked me the same thing. 
 If you like I will come in and show you both at the same 
 time how I always sketch.' Of course we were delighted, 
 and in two minutes we were settled at the table. The process
 
 174 LIFE OF DAVID COX. 
 
 Chap. XI. was Simple in the extreme. He worked with a large swan 
 quill brush, and slopped his colours with water (he used the 
 old-fashioned hard cake colours, but of extra size, in the 
 usual japanned tin sketching box). He was jealous of 
 wearing his brush, and if any colour was obstinate from 
 having been baked in the sun, he rubbed it with his finger. 
 His tints were very fluid, but not watery, and he explained 
 that, by working with a full brush, the colours never dried 
 dark^ as they would do if the brush were half dry. I noticed 
 that tints which looked very dark dried quite light. His 
 system was constant repetition of touches till the effect was 
 produced, being very careful that the preceding touches were 
 dry. He seldom washed his tints after laying on, as he liked 
 to see each touch defined, not softened off; he said it gave 
 spirit and character to the sketch. ' But mind,' he said, ' I 
 am only showing you how I sketch. These are three sketches I 
 have just done for you, they are not draivings. I have done the 
 same thing for other people, and they have sold them after- 
 wards as my drawings.' And yet he was not rendered 
 cynical or less kind-hearted by this ungrateful conduct; 
 indeed, he was as simple and trusting in his nature as a 
 child until the end approached, and his powers of sight and 
 memory began to give way. 
 
 '* I have the three little rough examples by me still, and I 
 value them highly. They are quite unfinished, but they 
 recall old times — the days that are gone for ever, and the 
 noble-minded old David Cox. 
 
 " G. P. P." 
 
 Whilst Cox was staying at the Royal Oak, in the autumn, 
 I believe, of 1849, "^ Miss Roberts, some relative of the 
 landlord, died. She was quite young, and the event excited 
 much sorrow in the little community. Cox attended the 
 funeral, which, according to the habits in North Wales, took 
 place in the evening, and the ceremony gave rise to his
 
 BETTVVS-Y-COED. 175 
 
 impressive and celebrated drawing of " The Welsh Funeral," Chap. xi. 
 now in the possession of Mr. F. Craven, and of which I give 
 a copy, photographed from the original, in this book. 
 
 It has been remarked that Cox was always a very regular 
 attendant at church, and, although no bigot, as mentioned 
 by ]Mr. Popkin, he had a strong feeling that it was right 
 "to keep holy the sabbath-day;" he also desired to pay 
 respect to all religious observances, as well as to the clergy 
 themselves. Some gay young artists, who had come down 
 to stay at the Royal Oak in the summer of 1849, or 1850, in 
 the exuberance of their spirits, had amused themselves with 
 painting some caricatures on the walls under the Lych-gate 
 porch, such as the parson thundering from his pulpit in an 
 undignified attitude, the clerk fast asleep below, &c., &c. 
 This much offended Cox's sense of propriety and decorum, 
 so one evening soon afterwards, just at the close of the day, 
 he called for a Ian thorn, and said, " I am going off to Bettws 
 Church to-night." A young friend, Mr. Edwin Butler, jun., 
 who was present, said, " What for, Mr. Cox? " " Oh!" he 
 replied, " I am going to wash off all those unseemly drawings." 
 The young man volunteered to accompany him, and presently 
 they sallied forth in the dark, one carrying a lanthorn and the 
 other a large basin of water. Cox worked away in his usual 
 energetic style until he had removed the whole of the offend- 
 ing sketches which had been the cause of his nocturnal expe- 
 dition. Many a worse subject might be chosen for a picture 
 than this earnest and venerable old man, with his youthful 
 companion, approaching the church porch, bent on their 
 pious mission, and the fine old yew-tree spreading round 
 them. I am informed, in reference to the above incident, 
 that Dr. Eagles was the clergyman who used to officiate at 
 Bettws Church occasionally, reading the service in English ; 
 but he generally gave rather long sermons, which were not 
 always liked by his audience. As the following two letters 
 addressed to Mr. Roberts, who was then at Rhyl, and dated
 
 176 LIFE OF DAVID COX. 
 
 Chap. XL 6th and 1 2th July, 1849, ^fer to journeys to Bettws, I think 
 they will not be out of place if inserted here : — 
 
 " Greenfield, Harborne, July 6th, 1849. 
 
 *' My dear friend Roberts, Rhyl, North Wales, — Many 
 
 thanks for your kindness in writing to me so soon. I was 
 
 also pleased to learn you were not altogether disappointed 
 
 with the place, and that provisions, &c., were to be had 
 
 reasonably cheap. Write again as soon as you get to 
 
 Bettws, and tell me all the news. You tell me the climate is 
 
 like Naples. How much I started with a desire to join you, 
 
 and to receive a little benefit from the pure air of the sea 
 
 and the mountains of Bettws; for I cannot help thinking 
 
 that the smell of the oil paints has disagreed with me ; and, 
 
 as the time for sending my picture draws near, I am the 
 
 more anxious, which makes me nervous, and then the work 
 
 does not go on well. If you go to Bettws you may, if you 
 
 please, ask Mary to let me have a bed in the house. I expect 
 
 my son and Mr. Hall will accompany me, but I cannot at all 
 
 see my way until the 20th, or thereabouts. I have not seen 
 
 Mr. Bullock since you left, but I suppose, from what he said 
 
 on Monday evening, he will join you next week. I have not 
 
 seen Mr. B. ; indeed, he went to London last morning. I 
 
 received a letter from my friend, Mr. Barber, who wishes me 
 
 to join him in Wales (Bala), as he starts to-morrow, 
 
 (Saturday). When I go I shall most likely stop at Abergele 
 
 for a night, or perhaps go on at once. I must be guided 
 
 in part Ijy my companions. I hope at all events we shall 
 
 meet, and believe me, 
 
 " Very truly, 
 
 "David Cox." 
 
 " Greenfield, Harborne, Birmingham, July 12th, 1849. 
 
 " My dear friend Roberts, — I am glad you are about 
 to visit dear old Bettws, and only wish I could be there with
 
 BETTWS-Y-COED. I 77 
 
 you, but I may probably yet get my painting-s tinished and Chap. xl 
 be able to start in about a fortnight, or about the 28th or 
 30th, but I fear not before. My old friend Barber, of 
 Liverpool, is at Bettws, with two of his daughters, and a 
 brother of Mr. Pritt's, our curate. They write in great 
 spirits, and are delighted with the neighbourhood, and glad 
 they have made the change from Bala, where they all first 
 went to. I have not seen Mr. Bullock since you left, and 
 therefore I suppose he is with you. My son is coming to see 
 me next week, and will very likely accompany me into 
 Wales. At all events Mr. Hall will be ready to accompany 
 me by the end of this month, and he will have his pupil with 
 him (a son of Mr. Butler's). They are to come to my house 
 to-morrow evening, to make further arrangements. I have 
 nearly finished my picture for the Birmingham Exhibition, 
 and have got on very well with one ( ' Kit Cat ' ) for 
 Liverpool. I do not like working to a fixed time. I think 
 in all probability Mr. Ellis will join me in Wales about the 
 second week in August, but of this I shall hear more. If you 
 should go to Bettws, please mention to Miss Roberts of the 
 time of my intended visit, and also of that of Mr. Hall, &c. 
 Please give my sincere regards to Mrs. Roberts, and love to 
 the young ladies, in which my sister begs to join, and 
 believe me, sincerely, 
 
 "David Cox." 
 
 In 1850 Mr. Hall, Mr. Coleman, and other friends, stayed 
 with Cox at the Royal Oak for several weeks in August and 
 September. It proved unfortunately an exceedingly wet 
 autumn, and the greater part of this visit had to be spent 
 indoors, much to the mortification of the artists, who could 
 only snatch occasional sketches between the continual storms 
 of rain and wind. In spite of the weather, however. Cox 
 continued this year to make some of his most effective and 
 grand drawings in the neighbourhood of Bettws, among 
 
 N
 
 178 LIFE OF DAVID COX. 
 
 Chap. XI. which the following may be especially noticed : — "Rocky 
 Scene near Capel Curig," "Vale of Dolwyddelan," "Beaver 
 Grove, Bettws," " Moel Siabod, near Capel-Curig." 
 
 After a serious illness, which at one time threatened David 
 Cox's life, and to which I shall refer more at length in 
 another chapter, he only made a few more journeys to 
 Bettws, the last being in the year 1856. On these latter 
 occasions he was always accompanied by his housekeeper, 
 Ann Fowler, and by an attendant, George Priest, a picture- 
 mounter and manufacturer of frames, stretchers, &c., who 
 lived at Birmingham, and for whom Cox felt a good deal of 
 friendship — as appears, moreover, by some notes preserved 
 by his widow. Mr. Priest knew Cox's ways, and was able to 
 do much for his comfort on these journeys, for although age 
 and infirmity were then fast overtaking the venerable artist, 
 his heart was still in his work, and his love for the scenery of 
 North Wales was unabated. 
 
 In 1852, 1853, 1854, 1855, and 1856, Cox put up at the 
 farmhouse belonging to the landlord of the Royal Oak, 
 situated in the lane leading to the church, and about a 
 hundred yards from the inn. In 1852 he was accompanied 
 by his grand-daughter as well as by Mrs. Fowler. They 
 stayed at the farm, but used to walk across to the Royal Oak 
 for meals. Dr. James Kittermaster, a physician who was 
 very fond of sketching, was at Bettws at the same time, and 
 used to be a good deal with his friend, David Cox. Miss 
 Cox describes her grandfather on this occasion as usually 
 walking only a little way along the road, and making sketches 
 or studies of the valley and hills of Bettws, near the river, 
 and of effects of light and shade, without going many paces 
 away from home. One day they all went in a car as far as 
 Llanberris and back. Cox made the car stop twice on the 
 road on this occasion, to take rapid sketches. 
 
 He used to get up at eight to breakfast, and if fine he 
 would go out sketching till dinner, at one o'clock. After
 
 BETTWS-Y-COED. 1 79 
 
 dinner, a good rest and a nap, followed by an early cup of Chap. xi. 
 tea, quite refreshed him, and he would then sally out again 
 to see and take notes of the evening effects, and especially 
 the sunsets, which he never liked to miss. At eight, or 
 sooner, he returned home to a light supper, and then to bed, 
 about nine o'clock. 
 
 In 1853, at the end of August, Cox was sufficiently reco- 
 vered from his illness, which occurred on the 12th of June, 
 to undertake a journey to Bettws. He went there this time 
 accompanied by another grand-daughter, and also by Mrs. 
 Fowler, and for the first time by Priest. Again, in 1854, he 
 left Harborne on the 4th of August with his son, Mr. Ellis, 
 and Mrs. Fowler. They went to Rhyl, Abergele, and on to 
 Pentrefoilas, and afterwards to Capel Curig, not very far 
 from Bettws. They were away some weeks on this trip, and 
 Cox, although feeble, was able to go on with his work as 
 usual. Later in the autumn Cox felt rather restless, regret- 
 ting that he had not been to stay at dear old Bettws, so he 
 made a second journey into Wales, accompanied only by 
 Mrs. Fowler and Priest, and put up as usual at the farm- 
 house belonging to the Royal Oak. This time he had all his 
 meals sent across to the farm, instead of taking them at the 
 inn, as the bustle there was now too much for him. This was 
 also the arrangement in the autumns of 1855 and 1856, when 
 he went to Bettws for the last time. Just before leaving 
 Bettws, in 1855, he painted an interesting oil-picture out of 
 doors of the rocks and hills behind the Royal Oak, with a 
 rocky foreground, much heather, and a little bit of blue 
 distance. The day was very fine, and the effect excellent. 
 When Cox had finished he turned to Priest, and said that that 
 was his last picture of Bettws that he should paint from 
 nature. He felt that the journey was becoming too fatiguing 
 for him, and he was doubtful if he should be able to come 
 again. Early in September, 1856, however, he again arrived 
 at Bettws, accompanied by Mrs. Fowler and Priest. 
 
 N 2
 
 l8o LIFE OF DAVID COX. 
 
 Chap. XI. On the I ith September he writes to his son : — 
 
 "I must tell you how glad I am to be at old Bettws-y-Coed, 
 but I cannot paint out of doors ; but I walk a small distance, 
 and talk to some of the old travellers. I hope you are still 
 pleased with your drawings. I am going out with a car for 
 a ride, so must finish a short letter. Love and affection to 
 my dear children, and I remain 
 
 " Your old, 
 
 "David Cox." 
 
 The ride in the car was to Capel Curig, to see Dr. Kitter- 
 master and Mr. and Mrs. Collingwood Smith, who wanted 
 also to come to Bettws, but could not get accommodated. 
 
 Cox's old friend, Mr. Roberts, was staying at Bettws at 
 this time, and also Sir Charles Eastlake. Cox lodged as 
 usual at the old farmhouse near the Royal Oak, and every- 
 one was delighted to see him there again. Mr. Coleman, 
 who was also at Bettws, used to call to take little walks, and 
 although Cox found he could not make sketches from nature, 
 he appears to have enjoyed himself very much indeed. He 
 said that being at Bettws had done him "so much good." A 
 day or two before he left he wrote : "I and Ann (Mrs. 
 Fowler) are better than when we left Harborne, and we like 
 the air so well." Fortunately, the weather was unusually 
 fine. Just before leaving this year, he again signed his 
 name in the visitors' -book at the Royal Oak — " David Cox, 
 September 22, 1856." 
 
 This was the last time, for he never came to " dear old 
 Bettws " again.
 
 XII. 
 
 PAINTING IN OIL-COLOURS. 
 
 ' S an introduction to the account I am shortly intend- chap. xii. 
 ing to give of the most important works in oil painted 
 ^ by David Cox, after he came to reside at Harborne, 
 and of the prices obtained for these pictures during 
 the last few years, I propose to relate in the present chapter 
 some particulars of his progress and method in oil-painting. 
 I shall briefly notice, also, the subjects selected, and the 
 names of the original purchasers of these works. 
 
 There are oil-pictures painted by Cox as far back as 1812, 
 and others dated in 1830 ; but it was between the years 1842 
 and 1857 that the best pictures were produced. 
 
 Before the first of these dates the handling was somewhat 
 timid, hard, and dry, and they were painted at longer in- 
 tervals. After 1845, he displayed a more thorough grasp and 
 knowledge of the material, and as years went on his power 
 and ease in the production of the desired effects greatly 
 increased. Without doubt his best period was from 1845 to 
 1856. I believe he never painted anything finer than his 
 large and grand picture of Bettws Church, now in Mr. 
 A. Levy's collection, and which bears the date of 1856. 
 
 It is, I think, deserving of a passing remark, that before 
 the first of these dates Cox had entered on his sixty-second 
 year. How few men, even at a less advanced period of life, 
 would have thrown themselves, with the enthusiasm and 
 ardour of this veteran, into a comparatively new branch of
 
 1 82 LIFE OF DAVID COX. 
 
 Chap. XII. art ! Cox had removed to Birmingham with the fixed deter- 
 mination of following up the pursuit of oil-painting, and it 
 was among his friends there that he found purchasers for 
 most of his early works. How little his fame as an oil- 
 painter had spread, or become known at a distance, even 
 many years later, is proved by the fact that there was not 
 a single example of David Cox's work in oil in the Man- 
 chester Art- Treasures Exhibition of 1857, nor in the Great 
 International Exhibition of 1862, and only one small one 
 in the Leeds National Fine- Arts Exhibition of 1868, although 
 all these exhibitions professed to contain the works of all our 
 best modern landscape-painters in oil. They all, however, 
 comprised a collection of some of his choicest works in 
 water-colours. For several years after Cox took up his resi- 
 dence at Harborne, he devoted his time and thoughts much 
 more to oil-painting than he did to water-colours, and his 
 full energies were concentrated on that, to him, comparatively 
 new branch of art. He loved oil-painting so heartily that it 
 appeared to give him new life and spirit ; and considering 
 this, we shall perhaps wonder less at the extraordinary pro- 
 gress he made in knowledge of the material, and in the 
 handling. By comparing the pictures painted by him in 
 successive years, this progress is very apparent, and easily 
 recognised. 
 
 Those friends who had helped to persuade Cox to remove 
 to Birmingham — Mr. W. Roberts, Mr. E. Bullock, and Mr. 
 C. Birch — were amongst the first to give commissions to him. 
 They were soon followed by other gentlemen in the same 
 neighbourhood — Mr. Darby, Mr. W. Tarratt, Mr. George 
 Briscoe, Mr. Marshall Carritt, and a few local dealers. They 
 purchased the pictures generally direct from the easel, but 
 at very low prices, as will be hereafter related. 
 
 It is a fact that many canvases and panels in the studio at 
 Greenfield House were marked on the back with the initials 
 of the would-be purchaser of the picture not yet painted, so
 
 PAINTING IN OIL-COLOURS. 1 83 
 
 eager were some of these collectors to secure more of these Chap. xii. 
 simple yet charming transcripts of nature. Mr. William 
 Holmes relates that in a large cupboard under the staircase 
 leading to the studio many of these oil-pictures were depo- 
 sited, and there he used to select out whatever he fancied 
 would sell at the prices then current. Of the original col- 
 lections referred to, that of Mr. Birch was sold by auction 
 in 1857, Mr. Briscoe's in i860, Mr. Roberts's in 1867, Mr. 
 Bullock's in 1870, and Mr. Darby's some years earlier, but 
 by private treaty. Of those who made collections at second 
 hand, I may mention Messrs. J. Gillott, W. H. Dawes, J. 
 Bagnall, F. Timmins, H. Fletcher, S. Mayou, P. Allen 
 Sydney Cartwright, T. M. Whitehouse, T. Page, &c. 
 Recently many of the finest of these works have passed into 
 the collections of the Messrs. Nettlefold, De Murietta, 
 A. Levy, F. Huth, and others, at continually advancing 
 prices. Mr. David Cox, jun., possesses many works in oil 
 of the highest excellence by his father, which were bequeathed 
 to him. 
 
 The prices which Cox himself received for oil-pictures 
 varied from ^5 and upwards to about £$0, reaching in one 
 case ^95, and in one only ^100 — the highest ever paid to 
 him for one of his works. It is a trite, though true remark, 
 that the public are often too slow to appreciate true genius 
 in an artist during his lifetime. As with Cox, so also 
 with Miiller, their great merits, alas ! were only fully recog- 
 nised after they were gone. 
 
 Cox felt that his handling in his oil-painting was not quite 
 equal to that in water-colours. Without doubt for several years 
 there was a certain hardness and stiffness which he afterwards 
 corrected, and he used to say that he did not fully understand all 
 the technical resources of the art, such as scumbling, glazing, 
 and hatching, as well as some oil-painters did. So he did not 
 like people to go very close to examine what he had just 
 painted; on such occasions he would say, "Well, what do
 
 184 LIFE OF DAVID COX. 
 
 Chap. XI r. you see amiss ? You must understand I am no i^reat hand 
 at oil-painting ; it is not the work I have been used to." He 
 never used a maulstick when at work, but preferred to rest 
 his right hand on his left in those parts that required great 
 accuracy of outline. Cox was a great admirer of Miiller's, 
 Linnell's, and Constable's landscapes, and also of some of 
 the works of Gainsborough. I think no apology will be 
 deemed necessary for quoting the following observations on 
 Gainsborough by Sir Joshua Reynolds, as they are so truly 
 applicable to Cox also : — 
 
 " We can hardly refuse acknowledging the full effect of 
 diligence under the appearance of chance and hasty negli- 
 gence. However they appear to superficial observers, 
 painters know very well that a steady attention to the 
 general effect takes up more time and is more laborious to 
 the mind than any mode of high finish or smoothness without 
 much attention. Whatever he attempted he carried to a 
 high degree of excellence. His handling, the manner of 
 leaving the colour, or, in other words, the method he used for 
 producing the effect, have very much the appearance of the 
 work of an artist who had never learned from others the 
 usual and regular practice belonging to the art, but still, like 
 a man of strong intuitive perception of what was required, 
 he found out a way of his own to accomplish his purpose." 
 
 Cox's oil-pictures have stood well ; they were generally 
 painted rapidly, as Miiller used to paint his, producing the 
 local colour and effect as far as possible at once, instead of 
 going over the same ground many times. The mediums he 
 relied on were very simple, chiefly linseed-oil, turpentine, and 
 gum copal, and occasionally plaster of Paris. The following 
 extract from a letter written to his son — to whom he was 
 recommending a trial of oil-painting — will be interesting to 
 many, and may be introduced here with advantage, I believe, 
 as showing Cox's method, and the colours he used in oil- 
 painting. It is dated from Harborne, December 21st, 
 1845:—
 
 PAINTING IN OIL-COLOURS. 1 85 
 
 " In your dark you will use the transparent colours, and if Chap. xii. 
 you were to procure a pot of some fine powder of plaster of 
 Paris to mix with the transparent colours, it assists to give 
 them a substance without making them look opaque. In 
 your greens or half lights also use a little of the plaster of 
 Paris, and so on, till you come to the high lights, when you 
 may use Naples yellow, lemon yellow, and also yellow ochre. 
 White, I think, must be cautiously used, only in such 
 sparkling touches as Constable did ; but there are occasions 
 where white must be used, in very pale greens, upon dock 
 leaves, &c., &c., but in a little time you will discover all the 
 properties and uses of each colour. I find that by using the 
 same colour, or nearly the same, for oil as in water, for 
 instance, light red and cobalt for extreme distances, and 
 so on towards the middle distance, where I should begin with 
 a light Prussian blue and light red, and in the nearer part 
 Prussian blue and burnt sienna and a light red, all three 
 together, and in the foreground bitumen and Prussian blue. 
 The second green or half lights with Prussian blue, light red, 
 and yellow ochre, and vary it with raw sienna ; the high lights 
 with an addition of lemon yellow and Naples yellow, but you 
 will find terra vert and ivory^ black, or terra vert and raw 
 umber very good. Terra vert is a most useful colour, 
 
 " Do not use Indian red in your greens ; as I said before, 
 use light red, and work in the compounding of your tints in 
 a very similar way to what you would in water-colour painting. 
 There are perhaps many other observations which I may 
 think of in some future letter, but I cannot use the chrome 
 yellows without a great risk of throwing everything out of 
 harmony. I therefore use it very sparingly, and sometimes 
 not at all." 
 
 The colour of Cox's oil-pictures resembles his water- 
 colours in many respects ; they are equal to them in 
 brilliancy and truth of tone. What they lose in tenderness 
 and atmosphere they gain in power. There is not quite the
 
 1 86 
 
 LIFE OF DAVID COX. 
 
 chap^il same ease and freedom of handling in all of them as in most 
 of his water-colours, but after a careful examination of many 
 of his finest works of his best period in oil, I am led to the 
 conclusion that they lose little or nothing In this respect in 
 comparison with his best water-colours, and they have un- 
 doubtedly the advantage of greater durability. The colour 
 also of his oils is very agreeable ; they abound in cool greens 
 and silver greys, and are never foxy. Bitumen, although 
 named in his letter to his son, is a colour which he used very 
 sparingly, especially In his best works. It is to be remem- 
 bered that when Cox took up oil-painting he had arrived at 
 the maturity of his art-knowledge and power of handling in 
 water-colours, having had forty years' practice as an artist — 
 indefatigable practice, I may truly say ; but his feeling for 
 nature and his broad and Impulsive method of treatment con- 
 tinued to advance for many years. 
 
 After Cox had got over the early difficulties and had begun 
 to feel his strength In the new material, he appears to have 
 derived more pleasure from working In oil than In water- 
 colour. On the 2nd April, 1843, he addressed a letter from 
 Harborne to his son, in which, after advising him to try 
 painting In oil from nature, he goes on to say : — 
 
 "There Is not half the trouble with oil as with water- 
 colours. I should never again touch water-colours only for 
 my honour and duty to the society I belong to. I have had 
 more plague with two of my large drawings this year than I 
 should with twenty in oil. 
 
 " In oil you may make alterations, but in water-colours you 
 are subject to spots in the paper, and If you alter, the paper 
 becomes so rough that you lose all atmosphere. Small 
 drawings may be made very well In water. Give me oil. I 
 only wish I had begun earlier In life; the pleasure in painting 
 in oil is so very satisfactory. 
 
 " David Cox."
 
 PAINTING IN OIL-COLOURS. 1 87 
 
 In 1843 and the two following years especially, he painted Chap. xn. 
 a good deal from nature in oil. These were almost always 
 on small canvases, but by degrees he increased the size of 
 his works until in 1846 he produced his first very large 
 picture, " The Vale of Clw^d," 3 ft. 3 in. by 4 ft. 8 in. The 
 approach of winter hardly interfered at all with his work, as 
 he painted a great deal by lamplight, and his long experi- 
 ence generally enabled him to avoid mistakes in the colour. 
 He used always to like to finish his pictures by daylight, but 
 with respect to the effect, he has repeatedly said that he could 
 manage that and the light and shade quite as well or better 
 by artificial light than he could in the daytime. 
 
 The subject which Cox chose for his oil-pictures were 
 almost always those which he had previously painted succes- 
 fully in water-colour, and by which he felt his sympathies had 
 been most deeply moved. In looking through the catalogues 
 of the Water Colour Exhibition after 1841, the date when he 
 came to reside at Harborne, I generally find that several of his 
 most representative drawings of one year were chosen the next 
 for works to be painted in oil. Thus views at Bettws such as 
 "The Rocks behind the Royal Oak," "The Old Mill, 
 Bettws," "Bettws Church," "Peat Gatherers Returning," 
 "Besom Gatherers," "Cutting Vetches," "Calais Pier," 
 "Asking the Way," and " A Hayfield," were very favourite 
 subjects in oil, some of them being painted many times 
 over; but his most representative works were "Changing 
 the Pasture," "The Vale of Clwyd," "The Skirts of 
 the Forest," " The Welsh Funeral," " The Big Meadow, 
 Bettws," and above all, "Going to the Hayfield." His 
 friends all wanted a copy of these pictures, and no one who 
 has ever seen them will wonder at this. It is, however, 
 deserving of remark that in no case is there an exact replica. 
 He always varied the " incidents," grouping the figures in a 
 different way each time, and also making some change in the 
 sky, the trees, or the foreground. One of his best works,
 
 1 88 LIFE OF DAVID COX. 
 
 Chap. XII. ''The Skylark," was, however, only once painted in oil. 
 Most of these pictures are painted in a free, vigorous, and 
 rather loose manner, and require to be looked at from a 
 certain distance to obtain the best point of view and the 
 most complete effect. Some are painted on the back or 
 reverse side of the canvas, as by this method Cox considered 
 a more loose and free effect was obtained. 
 
 There is, I think, as much or more simplicity and unity in 
 the late oil-pictures painted by Cox as in those of an earlier 
 date. In the middle period I find more richness and fulness, 
 and in the latest more solemnity and sacrifice of accessories 
 to the one leading idea. In other words, he concentrated his 
 powers as years advanced, being more entirely penetrated 
 with the true meaning and life of the subject he sought to 
 represent. This was what he termed painting with the mind. 
 I could apply these remarks equally to his water-colours, 
 which are often nearly identical in subject. 
 
 In concluding these observations I must add that in nearly 
 all Cox's pictures we can recognise the same truth, the 
 same love for simple, rural life, devoid of all false sentiment 
 and exaggeration, and the same quick and discriminating 
 appreciation of natural scenery. In the earlier, as in the 
 latest works, there is much of the same power of seizing on 
 the most salient and interesting points in a subject, and then 
 dashing them with apparently little effort on to his canvas. 
 He forgot himself in his work, and such was his ardour that 
 I fear he often injured his health by over-exertion, especially 
 when painting large pictures. I must not, however, any 
 longer delay giving the promised account of the works 
 themselves.
 
 '^:
 
 XIII. 
 OIL-PICTURES. 
 
 <^^^^ HIS chapter will contain an account of Cox's most chap.xiii. 
 T^ celebrated works in oil, and the prices at which 
 they have been sold. As many have no dates 
 attached, and others are replicas, I shall not attempt 
 to follow an exact chronological order, but I will first take 
 some of the best-known pictures, and then touch on a few of 
 the original collections, giving all the dates and the sizes, as 
 far as I have been able to ascertain them. 
 
 The Vale of Clwyd. 1846. 3 ft. 3 in. by 4 ft. 8 in. 
 
 The spot chosen for the subject of this picture is near 
 St. Asaph, about half way between Rhyl and Denbigh. It is 
 solidly painted and very effective. A grand group of oaks 
 on the right shelters some figures journeying along the road. 
 On the left a yellow harvest-field with woods and distant 
 hills beyond. The sky is full of light breezy clouds, and 
 shadows alternate with sparkling lights on the distant hills 
 and mountains. The handling is rather less free than in many 
 of his later works. Not being ready for the Birmingham 
 Exhibition, for which it was intended, Cox sent it to 
 Liverpool, July 17th, 1846, catalogue price eighty guineas, 
 and it was returned unsold in March, 1847. This is from a 
 memorandum in his own handwriting. 
 
 Not having obtained any satisfactory offer after a few 
 months, he parted with it to a Mr. Nixon, in exchange for a
 
 I go LIFE OF DAVID COX. 
 
 Chap. XIII. large, but unfinished painting by W. S. Miiller, very fine in 
 colour : the subject represented was a salmon trap, with 
 rocks, trees, and a water-mill, which used to hang in the 
 parlour of Greenfield House. This "Vale of Clwyd" was 
 sold by Mr. Nixon for /70 ; it changed hands once or twice 
 before Mr. Holmes purchased it in 1868 for /480. Mr. 
 Sharp then purchased it for /580, and for many years it 
 hung in his house at Handsworth. Early in 1872 Mr. 
 McClean gave /2,ooo for this picture, and resold it for 
 /2,200 to Mr. de Murietta. The two " Vales of Clwyd," 
 and the " Collecting the Flocks," from the late Mr. Bullock's 
 collection, are the only ones of this large size, 3 ft. 3 in. by 
 4 ft. 8 in., ever, I believe, painted by Cox. 
 
 Vale of Clwyd. 1848. 3 ft. 3 in. by 4 ft. 8 in. 
 Painted for Mr. George Briscoe, who paid Cox ^95 for it. 
 In many respects it is like the one described above, but the 
 trees have more vigour, and rooks are wheeling round about 
 them, which adds to the windy effect. It has more play of 
 light and shade, the texture is rougher, and there is rather 
 more freedom in the handling. The colour also is brilliant 
 and powerful. At Mr. Briscoe's sale, May, i860, Mr. 
 Frederick Timmins bought it for /250 ; it was sold in 1872 
 for ^2,500, making with two small works, estimated at 
 /i,500, the sum of /4,ooo. Mr. de Murietta has this 
 picture also, I am informed. It is one of Cox's finest works 
 in oil. 
 
 Peace and War. 1846. i8iby 24 in. A harvest-field, 
 and troops marching towards the town of Lancaster. 
 
 This celebrated picture has great richness of colour and 
 more finish than some of his later works ; it has an excellently 
 arranged foreground, and is full of subject and interest. 
 The chromatic effect, light and shade, composition, and 
 general feeling, are very pleasing and truthful.
 
 OIL-PICTURES. 191 
 
 It was originally made a present of to a friend of the Chap.xiii. 
 artist's, a clergyman, at Bromyard. This gentleman, being 
 subsequently in want of funds, asked Cox " if lie zuould mind 
 his selling it.'' Cox offered at once to buy it himself, which 
 he did for ^20 ; and he shortly resold it for the same sum to 
 Mr. Darby. 
 
 Mr. W. H. Dawes purchased it from Mr. Darby for ^25. 
 Some years after this, it passed to Mr. Gillott, with another 
 picture, " A Pass in Wales," for/650. 
 
 At the sale of Mr. Gillott's collection, in 1872, the "Peace 
 and War " went for the large sum of ^3,601 10^. Mr. 
 Agnew eagerly competed for it on behalf of a client of 
 his, but it was ultimately knocked down to Mr. Gillott's 
 son. 
 
 Counting the Flock. 1847. 24 by 36 in. 
 
 For all the qualities that go to make up a complete work 
 of art this is perhaps unsurpassed by anything Cox ever 
 painted. A shepherd stands by an open gate through which 
 a numerous flock of sheep, full of movement, appear to have 
 just passed, and are wending their way down a sloping 
 hollow, with a range of low hills beyond. The road is rough 
 and broken in the foreground ; greenish greys prevail in the 
 landscape, and the pure silvery tones of the sky are very 
 charming. This, and the companion picture of the same 
 size and date, viz., "Haymaking," which is also beautiful 
 and full of atmosphere and summer sunshine, were purchased 
 direct from Cox for ^^28 each by Mr. Thomas Darby. Mr. 
 W. H. Dawes purchased them from Mr. Darby, in 1858, for 
 ^250, and he also purchased from him at the same time 
 several smaller ones at very low prices compared with their 
 present value, of which he sold five, together with the 
 "Counting the Flock," and "Haymaking," in 1871, to 
 Mr. Agnew for 4,000 guineas.
 
 192 LIFE OF DAVID COX. 
 
 Chap. XIII. The subjects of the other small pictures, which are all very 
 pleasing and quiet, and which Mr. Darby bought direct from 
 Cox's easel, at prices varying from/ 10 to/ 14, were : — 
 
 Asking the Way. 1848. 20 by 30 in. 
 • The Ferry on the Wye. 1848. 20 by 30 in. 
 Returning from Labour. 14 by 18 in. 
 Going to Plough, Morning. 14 by 18 in. 
 Harlech Castle, an upright, and several others. 
 
 The Salmon Trap. 1850. 18 by 24 in. 
 
 This fine picture, which was painted for the late Mr. 
 George Briscoe, is remarkable for its grand and solemn 
 truth. The subject is twilight, according to Cox's own 
 description on the back, or early morning. The scene is near 
 Moel Siabod, North Wales ; mountains are seen on all sides, 
 with a deep ravine running into the heart of the range, and a 
 broad stream in the foreground. The water in the salmon 
 pool is still, and reflects a large tree and dark mountains ; it 
 flows thence under foliage into the salmon trap, from which 
 it rushes surging over a rocky bed. The contrast of the 
 half daylight with the tumult of the mountain stream is finely 
 given. Two figures appear to be quietly searching the trap 
 for fish, one having placed a basket on the stones close by. 
 In the middle distance some cows are at rest, and a few- 
 scattered sheep are dimly seen feeding on the mountain side. 
 The rays from the sun about to rise are thrown on to the 
 Western mountains, and this light is again reflected in a few 
 streaks on the water. Some fine bluish, purple, and orange 
 clouds, just above the mountain tops, appear as if rolling 
 away before the influence of the coming day. The whole 
 conception is full of a fine poetical feeling and the treatment 
 admirable. Mr. Briscoe paid Cox / 14 for this picture as 
 .soon as it was finished, in 1850. At the sale of this gentle- 
 man's collection at Christie's, in May, i860, it sold for
 
 OIL-PICTURES. 193 
 
 47 guineas, and for many years it adorned the collection chap. xiii. 
 of Mr. T. M. Whitehouse. In 1871 it was sold with one or 
 two others, and produced the sum of ^400. It is now the 
 property of Mr. de Murietta, who paid ^500 for it, I believe. 
 Its present value is undoubtedly much higher. 
 
 Solitude. 1850. About 24 by 36 in. 
 
 A rather gloomy but very impressive picture of a wild rocky 
 glen, with large boulders in the foreground and two herons ; 
 some leafless trees hang across the centre, and in the distance 
 is part of a dark mountain gorge. The subject and treat- 
 ment somewhat resemble Salvator Rosa, and the colouring 
 is quite as powerful as that of Velasquez. It was commenced 
 a year or two before Cox's attack of illness, and never quite 
 finished till afterwards. The late Mr. Reeves, of Birming- 
 ham, was the original purchaser of this work, and at his sale 
 in 1865 it passed for 80 guineas into the hands of Mr. T. M. 
 Whitehouse, who lent it to the Wolverhampton Fine-Arts 
 Exhibition in 1869. It has lately been purchased by Mr. A. 
 Levy, in whose collection it now is. 
 
 Washing Day. 1843. 18 by 25 in. 
 
 Painted originally for Mr. Froggett, an old pupil of Cox's, 
 who paid ^15 for it. A year or two afterwards Mr. Carritt 
 bought it for /55. It then passed through Mr. W. Hall's 
 hands to Mr. Gillott, who gave for it 150 guineas ; at his sale 
 in 1872 it produced the sum of/945. This picture repre- 
 sents two women at a pool of water ; a cottage with clothes 
 hanging out to dry, and flapping in the wind. Trees, with a 
 bit of distance, and a fresh, breezy sky complete the subject. 
 The colour is admirable, especially that of the foreground. 
 
 The Skylark. 1849. 28 by 36 in. 
 This picture was exhibited in the Birmingham Exhibition.
 
 194 LIFE OF DAVID COX. 
 
 Chap. XIII. It is of the highest quality ; the light and shade are admirably 
 arranged and very broad. It is one of those subjects where 
 the artist has concentrated all his thoughts and power on an 
 idea which is so thoroughly realised that the spectator feels 
 carried into the scene itself. The foreground consists of a 
 luxuriant growth of leaf plants and grass, with a path leading 
 to a stile, near Harborne. On the left is a group of fine 
 trees growing out of the hedgerow, and these are again sup- 
 ported by some bushy trees farther off. On and round about 
 the stile are five country children in various attitudes, eagerly 
 looking up at a skylark seen far above in the air. The 
 uppermost of the group is a little child extending both its 
 arms towards the lark ; she is upheld on the topmost rail by 
 an elder girl, whilst another, seated on the grass, leans over 
 on her hand in an attitude of perfect ease and enjoyment. 
 Some broken rails and bushes complete the line across the 
 picture. Beyond is a meadow of long grass, in which cows 
 are quietly feeding here and there, but so disposed as to 
 carry the eye towards the far distance. The sky is unusually 
 tender and full of space, and so is the distant landscape 
 which stretches far away and melts into the sky at the horizon. 
 The feeling conveyed is that of early summer, with perfect 
 repose and enjoyment of out-door country life. 
 
 This picture was, unfortunately, never repeated by Cox. 
 It was originally purchased by Mr. Butler, of High Street, 
 Birmingham, from Cox for ^40, and resold by him to 
 Mr. MacCarthy for ^^125. This gentleman is said to have 
 repented of his bargain, so Mr. Butler took it back and then 
 sold it for £i^Q to Mr. Thomas Darby. He exchanged it 
 for some other pictures with Mr. Holmes, who parted with it 
 in August, 1859, to Mr. Mayou for /50, and some water- 
 colour drawings valued at / 100. It remained in Mr. Mayou's 
 collection till 1872, when Mr. Nettlefold purchased it for 
 ;^2,300, and he is now its fortunate possessor.
 
 OIL PICTURES. 195 
 
 The Sea-shore at Rhyl, with distant View of the Chap.xiil 
 Town. Dated 1854-55. 29 by 53 in. 
 
 This picture was lent by Mr. R. Adams, of Birmingham, 
 to the Loan Exhibition of Pictures and Drawings, the works 
 of David Cox, in 1859, at 168, New Bond Street. It was 
 No. I in the catalogue, and attracted much attention from its 
 large size and high quality. It was thus noticed at the time 
 in the Art- Journal : — " A marvellously fresh and life-like 
 representation. The subject little else than a large open 
 bay with a line of sands traversed by a few figures, and the 
 small town in the distance ; but the effect of light, the motion 
 of the silvery clouds, and the clear grey waves, form one of 
 the most beautiful representations we have ever seen. It is 
 painted in a remarkably free manner, and must be looked at 
 from a distance." 
 
 It was exhibited in Liverpool, and sold by the artist to 
 Mr. Croft for ^100. It passed through several hands, 
 amongst others those of Mr. Agnew, being sold in 1864 
 for /150. Ultimately it went back to Mr. William Agnew, 
 of Manchester, who retained it for many years, and in 1872 
 he parted with it to Mr. Levy, of London, for ^2,300. It is 
 undoubtedly one of the finest pictures painted by Cox. The 
 sky and waves are so full of movement, and on the left a 
 broad shadow is cast by the clouds over the sea, which adds 
 greatly to the effect of light on the sandy shore ; the figures 
 seem to be blown about by the wind, and even the bathing 
 machines are so massed together and treated as to add rather 
 than detract from the general effect. Some sea-gulls skim- 
 ming above the waves help to carry the light over the picture. 
 
 Mr. Charles Birch's collection of oil pictures, sold 27th 
 February, 1857, comprised a beautiful example of the " Welsh 
 Funeral," very freshly painted in 1850, and now belonging to 
 Mr. Bett's, also 
 
 o 2
 
 196 LIFE OF DAVID COX. 
 Chap. XIII. CoAST ScENE SeA-SHORE WITH ShRIMPERS. 1 845. 
 
 14 by 18 in. 
 This represents part of Carnarvon Bay, and is a very 
 beautiful picture. Bought from the easel for ^19. 
 
 The Big Meadow, Bettws. 1849. 18 by 24I in. 
 A powerful work with figures. 
 
 Road Scene. 1845. 9i by 14J in. 
 This fresh little picture was also purchased from the easel I 
 for/8. 
 
 Going to the Hayfield. 1849. ^ ft. 4 in. by 3 ft. 
 Mr. Briscoe's picture, now Mr. Page's. 
 
 This well-known and most natural picture is painted on the 
 wrong side of the canvas. The silvery grey sky is Yery 
 luminous ; foreground, an abundance of docks and other leaf 
 plants, cool and fresh in colour. A countryman, in a white 
 vest or jacket, is riding a grey horse and leading another 
 towards the hayfield, preceded by a rough terrier dog. In 
 the middle distance are the usual hay-waggons and hay- 
 makers, with a range of low, bluish hills beyond. Several 
 trees on the right hand assist the general effect. It was 
 purchased direct from David Cox by Mr. Briscoe for ^20, 
 and at Mr. Briscoe's sale ten years afterwards Mr. W. Holmes 
 purchased it for ^90. He resold it at a small profit to 
 Mr. Hall, who, in 1859, sold it to Mr. Howard Fletcher for 
 ^130. After that gentleman's death it was purchased in 
 September, 1861, by Mr. Page, of Great Barr, for ^162 15.^. 
 Mr. Page has since refused ^2,500 for it. 
 
 The Old Mill at Bettws-y-Coed. 1847. 2 ft. 4^ 
 in. by 3 ft., with geese in the foreground. 
 
 This mill exists no longer. It is a powerful picture, and
 
 OIL-PICTURES. 197 
 
 an exact representation of the spot and of the scenery at Chap.xiii. 
 Bettws ; painted for Mr. Carritt, who paid /40 for it. At 
 his sale it went for 60 guineas ; and, after changing hands 
 several times, Mr. Holmes purchased it for 180 guineas, and 
 resold it to Mr. Gillott, in July, 1865, for 200 guineas. At 
 Mr. Gillott's sale, April, 1872, it fetched /i,575- 
 
 Going to the Mill. 1847. 2 ft. 5 in. by 3 ft. 
 Figures approaching a windmill; an excellent subject, 
 often repeated by Cox. It was painted for Mr. W. Holmes, 
 price £2)0. The picture wanted more sky, so a piece was 
 added by Cox to the top, and it was sold to Mr. Butler, who 
 resold it to Mr. Bickerstaff, of Preston, for/ 100. Mr. Gillott 
 purchased it in 1859 (the year Cox died) for the same sum, 
 and at the Gillott sale, in 1872, it went for/ 1,5 75. 
 
 The three following oil-pictures are in Mr. Mayou's collec- 
 tion at Edgbaston : — 
 
 Going to the Hayfield. 1849. 28 by 34 in. 
 
 The print at the commencement of the chapter is from this 
 picture — one of the finest, if not the very finest, of this 
 favourite subject. The atmospheric effect of the sky in this 
 picture is wonderful ; it is full of very light clouds, which 
 appear to be gliding away. The meadow is being mowed 
 by two or three men, and the long grass seems all in move- 
 ment bending before the breeze. In a distant field are some 
 haymakers turning the hay, and an empty hay wain with 
 horses and drivers approaching. In the immediate fore- 
 ground are broad-leaved plants, some in flower, and on the 
 right some trees grouped together, rather bare of foliage and 
 the stems standing dark against the sky. On a rough bit of 
 road a man on a white horse (without his jacket to show the 
 heat of the day) is carrying a basket and leaning over to talk 
 to two country women, one of whom is carrying a hay-fork
 
 198 LIFE OF DAVID COX. 
 
 Chap. XIII. and the Other a basket. The man is followed by a white 
 terrier, true to life. I give, through the kindness of Mr. 
 Mayou, a photograph of this beautiful work. He purchased 
 it about twenty years ago from Mr. Butler, of Birmingham, 
 for ^120, and for many years hung it as a companion to the 
 "Skylark." 2,000 guineas have, I understand, been offered 
 for it lately. 
 
 Dudley Castle, with Gleaners approaching. 1848. 
 i8| by 24 in. 
 
 This picture is rich in colour, highly finished, and full of 
 subject. A number of dark trees rise up on the left, as if 
 growing on a sloping bank. On a path leading through a 
 stubble field are several figures carrying bundles of corn. 
 Beyond this field the ground appears to dip into a hollow, 
 and rising again, shows a steep hill in the distance covered 
 with shocks of wheat, and many figures busily gleaning. At 
 the top the castle rises up against an evening sky. The 
 treatment is something like the " Peace and War." It was 
 purchased at the late Mr. W. Barrows' sale at Himley for/ 80 
 by Mr. Mayou. 
 
 Going to the Mill. 1847. 8 J by 12 in. 
 
 The sun is setting near a windmill situated on a hill ; some 
 women and lads are winding their way up a road towards it. 
 The handling is free, and the colour warm and pleasing. 
 
 A Stream, with Figures Fishing. 1850. 14 by 18 in. 
 
 An upright, with some fine trees in dark green summer 
 foliage, very fresh and cool in colour, and masterly in its 
 treatment. The water is especially fine, and appears to be 
 gently running under a bank, as trout streams do. The 
 effect is particularly pleasing, as it abounds in greys and 
 low-toned greens. There is no high finish, but it is an 
 eminently successful work, and very characteristic of the
 
 OIL-PICTURES. 199 
 
 artist. Mr. Marshall Carritt paid Cox/ 14 for this picture in Chap.xiii. 
 1850, and some time afterwards Mr. Holmes purchased it for 
 /30, and sold it to Mr. Rodgett, of Preston, for /40. At 
 Mr. Rodgett' s sale it was bought by Mr. Sidney Cartwright, 
 of the Leasowes, near Whampton, for 80 guineas ; he has 
 since refused 400 guineas for it. Mr. Cartwright has two 
 other very fresh little oil-paintings of fine quality by Cox ; 
 a Hayfield with hay wains, and the often-repeated subject, a 
 Cottage on Dulwich Common, with clothes hanging out 
 to dry. 
 
 A Grand Mountain Landscape. 1847. 
 
 The scenery is somewhere in the neighbourhood of Bettws. 
 It was originally painted for Mr. G. Briscoe, who, not caring 
 to keep it, sent it to Mr. W. Hall, who parted with it to 
 Mr. James Bagnall, of Meyrick House, West Bromwich, for 
 /30. After his death it was sold at Christie's, 4th June, 
 1872, for 830 guineas. 
 
 A Hayfield, with a man riding and leading a white 
 horse, and a boy and dog in the foreground. 1847. 
 
 This is one of the numerous examples of " Going to the 
 Hayfield," and a very beautiful and successful picture, 
 although not quite equal in feeling and handling to that in 
 Mr. Thomas Page's collection, painted two years later. Mr. 
 Bagnall purchased this picture from Cox, soon after it was 
 painted, for/40 ; at the sale after his death in June, 1872, it 
 was sold for 1,550 guineas. 
 
 Frolic in the Hayfield. 1852. 19 by 28 J in. 
 
 A number of young women, boys, and girls are tossing 
 hay in the foreground, and a young girl holds a bundle aloft 
 on the end of her hay-fork ; a man on a dark horse is leading 
 a white one, and a hay waggon in the distance make up the
 
 200 LIFE OF DAVID COX. 
 
 ch.vp.xiii. incidents. It is a fresh breezy picture, full of movement. 
 ■ There is a beautiful blue distance streaked with light, and a 
 summer sky with grey and white clouds. It is now in Mr. 
 A. Levy's collection. 
 
 Going to the Hayfield. 1852. 19 by 2 8l in. 
 
 This Is the usual subject of a man on horseback approach- 
 ing the haymakers, with a few trees and a silvery sky. The 
 treatment is free and the colour pure. 
 
 These companion pictures were painted by Cox for a young 
 friend who lived with him at Harborne, Mr. Thomas Welsh, 
 junior, who was going to be married. They were only 
 finished just in time on the day of the wedding, and sent, 
 it is said, when the newly married couple were getting into 
 their carriage. The price charged for them was £2^ each. 
 Recently (in 1872) they were purchased by Mr. Agnew for 
 /3,200. They are beautiful works of the best period. 
 
 The Welsh Funeral. 1850. 28 by 36 in. 
 
 This impressive picture, one of the grandest Cox ever 
 painted, was purchased by Mr. Thomas Darby In 1 850, and 
 presented shortly afterwards to his friend Mr. David Jones, 
 of Birmingham, whose widow parted with it and the " Skirts 
 of the Forest," In 1872, to Mr. Nettlefold for 3,000 guineas. 
 It is unusually full of subject, and the trees which border the 
 road are remarkably fine and full of rich shadows. 
 
 I have given a full account of this subject In the chapter 
 on water-colour drawings, when describing Mr. Craven's 
 drawing of the " Welsh Funeral," by Cox, a photographic 
 copy of which appears In this book, and I shall not now 
 refer to It further except to remark that the same subject was 
 painted for Mr. Charles Birch, and sold by him to Mr. H. H. 
 Betts : also a smaller copy, in Mr. E. Bullock's collection, 
 was sold in May, 1870.
 
 OIL-PICTURES. 20I 
 
 The Skirts of the Forest. 1853. 28 by 36 in. Chap.xiii. 
 
 Cox painted this picture for Mr. David Jones ; the price 
 charged was only ^40. As stated above, it has been re- 
 cently sold with the "Welsh Funeral" for^3,30o. 
 
 It represents part of old Sherwood Forest, a wild and 
 grand subject, finely treated. There is a group of wide- 
 spreading oaks on the left-hand side, one with a noble grey 
 stem in the immediate foreground. A woman underneath it 
 is apparently hurrying after some travellers along the edge 
 of the forest, one of whom is seated on a donkey ; a purple 
 distance is seen rather high up in the picture, and the sky is 
 low toned and grey ; it is not so brilliant as some of his 
 earlier works, but it is free and impressive. Many copies by 
 Cox of this subject exist, some of a smaller size. 
 
 Gipsies crossing a Common. 1846. 14 by 18 in. 
 
 Going to the Mill. 1846. 14 by 20 in. 
 
 The above two little pictures were purchased by Mr. 
 Jesson, of Walsall, soon after they were painted, for ^10 each. 
 In 1865 he sold them for ^100 each to Mr. William Hall, 
 who obtained ^150 each for them from Mr. Frederick 
 Timmins ; that gentleman parted with the pair for ^1,500, 
 in 1872, when he sold the " Vale of Clwyd." 
 
 The Big Meadow at Bettws. 1849. ^9 t>y 28J in. 
 
 A beautiful peaceful landscape, a herd of cows grazing in 
 a large meadow, with two countrymen in the foreground 
 stretched at full length in the long grass. Some fine trees 
 in the middle distance, and the rocky hills of Bettws rise up 
 beyond ; the sky is full of blowing clouds, but not gloomy ; 
 the feeling conveyed Is that of breezy freshness on a fine 
 summer's day. This picture was many years in the possession 
 of Mr. Howard Fletcher. At his sale at Walsall, September,
 
 202 LIFE OF DAVID COX. 
 
 Chap. XIII. 1861, it was purchased by Mr. Thomas Page for t^s guineas. 
 This gentleman also possesses the following two pictures, 
 which he purchased at the same sale, In 1861 : — 
 
 Peat Gatherers. 1850. 14 by 18 In. 
 
 Grand effect ; dark purple hills and lowering, stormy sky, 
 and figures approaching with baskets of peat — price paid, 
 29 guineas — rocks and heather make up the foreground. 
 
 Pass of Dolwyddelan, with Moel Siabod. 1849. 
 18 by 24 in. 
 
 This is a beautiful subject and pleasant in colour, but 
 rather deficient In shadow ; not so effective as most of the 
 works painted about this time by the artist. Price paid, ^26. 
 
 Pont-y-Pair. 1849. 
 
 Cows crossing the stream. A very sweet little picture, 
 which Mr. Benjamin Urwick bought from the easel for ^15. 
 Sold at this sale also for 27 guineas. 
 
 MR. WILLIAM ROBERTS S COLLECTION, ALL PURCHASED DIRECT 
 FROM DAVID COX, AT HARBORNE. 
 
 Outskirts of a Wood, with Gipsies. 1843. 28 J by 
 36J in. 
 
 This picture, like the one afterwards painted for Mr. David 
 Jones, represents the scenery of Sherwood Forest. The effect 
 is wild though pleasing, and the figures well Introduced. It 
 was painted for Mr. Roberts, who paid ^40 for it. Mr. 
 Roberts did not retain it very long, but sold It to Mr. Marshall 
 Carritt for^45; it then pas.sed to a Mr. Cooper, of Lynn, and 
 was eventually purchased by Mr. Gillott for 350 guineas. At 
 Mr. Gillott's sale, in 1872, it went for^2,3i5 5.?.
 
 OIL-PICTURES. 203 
 
 Cutting his Stick, «//rt^- Driving the Flock. 1850. Chap.xhi. 
 10 by 8 in. 
 
 This is an effective little picture of the best period. The 
 lad who is driving a flock of sheep is occupied in cutting a 
 stick ; there are a few cottages and a blue distance, a summer 
 sky, of which the colour is very brilliant and the atmospheric 
 effect unusually fine. At Mr. Roberts's sale, in May, 1867, 
 it went for ^84. It is now in Mr. A. Levy's collection. 
 
 Going to the Hayfield. 14 by 8 in. 
 
 As successful as any Cox has painted of this favourite 
 subject. The incidents are the usual two grey horses with 
 the waggoner riding one of them, a little girl carrying a beer 
 barrel to the hayfield, which is seen in the distance, with hay- 
 carts and figures. The foreground and grey sky are, as 
 usual, very beautiful. Sold for^273 in 1867. 
 
 Frightening the Geese. 14 by 8 in. 
 
 An interesting picture of the best period. A stream is in 
 the foreground, with a rustic bridge, across which an old 
 woman is hurrying along, shaking her stick at some children 
 who are driving the geese down the opposite bank ; in the 
 distance a cottage with trees, and a fresh breezy sky. Sold 
 in May, 1867, for / 137 lis., and resold shortly afterwards 
 for/250. 
 
 Crossing Lancaster Sands. 
 A celebrated picture, full of atmospheric effect and beauti- 
 ful In colour. Sold for/ 13 1 5^^- This was rather an carly 
 picture, date about 1843, and was given by Cox to Mr. 
 Wilmot In exchange for half a fat pig and a silver watch. 
 
 Bathers Alarmed. Date about 1852. 
 A black bull has just rushed into the water, and some lads,
 
 204 LIFE OF DAVID COX. 
 
 Chap. XIII. partly dressed, are taking shelter from his fury behind a 
 clump of trees which are growing on the bank ; the incident 
 well expressed, but it is rather slight in the painting. Sold 
 2ist May, 1867, for/52 10^. 
 
 Going to School. 
 
 A lane scene with a cottage in the distance ; some poor 
 children are loitering along the path; very happy in its 
 treatment. Sold for ^3 2 115. 
 
 Besom Makers. Date about 1853. 10 by 7 in. 
 
 A view on Chatmoss, the heather in full blossom. A 
 group of figures are collecting and carrying heather, some 
 loading bundles of it on a donkey ; a very bright effective 
 little picture. Sold for ^5 3 11^. 
 
 Lane Scene with Figures. 5 t>y ^ 1 i^- 
 
 Purchased for Mr. J. Gillott at the sale of Mr. Roberts's 
 pictures for ^69 6^., resold at Mr. J. Gillott's sale, April, 
 1872, for^i6o 13^. 
 
 Besides, the following small pictures were disposed of at 
 the sale : — 
 
 Lancaster Sands. Price ^33 12s. 
 
 Chelsea Pensioners. Price/ 17 17^. 
 
 A Lane Scene, near Maxtock, Warwickshire. Price 
 
 ^38 17^- 
 A River Scene — Autumn. Price ^24 14s. 6d. 
 An upright Landscape, with sheep. Price ^28 18^. 
 
 I must now give some account of the late Mr. Edwin 
 Bullock's collection at Harborne House, Harborne, which 
 was the most numerous, and one of the most interesting of
 
 OIL-PICTURES. 205 
 
 the works in oil by David Cox. These pictures were sold by chap. xiii. 
 Messrs. Christie, Manson, and Co., in May, 1870, and the 
 prices realised were small as compared with those obtained 
 two years later, when the Gillott sale took place. I shall 
 not attempt to describe all these pictures, but will give a list 
 of them and the prices obtained. All these works were 
 obtained direct from the artist by Mr. Bullock ; they were on 
 very friendly terms, and when Cox painted a successful 
 picture in oil, Mr. Bullock generally had the offer of the 
 original, or else of a duplicate copy. 
 
 "Collecting the Flocks," in North Wales, 3 ft. 3 In. by 4 ft. 
 8 in., is a remarkable work of the best period, and is one of 
 the three largest pictures ever painted by Cox. There is no 
 doubt he found these large works in oil very fatiguing, and 
 he used to complain sometimes very much of this, especially 
 when on the verge of seventy, which was his age when this 
 picture was painted. In some respects it is less vigorous in 
 the treatment than others of his works, and less bright, but 
 the feeling is fine and the arrangement admirable. I under- 
 stand that since the sale, in 1870, 1,500 guineas have been 
 offered for it. I believe it is now in the possession of Mr. 
 Thomas Walker. 
 
 " Going to the Hayfield" is very cool and fresh in colour, 
 the silvery grey sky being remarkably fine and the usual 
 incidents of the horses and figures equal to anything Cox 
 has painted. It was a slight drawback to this picture when 
 I saw that the frame had the corners rounded. It is not 
 quite so large as the one belonging to Mr. Thomas Page, 
 but was painted in the same year, 1849. 
 
 The "Churchyard, Darby Dale," 14 by 18 in. is a 
 delightful work, as showing how much Cox could make out 
 of a subject which in other hands would have been common- 
 place. His genius invested with the charm of poetry almost 
 everything it touched. This picture is rather slightly 
 painted, but the feeling is solemn and impressive. The yew-
 
 2o6 LIFE OF DAVID COX. 
 
 Chap. XIII. trecs and the figures add to the effect, and make it a 
 complete work. 
 
 "Landscape with Peasants, a White Horse, and a Dog-." 
 Although only 6 by 8 in., this picture is of the highest 
 quality, being particularly bright and beautiful in colour. 
 It excited the keenest competition among the bidders at the 
 sale. 
 
 The following were the prices obtained for some of the 
 most important pictures at Mr. Bullock's sale : "Going to 
 the Hayfield, 1849, 20 by 30 in., ^^42 5 i "Going to the 
 Hayfield," 1853, a very fine work, /400 ; "Landscape 
 with Peasants," 6 by 8 in., /413 ; "Collecting the Flocks, 
 in North Wales," the large picture, /400 ; a landscape, 
 with a waggon on a road, and a peasant crossing a 
 rustic bridge, date 1840, ^245 ; "Windsor Castle," 
 from the forest, with deer, ^240; a river scene, with 
 a church tower, and a peasant funeral crossing a rustic 
 bridge, a solemn evening effect, date 1 840, / 1 70 5 a- land- 
 scape, with peasants, and a white horse and a dog, beside 
 a gate in the country, ^225; a river scene, with horses 
 watering, early morning effect, ^200; a river scene in North 
 Wales, on the Lledr, with anglers, / 150; the original sketch 
 for the "Welsh Funeral at Bettws-y-Coed," date 1850, 
 a very powerful little work, 8 by 10 in.,/ 155 ; a landscape, 
 with two mounted peasants, and a dog on a country road, 
 date 1852, /120; "Dudley Castle," evening effect, with 
 limekilns, and barges on the canal basin in the foreground, 
 a very effective work, like the celebrated drawing of the 
 same subject, /'125 ; a river scene, with boys on the bank 
 angling, /145 ; a view on the sea-coast, with a man and 
 boy and fishing nets, date 1846, /lOo; a river scene, with 
 boys and cows, early morning, date 1849,^105 ; "Carrying 
 Vetches," one of his earliest oil-pictures, dated i83i,/"9o; 
 a landscape, with some peasants and a white horse passing 
 along a road, /" 160.
 
 OIL-PICTURES. 207 
 
 Besides the above, there were sixteen oil-pictures by Chap.xiii. 
 Cox disposed of at this sale, many of them small works 
 of less interest than those already named : several of these 
 were landscapes with sheep, reapers, gleaners, anglers, 
 gipsies, cows asleep, &c., all natural and thoroughly cha- 
 racteristic of the artist; in all thirty-four pictures, besides 
 "The Salmon Trap," a late work, partly painted by Cox 
 and finished by Bond. 
 
 The following were painted by Cox to decorate the sum- 
 mer house at Hawthorne House, in 1849, ^^^ were sold 
 for about ^50 each : four allegorical female figures, 
 freely painted, representing Spring, Summer, Autumn, and 
 Winter. 
 
 COLLECTION OF PICTURES BY DAVID COX, BEQUEATHED TO 
 HIS SON, AND NOW AT HIS RESIDENCE, PARK ROAD, 
 BRIXTON HILL. 
 
 The Welsh Funeral. 1850. i ft. 9 J in. by 2 ft. 5 
 
 m. 
 
 Painted on the thick Scotch paper ; a grand and impressive 
 picture, the figures very natural and effective, and in its 
 general arrangement like the large water-colour drawing in 
 the possession of Mr. F. Craven, although less brilliant in 
 colour. 
 
 Distant View of Conway Castle, with mountains 
 rising up behind, and the estuary of the river. 1848. 
 2 ft. 4J in. by 3 ft. 6| in. 
 
 The effect is that of very early morning, tender, yet rather 
 warm and harmonious in colour. In the foreground is a cart 
 and horse with Welsh market women in it, and close by 
 another woman on horseback, and several sheep grazing 
 near. The figures are well introduced, but the foreground 
 wants a little more finish.
 
 208 LIFE OF DAVID COX. 
 
 Chap. XIII. GoiNG TO THE Hayfield. 2 ft. 4 in. by 3 ft. 6j in. 
 
 "~ 1854. 
 
 A grand picture of this often -repeated subject. It is full 
 of movement and beautiful in colour, but not quite finished. 
 The silvery grey sky, the woody foreground, and distant hay- 
 waggons, are all excellent, as well as the man with the two 
 grey horses, and a lad near carrying a bundle. There is also 
 a pool of water in the foreground. The handling is par- 
 ticularly free. 
 
 Solitude, i ft. 8 J. in. by 2 ft. 6 in. 1854. 
 
 The subject of this picture is the bridge over the Lledr, a 
 mass of rocks with running water and without any figures. 
 The effect is sombre and impressive. 
 
 Rocks and Hills at the Back of the Royal Oak, 
 Bettws. 1850. 17J by 24 in. 
 
 This is one of the rather late grand and most vigorous of 
 Cox's landscapes. He used to say that he thought it had 
 something of the feeling and treatment which Velasquez 
 would have put into it. It was entirely painted on the spot, 
 and was a great favourite of the artists. The rocks and hills 
 with heather, &c., in the foreground, are dark and powerfully 
 painted. 
 
 In Bolton Park. About 1843. 18 by 24^ in. 
 
 A very effective picture. This was a sketch entirely 
 ])ainted on the spot. 
 
 Cottage at Harju)rne. 1844. 13^ by 17 in. 
 
 This represents a broad road leading towards a cottage, 
 and some fine trees. Children are at play not far off, and 
 the effect of light on the road and on the clouds is very 
 pleasing.
 
 OIL-PICTURES. 209 
 
 Chap. XIII. 
 
 Calais Pier. 1846. 18 by 28 in. 
 
 The sea is rough and full of movement, and of a light 
 grey colour, as when the water is churned into foam. On 
 the pier are a good many figures picturesquely grouped. 
 The sky is stormy and effective. This picture was a great 
 favourite with Cox, and used to hang in his parlour at Green- 
 field House. Although it was painted in his studio from a 
 sketch, it has all the appearance of having been painted out 
 of doors, being very true and fresh, though quiet in colour. 
 
 Rhyl. About 1848. 11 by 16 in. 
 
 A wide sandy shore, with a strip of dark sea breaking on 
 the distant sands. The figure of a Welsh woman on horse- 
 back and some shrimpers with nets give character to the 
 scene. Grey clouds cover the sky, which has rather a threat- 
 ening aspect. 
 
 Lancaster Sands. 1850. 10 by 15 in. 
 
 The distance is delicate and aereal, with small receding 
 figures. The sky is unusually tender, and this is brought 
 into relief by a great flight of sea-birds, full of flutter and 
 movement. A broad expanse of sand with scarcely any 
 detail, forms the foreground. This is a very successful little 
 picture. 
 
 Hills at Bettws-y-Coed. 1852. 13 by 16 in. 
 
 The subject represented is part of the river-bed of the 
 Llugwy with some fine boulders and rocks, and a man fishing 
 in the act of throwing his line ; the trees are rather dark in 
 colour. It was painted on the spot, and is broad and 
 vigorous in treatment.
 
 2IO LIFE OF DAVID COX. 
 
 Chap. XIII. SkIRTS OF THE FoREST. About 1 854. Io| by 1 4 in. 
 
 Two women — one having a red cloak and seated on a 
 donkey — are passing near some fine trees, with a bank of 
 weeds and wild-flowers below. The usual peep of blue 
 distance and a grey "blowing" sky, make up this little 
 picture. 
 
 Going to the Hayfield. About 1850. i if by 15! in. 
 
 The arrangement is the same as in Mr. Mayou's large 
 picture of this subject, of which I give the photograph. The 
 mowers are, however, rather more prominent, and the hay- 
 waggon is wanting. This picture appears to have been 
 painted rapidly and slightly, without much finish. The 
 colour, especially that of the sky, is very agreeable, and there 
 is a remarkable appearance of wind. 
 
 Boy Flinging at Wild Ducks. About 1848. lof by 
 14 in. 
 A boy carrying a large basket is descending a path near a 
 pool fringed with rushes, and appears in the act of throwing 
 a stone. On a bank just above some women laden with 
 baskets, &c., are returning from market. Beyond is a flat, 
 distant sweep of countr}^ and a sky full of rolling clouds 
 and birds. It is fresh and bright in colour, and more finished 
 than many of his later pictures. 
 
 The Old Church at Bettws. About 1854. 14 by 
 20 in. 
 An upright, without much detail, but fine in effect. The 
 last glow of evening lights u]) the distant hills, and also 
 illumines the road leading to the church, of which but a 
 small part is seen. Some tall trees nearly conceal the 
 church, and these are dark and grandly massed together.
 
 OIL-PICTURES. 211 
 
 Old Woman with a stick Driving Geese. to by 
 14 in. 
 
 The time chosen for this picture is late evening, and a 
 reflected light falls on some low hills. In the foreground is 
 a pool of water and rushes, near which the woman and geese 
 are passing. The whole effect is rather quaint and weird. 
 
 White Horse with Cart. 1852. 9 by 12 in. 
 
 A clever sketch of an old horse, very free and agreeable in 
 colour. This cart and horse had brought a load of coals to 
 Greenfield House, and Cox engaged the man to stop whilst 
 he painted it. 
 
 Moorland Scene. About 1856. 12 by 16 in. 
 
 A late and rather gloomy but impressive picture. A group 
 of cattle standing on some rising ground in the middle 
 distance are relieved against the sky, which is strong and 
 rather dark. 
 
 Old Windmill. About 1857. 14 by 18 in. 
 
 Two figures are approaching the mill. The sky is grey 
 and pleasing, but the general effect is marred by the want 
 of rather more finish, especially in the foreground. 
 
 Walk in the Hagley Road. 14 by 18 in. 
 
 A number of figures representing a young ladies' school 
 are walking down a road, which is bordered by trees on the 
 right. The effect is sketchy, but fresh and bright in colour. 
 
 Mr. David Cox, junior, has also two large pictures in oil 
 left unfinished by his father. One of them, " The Lost 
 Sheep," is a grand, rocky subject, 25 by 36 in. Some stems of 
 trees are thrown diagonally across the foreground rocks. A 
 
 p 2 
 
 Chap. XIII.
 
 212 LIFE OF DAVID COX. 
 
 Chap. XIII. womafi is resting her arm on one of them, and at the bottom 
 of a deep fissure a poor sheep is seen huddled up. A bright 
 light from above strikes on some of the rocks. The other 
 one is still larger — 2 ft. 4 in. by 3 ft. 6 in. The subject is, 
 " Keep the Left Road." A man and horse and other figures 
 are on the right hand, and in the centre a lad driving a flock 
 of sheep. It is, however, only sketched in, and the sky is 
 not commenced, which is much to be regretted, as it has all 
 the promise of a fine work. 
 
 I have already described some of the pictures in Mr. A. 
 Levy's collection, but he has also the following : — 
 
 Bettws Churchyard. 1857. 30 by 42 in. 
 
 A picture of unrivalled beauty both in treatment, colour, 
 and composition ; very solidly painted, yet as fresh, pure, 
 and brilliant as any of the water-colours of his best period. 
 Bettws Church is partly seen on the extreme right, and some 
 seven or eight figures are ascending the steps towards the 
 door or gateway through which an elderly man is just pass- 
 ing. Another old man has hold of a boy's hand, and is 
 pointing to him "the right way to go." A woman and 
 girl are seen approaching on the left, and near to them is a 
 magnificent group of trees. This picture was formerly in 
 Mr. Norman Wilkinson's collection. 
 
 Counting the Flock. 1852. 23 by 33 in. 
 
 A man and lad, accompanied by a dog, are standing near 
 the open gate through which the sheep are passing. The 
 sky is very pleasing, grey in tone, and full of wind ; the 
 colour and liandling are of the highest quality. 
 
 Sun, Wind, and Rain. 1845. ^8 ^^Y 25 i"- 
 A wild sky, with a storm of rain just coming down, and
 
 OIL-PICTURES. 213 
 
 gleams of sunshine in the distance, give the name to this chap.xiii. 
 clever picture. A woman, on a white horse, holds up a 
 green umbrella to shelter herself, and a boy steadies himself 
 by some palings close by. The broad dock leaves in the 
 foreground are full of freshness, and appear turned back and 
 crumpled by the high wind ; on the right are some thin, tall 
 trees, with birds wheeling round their tops, and a few cows in 
 the distance. 
 
 Haddon Hall. 1845. 14 by 18 in. 
 
 Two figures on horseback are riding towards the old hall, 
 and dogs are seen far off in front ; some fine trees are 
 grouped all along the left side as far as the hall, and a wide 
 extent of wooded distance spreads across to the right. The 
 sky is very tender, and of a light grey colour. 
 
 Harlech Castle. 1845. 10 by 18 in. 
 
 A remarkably tender blue sky, against which the distant 
 castle is clearly defined. In front of it is a strip of blue sea, 
 and a narrow, sandy shore. Nearer still, a sloping cornfield, 
 with stacks of corn and reapers, adds warmth and colour ; 
 and on the left hand a bank rises above the corn, and on this 
 bank some tall trees are relieved against the sky. It is a 
 sweet, peaceful scene, soft and quiet in effect. 
 
 Rainbow on the Thames, below Gravesend. Date, 
 1857. 16 by 26 in. 
 
 The sky is wonderfully full of rain, and is entirely spanned 
 by a low and perfect rainbow, indicating the winter solstice. 
 A low, flat shore, without much incident, assists very much 
 the effect, as great quietness in the rest of the picture is 
 rendered necessary by the brilliant colouring of the bow. 
 On the meadow in the foreground two lads are stretched at 
 full length on the grass.
 
 214 LIFE OF DAVID COX. 
 
 Chap. XIII. CaRREG-CeNNEN CaSTLE, SoUTH WalES. 1 844. 32 
 
 by 26 in. 
 An upright ; quiet, and rather low in tone and broad in 
 treatment. The castle, which has a warm glow on it, rises 
 up against the sky in the distance, being situated on a high 
 hill. Some fine trees border a country lane, down which a 
 man and dog are driving some sheep. It is a fine work of 
 the early period in oils, and was originally purchased by Miss 
 Phipson, of Edgbaston, in whose possession it now is. 
 
 Gate-house of Kenilworth Castle. Date, about 
 1844. 10 by 16 in. 
 This picture, which is an upright, is well arranged, quiet, 
 and pleasing. The gate-house had been turned into a farm- 
 house, which is indicated by some poultry in the foreground. 
 It is also in Miss Phipson' s collection. 
 
 Before concluding this chapter I should mention that 
 there are several fine oil pictures at Ludlow, in the possession 
 of Mrs. Joseph Tarratt. Of these a fine upright, entitled 
 "Milking Time," and a small, bright little picture, " Land- 
 scape, with Sheep," were lent to the Wolverhampton Fine- 
 Art Exhibition in 1869. "Milking Time" represents a 
 country lane, with fine trees on one side, and a number of 
 milch cows standing under their shelter. Some women are 
 engaged in milking them, and the immediate foreground is 
 enlivened by poultry. This picture is of the middle period, 
 about 1848, and is very vigorous and fresh in colour, but it 
 required to have been carried a little further as respects the 
 finish, which is but slight. I must also mention a fine Welsh 
 landscape, painted al:)Out 1849. The view which is repre- 
 sented was taken from a field near the Conway Falls, in the 
 neighbourhood of Bettws-y-Coed. You look down a wooded 
 valley towards tlie huge, rugged Trifaen Mountain. On one 
 side are some trees, with a meadow in fnjnt, in which some
 
 OIL-PICTURES. 215 
 
 men are lying down at rest In the long grass. It is one of Chap.xiii. 
 his very characteristic and truthful works. The size is about 
 16 by 24 in. 
 
 Mr. William Hall, the artist, was present with Cox when 
 he painted this picture from nature. He was also with him a 
 few days afterwards, when he painted a very excellent picture, 
 18 by 24 in., of the end of Bettws-y-Coed old church, with the 
 old trees, and part of the Conway River. 
 
 I must not conclude this chapter without referring to a fine 
 oil-picture painted by Cox in 1850, " View of Darley Church," 
 about 20 by 30 in. A large yew occupies the centre, tomb- 
 stones are clustered around its base, some in deep shadow, 
 and some in half light, which give breadth to the composition. 
 On the left some steps lead up to the church, the upper part 
 being illumined by the glow of evening. Some girls seated 
 on these steps assist cleverly in carrying the light across. 
 The sky is bright, yet powerful. Pozvcr and brilliancy are 
 the chief characteristics of this picture, as, indeed, of all his 
 best works. He loved power almost beyond everything else. 
 This picture, after passing through several hands, is now, I 
 believe, in the possession of Mr. Agnew. 
 
 Besides the pictures I have noticed, I have seen several 
 smaller ones scattered about various parts of England, espe- 
 cially in Lancashire, Birmingham, and a few in London. The 
 subjects, however, are nearly always similar to some of those 
 I have already described, and I believe enough has been 
 written in this chapter to give a good general idea of what 
 Cox achieved as an oil-painter.
 
 XIV. 
 
 LIFE AT HARBORNE {continued). 
 
 1849 TO 1855. 
 
 Chap. XIV. ^3^ ^ the tenth chapter, at the end of 1848, I left 
 ^ l>^<? Dnvlfl Tov hard nt work with his oil-Daintinp". 
 
 1849— 1S55. 
 
 
 i 1^^ David Cox hard at work with his oil-painting. 
 
 ''^i That he made no vain boast when writing to his 
 friend on the ist January, 1841, " I will succeed," 
 no one can doubt who has had an opportunity of seeing the 
 beautiful pictures completed by him during the ten years 
 following that date. I have endeavoured, as far as lay 
 within my power, to compress a description of the most 
 important of these works into the last chapter. That some 
 have been omitted from notice is, I fear, certain, and pro- 
 bably a few fine ones ; collections of his oil-pictures, as well 
 as water-colour, have repeatedly been sold, and have neces- 
 sarily become widely separated, within the last half dozen 
 years. 
 
 It has been remarked that Cox put a very low price upon 
 his oil-pictures, especially on his earlier works, and that he 
 sometimes made presents of choice little bits to his friends. 
 In illustration of this I may mention that, having promised 
 to paint a picture for Miss Wilmot, the sister-in-law of 
 Mrs. W. Roberts, for £^, he painted two of the same 
 size, and gave her the choice. One represented a heath 
 scene with trees and some figures, and was a beautiful
 
 m: 
 
 SI 
 
 >JB 
 
 
 
 
 i 
 
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 -ti 
 
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 V-'^ 
 
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 LIFE AT HARBORNE. 217 
 
 fresh little work, full of movement; the other was a view chap. xiv. 
 from the terrace in front of the hotel at Llangollen, with 1849—1855. 
 houses and figures — a subject which Cox had been requested 
 to paint. This he complied with at once, saying, however, 
 that the subject was '' too pretty and artificial to please him." 
 Both Mr. Birch and Mr. Roberts were charmed with the 
 "Heath Scene," and wished to purchase it for ^15. Cox 
 said, " No, Miss Wilmot was to have the choice first." This 
 she accordingly had; and, without much hesitation, she 
 selected the "Heath Scene" for the ^5 originally named. 
 The following are extracts from letters written to his son in 
 the early part of this year : — 
 
 " Gi'eenfield House, March 15th, 1849. 
 
 " I went to a sale of pictures on Tuesday at Mr. Butler's, 
 at Handsworth, his country house; they were all modern, 
 and nearly all by Birmingham artists. There were five of 
 mine : they fetched more than the price they cost him, even 
 with the frames. 
 
 "David Cox." 
 
 Note. — Mr. Butler had been a picture dealer for many 
 years in Birmingham, and had purchased many of Cox's 
 early works in oil. 
 
 "Greenfield House, May 2oth, 1849. 
 
 " I feel a very great desire to lay out a sum of money in a 
 picture by Linnell, which I can have for ^i6o; but the 
 person will take nearly half in my drawings. The picture 
 was in the Institution two years ago, and it was bought by 
 Mr. Gillott for ^125. It will appear a great sum for me to 
 give, but I feel quite sure it will be of service to me, in my 
 having it by me while at work. 
 
 "David Cox." 
 
 Cox had gone to London, as usual, in April, and sent
 
 2l8 LIFE OF DAVID COX. 
 
 Chap. XIV. fifteen drawings to the Water Colour Exhibition, among 
 1849— 1855. which was the large and very poetical one of " Beeston 
 Castle, Cheshire," now in Mr. F. Craven's collection, of 
 which he has kindly enabled me to give a copy; also 
 " Barden Tower, Yorkshire," "Shepherds collecting their 
 Flocks," "Cross Roads," and the " Missing Flock" — these 
 are all well-known representative drawings, and very charac- 
 teristic of the artist's feeling and manner. Some interesting 
 drawings of subjects in the neighbourhood of Bettws were 
 also exhibited. 
 
 Cox returned to Harborne, from London, about the loth 
 of May, and immediately set to work with renewed zeal at 
 his oil-painting. Of the celebrated oil-pictures painted this 
 year I have to record "The Skylark," first exhibited in 
 Birmingham ; four with the title of " Going to the Hayfield" 
 — namely, those painted for Mr. Briscoe, Mr. Roberts, 
 Mr. Bullock, and Mr. Butler; two of the "Big Meadow, 
 Bettws;" a "River Scene with Boys and Cows," and some 
 others. The following extract from a letter written to his 
 son refers to the progress of his work : — 
 
 " Greenfield House, June 29, 1849. 
 
 " I do not expect to be very much hurried, as I have learnt 
 to take things more patiently and can paint much quicker 
 than formerly ; and you will say so when I tell you I have 
 painted eleven small oil-pictures nearly all complete, besides 
 the large one sent to the Manchester Exhibition ; and I have 
 one now as large in hand for Liverpool, in all making 
 thirteen pictures in the seven weeks since my return from 
 London. 
 
 " David Cox." 
 
 The completion of various works in oil detained Cox later 
 than usual at Harborne this summer, and he did not start 
 until quite the end of July for Bettws, whither Mr. W. Hall
 
 LIFE AT HARBORNE. 2ig 
 
 and young Butler accompanied him ; it proved a very wet Chap. xiv. 
 season in Wales, but in spite of the weather he brought 184^117855. 
 home many sketches and studies, both in water-colour and 
 oil — indeed, he never allowed any difficulties to stand in the 
 way of his work. The following short extract from a letter 
 to his son describes this visit : — 
 
 "Royal Oak, Bettws-y-Coed, August 17th, 1849. 
 
 " I have not had much to say, except about the weather. 
 I have never done so little, excepting going out in the cars 
 four miles and beginning sketching, when the rain has come 
 down so heavily I have packed up or covered up as well as 
 I could, and at the day's end walked home wet through. 
 
 "David Cox." 
 
 Later in this year he writes again to his son : — ■ 
 
 " Greenfield House, Nov. i6th, 1849. 
 
 " In an evening I go to oil-painting by lamplight (small 
 pictures). I wish I could finish them by lamplight as well as 
 I can make the beginning, for I find when I paint in oil or 
 water-colours by lamplight, my picture is always broader in 
 effect and more brilliant, and often better and more pure in 
 the colour of the tints. 
 
 " David Cox." 
 
 In the early months of 1850 Cox worked very industriously 
 at the drawings he was preparing for the Water Colour 
 Exhibition. On the 15th of March he wrote to his son, " My 
 drawing upon the Scotch paper is so rough I fear I shall 
 bring down all against me, but the paper has plagued me so 
 that I am very nervous." He always /eU himself that his 
 drawings on the rough paper were his best ones; but he 
 deprecated the criticisms of the majority of the public, who 
 then, as now, frequently disliked what was not smooth and
 
 2 20 LIFE OF DAVID COX. 
 
 Chap. xrv. highly finished. Cox was on the hanging committee of the 
 184^855. Water Colour Society this spring. In the following letter 
 he gives some account of this exhibition, to which he had 
 contributed thirteen drawings. The most important 
 were, "Changing the Pasture," "Blackberry Gatherers," 
 "A Rocky Glen," and the "Vale of Conway." He also 
 sent " Beaver Grove," " Pandy Mill," and other Bettws 
 subjects. 
 
 "Laurel Cottage, Streatham Place, Brixton Hill, London, 
 April 30th, 1850. 
 
 "My dear friend Roberts will perhaps wonder at not 
 having heard from me ere this, but I am just returned from 
 my duties as one of the committee, as the arrangement 
 occupied us rather more time than we at first thought it 
 would. I will give you a short account of our own exhibi- 
 tion, as I have only had time to see one other (the New 
 Water Colour) for half an hour. I think our exhibition, on 
 the whole, a very good one. J. Lewis's picture of the 
 * Harem in Cairo ' is very attractive : the master, with his 
 three or four wives upon ottomans with a newly purchased 
 slave (a Nubian) ; but you must see it, for to describe the 
 very high finish will be quite out of my power. Cattermole 
 has some brilliant small drawings, but no large one ; Tayler 
 only five, all small. G. Fripp has some very carefully 
 finished landscapes, which are very good and are much 
 liked. My own drawings are much liked. 'The Funeral' 
 has not found a purchaser yet. You will be glad to hear 
 that my dear son has sold half what he sent in, and 
 his drawings arc much better than any he has done 
 before. 
 
 " I have an engagement for to-morrow to spend the day 
 with Mr. VAWs. On Thursday I hope to visit some of the 
 great number of exhibitions which are now open, and 
 towards the end of the week I expect you and Mr. Bullock
 
 LIFE AT HARBORNE. 22 1 
 
 will be in town. I quite long to return to my dear home, Chap. xiv. 
 and I think of leaving London next Wednesday. 1849—1855. 
 
 " I am, my dear Friend, 
 
 "Yours sincerely, 
 
 "D. Cox." 
 
 The preceding letter is the more interesting from the cir- 
 cumstance that it refers to his "Welsh Funeral" not having 
 found a purchaser. No drawing has ever added more to 
 the reputation of an artist than this one has done, and yet 
 it was only through the recommendation of a brother artist, 
 Mr. Topham, that it was eventually chosen as an Art-Union 
 prize. On his return home, this year, Cox painted one or 
 two oil-pictures of the " Welsh Funeral;" also the " Salmon 
 Trap," for Mr. Briscoe — a very grand work ; " Peat Gatherers 
 inquiring at the Cross Roads," " River Scene, with a Peasant 
 Funeral crossing a rustic Bridge," and several other fine 
 works in oil were also painted this year. In the summer 
 he again stayed at the Peacock, Rowsley, with several friends, 
 Mr. Bullock, Mr. Charles Birch, Mr. W. Roberts, &c., and had 
 a pleasant time making many sketches. The same friends 
 accompanied him to Rhyl early in September, where they 
 spent a week, and he thence proceeded on his usual visit to 
 Bettws-y-Coed. Sometime after his return home to Har- 
 borne, his friend, Mr. Norman Wilkinson, persuaded him to 
 give a few lessons in water-colour to a friend of his, about 
 which he writes as follows to his son : — 
 
 •' Greenfield House, November 8th, 1850. 
 
 " I am about to receive Colonel D'Aguilar down here to 
 take a few lessons of me. My good friend Norman introduces 
 him, and I could not refuse my old friend Norman ; else I 
 am quite frightened to give a lesson now, and I sincerely 
 wish it was over."
 
 222 LIFE OF DAVID COX. 
 
 Chap. XIV. The year 1851 was that in which the first great Inter- 
 184^855. national Exhibition was opened in Hyde Park, and Cox, 
 anxious to show attention to foreign artists, wrote the follow- 
 ing letter to his son : — 
 
 " Greenfield House, Feb. i4tli, 1851. 
 
 " I have lately been thinking that it would be a friendly 
 thing if our society would give free admission tickets to all 
 the continental artists who will visit London this summer. 
 I do not know how to bring such a thing before the society, 
 but I could wish you to call and name it to Mr. Cattermole, 
 and hear what he says. I must leave the mode, or plan, as 
 to how the tickets are to be distributed to the difi"erent 
 artists ; but Dominic Colnaghe would know all the leading 
 foreign members of the academies, and I have no doubt he 
 would assist in the plan. If you can call and name it to Mr. 
 Cattermole I should very much like it, as it would be doing a 
 friendly act, and just what we should all like done to us, and 
 indeed what I feel the French would do. 
 
 "David Cox." 
 
 Just before starting on his usual visit to London, before 
 the opening of the exhibition, he wrote to his son a letter, 
 from which the following is an extract : — 
 
 "Greenfield House, April loth, 1851. 
 
 *' I have been woefully mistaken in my calculation about 
 my drawings, and have been obliged to put aside my largest, 
 although I have procured a frame and glass for it ; but I 
 mu.st not mind trifles, it was quite advisable I should leave off 
 as I was getting very nervous. I shall have four 24 by 34 in., 
 and .some small. I have had sixteen visitors this day, and 
 am expecting four or five others ; for the last three days I 
 have been hindered most of each day. It seems quite a 
 pleasant walk and lounge ; all regret having taken up my
 
 1849—1855- 
 
 LIFE AT HARBORNE. 2 23 
 
 time, but words are easily spoken, I have been the principal Chap. xiv. 
 loser. 
 
 "David Cox." 
 
 There were eleven drawings of Cox's at the Water Colour 
 Exhibition in 1851. Most of these were views in North 
 Wales, but we also find the favourite subject of " Going- to 
 the Hayfield," also " Cutting Green Rye," a charming scene 
 several times repeated, and " Morning." He painted again 
 a great many oil-pictures, but not so many large ones as 
 previously, as he was beginning to find that the size of the 
 canvases, if large, increased the fatigue of painting very 
 much. He visited his sister at Sale, near Manchester, and 
 also spent a month at Bettws-y-Coed. After his return 
 home from Wales he wrote a note to G. Priest, which I give 
 as it refers to the size of the canvases he was then using : — 
 
 "Greenfield, Harborne, Sept. 22nd, 1851. 
 
 " Dear Priest, — It is very kind of you to think of making 
 any return for the small picture which is what I had no idea 
 of taking anything for in return. But as you so handsomely 
 wish to send me a dozen canvases, I will have the pleasure 
 of accepting of half-a-dozen, at your leisure, the size 
 II by i4i in. I remain, dear Priest, yours very truly. 
 
 "David Cox. 
 
 " P.S. — I shall not be able to goto Manchester till the end 
 of this week." 
 
 On another occasion on their return from Bettws, after a 
 visit of four or five weeks, when Priest had accompanied him, 
 he said he feared he had suffered in his business by being 
 away so long, and to compensate he made him a present of 
 four little drawings, which he told him he could sell for five 
 or six pounds each ; but they readily sold at the rate of ten 
 pounds each. Cox had made a drawing of Sherwood Forest,
 
 2 24 LIFE OF DAVID COX. 
 
 Chap. XIV. with grand oak-trees, 2 by 3 ft., one of his best works, and 
 1849IT855. this he let Priest have for ^50, which was below its value ; 
 but he said " it was enough for him to pay." Priest parted 
 with it to Mr. Banner for ^100, who exhibited it for some 
 time in his rooms, and then sold it to Mrs. Eberhard, for 
 ;^i40. I believe it is still in the possession of that lady. 
 
 When he was last at Bettws, Cox had made two sketches out 
 of doors, on each side of a sheet of the thick Scotch paper, a 
 landscape, and a figure subject — a Welsh woman resting with 
 a bundle of sticks by her side. Both sketches were very 
 natural, and full of character. He showed them to Priest 
 and said, " Now, if you can separate these drawings I will 
 make you a present of one." Priest was of course delighted 
 to try. He had a damp cellar at home, on the brick floor of 
 which he placed the drawings till the paper was so saturated 
 with moisture that he succeeded easily in splitting them with 
 a sharp knife. Cox was pleased with his success, and gave 
 him the figure subject, which he afterwards sold for ^40. 
 
 The year 1852 did not pass without his usual visit to 
 London. He exhibited thirteen drawings at the Water 
 Colour Society. The most noteworthy were — " Bettws-y- 
 Coed Church," " On the River Conway," "On the Llugwy, 
 near Bettws," and " Besom Makers gathering Heather on 
 Carrington Moss, Cheshire." This last-named subject was 
 from a sketch he had made when staying at Sale. It was a 
 beautiful drawing, and he afterwards repeated it several times 
 with a variety in the incidents ; having a low horizon, there 
 was ample space for a grand effect of sky, and the powerful 
 rendering of great atmospheric space in sky is one of the 
 charms of all Cox's drawings of moors, commons, and sea- 
 shores. 
 
 After his return from London, in June, Mr. W. S. Ellis 
 joined him, and they made an excursion to Ludlow, Stoke-Say, 
 and other places in the neighbourhood, and also visited 
 Powis Castle. The weather was unusually bad, but I have
 
 LIFE AT HARBORNE. 2 25 
 
 seen many beautiful sketches made by Cox on this occasion, chap. xiv. 
 although, judging from the following letter to his son, he was i849_i855. 
 not himself satisfied with his work : — ■ 
 
 "Feathers Inn, Ludlow, June 20th, 1852. 
 
 " My dear David, — I write a few lines to thank you for 
 your kind letter come to hand this morning. We have now 
 been here nearly a week, and it has rained every day, and 
 some days it has been very heavy. Of course, I have not 
 done much in the way of sketching, though Mr. E. and 
 myself have been out in some of the most heavy torrents, and 
 the lanes and roads are very muddy. The castle is not at all, 
 to my ideas, a good one; there is only one view which is 
 passable. The country around is chiefly meadow, bounded 
 by distant hills, in form long and round. The principal 
 beauty is the look of the meadows, varied in tint, when there 
 happens to be a gleam of sunshine. Yesterday we had a car, 
 and went to Lentwerdine. The scenery about the hills on the 
 Downton Castle estate is very woody; but in such rainy 
 weather I cannot do anything ; indeed, the few sketches which 
 I have made are the veriest daubs ever made by any poor 
 painter. I am quite disgusted with my bad success, and 
 think of returning on Wednesday. I hope to have better 
 luck in the weather when I go into Wales. 
 
 "David Cox." 
 
 The drawing of Stoke- Say, of which I give a copy, was 
 made from a sketch taken on this occasion. The sky is 
 unusually threatening, and looks as portentous of continued 
 rain as it is possible to imagine. 
 
 Soon after this excursion to Ludlow, Cox left home again 
 for Bettws. The autumn was passed at Harborne, hard at 
 work, as usual, both in oil and water colours. His life at 
 Greenfield House was very uneventful, one day being spent 
 almost like another. His habits, when breakfast was over, 
 
 Q
 
 2 26 LIFE OF DAVID COX. 
 
 Chap. XIV. was to go Up to his studio, and work for an hour or two at any 
 1849^855. picture in hand, or turn over his folios of sketches for a subject 
 for a new work to be commenced. After this he went out into 
 his pleasant garden, which would find him occupation for 
 half an hour or more, whilst he smoked his favourite //^^ cigar. 
 Then again he resumed the work at his easel till dinner time, 
 which was at half-past one. The same in the afternoon, with 
 the exception of a short nap, and at tea time, or a little later, 
 he received the visits of his friends. Commissions for pictures 
 were often given, and future sketching expeditions were 
 arranged, at these evening meetings. Cox was always pleased 
 to paint a picture for a friend, but it has been truly remarked 
 that he had his " likings " and the reverse, and that he would 
 not part with his works to any one who attempted to patronise 
 him. Mr. W. Hall has described that, if alone, or nearly so, 
 and the evenings were long, "he lighted his lamp and went 
 to work again ; this time down-stairs in his sitting-room, 
 where, taking up a sheet of rough paper, which he delighted 
 to paint on, and striking out some grand effect of sunshine or 
 shadow, of cloud and tempest, which his quickened fancy 
 enabled him to conceive, he produced what he called a 
 cartoon ; a subject to be treated with greater care, and in 
 another form, on a future occasion. Many of these cartoons 
 were made during the long nights of autumn and winter, and 
 were exceedingly fine things, requiring but slight alteration 
 of their colour, by the light of day, to render them perfect 
 works of art." After the death of his wife, Cox spent his 
 Christmas Day either with Mr. Birch or Mr. Roberts, and 
 about New Year's Day his son generally paid him a short 
 visit. When the inclement season came round, the wants of 
 the poor in his immediate neighbourhood were never over- 
 looked, lie <\\(] not know how to turn a deaf car to those 
 who asked for help, and without doubt he was occasionally 
 imposed upon by th(; und(,'serving. Often has he cut the 
 best slice out of a leg of mutton to send to aged and infirm
 
 ]AFK AT HARBORNE. 227 
 
 villagers. It was his practice also to make many presents on Chap. xiv. 
 St. Thomas's Day, the 21st December, of raisins, sugar, i849_i855. 
 meat, and occasionally of money. On the Queen's birthday, 
 too, every summer, he sent his housekeeper round with little 
 gifts to the poorest and oldest inhabitants. 
 
 Early in the year 1853 Cox painted several important works 
 in oil. "The Skirts of the Forest," for Mr. David Jones; 
 " Going to the Hayfield," for Mr. Bullock and others. The 
 following are extracts from letters to his son of this date : — 
 
 "Greenfield House, February 17th, 1853. 
 
 "Several of my small pictures, 9 by 14 in., which I have 
 sold for ^5, have been sold for ^15, and others at the same 
 proportions ; other pictures which I received ^40 each for, 
 sold for ^75. I have given notice to one or two friends that 
 I would not take any more commissions at the price I have 
 hitherto had. 
 
 "David Cox." 
 
 " Greenfield House, March 9th, 1853. 
 
 " I am now confined to my bedroom— a most violent attack 
 of bronchitis, which nearly suffocates me at times. If I 
 should be spared, I will get rid of some commissions, and 
 make no more promises, but merely go out when I please 
 and paint what I please. It is of no use my working for 
 some; they are rather too selfish, and hurry me to paint 
 faster than it is possible. Perhaps they are aware that if I 
 should die they will not be able to procure any more. Some 
 who have not set that value upon my small bits have parted 
 with them at an advance of two hundred per cent., and in 
 some cases more. 
 
 "David Cox." 
 
 He also refers to this serious attack of bronchitis in the 
 following note to George Priest : — 
 
 Q 2
 
 Chap. XIV. 
 1849-1855. 
 
 228 LIFE OF DAVID COX. 
 
 •'Greenfield, Harbome, March nth, 1853. 
 
 " Dear Priest,— I feel greatly obllg-ed by your kindness 
 in sending to inquire about me. I am happy to say I have 
 had two good nights, having slept four hours each night. I 
 have not left my room yet, as my doctor wished me to keep 
 myself quiet, as talking brought on my cough ; and as I feel 
 getting better, it is safe to be on the sure side. Thank 
 Mrs. Priest for her call. I shall hope to be better soon. 
 
 " Yours very truly, 
 
 " David Cox." 
 
 This illness prevented his going up to London as early as 
 usual this spring. On the 15th of April he wrote to his son : — 
 
 " I suppose you are aware I sent four large drawings and 
 nine small to the exhibition — two of the small ones were 
 painted in the last ten hours. 
 
 "D. C." 
 
 Of these drawings, " Barden Castle," the "Summit of a 
 Mountain," and " The Challenge," were among the most 
 important. The last-named is a picture of a wild, barren 
 waste, amidst mountain tops, with a fierce-looking bull, with 
 tail extended, bellowing at one far way on the opposite hills ; 
 the sky is dark and lowering, and the treatment and colouring 
 powerful and impressive. It was hung in the place of honour 
 at the end of the room. The following is from a very in- 
 teresting letter to his son written before he had seen this 
 exhibition : — 
 
 " Greenfield House, April i8th, 1853. 
 
 ** My dear David, — I feel very much obliged to Mr. Tay- 
 lor for touching upon my Eagle. I wish now I had taken 
 Mr. Roberts's advice and sent my drawings in without a 
 price, as it strikes me the committee think them too rough ; 
 they forget they are the work of tlic mind, which I consider
 
 LIFE AT HARBORNE. 229 
 
 very far before portraits of places (views). I also think the chap, xiv. 
 committee ought not to hang my principal drawings by the 1849— 1855. 
 door, as my drawing of ' Penmaen Mawr ' of last year, and 
 my drawing of ' Bettws Church, with the Funeral,' also 
 hung at that end of the room; so also did Hagg's large 
 upright, and one of Richardson's large drawings — so that it 
 is like showing the public that we are fixed to those particular 
 places. I certainly have said that I will remain with them as 
 long as I am able to paint for them, but perhaps I may not 
 live to send any more, and if I should be spared, I think I 
 shall not be able to contribute much. I hope to be in 
 London on the 3rd of May, and then I will take out of the 
 price-book the sums I have asked for my four large drawings, 
 and if there are those of the public who appreciate mind 
 before mechanism, they will write to me to learn how I 
 estimate them. I may be wrong, but the world has yet to be 
 taught. Perhaps I am made vain by some here who think 
 my ' Summit of a Mountain ' worth — I am almost afraid to 
 say — -^100, and if I could paint it in oil, I shall some 
 day, with D. V., get that sum. I am now getting more 
 myself again. I have been this day by omnibus to 
 Birmingham, and have walked a great deal. This is the 
 first visit to Birmingham for ten weeks. God bless you 
 all is the prayer of your affectionate father, 
 
 " David Cox." 
 
 After arriving in London, he wrote the following letter : — 
 
 " Laurel Cottage, Streathain Place, Brixton HiU, London, 
 May i8th, 1852. 
 
 " My dear Friend Roberts, — In a letter I received from 
 Ann (his housekeeper) she informs me that you had kindly 
 answered a letter which came from Mr. Pritt of Preston. I 
 beg you will accept my very best thanks for obliging me so 
 much. I was disappointed in not meeting you at the station
 
 230 LIFE OF DAVID COX. 
 
 Chap. XIV. on the moming I left Birmingham for London, but I con- 
 1849II7855. eluded business matters prevented you, Mr. Holmes and 
 I had the carriage to ourselves all the way. The weather 
 since I left has not been very tempting until lately, I there- 
 fore have not been often to town. A few days ago I called 
 at the ' Craven ' to inquire. My visit to London is now 
 drawing near the end, and I shall return next week. I have 
 seen but few of the exhibitions, therefore can say but little 
 about them. I do not think very well of the Royal Academy ; 
 Millais is very good — perhaps the best picture in the exhi- 
 bition, but this I ought to be careful in saying. 's 
 
 large tree is a failure. I must leave all other remarks until 
 I have the pleasure of seeing you. There is one bit of news 
 I must tell you because you will be well pleased — that is, I 
 I have sold my large drawing, ' The Challenge,' for ^80. 
 It is purchased for, and is to be sent to, America. I have also 
 a commission to paint another, same size, as a companion. 
 
 " Yours very faithfully, 
 
 " David Cox." 
 
 He returned to Harborne in the last week of May, and 
 soon after wrote the following letter : — 
 
 To W. S. Ellis, Esq. 
 
 " Greenfield, Harborne, June 3rd, 1853. 
 
 " My dear Friend Ellis, — I daresay you expected a 
 letter from me before this, and also to receive the drawing of 
 'Windy Day,' which I am glad to say is so nearly finished 
 that I have determined to leave off, and will send it on Monday, 
 for if I had it by me for a month I should be finding out 
 something that I might fancy could improve it. However, 
 I hope your friend or yourself will like it. I will direct it to 
 you, 1 1 , Birchin Lane, unless I hear to the contrary. You 
 will, I expect, be wishing to learn what I have thought of or 
 where to go on our sketching trip. I cannot learn much that
 
 LIFE AT HARBORNE. 23 I 
 
 is very satisfactory about Beaudesert or neighbourhood, but Chap. xiv. 
 have seen a gentleman who comes from the neighbourhood 1849— 1855. 
 of Bridgnorth. He speaks of the scenery near there, and 
 of Apley Terrace and Wenlock Abbey; now I think we 
 might go to these places for three or four days, and then take 
 a car to Ludlow. You must know I have a great wish to go 
 to Ludlow again, having heard of one fine scene four miles 
 on the road to Leominster ; it has been described to me as 
 one of the finest subjects in England — finer than the view 
 from Richmond Hill. Besides which, the drawings I bor- 
 rowed from you have given me a fresh start, and I should 
 like to see a little more of that country ; and who knows but 
 I may come out quite astonishingly fine next year? So I 
 think you will indulge me with this wish. We can spend a 
 fortnight, or perhaps a little more; but I must tell you I 
 shall not be ready to start for a fortnight, as Ann is going to 
 see her mother on Monday, and will most likely be absent a 
 fortnight. Let me hear from you soon. 
 
 " God bless you, ever affectionately, 
 
 "David Cox." 
 
 The plan suggested in the foregoing letter of a visit to 
 Bridgnorth and Ludlow was never carried out, as in little more 
 than a week after writing it. Cox was seized with a very serious 
 attack of illness, which at one time put his life in great danger, 
 and left him much enfeebled; indeed, he never entirely 
 recovered from the effects of this attack. It was soon after 
 breakfast on Sunday, the 12th of June, that he went into his 
 garden to cut some asparagus for dinner, and whilst stooping 
 down, thus occupied, the blood rushed apparently to his head, 
 and he fell almost senseless. 
 
 Ann Fowler was unfortunately absent at Hereford, but 
 Mrs. Roberts hearing, from the maid Mercie, what had 
 happened, drove off for his usual medical attendant, Mr. 
 Bindley. He was sent for out of church, and was quickly in
 
 22,2 LIFE OF DAVID COX. 
 
 Chap. XIV. attendance. Cox's son also arrived the next morning- to help 
 1849Z7855. nurse his father. He had been telegraphed for, and there 
 being- no passenger train he had travelled down by a goods 
 train in the night, and he remained at Greenfield till the 27th 
 June ; being then replaced by one of his daughters. The 
 attack partook somewhat of the nature of paralysis, but he 
 recovered sufficiently by the end of six weeks to go out in 
 the fields behind Harborne, and make a water-colour sketch ; 
 although he was so feeble that he required two persons to 
 assist him to walk. When once seated to his work, his mind 
 . appeared to re-assert all its former vigour, and he produced 
 a broad, rapid, and very beautiful sketch, which is now in Mr. 
 Ellis's collection, where I have lately seen it. The sky is 
 stormy and particularly fine, a path leads through a field, 
 the long grass of which appears as if blown by the wind, and 
 some fine trees rise up on the right-hand side of the 
 drawing. About two months after this attack he was able to 
 make his usual journey to North Wales. He stayed at the 
 Farm House, at Bettws, and was accompanied by his grand- 
 daughter as well as by his housekeeper, and by Priest. His 
 hand, by degrees, grew tolerably steady again, and he had 
 the same perception and feeling for nature as ever ; but his 
 eyesight was affected, especially that of one of his eyes, 
 over which a drooping of the lid had taken place. 
 
 By the beginning of 1854 Cox had very much got over the 
 effects of his illness of the preceding summer, and he painted 
 during this year many admirable oil-pictures and impressive 
 drawings in water-colour. Of the former I may mention 
 several in Mr. Bullock's collection — "Keep the Left Road," 
 " Peat Gatherers," and " Cutting his Stick." He only sent 
 seven drawings to the Water Colour Gallery in 1854. Some 
 of these were the same subjects as he had chosen for his 
 works in oil ; but there were also two views from Capel 
 Curig, one of them being a particularly fine and impressive 
 view of Snowdon; also " Ludford Bridge," and " Crossing the
 
 LIFE AT HARBORNE. 233 
 
 Downs." It was in 1854 that he made his celebrated drawing chap, xiv. 
 of "Besom Makers collecting Heather on Chat Moss," 1849- 1855. 
 now in Mr. Craven's collection, of which I give a copy. 
 It was not exhibited in London till the following year. 
 
 Cox visited London this spring as usual, also Bettws, 
 where Mr. Ellis and his son accompanied him, and where he 
 painted from nature both in oil and water colours. 
 
 Cox felt the winter of 1854-55 a good deal, and he suffered 
 in his health during the spring. This did not, however, 
 interfere much with his work, and he sent thirteen drawings 
 again this year, 1855, to the Water Colour Society. " Skirts 
 of a Forest," " Snowdon from Capel Curig," "A Hayfield," 
 "The Coming Gale," and "Flint Castle," were the most 
 interesting. There was also a drawing called " The Old 
 London Stage," which attracted a good deal of notice, and 
 was deservedly popular. A very good critique on these 
 drawings appeared in the Spectator in May, 1855, for the 
 insertion of which in this place I hope no apology will be 
 deemed necessary. The Spcctato7' says : — 
 
 " How far the contributions of Cox may be the doings of 
 the past year, we are unable to say. We recognise one or 
 two of the designs of former seasons. We only hope that 
 any of the remainder belong to the present ; for if they do 
 this noble veteran of art is still in the vigour which has long 
 rendered him a king of water-colour landscape. There is 
 the same deep grand gloom as ever, the same penetration 
 beneath the surface of things to their meaning and life, the 
 same impatient power, whose play and carelessness throws 
 off in a twist, or a spirt of the brush, that which talent, age, 
 and faultlessly educated talent, shall strive for its life long 
 with all labour and appliance, and never attain. ' Flint 
 Castle, Snowdon,' 'The Coming Gale,' 'Crossing the 
 Heath,' ' Moon Rise,' and ' The Old London Stage,' are 
 conspicuously fine, where every one bears the mint-mark of 
 genius."
 
 234 LIFE OF DAVID COX. 
 
 Chap. XIV. It was after Cox had returned from his usual visit to 
 1849— 1855. London that his friends at Birmingham proposed that a sub- 
 scription should be entered into to obtain a portrait of 
 David Cox, to be painted by some eminent artist, and after- 
 wards to be presented as a testimonial of their regard to 
 him. The idea originated in the minds of one or two near 
 friends ; but when made known, it was warmly responded to, 
 and it resulted in the well-known portrait painted by Sir John 
 Watson ^Gordon, now in the public gallery at Birmingham. 
 A full account of this will be given in the next chapter, 
 and I shall, after that, introduce the promised one on water- 
 colour drawings.
 
 XV. 
 
 PORTRAIT OF DAVID COX, BY SIR J. WATSON 
 
 GORDON. 
 
 'ARLY in 1855 the friends and admirers of David chap.xv. 
 
 ^g^ Cox in Birmingham, after consulting together, 
 determined to take steps to get a good portrait of 
 him painted by some eminent artist. It was also 
 proposed to present it to him as a testimonial of the general 
 esteem in which he was held in the town. For this purpose a 
 circular, to which many influential names were attached, was 
 issued convening a meeting. This took place in the rooms 
 of the Birmingham Society of Artists on the 31st May, 1855. 
 A committee was there formed — Mr. Charles Birch being 
 elected chairman, and Mr. J. B. Hebbert and Mr. John 
 Jaffray, honorary secretaries ; and a subscription for carrying 
 out the proposed object was originated. 
 
 Referring to this meeting, the Midland Counties Herald of 
 that date published an article, from which the following is an 
 extract : — 
 
 " To the truth of the proverb about the esteem in which a 
 prophet is held in his own country, there are, we are some- 
 times gratified to find, exceptions. Birmingham, we have 
 much pleasure in learning, is about to furnish one of these 
 exceptions to established rule. 
 
 " She owes much to art, and she is about to acknowledge 
 her obligations in a graceful and appropriate manner by pay- 
 ing a richly-merited tribute of respect to one of the most
 
 236 LIFE OF DAVID COX. 
 
 Chap. XV. gifted members of the English school, and one, moreover, 
 whom she has the privilege — a distinction of which she is 
 justly proud — to number among her citizens. We allude to 
 Mr. David Cox. To enter at this period of his lengthened 
 and honourable career into any elaborate and formal eulogy 
 of his works would be a needless expenditure of time and 
 space. Not, however, to professional talents of the highest 
 order alone, is the compliment we allude to about to be paid. 
 It Is intended as a token of the esteem in which Mr. David 
 Cox is held — for the personal worth, the kindliness of heart, 
 and unobtrusive virtues which have marked his modest and 
 laborious life." 
 
 After communicating their wishes to Mr. David Cox, and 
 after careful consideration, the committee decided to apply to 
 Sir John Watson Gordon, then resident at Edinburgh, as the 
 artist who would be best qualified to do justice to the 
 thoughtful character and noble though rather tried expres- 
 sion of David Cox at this period of his life. The only diffi- 
 culty lay In the length of the journey to Scotland, which In 
 the infirm state of his health at this time was a matter, of 
 anxiety to all parties concerned. Cox himself dreaded so 
 long a journey very much, and at first declined to go ; but 
 after consulting with Dr. Bell Fletcher and Mr. Bindley, he 
 was persuaded to alter his mind, and on the 23 rd July, 1855, 
 he wrote thus to his son : — 
 
 " My dear David,— The committee wrote again to me 
 yesterday, after I had written to Mr. Ellis, and four of them 
 have most particularly; and two of the doctors write that there 
 can be no risk of my health, and most particularly urge me 
 to start In nine days. So I feel ready to go. Be ready to 
 go with me to Edinburgh. So I wish you to tell Mr. Ellis I 
 should likr; him to go with me, as we are not to be detained 
 more than five or six sittings, and shall make it a very quiet 
 journey — three days up and three back. I should like Mr.
 
 PORTRAIT OF DAVID COX. 237 
 
 Ellis to accompany me, if possible — Messrs. Bullock, Birch, Chap. xv. 
 yourself, and me. If Mr. Ellis cannot go with me, I can go 
 with him for a short trip for nine days. God bless you and 
 Mr. Ellis, and accept my love. 
 
 " Yours, 
 
 "David Cox." 
 
 Cox's writing was less legible than usual at this time, and 
 in a letter to Mr. Ellis he says that writing had made him 
 feel quite giddy. 
 
 After Cox, with the sanction of his medical advisers, had 
 consented to make the effort, everything being arranged, he 
 left Birmingham for the north on the 13th August, accom- 
 panied by his son and by Mr. William Hall. They reached 
 Carlisle the first evening, and slept at an hotel. The next 
 morning they all went out to see the place, and soon found 
 their way on to the ramparts of Carlisle Castle, from which 
 there is a good view, as it is situated on an eminence between 
 the town and the river Eden. Cox was much struck with 
 the appearance of the old keep, and immediately set to work 
 to make a sketch of it. His son also followed his example. 
 The castle was at that time maintained as a garrison fortress, 
 and on the ramparts a sentinel was walking up and down. 
 The only notice he took of the sketchers was to cast occasion- 
 ally a wondering glance at their work as he walked up and 
 down. Before long, however, an officer made his appearance. 
 He went up to the sentinel, and desired him to request the 
 sketchers to leave off immediately, as it was not to be endured, 
 he added, that in time of war people should be allowed to 
 make drawings of one of Her Majesty's fortresses (it hap- 
 pened to be the time of the Russian War). Cox was rather 
 indignant, and shut up his book rather in dudgeon. Whilst 
 putting up his box, &c., the officer withdrew; whereupon 
 the sentinel came by again, and, remarking it was all hum- 
 bug, said that if they would tip him with half-a-crown, they
 
 238 LIFE OF DAVID COX. 
 
 Chap. XV. might Continue their work. Cox, however, refused rather 
 abruptly, and having shortly adjourned to the banks of the 
 Eden, they obtained an excellent view of the castle, of which 
 Cox made a graphic sketch. They arrived the same evening 
 at Edinburgh, namely, on the 14th, and stopped the first 
 night at an hotel. 
 
 The following letter, addressed by Mr. David Cox, jun., 
 to his daughters, describes this journey : — 
 
 "Edinburgh, August 15th, 1855. 
 
 "We arrived here on the 14th, at the Royal Hotel, Princes 
 Street, and have since moved into lodgings at No. 10, Albyn 
 Place. We travelled seven hours on Monday to Carlisle, and 
 next day came on to this place. The hotel was rather noisy, 
 and my father complained that it disturbed him. Mr, Hall is 
 with us, and we are enjoying ourselves very much." 
 
 Mr. Hall described that when they arrived at the hotel, 
 a waiter in full dress came in, and asked what they would 
 please to order for dinner. Cox, who wanted something to 
 take very much, and did not care how simple it was, appeared 
 rather vexed when he was made to understand that he was 
 expected to order a grand dinner of soup, fish, &c. 
 
 The following is an extract from a letter written by David 
 Cox, jun., three days after they had removed into the lodgings 
 in Albyn Place : — ■ 
 
 " My father has been for a first sitting, and I think it all 
 goes on well. I expect he will not be wanted above five 
 times. Yesterday we took a drive round by the Queen's 
 Drive, a new road from Holyrood Palace round Arthur's 
 Seat. 
 
 " Sir W. Gordon is affable and entertaining, with a grave 
 £ind dignified carriage, An active man, too, for his years, 
 Our lodgings are in a very good part of the town, Sir
 
 PORTRAIT OF DAVID COX. 239 
 
 J. W. G. lives just round the corner. I don't think lodgings Chap.xv. 
 are at a premium, although we pay 50^-. a week. 
 
 " Monday, 20th August. — Mr. Birch arrived early this 
 morning, and we shall be sight-seeing perhaps all day. It 
 is fixed that we are to go to Mr. Reeve's cottage, at Bolton- 
 le-Sands, near Lancaster, and return with him to Birmingham. 
 
 " Sir John has finished the portrait. My father is delighted 
 with it. It is as real as can be, and a very pleasing portrait. 
 Mr. Birch is equally satisfied, and indeed I think Sir J. W. 
 Gordon expects it will bring him credit in the Academy next 
 year." 
 
 Mr. William Hall has informed me that there were five sit- 
 tings in all. He describes their first introduction at Sir J. W. 
 Gordon's house thus : — They were ushered into a parlour, 
 and the artist came out promptly from his painting-room, 
 and accosting Cox, with a broad Scotch accent, said, " Wel- 
 come to Scotland, Mistair Cox ! " When the sitting com- 
 menced. Cox was placed in an easy arm-chair, on a sort of 
 rostrum. Once he happened to fall asleep in this chair, when 
 Sir Watson exclaimed, "Rouse up now, Mr. Cox; I am 
 going to do your expression." This had the desired effect, 
 when turning to his son. Cox said, " Eh ! David; what is it 
 he is now talking about? " Sir Watson was delighted with 
 his subject. He said he had formerly painted Sir Walter 
 Scott, and that the form of his head and that of David Cox 
 were very similar, and that the lower part of his face was 
 like Lord Brougham's. 
 
 Cox himself, however, rather demurred to this, and he used 
 often jokingly to remark afterwards that he was sure he never 
 had such a long Scotch head as Sir Watson Gordon had 
 given him. Before leaving Edinburgh they all went to 
 dine at this artist's country house, and were very hospitably 
 entertained by him. He was evidently highly pleased with 
 his guest, and desired to show him all the attention in his
 
 240 LIFE OF DAVID COX. 
 
 Chap. XV. power. The country house was at a place called Newhaven, 
 close to the sea. During the drive thither Cox was much 
 amused seeing the Scotch fish-wives, with their quaint 
 costumes and brawny arms, almost like men. Miss Watson, 
 the sister of Sir J. W. Gordon, received them, and his 
 nephew, Mr. Watson, was also of the party. Cox was suffi- 
 ciently well to see something of the neighbourhood of Edin- 
 burgh during his visit, and to take a drive round Arthur's 
 Seat, all which interested him very much. 
 
 When the portrait arrived at Birmingham from Edinburgh, 
 it was placed in Mr. E. Everitt's rooms in New Street, and 
 there Cox went to see it, on the 9th November, accompanied 
 by his housekeeper. On his return home that day, after 
 seeing it, he wrote thus to his son : — 
 
 " November 9tli, 1855. 
 
 " My dear David, — The portrait is the finest ever seen, 
 and Mr. Birch thinks it worth one of his Turners. The weather 
 is very dark, so God bless you all. Write to me often. Love 
 to all. 
 
 "David Cox." 
 
 Again, on the 14th of November, he wrote the following 
 letter to his son about the forthcoming presentation : — 
 
 " My dear David, — I do not know what Mr. Birch wrote 
 to you ; and noiv I would tell you that I should not wish you 
 to come down, as I know it would be an unpleasant irksome 
 feeling, and it is for that reason. 
 
 " We shall do very well, I hope, as Dr. Fletcher has said 
 that he will just say a few words. My love to Mr. Ellis, and 
 tell him I shall be very glad to see him at any time at my 
 house. Thank God, I am much better, and my cough is 
 nearly gone. God bless you, and love to all. 
 
 " David Cox." 
 
 The presentation of the portrait to Mr. Cox took place on
 
 PORTRAIT OF DAVID COX. 24 1 
 
 Monday, the igth November, 1855, at Aletchley Abbey, Har- Chap.xv. 
 borne, the residence of the Chairman of the Committee, Mr. 
 Charles Birch. That gentleman had invited the acting- 
 members of the committee, some of the principal subscribers, 
 and other friends, sixty-two in all, including fourteen ladies, 
 to be present on this occasion, and to partake of a collation 
 served in the picture-gallery. This apartment contained 
 several pictures by Cox himself, one being the "Welsh 
 Funeral" (now possessed by Mr. Betts), also choice examples 
 of Constable, Turner, Etty, Miiller, Danby, Maclise, Cooper, 
 and others, all well selected, as Mr. Birch had good judgment 
 and true feeling for art. Among those present were the 
 Rev. J. Garbett, Rev. J. Blackburn, and several other clerg}- 
 men. Dr. Bell Fletcher, Messrs. W. Roberts, E. Bullock, 
 William Sharpe, Hyla Betts, C. Cope, Arthur Ryland, R. G. 
 Reeves, J. Pemberton Gwyther, R. Wright, H. Wiggin, 
 J. Feeney, J. Jaffray, Bracey Henshaw Hallam, R. Chattock, 
 W. Tarratt, A. E. Everitt, J. D. Hebbert, W. Hall, and 
 several other friends. 
 
 The portrait, surmounted by a wreath of laurel, occupied 
 the end of the drawing room. 
 
 After the repast, at which a good many ladies were 
 present, the chairman rose to make the presentation. David 
 Cox sat on his right hand ; he had arrived rather late, 
 leaning on the arm of Dr. Bell Fletcher. Mr. Birch briefly 
 referred to the object of their meeting, to the artistic genius 
 and private worth of his honoured guest, with whom he said 
 it had been his good fortune to enjoy an uninterrupted 
 friendship of more than thirty years. He spoke of his 
 intense devotion to his profession, and enumerated several 
 of the principal works of Mr. Cox, which had made his name 
 famous throughout the whole world of art. Whilst expressing 
 his admiration for the professional talents of his friend, he 
 adverted to his early struggles with adverse times, to his 
 simple and sincere love of Nature, to his transparent truth- 
 
 R
 
 242 LIFE OF DAVID COX. 
 
 Chap. XV. fulness at all times, his readiness to oblige others, his patient 
 devotion to study, the simplicity of his character, the purity 
 of his life, and his Christian charity and benevolence. He 
 heartily congratulated the subscribers to the testimonial, 
 upon the truly magnificent work of art and faithful portrait 
 which they had obtained from Sir J. Watson Gordon, adding 
 that the feelings which had inspired the subscribers were 
 better expressed than his humble abilities allowed, in an 
 address prepared by the committee, which one of the 
 secretaries, Mr. Jaffray, would now read. The address was 
 then read, as follows : — 
 
 "To Mr. David Cox. 
 
 "Dear Sir, — Several old friends, who for many years 
 have enjoyed the pleasure of intimate communion with you, 
 and a few others who only know you by your professional 
 works, having a desire to express to you their admiration of 
 your genius and their respect for your private character, have 
 entered into a subscription, the result of which is the 
 portrait now presented to you in the name of the subscribers. 
 
 " In thus expressing their feelings they were also influenced 
 by the desire of preserving in your native town a memorial 
 of one who already holds a high place in the estimation of all 
 who can distinguish between the meretricious and true in art, 
 and who will yet be held in higher repute as an able teacher 
 in a genial, manly school of landscape-painting. For, 
 disregarding the mere outward prettiness of Nature, you 
 seized the true essence of her grandeur, and the spirit of 
 her beauty, and became her faithful and therefore her famous 
 exponent. 
 
 " It has been said of iIkjsc who patiently and with a single 
 mind love virtue for her own sake, that the very act of self- 
 denial is happiness. The same may be said of the patient, 
 modest, uns(jlfish student of Nature. To him she reveals her
 
 PORTRAIT OF DAVID COX. 243 
 
 secrets and lays bare her beauty; the very act of self-sacrifice Chap.xv. 
 is the passport to fame. 
 
 " Such we believe to be the spirit in which you entered 
 upon and pursued your half century of study. Beginning- in 
 a humble way, neither aided by patronage, nor buoyed up 
 by applause, you have won a high place amongst con- 
 temporary artists, have made your name famous in many 
 lands, and, better still, have surrounded your declining years 
 with troops of friends who not only admire your genius, but 
 reverence and love you. To the man as well as to the artist 
 we offer this mark of respect. 
 
 " Like many who have climbed to the highest pinnacles of 
 fame, you tasted adversity. In the two extremes you have 
 shown the same high qualities of mind; bearing obscurity 
 with manly fortitude, and, what is still more difficult, acquiring 
 fame without losing the simplicity of your character. These 
 are rare qualities always, very rare in an age of showy 
 accomplishment and restless action, and by preserving in 
 some public building in your native town this record of you 
 — a record as true and unaffected as the man it represents — 
 we seek to perpetuate the example of your private virtues as 
 well as the remembrance of your professional fame. 
 
 " Accept then, dear Sir, this expression of the admiration 
 and love of your friends ; and they are sure that you will 
 value the gift more highly as being the work of an artist 
 kindred to yourself in spirit, who in a different walk of art 
 has won an honourable reputation, and who by this portrait 
 has added another to the list of his professional successes. 
 
 "We fervently hope that you may long be spared to wear 
 the laurels you have so well won, to give more evidence of 
 the unabated freshness of your thoughts and the vigour of 
 your pencil, and to enjoy the serene repose of a virtuous and 
 honoured old age. 
 
 "Birmingham, November 19th, 1855." 
 
 R 2
 
 244 LIFE OF DAVID COX. 
 
 Chap. XV. The address was very handsomely bound in vellum, with 
 illuminated title and borders, and bore the signature of one 
 hundred and six subscribers, including all his oldest friends, 
 also the Rev. John Garbett, Vicar, W. C. Macready, David 
 Roberts, R.A. ; Tom Taylor, M.A. ; T. Creswick, R.A. ; 
 Mark Anthony, John Pye, and Samuel Bellin, the engravers, 
 and many other men of distinction. Besides letters from 
 Mr. John Ruskin, Mr. Boddington, and other friends who 
 could not attend, and which were read by the secretary, was 
 one from Mr. Horsley, the then newly elected Associate of the 
 Royal Academy, who, whilst begging to add his name to the 
 list of subscribers, expressed his regret that he could not 
 be present to pay homage to the "royal supremacy" of 
 David Cox. 
 
 After the reading of the document, which was heartily 
 applauded, David Cox merely bowed his thanks, and Dr. Bell 
 Fletcher, who, on account of his aged friend's very delicate 
 health at the time, had undertaken the office, then rose and 
 in a few appropriate words expressed Mr. Cox's grateful 
 sense of the mark of esteem and regard which he had received. 
 Many toasts were afterwards proposed and cordially received, 
 including the health of Sir John Watson Gordon, which was 
 proposed by Mr. Hyla Betts. The gathering at Metchley 
 Abbey, which was one of true friendship and cordiality, did 
 not separate till late in the evening. 
 
 In the course of the afternoon, a clergyman, who was 
 present, told a gentleman who sat next to him, that he had 
 travelled from a considerable distance in the north of 
 England to be present on the occasion. He said he had 
 been the curate of Harborne Church for several years, and 
 had learned to love and venerate David Cox. He added 
 that he had almost always found, when sent for to a 
 cottager's sick-bed in the village of Harborne to admi- 
 nister to their spiritual wants, that Cox had preceded 
 him in his visits, and had fully cared for their temporal
 
 PORTRAIT OF DAVID COX. 245 
 
 comforts and requirements. Cox had presented him with a Chap. xv. 
 drawing before he left, and this remembrance of the old 
 man, he said, he valued more than anything he possessed. 
 
 At the time the portrait was presented it was arranged 
 that it should eventually be placed in some conspicuous 
 public building or gallery in Birmingham. This has been 
 carried out within the last few years, when the public Fine 
 Art Gallery for the town was opened in the building of the 
 Midland Institute, and the picture painted by Sir J. W. 
 Gordon may now be seen gratis. It is in most respects a 
 very successful work of art, and very like David Cox, but 
 having been painted after his serious illness, which happened 
 two years before, the expression of the features is more 
 grave and pensive than was the case a few years previously. 
 
 This portrait has been well engraved by S. Bellin, and 
 being published only for the benefit of subscribers is rather 
 scarce. I give a copy from this engraving by the Heliotype 
 process at the commencement of this chapter. On the 20th 
 November, the day after the presentation. Cox wrote a short 
 but cheerful letter to his son, giving some account of 
 the presentation, which he says "went off very well," and 
 expressing his gratification at the kindness of his friends. 
 The portrait had been placed in his parlour in Greenfield 
 House, and, referring to it, he says "the portrait is very 
 much liked." 
 
 In the following spring, that of 1856, the portrait of Cox 
 was exhibited in the Royal Academy, and there it attracted 
 a great deal of notice, both on account of the artist who 
 was represented and the artist who had painted the picture.
 
 XVI. 
 
 WATER-COLOUR DRAWINGS. 
 
 Chap. XVI. ^^"^^^RING a peHod extending over upwards of fifty years 
 David Cox made annually several hundred drawings 
 and sketches. Those exhibited in the rooms of the 
 Old Water Colour Society number 796, but these 
 form only a very small proportion of the drawings he pro- 
 duced. As to his sketches, they are beyond calculation. 
 Although a change in his manner of viewing nature and 
 powers of expression, appears gradually, and I may add 
 almost unceasingly to have taken place during all the lapse 
 of years, yet in each period there are many points of resem- 
 blance, and much of the same originality of feeling and 
 treatment. 
 
 When Cox began to draw in water-colours at the com- 
 mencement of the present centur}^ this branch of art was in 
 a state of transition. During the preceding thirty or forty 
 years, although water-colour landscapes had been produced 
 by such early pioneers in the art as J. Webber, J. Cozens, 
 W. Gilpin, Paul Sandby, and W. Hearne, they were little 
 else than outlines, tinted with low-toned flat washes, the 
 shadows being frequently put in first with neutral tint. This 
 was the approved method taught in the earliest treatises. 
 This was improved upon by Girtin, J. J. Chalon, and one or 
 two others, but the modern art of water-colours, as now 
 practised in England, with its delicacy, purity, and yet depth 
 of colour, its pearly lights, rich tones, and powerful shadows,
 
 WATER-COLOUR DRAWINGS. 247 
 
 may be said to have taken its rise with the formation of the ^hap. xvi. 
 old Society of Painters in Water Colours. 
 
 Their first exhibition was held at 20, Lower Brook Street, 
 in 1805. It started with sixteen members, all good men, 
 who have left their mark in their various walks of the art, but 
 George Barrett, J. Glover, Joshua Cristall, William Havell, 
 Robert Hills, F. Nicholson, and John Varley are the best- 
 known names to all collectors of early water-colours. Body 
 colour has of late been a good deal used, especially when 
 high finish is required. W. Hunt, the great still-life painter, 
 was one of the first to carr}^ this method to perfection, and 
 many distinguished artists now follow in the same track. 
 
 Some of the best early water-colour painters considered 
 that the use of body colour was illegitimate in the practice of 
 their art, except on rare and very special occasions, and this 
 was Cox's opinion. Many of his finest drawings have 
 scarcely a touch of body colour, but, on the other hand, he 
 laid on an immense deal of colour at once with an abundance 
 of water, which dried sharp and pure in tone, giving the 
 appearance of finish, especially when worked up with 
 repeated touches and hatchings. 
 
 With a view to distinguish Cox's changes of style, and to 
 classify his drawings, I propose to divide them into four 
 classes or periods. Taking the first as that between 1804 
 and 1 8 14, the date of his removal to Hereford, we may 
 recognise the influence exerted by the study of the old 
 masters, and by the works of Girtin, Barrett, and Varley. 
 They are generally good in composition, but the colour, 
 although not inharmonious, is wanting in variety and some- 
 times in freshness. It is flat, low-toned, and often rather 
 dull and dark. This last remark applies especially to the 
 foliage of his early trees. These works generally show much 
 painstaking care and labour, but at the same time a fine eye 
 for effect. In that most important quality Cox was indeed 
 never wanting.
 
 248 LIFE OF DAVID COX. 
 
 Chap. XVI. J take the second period as between 18 14 and 1829. 
 These are careful, but less conventional. The colouring is 
 brighter, and the finish, . although not more elaborate, is 
 more telling. The small delicate drawings for albums of 
 this period are, however, sometimes very highly finished, and 
 the high lights occasionally touched in with body colour. 
 These are exceedingly different from the grand rough works 
 of his latest period, but the subjects are always pleasing, 
 especially those on the Wye and in the neighbourhood of 
 Hereford, and indicate refinement and a careful study of 
 nature. The figures are well put in, but have less life and 
 action than in his more advanced works. In the first period 
 there is more art and less nature, and in the second more 
 nature and less art, or at least the art is better concealed. 
 
 The third period, which may be said to extend from about 
 1830 to 1850, comprises without doubt most of Cox's 
 important representative drawings. In these there is a 
 visible increase of breadth, more vigour and rapidity in the 
 handling, more insight and penetration into the deeper 
 meaning and mystery of nature, more movement, more 
 sparkle and brilliancy, and a more mature knowledge of 
 effect, and of the forms and treatment of sky and clouds. 
 There is also a more decided character in the figures intro- 
 duced. The well-known series of views of Lancaster and 
 Ulverstone Sands, delicate and refined in colour almost 
 beyond any others, are of this period. So are also the large 
 and highly-finished drawings of Hardwick Hall, Bolsover 
 Castle, the Vale of Clwyd, Bolton Abbey, Berden Tower, 
 Sherwood Forest, &c. The last period, from 1850 to 1859, 
 comprises many of his pastoral subjects, and those grand 
 pathetic works, "The Welsh Funeral," "The Moors near 
 Bettws-y-Coed," "Peat Gatherers returning," " The Missing 
 Flock," "Snowdon, from Capel Curig," "The Mountain 
 Top," and many more. In these there is the deepest 
 sympathy with nature, and greater power than in any others,
 
 WATER-COLOUR DRAWINGS. ' 249 
 
 being even more the work of the artist's mind than of his chap. xvi. 
 hand. The supreme excellence of these drawings must be 
 felt ; it cannot be described. 
 
 During the last few years in which Cox's eyesight was 
 somewhat affected by his illness, his feeling and love for 
 grand and solemn subjects was extraordinarily vivid, but the 
 power of carr}ang out his ideas was somewhat impaired, 
 making the handling loose, and to some extent " blotty." 
 For this reason many persons prefer the drawings of what I 
 have termed the third period to any others. 
 
 I shall describe some of the most important collections of 
 Cox's drawings which now exist, and which comprise some 
 of almost every date. It is to me a matter of regret that so 
 many of the collections purchased direct from the artist, 
 namely, those of Messrs. W. Roberts, Edwin Bullock, Nor- 
 man Wilkinson, and Charles Birch, have been dispersed. 
 However, the extremely choice collection belonging to Mr. 
 W. S. Ellis is intact, and also the very interesting drawings 
 and sketches bequeathed by Cox to his son. These com- 
 prise some which were especial favourites of the artist 
 himself. Many of Cox's most important, truthful, and 
 spirited drawings, after being exhibited at the Water Colour . 
 Society, have appeared in later years in other great repre- 
 sentative exhibitions. For instance, in the Manchester Art 
 Treasures of 1857, there were eighteen very choice drawings 
 by David Cox. In the Great International Exhibition in 
 London of 1862, "The Welsh Funeral," "The Junction of 
 the Severn and the Wye," were exhibited ; also " Beaumaris," 
 "Fern Gatherers," " Beeston Castle," "The Horse Fair," 
 " Going to the Hayfield," &c. 
 
 F. T. Palgrave, in his handbook to the Fine Arts Collec- 
 tion in the International Exhibition, 1862, makes the following 
 remarks on the drawings by David Cox exhibited there : — 
 
 " The poetry of David Cox, within its peculiar range, and 
 whenever he choose to express it, is pure and perfect. His
 
 250 LIFE OF DAVID COX. 
 
 Chap. XVI. feeling for certain aspects of English landscape has all the 
 strange irresistible force of true passion. When a man views 
 his art in this spirit, it must be left to tell its own story to 
 those who share the emotions which animated it. Such will 
 recognise in specimens here shown the intense imagination 
 which penetrates his work ; what majesty he saw in the 
 common field or cottage ; with what an inner eye of 
 sympathy he watched the wreathings of the stream beneath 
 the gloom of forest greenery ; the visionary sadness of wide 
 horizons and dreary heaths, or the last red gleam that ebbed 
 away from the heights of Craig-y-Dinas. In the ' Welsh 
 Funeral,' ' Bolsover,' ' Beeston,' ' Fern Gatherers,' ' Wye,' 
 and many of the small scenes, as 975 and 976, these high 
 qualities are especially shown. They belong peculiarly to 
 the artist's later style, in which his often blurred and imper- 
 fectly realised execution is a severe lesson to the lovers of the 
 neat and the conventional. Yet this seemingly slight and 
 hasty touch conceals a thoughtfulness and a delicacy in 
 handling which is more like Turner's than any other man's 
 work. The sweet gradation of colour and beauty of form in 
 the breaking wave of the 'Beaumaris' (loio) seem to me of 
 unsurpassed excellence." 
 
 And again he says further on : — 
 
 "All truths of the highest order are separated from those 
 of average precision by points of extreme delicacy, which 
 none but the cultivated eye can in the least feel, and to 
 express which all words are absolutely meaningless and 
 useless." 
 
 At the Leeds International Exhibition thirty-two drawings 
 of the highest quality were again exhibited. The titles com- 
 pri.se three of the Hayfield, three of Views in Windsor Park, 
 two of Bettws-y-Coed, "Bolton Abbey," "Bolton Wood," 
 " Fording the Stream," " Kenilworth," "The Golden Vale," 
 "The Haystack," " Passing Shower," " Going to the Hay- 
 field," "Sunrise on the Beach," " Landscape and Bridge,"
 
 WATER-COLOUR DRAWINGS. 25 I 
 
 "Harlech Castle," "On the Thames," "On the Severn," Chap. xvi. 
 "A Welsh Lane," "The Welsh Funeral," "Richmond, 
 Yorkshire," "The Besom Gatherers," "Summer-time," 
 "Landscape and Figures," "Wind and Rain," "Classical 
 Landscape," " The Vale of Clwyd," "Near Hereford and 
 Bolsover Castle." This gathering of Cox's drawings at 
 Leeds was one of the most important that has ever taken 
 place, and as some of his best works of nearly every period 
 were represented there, it was unusually interesting and 
 instructive. The principal collectors who lent these works 
 were Mr. G. W. Moss, Mr. Peter Allen, Mr. F. Craven, and 
 Mr. W. Ouilter. 
 
 Several of the above works will be described as I proceed, 
 since they are included in the collections I am about to pass in 
 review. 
 
 MR. F. CRAVEN S COLLECTION, HIGH BROUGHTON, 
 MANCHESTER. 
 
 The Welsh Funeral. 1850. 2 ft. 6 in. by 3 ft. 3 in. 
 
 This is the original drawing exhibited in 1850. This grand 
 work represents the hills and crags on the eastern side of the 
 Vale of Bettws-y-Coed ; at their foot is the belfry of the old 
 church, in which the bell is seen swinging. The greater part 
 of the sacred edifice is concealed by some fine yews and other 
 trees, whilst the road leading towards it is occupied by the 
 mournful procession. It is chiefly composed of poor women 
 in long cloaks, with handkerchiefs to their eyes indicating 
 their deep grief. An old man with a stick and hat-band, to 
 represent the artist himself, and a girl and boy — the latter 
 with head bent forward and hat in hand — all express the 
 reverential and solemn feelings of the moment. 
 
 Bordering the road on either side are stone walls, or dykes, 
 partly overgrown with brambles, and on the right two children 
 are leaning over the top dropping flowers into the uplifted
 
 252 LIFE OF DAVID COX. 
 
 Chap. XVI. apron of another child. Near this group is an elder bush in 
 full bloom to indicate the sweet season of summer. Cox 
 remarked, when showing this picture, " You must not think 
 that those are common field flowers. Oh, no! they are 
 poppies, symbolical of the sleep of death." The golden 
 evening light falls on the upper part of the church, a type 
 of the bright home in heaven ; it also illumines that portion 
 of the hills not shaded by the rising mists. A .wild and 
 stony tract they look, and form a striking contrast with the 
 verdure of the vale below. The subject of this touching 
 picture was suggested to Cox by his being present at the 
 funeral of a young Welsh girl, a relative of the landlord 
 of the Royal Oak, whilst he was staying there. It took place 
 in the evening, as was often the custom in North Wales. 
 This drawing not being sold when it was exhibited in London, 
 in 1850, Mr. F. W. Topham, the artist who admired it exceed- 
 ingly, persuaded the holder of a ^50 Art-Union prize to 
 select it. The owner did not appear to have appreciated the 
 treasure he possessed, and Mr. Topham repurchased it from 
 him, and he lent it to the Art-Treasures Exhibition at Man- 
 chester in 1857. By the kind permission of Mr. Craven I am 
 able to present my readers with a photographic copy of this 
 celebrated drawing. 
 
 Sheep Astray, or the Missing Flock. 1849. 2 ft. 
 by 3 ft. 9 in. 
 
 A very poetical drawing of the best period, and one which 
 Cox thought highly of himself. He bequeathed a drawing 
 to his friend Charles Birch, and this was the one selected. 
 The scene represented is a wild valley near the high moor- 
 lands of Kirby Lonsdale, in Cumberland. The sky is stormy 
 and lowering, and the drifting clouds throw dark shadows 
 over a grand range of blue hills. A man leading a mountain 
 j)ony, and with outstretched arm, is descending a rocky path 
 towards a flock of frightened sheep, who appear to be rushing
 
 WATER-COLOUR DRAWINGS. 253 
 
 wildly along. The rocks and boulders in the foreground are Chap. xvi. 
 large and broken, and are light in colour, forming a pleasant 
 contrast with the dark and gloomy distance. The handling 
 is peculiarly vigorous and free. 
 
 Beeston Castle. 1849. 2 ft. by 2 ft. 10 in. 
 
 This beautiful drawing is full of play of light and shade, 
 and was particularly admired when exhibited in the Water 
 Colour Exhibition in 1849. The castle stands up grandly 
 with a fine light on it, although mists are gathering around 
 its top, and a storm is approaching in the distance. The 
 lower part of the hill is clothed with trees, and on the plain 
 below a group of cattle, preceded by a bull, are being driven 
 along by a peasant woman. In the immediate foreground 
 there is a pool of water, fringed with water plants and 
 swallows skimming low over the surface, thus indicating the 
 approach of rain. There is a beautiful range of distance, 
 with some low bright clouds. This is one of his most perfect 
 drawings, and I am very glad to be able to give a photo- 
 graphic copy of it in this book. 
 
 BoLSOVER Castle. Date about 1843. i ft. 11 in. by 
 3 ft. I in. 
 
 The sky is especially beautiful, and the old trees on the 
 right very picturesque in form and character. The colour 
 also is very pleasing. A knight and a lady on two palfreys, 
 followed by some dogs, are cantering towards the castle, 
 which stands out brightly against the sky. The distance is 
 tender, with a good deal of finish ; the sentiment of the 
 figures is less satisfactory than in most of the later works. I 
 also give a copy of this drawing. 
 
 Windsor Castle. The Queen is coming. Date about 
 1853. 2 ft. 4 in. by 3 ft. 3 in. 
 One of the largest and most important drawings ; full of
 
 254 lAFF^ OF DAVID COX. 
 
 Chap. XVI. subject and well arrang-ed. Windsor Castle rises dark 
 against the horizon. The forest trees of the great park 
 massed together, and a retreating herd of deer form the 
 middle distance. Immediately in front, on the right, four 
 gnarled and giant oaks throw their broad shade over nearly 
 half the picture. Underneath these a woman, holding the 
 hand of a little boy, leans forward, and pointing towards a 
 distant group of horsemen, is supposed to be exclaiming (as 
 Cox himself explained), " There, there, the Queen is coming !" 
 The figures of the Queen and Prince Consort in front of the 
 escort are very easily distinguished. The sky indicates wind, 
 with large rolling clouds and numerous birds. The handling 
 is loose and powerful. 
 
 Vale of Clvv^yd. 1848. i ft. 11 in. by 3 ft. i in. 
 
 A finely-wooded range of hills in the distance, with a 
 variety of incidents and light and shade. The sky is rather 
 bright, and the whole efiect cheerful. In the middle distance 
 a house, partly concealed by trees, is sending up curling 
 wreaths of smoke. In the foreground are figures and a 
 waggon and horses descending a road. On the left is a 
 cornfield, where shocks of yellow corn are standing. It is an 
 eminently bright pleasing drawing, very rich in subject, and 
 with a good deal of finish. 
 
 Broom Gatherers on Chat Moss. 1854. 2 ft. by 
 3 ft. 2 in. 
 
 This well-known drawing is on the rough paper, and repre- 
 sents a common, with heather in full blossom. On the left 
 two figures are bending under the burden of large bundles of 
 heather, and in the centre several figures of men, women, and 
 boys are loading some donkeys with the same material. The 
 attitude and costumes of these figures are very picturesque. 
 In the distance are .some cattle, and rooks wheeling about in
 
 WATER-COLOUR DRAWINGS. 255 
 
 the sky, — the latter, indicates fine weather, — with light grey Chap. xvi. 
 clouds passing over the blue expanse. The sky is a grand 
 feature in this drawing ; the horizon is low, it is full of move- 
 ment, and in his latest manner. This drawing was originally 
 exhibited at Manchester, where it did not sell, and was for 
 many years in the possession of Mr. S. Mayou, of Birming- 
 ham, who sold it to Mr. F. Craven. Through the kindness 
 of this gentleman, I am able to give a photograph of it 
 herewith. 
 
 A Hilly Landscape, with a Windmill and Cottages 
 IN THE DISTANCE. Not dated. I ft. II in. by 2 ft. 
 Sjin. 
 
 In the foreground a road leads upwards on the right, on 
 which is a cart and two horses, led by a carter ; and imme- 
 diately behind, two men are stooping down in the act of 
 loading it. The light on the front horse, which is white, and 
 on the smock frock of the carter, gives point to the whole. 
 The sky is silver)^ in tone, the handling rather slight in parts 
 and sketchy, but masterly, and the whole effect pleasing. 
 
 A Storm on the North-Welsh Coast. Date about 
 1838. 
 
 The spot chosen for this drawing is near Penmaen Mawr. 
 The clouds are drifting along in dark masses, and the waves 
 beat wildly on the shore. A wreck appears to have just 
 taken place in the neighbourhood, as groups on the shore are 
 helping to save many figures of men and women out of the 
 treacherous sea. It is a work of the middle period, and not 
 so free in the handling as most of the later works. 
 
 MR. W. QUIETER S COLLECTION, UPPER NORWOOD. 
 
 This ver}^ important collection contains drawings by David 
 Cox of nearly every period, many of them being representative
 
 256 LIFE OF DAVID COX. 
 
 Chap. XVI. works of his best years. I will give an account of some of 
 these which are framed, in the order of their date, and then 
 just glance at the contents of the folios. 
 
 The Old Bridge at Bridgnorth. About 1809. 
 Long and narrow. 
 
 This early drawing is much worked upon, and very care- 
 fully finished. There is a good deal of effect and power 
 noticeable, but it is somewhat too dark and heavy. It is a 
 good specimen drawing of his first style, and was exhibited 
 in the Bond Street Exhibition. The bridge has some curious 
 old buildings on it, and the houses of the old town in the 
 distance have a foreign aspect. 
 
 The Hayfield, near Hereford. 18 19. 12 by 
 i6j in. 
 
 This pleasing, quiet and low-toned drawing was exhibited 
 in the great rooms in Spring Gardens in 18 19. A waggon 
 and horses, with some figures, give interest to the fore- 
 ground. The hayfield occupies the middle of the picture, 
 beyond which are some trees and hills near Hereford. A 
 smooth sky, very quiet in colour, completes the picture. As 
 an example of Cox's early Hereford work, it is inte- 
 resting. 
 
 Carthage — ^neas and Achates. 1825. 2 ft. 5 in. 
 by 3 ft. 7 in. 
 
 This drawing was exhibited in the Water Colour Gallery 
 in 1825, under the above title; it has since been described 
 as a " Classical Landscape." Without doubt, admiration 
 ff)r some; of the works of Claude and Turner led Cox to 
 make this experiment, which is very unlike most of his other 
 works. It is highly finished throughout, and shows a good
 
 WATER-COLOUR DRAWINGS. 257 
 
 eye for colour, and some imaginative power ; but, as a whole. Chap. xvi. 
 it looks too laboured, and cannot be pronounced a complete 
 success. The distant buildings of Carthage have a good 
 deal the character of some of the creations of Martin. They 
 are admirably drawn, and have a grand and imposing 
 appearance. 
 
 The Picture Gallery at Hardwick Hall. 1839. 
 
 These two upright drawings, with the long one as a centre 
 (now belonging to the Duke of Devonshire), formed the cele- 
 brated series of interior views at Hardwick Hall, for many 
 years one of the chief ornaments of Mr. Bullock's collection. 
 The effect is very real, and the perspective excellent, not 
 only of the building itself, but also of the collection of old 
 portraits and other pictures which adorn the walls. These 
 pictures have so much character, that the painter of the 
 originals, whether Rubens, Rembrandt, or Vandyke, may be 
 easily guessed. 
 
 Hop Garden in Kent. Date about 1840. 10 in. by 
 I ft. 2^ in. 
 
 The sketch for this drawing was made from the window of 
 an inn, on a hill, near Sevenoaks. The hops are seen hang- 
 ing in clusters from the poles, which are being stripped by a 
 group of girls ; near them a farming man on a white horse 
 has pulled up, and appears to be engaged in conversation. 
 The trees in the middle distance are low in tone, and beyond 
 them a rich plain extends far away. The sky is bright and 
 fresh, and the whole drawing is carefully finished. It is more 
 of a figure subject than most of Cox's landscapes, and is a 
 fairly good example of this period. 
 
 Vale of Clwyd. 1845. ^ ft. 7 in. by 2 ft. sjin. 
 Very full of power and brilliant in colour, with a good deal 
 of finish. A blue sky is seen through rough rolling clouds, 
 
 s
 
 258 LIFE OF DAVID COX. 
 
 Chap. XVI. and the grand oak-trees on the right appear to be tossing 
 their branches in the wind. Beneath these, women are 
 carrying bundles of gleaned corn, and close by is a man on a 
 white horse. The distance is very fine, being well wooded, 
 with a beautiful range of purple hills beyond, and streaks of 
 sunshine breaking through the clouds. This drawing was 
 recently sent by Mr. Quilter to one of the loan collections of 
 drawings exhibited in Pall Mall. 
 
 Drwsllyn Castle, Vale of Towy, near Carmar- 
 then. 1845. 10 by 14J in. 
 
 A reposeful drawing, rather highly finished. Some broad 
 meadows, with cattle, occupy the middle of the picture ; a 
 range of hills rises up beyond, on which are some groups of 
 trees and a mansion house. Jeremy Taylor resided there in 
 olden times. It is a verdant rural scene, but not at all 
 •grand as a composition. 
 
 The Green Lanes, Staffordshire. Dated Aug. 13, 
 1848. 2 ft. i^ in. by 2 ft. 7 in. 
 
 This is an impressive drawing of the highest quality and 
 best period, and one which was much esteemed by the 
 artist himself It also attracted much attention when ex- 
 hibited in the Water Colour Society's Rooms. An avenue of 
 fine dark trees forms the principal subject. The feeling 
 conveyed is one of country seclusion and repose. On the 
 right are some figures, and a flock of sheep feeding at 
 leisure, and scattered along a wide green countiy lane. The 
 handling of the foreground is remarkably free, and the colour 
 and light and shade powerful and very harmonious. This 
 drawing, sold by Cox originally for ^"45, re-sold for ^105 ; 
 and after changing hands once or twice, was purchased by 
 Mr. Quilter for 350 guineas.
 
 WATER-COLOUR DRAWINGS. 259 
 
 Peace and War, and ''Yokels." 1848. i ft. 11 in. chap.xvl 
 by 2 ft. 10 In. 
 
 The subject of this drawing is said to have been suggested 
 to Cox by seeing Miiller's painting of the " Baggage 
 Waggon and Troopers." The scene represents the heights 
 above Lymne Castle and Hythe, looking over a flat sea-shore 
 on which there are numerous martello towers, with a wide 
 expanse of sea in the distance. A company of soldiers are 
 marching down a gorge towards the coast, and on the left are 
 some rustic figures — "Yokels" — two men, a boy, and little 
 girl, gazing in "vacant wonder" at the soldiers, and tending 
 a flock of sheep. The effect is rather dark, but the light and 
 shade are powerfully contrasted. The handling is free and 
 rapid. It was exhibited in the Water Colour Society. 
 
 Cottage in Staffordshire. 1849. 
 
 A small and characteristic drawing, representing some 
 
 men ploughing in a field, and women approaching them 
 
 carrying a basket. In the distance is a cottage and rising 
 ground. The treatment is broad. 
 
 Going to the Hayfield. 1850, 2 ft. ij In. by 
 
 2 ft. 7 in. 
 
 A fine breezy summer's day is here represented. In the 
 foreground a farming man on a white horse appears to be 
 leading another horse towards the hayfield. Several women are 
 tossing the hay about, full of movement and frolic, and a lad 
 Is trying to save his hat, which appears to have just blown 
 off. The foreground is enriched with many broad-leaved 
 plants. There Is a grand summer sky, with clouds drifting 
 before the wind. The colour is beautiful, and the treatment 
 loose and free. This is one of Cox's most characteristic 
 drawings. 
 
 s 2
 
 26o LIFE OF DAVID COX. 
 
 Chap. XVI. Bettws-y-Coed Meadow. 1853. 19 by 28 in. 
 
 A group of fine trees occupies the left of the drawing, 
 with the Bettws hills and rocks in the distance. It is the 
 great meadow near the Royal Oak (now destroyed by the 
 railway), with some figures and sheep scattered about. Very 
 beautiful, and complete both in feeling, composition, and 
 colour. Such drawings as this of Bettws Meadow, the 
 " Going to the Hayfield," and the " Green Lanes," are very 
 representative of the genius of Cox, and differ widely from 
 the works of other artists. 
 
 Driving the Flock. 1855. 19 by 28 in. 
 
 This drawing was exhibited in 1856, and much admired at 
 the time. It represents a broad valley near Capel Curig, 
 along which a flock of sheep are being driven in a leisurely 
 sort of way. They are thorough Welsh sheep, and contrast 
 well with the grey and purple tones of the distance. The 
 hills and mountains are grand in form, as is also the sky. 
 The harmony of colour and vigour of handling are equal to 
 any of his earlier works. 
 
 The Birmingham Horse Fair. 
 
 This very effective sketch on rough paper must be looked 
 at from a distance to get an idea of its full character and 
 meaning. The colour is very pleasing — the rich browns, 
 blacks, and chestnuts contrasting well with the cool greys. 
 The principal group, where a jockey is showing the mouth 
 of a white horse to a would-be customer, is very cleverly 
 arranged. The patient, resigned aspect of the poor old 
 horse, and the eager, inquiring attitude of the purchaser, are 
 admirably indicatc^d. Considering that it is merely a rapid 
 sketch, it is very powerful and complete, and was much 
 admired by Mademoiselle Rosa Bonheur, who saw it in Cox's 
 studio when she visited IMrmingham.
 
 WATER-COLOUR DRAWINGS. 26 I 
 
 By the kindness of Mr. Quilter I am enabled to present a Chap. xvi. 
 copy, by the Autotype Company, of this sketch. 
 
 Although the preceding description comprises many of the 
 most important drawings in Mr. Quilter' s collection, I must 
 not omit to mention "Crossing the Sands," "Calais Pier," 
 " Mill at Bettws," " Windy Day," and the " Terrace, Powis 
 Castle" (date, 1838), which have been all recently exhibited 
 in the Loan Exhibition, November, 1870, at ^2>i P^-^ 
 Mall. I feel it necessary, also, to refer to a drawing of the 
 " Red House and Battersea Mill, on the Thames," rather 
 an early work, but lovely in colour. Cox is said to have 
 painted this in imitation of C. Stanfield's feeling and manner. 
 He made one or two drawings about this time, also in repre- 
 sentation of Turner's style and treatment. Besides the water- 
 colours, Mr. Quilter possesses a great variety of admirable 
 sepias by Cox, of various dates and degrees of finish ; but to 
 refer to these in detail would take up too much space. He 
 has also all the original pencil sketches and drawings, being 
 the subjects which Cox afterwards etched on copper for his 
 illustrated drawing-book, published about 1846. These were 
 lately purchased from Messrs. R. and S. Fuller, and are the 
 same which have been described by me in the chapter on 
 " Works illustrated by Cox." 
 
 MR. A. levy's collection OF WATER-COLOURS. 
 
 Lancaster Sands. 1835. 24 by 34 in. 
 
 A highly finished drawing, on smooth paper, and one of 
 the most perfect of this delightful subject, full of atmosphere 
 and movement. On the left many country people returning 
 from market are grouped together, waiting to start on their 
 perilous journey across the sands — a cart and horse, men and 
 women on horseback, some riding " pillion ; " full of life, 
 action, and gesticulation. On the right some horsemen are
 
 262 LIFE OF DAVID COX. 
 
 Chap. XVI. hurrying across the sands, whilst in the distance a heavy 
 shower is seen approaching, and a flight of sea-gulls adds to 
 the feeling of the unsettled and treacherous state of the 
 weather. The foreground is free in treatment, and is formed 
 of sandbanks and masses of wiry grass. The colour through- 
 out is clear and beautiful. 
 
 Cross Roads. 1849. 24 by 34 in. 
 
 A work on rough paper, of the highest quality, imaginative 
 and yet truthful. The scenery is that of Carrington Moss, 
 near Sale, Manchester. Two rough-looking old men on 
 horseback have met on the edge of the Moss ; behind them 
 is a white dog, and on the left are a few tall, ragged Scotch 
 firs. One of the men is pointing with his whip to a signpost 
 in the distance. A flock of sheep, and waggons, are also 
 seen afar off, with blue hills beyond. The sky is full of grey 
 clouds, and has the appearance of wind, which is added to 
 by the movement of birds. 
 
 Changing the Pasture. 1845. 24 by 36 in. 
 
 A beautiful drawing, with sheep scattered over the hill, a 
 man and boy in the foreground, and grey masses of clouds 
 blowing over the hills ; very pure and fresh in colour, with 
 cool greys and greens. 
 
 Lancaster — Morning. 1835. 
 
 A very sunny and tender drawing, of medium size, and 
 very highly fini.shed. In the distance is a bright gleaming 
 river, spanned by the l')ridge of Lancaster, with the town and 
 castle towering- up beyond, and liills in the far distance. On 
 the right is a small ravine, with a stream and trees, and a 
 rich foreground of i)kints and weeds. A man on a chestnut 
 horse is leading a white one along the road, and you perceive
 
 WATER-COLOUR DRAWINGS. 263 
 
 Other fiofures farther off. The effect is that of a fine sum- ^hap. xvi. 
 mer's evening. 
 
 The Skylark. 1848. 24 by 34 in. 
 
 This drawing, exhibited at the Water Colour Society's 
 Gallery, suggested the subject for the oil-picture already 
 described. It is full of dignity and repose. Some hedge- 
 row trees on the right, with bushes underneath ; a foreground 
 full of crumpled, broad-leaved plants ; cows descending a 
 bank, with others in the fields beyond ; a dark-blue distance, 
 with banks of low white clouds, and blue sky above — form 
 this delightful drawing. Near the trees on the left some 
 children are grouped together in easy attitudes, gazing 
 upwards at the skylark in the heavens. The light on the 
 girl's sun-bonnet, contrasted with the dark purple distance, 
 focusses the light, and gives point to the whole. 
 
 Sheep-shearing. 1850. 10 by 14 J in. 
 
 The scene represented is near Bettws, with rocky hills 
 rising above some well-wooded banks. In the foreground 
 three women and a man are shearing a sheep, whilst another 
 is being held ready by a second man, and a quantity of fleecy 
 wool helps to light up the foreground. The light strikes on 
 some of the figures, and is carried across the drawing in a 
 masterly manner. The whole is very sketchy, but lively in 
 colour and admirable in feeling, and the perfect ease with 
 which it has evidently been thrown off adds very much to the 
 charm. 
 
 Cornfield and Hills. About 181 2. 10 by 14 in. 
 
 This very early drawing represents a valley with cornfields, 
 hills, and trees, rising up on the left, underneath which a 
 country house is snugly sheltered. The colouring is exceed-
 
 264 LIFE OF DAVID COX. 
 
 Chap. XVI. ingly quict and low in tone, having evidently been laid on in 
 flat broad washes, like some of De Wint's very early work. 
 
 PoYNTON Park. 1834. 
 A small drawing, with slender, upright trees against the 
 sky ; very quiet in colour. On the back it was marked, 
 " From D. Cox to his niece, Margaret Hills, on her birthday, 
 April 29, 1834." This view is on the way from Stockport to 
 Derbyshire, but the neighbourhood is now much cut up with 
 coal-mines. 
 
 Leith Wood, or Merivale. 1846. 18 by 24 in. 
 A waggon is descending a road, with trees on a bank. 
 Admirable in colour, and free in the handling. 
 
 The Missing Flock. About 1858. 2 ft. 4 in. by 2 ft. 
 6 in. 
 A fine wild rocky foreground, with some sheep crowding 
 together in a deep hollow, and a woman looking down in 
 search of them from a bank above, a mountainous distance and 
 rather gloomy sky — not at all highly finished, but grand in 
 conception and treatment. This drawing, although not dated, 
 may be considered one of the latest period. Cox left an 
 unfinished oil-picture of the same subject. 
 
 Sketches not framed : — 
 
 The Terrace of Powis Castle, with figures, ver}^ 
 beautiful in colour. 
 
 Loch l\ Westmoreland, near Patterdale, very tender 
 and bright in colour. 
 
 Pont-y-i'ANT, a fine wild scene, very vigorous, but only 
 slightly finished. 
 
 Brook near Bala, with lads fishing on the bank, and 
 some fine trees. 8 l)y 12 in.
 
 WATER-COLOUR DRAWINGS. 265 
 
 Wind and Rain, a dreary moorland scene, with rain Chap. xvj. 
 descending, and a man on horseback hastening away 
 in the distance. 
 
 A Yellow Bank of Ragwort, near Sale, Lancashire, 
 very beautiful in colour, although slight. 
 
 A Sketch, two miles from Atherston, clear distance, 
 very fresh, blue sky. 1846. 
 
 The Stubble Field, a sketch at the back of Metchley 
 Abbey; the subject of the admirable large drawing 
 painted for Mr. Birch, now Mr. Hawkins's, very 
 slight, but exquisite in colour. 
 
 Some very beautiful sepia drawings are also framed, which 
 formerly belonged to Mr. D. Cox, junior. Of these, " Caer 
 Cennen Castle," with a drove of cattle descending a hill, 
 and a " Lane Scene, near Matlock," with trees hanging over 
 it, are the most interesting. 
 
 MR. W. S. ELLIS'S COLLECTION, AT STREATHAM COMMON. 
 
 Cader Idris. 1828. 2 ft. 6 in. by 3 ft. 8 in. 
 
 This celebrated drawing, bequeathed by Cox to Mr. Ellis, 
 his executor, may be looked upon as one of the finest and 
 most important works of his early-middle period ; it is rather 
 dark, and there are rich masses of herbage In the foreground, 
 which has evidently been a good deal worked upon. The 
 view is taken from the vale of Dolgelly, which is richly 
 wooded ; a grand range of mountains rises up on the 
 far side, crowned by the peaks of Cader Idris. Near 
 the centre of the drawing are some dogs, and also a man 
 leading greyhounds; the effect is that of evening with a 
 great breadth of shadow.
 
 266 LIFE OF DAVID COX. 
 
 Chap. XVI. SMUGGLERS SuNSET. 1 854. loj by 14J in. 
 
 The effect is twilight, with a narrow streak of reddish light 
 over the distant sea close to the horizon ; the same light is 
 repeated on one or two clouds in the upper part of the sky, 
 which in other respects is dark and threatening. On a rough 
 road in the foreground some figures are seen hurrying along 
 with a donkey, over whose back a large sack or bundle has 
 been thrown. In the middle distance is a dark ravine, 
 with low hills beyond on which some scattered sheep are 
 feeding. This drawing is on the rough Scotch paper, 
 powerful and sombre in tone ; it is admirable in feeling, but 
 very loose and rapid in the handling. 
 
 Stoke-Say, near Ludlow. 1852. 11 by 15 in. 
 
 This is also on the rough paper, with a lowering, murky 
 sky unusually grand in form. Low-toned green hills on one 
 side recede towards a narrow ridge of dark blue moorlands, 
 and in the distance are seen the church and manor-house of 
 Stoke. A pathway leads through long grass or unripe 
 corn, along which two peasant women are approaching ; 
 some birds in the sky add to the effect of windy and rainy 
 weather ; the colour is particularly harmonious, indeed, a 
 delicate harmony of broken greens and greys pervades 
 the whole drawing. 
 
 Over the Moors. 1854. 9 J by i4f in. 
 
 An expanse of yellow and green hills, with soft grey 
 clouds above and rain descending in the distance ; a cart and 
 figures are approaching over the rising ground ; it is rather 
 .slight and sketchy, but pure and pleasing in colour and full 
 of truth. 
 
 Lui) Churchyard, Ludlow. 1852. 11 by 14^ in. 
 An old country churchyard is seen surrounded by yew-
 
 WATER-COLOUR DRAWINGS. 267 
 
 trees ; broad shadows are relieved by scattered lights on the ^^^^- ^^^• 
 village tombstones, and by the powerful colours of the ivy- 
 clad church ; in the corner an old sexton, with bent head and 
 spade in hand, completes the composition. The handling, 
 like that of a rapid sketch, is very rough, but the feeling is 
 full of pathos, and the colours are excellent. 
 
 Solitude. 1851. 14 by 21 in. 
 
 This powerful drawing is on rough paper : two figures 
 are reclining on a rocky bank beneath some dark trees ; a 
 ray of light touches parts of their dress, and is carried across 
 the picture by some sheep feeding near; broad deep shadows 
 are thrown over the foreground, and also over the middle 
 distance, in which a narrow strip of blue water is seen and a 
 mass of foliage. Rugged grey and purple mountains rise 
 in the distance, and close to the mountain-tops some white 
 clouds are rolling along ; the rest of the sky is of light grey 
 clouds with streaks of blue. 
 
 Old Church at Ludlow — Scene during the Plague. 
 1852. 
 
 This is an upright representing an old church doorway, 
 and part of the tower of an ancient gothic church, with a 
 group of poor and aged people, some kneeling and others 
 stooping forward, in attitudes of deep reverence, to receive 
 the sacrament, which, according to tradition, was administered 
 by the Roman Catholic priests at the church door during 
 the prevalence of the plague. It is grimly impressive, both 
 in feeling and in the mode of treatment, the handling being 
 swift and vigorous. 
 
 The Hulks, Sheerness, with shipping in the distance. 
 
 A large drawing, very fine both in colour and light and 
 shade. There is the appearance of wind in the movement of
 
 268 LIFE OF DAVID COX. 
 
 Chap. XVI. the wavcs, and the scud and forms of the clouds, but withal 
 it is bright and cheerful in effect, and very truthful. 
 
 Rocks near Bettws, man driving a horse. 
 Very free in the handling and true in colour. 
 
 A Field, with groups of Trees. 1851. 
 
 This drawing was commenced and completed on the day 
 the first Great International Exhibition of 1851 was opened. 
 The view is taken from a field near Streatham Common, and 
 is a most successful representation of quiet English scenery. 
 
 Early Morning, near Harborne. 
 
 The effect is that of a hazy October morning, rather grey 
 and tender in colour, especially on the left, where a man is 
 ploughing an upland field, with grey trees in the distance ; 
 on the other side a woody lane leads towards a brook, with 
 a rustic bridge, on which some girls are passing ; the sky is 
 quiet and the colour is true and natural. The general effect 
 is rather dreamy and poetical. 
 
 Valley in Yorkshire. 
 
 A hill covered with trees rises upon the right, and in front is 
 a deep vale with distant hills. The lights and darks are well 
 focussed, and the grey and neutral tone of the greens is very 
 pleasing. The truth of tone and the feeling of space in this 
 drawing are very remarkable. 
 
 An Island at the junction of the Llugwy and 
 Conway Rivers, near Bettws. 
 
 The water is pent between rocks, with picturesque over- 
 hanging trees. This spot has lost much of its wild character 
 of late years. The sky is grand in form and colour.
 
 WATER-COLOUR DRAWINGS. 269 
 
 Besides the drawings described above, Mr. Ellis has a Chap. xvi. 
 large folio full of sketches taken at Haddon Hall and at 
 Rowsley in 1845, which comprise two views of the Peacock 
 inn. several of the village at Rowsley, of the old water mill 
 there, and on the banks of the mill-stream. These views at 
 Rowsley were generally sketched before breakfast. Cox 
 made som.etimes two drawings before breakfast, and began a 
 third, and then spent the day afterwards sketching at Haddon 
 Hall; this was in the month of May, 1845, when he was still 
 in his full vigour. In Mr. Ellis's collection there are also 
 several very beautiful sketches of the Terrace at Haddon Hall, 
 of the old steps leading to the garden, the Monk's Bridge, 
 the gateway of Haddon Hall, general views above the Hall, 
 and in the Park, &c., &c. These are all free in the handling, 
 and fresh and beautiful in colour. Also a portfolio full of 
 very lovely drawings and sketches made in Yorkshire, 
 Lancashire, and Derbyshire, at Bolton Abbey, Baden tower 
 and church, Bolsover Castle, Hardwick Hall, Powis Castle, 
 and in the neighbourhood of Lancaster; there are likewise three 
 or four views of the Ulverston and Lancaster Sands especially 
 deserving of notice as being of the highest quality, untouched 
 and fresh, as when the sketch was first made. These perhaps 
 give a higher idea of Cox's wonderful ease, truth, and refine- 
 ment of colour in water-colours than anything I have seen, 
 and it is well known that his friend Ellis always had the 
 choice of his best sketches. I have still to describe a port- 
 folio full of choice little drawings and ideas (some rather 
 visionar}^), for pictures called "Gems." Many of them well • 
 deserve the name; they are very varied in subject, and com- 
 prise sketches of nearly all dates, from very early ones on the 
 banks of the Thames and at Hastings, before Cox went to 
 Hereford, until some of his latest memoranda of out-of-doors 
 effects at Harborne. Many of them are evidently cut out of 
 small sketch-books, and others are rather larger and have all 
 the appearance of having been carefully finished at home.
 
 270 LIFE OF DAVID COX. 
 
 Chap. XVI. Qnc of the most interesting represents an old woman on the 
 border of Dulwich Common driving- geese by twilight. 
 There is also a drawing, the first that Cox made after his 
 illness, at Greenfield, in 1853, a field with trees and a stormy 
 sky, very interesting in itself as a work of art, and especially 
 so considering when it was painted. Some of the sea-coast 
 views are particularly beautiful ; an unusually fine one 
 represents a figure on a bank, boats on a rough sea and 
 distant cliffs ; the aerial tone of the distance and sky is very 
 lovely and cannot be described. Also another view near 
 Hastings ; the moon just rising, a man on horseback, and 
 fishing boats, dark and full of mystery. " Calais Pier," with 
 boats and a rough sea ; " Dieppe Pier," with figures and a 
 thunderstorm passing off, and sparkling reflections, also a 
 wide stretch of sea, with dark rolling waves and a distant 
 shore : all these would make fine subjects for paintings. 
 
 In addition, there is a particularly powerful early sketch, 
 date about 1808, the arrangement of light and shade 
 resembles one of the old masters ; a cottage on the banks 
 of the Thames, near Battersea, also very early ; and the side 
 of a common with sheep climbing up a bank to feed. This 
 last, although slight, is as fine in feeling as anything I have 
 seen by the artist. 
 
 In addition to these treasures in water-colour, Mr. Ellis's 
 
 collection of Cox's works contains many beautiful sepias in 
 
 folios. I have only just referred to some of the finest of the 
 
 sketches in the folios, as it would take up too much space to 
 
 . attempt a full account of them. 
 
 MR. DAVID cox's (jUN.) COLLECTION, AT BRIXTON HILL. 
 
 Skirts of a Forest. i8| by 25^ in. 
 
 This drawing conveys the impression of a stormy wind 
 driving the clouds along and bending before it the limbs of
 
 WATER-COLOUR DRAWINGS. 2/1 
 
 the grand oak-trees. Dark masses of foliage form the middle Chap. xvt. 
 distance, beyond which streaks of light pierce through the 
 clouds near the horizon. A man in the foreground is 
 hastening along with his hand to his mouth, as if to throw 
 his voice in a tone of encouragement towards the sheep-dog 
 seen in the distance collecting the distant flock. Cox was 
 very partial to this drawing himself, and after it had been 
 sold bought it back at an enhanced price from Agnew. It is 
 powerful and striking in effect, of the best period, and is 
 drawn on rough paper. Through the kindness of Mr. Cox, I 
 give a photograph of it in this book. 
 
 Stafford Castle. About 1852. io| by 14I in. 
 
 A dark wooded hill rises against an overcast sky relieved 
 by a few light clouds, and in the long grass of a meadow 
 some mowers appear about to commence their work. A 
 woman with a basket is going towards them. It is a success- 
 ful drawing, very powerful and characteristic. 
 
 The Park at H addon Hall. 1853. i ft. 9 in. by 
 2 ft. 6 in. 
 
 The old baronial mansion is seen in the distance rising 
 above the woods, with a gleam of white clouds behind. Some 
 fine trees on both sides overshadow a wide green glade, along 
 which a man on horseback and shepherd are passing. Sheep 
 are also seen scattered about the hillside and on the grassy 
 path. The sky is grey with rooks wheeling about in the air, 
 and the effect is solemn and sombre. 
 
 Kenilworth Castle with Harvest Field. 1848. 
 13 J by i8i in. 
 
 The castle and a group of dark trees are relieved against 
 a bright summer's sky; in the foreground are shocks of corn. 
 This drawing is on the rough paper, and is brilliant in tone.
 
 2^2 LIFE OF DAVID COX. 
 
 Chap. XVI. THREATENING WeATHER. About 1857. II by I5 in. 
 
 The sky is dark and stormy ; on the right are a few stunted 
 rough trees, and towards the centre a shepherd, a flock of 
 sheep, and a dog, approaching a wild tract of moorland. It 
 is loose in the handling, but very^ impressive. Cox, some 
 time before, had made a large drawing of the same subject, 
 which he liked particularly, and he borrowed it in order to 
 make this copy. 
 
 Interior at Hardwick Hall. 1845. i8by23in. 
 
 This drawing is an upright, and represents part of the 
 picture gallery at Hardwick, with old portraits on the walls, 
 which are partly concealed by some effective long red cur- 
 tains. The colour is rich and powerful, like the series of 
 interiors which formed part of Mr. Bullock's collection. 
 
 Asking the Way. 1854. 14 by 21 in. 
 
 The scene represented is a common near Sale covered 
 with heather in blossom. An old farmer on a white horse is 
 pointing across the common with his whip, whilst apparently 
 asking the way of a gipsy woman in a red cloak, who is 
 driving a donkey. She has her arm out in the same direction, 
 as if telling the way to go. The sky is rather bright and fine 
 in form; the colour of the purple "heather bells" contrasts 
 pleasantly with the prevailing grey tones of other parts of the 
 drawing. 
 
 Darley Churchyard, Derbyshire. About 1858. 12 
 by 21 in. 
 
 A small, dark, and impressive drawing on rough paper, in 
 the latest manner. The moon is seen just rising, and sheds 
 a faint light on some wide-spreading yews, and on the old 
 sexton, who is seen digging a grave in the churchyard. On
 
 WATER-COLOUR DRAWINGS. 273 
 
 one side are some rough irregular stone steps leading up to chap. xvi. 
 the church, of which a very small part only is seen. This 
 church is situated between Rowsley and Matlock. This was 
 one of the last drawings exhibited by Cox in the rooms of the 
 Old Water Colour Society. 
 
 The Big Meadow, Bettws. Late, i ft. lo in. by 2 ft. 
 9 ii^' 
 
 A pastoral scene, with sheep scattered about the meadow, 
 a fine group of trees on the left, and the rocky hills above 
 Bettws in the distance. The sheep are left light in colour, 
 and the drawing is sketchy and not finished ; but the effect is 
 excellent, and it is interesting as showing Cox's method of 
 work. Some fine docks, and other leaf plants, are indicated 
 in the foreground. 
 
 Carnarvon Castle. Date rather late. 13 by 18 in. 
 
 The castle, with its massive walls and numerous towers, 
 looks very imposing. It is of a yellowish grey colour, and 
 stands on the banks of the Menai Straits, in which it is 
 slightly reflected. A group of small vessels and boats assists 
 the composition. Behind the castle are a bank of clouds and 
 a light sky. The drawing and finish are careful, and the 
 colour is agreeable, but it is rather wanting in power. 
 
 Besides the drawings described above, Mr. Cox possesses 
 the large and important one of "Peat Gatherers," date 1856, 
 size 19 by ig^ inches, of which, by his kind permission, I 
 give a copy. He has also an extensive and interesting col- 
 lection in portfolios of his father's studies and sketches 
 of all periods, some in pencil, others in sepia and chalk, 
 but chiefly in water-colours. Amongst these I may mention 
 a remarkably fine out-of-doors sketch of a " Mountain 
 Top," I believe the subject is Cader Idris ; also a "View 
 
 T
 
 274 
 
 LIFE OF DAVID COX. 
 
 Chap. XVI. of Brough Castle," a wild and grand study of a "Salmon 
 Trap in North Wales," " Kirby Steven Church," with a 
 beautiful valley beyond, " Llyn-Tal-y-Llyn," "The Large 
 Meadow, Bettws," and "Flint Castle;" likewise a large 
 study in chalk and charcoal of the " Vale between Gwynant 
 and Beddgelert," in which the effect of storm and mist is 
 grandly portrayed. There are also several books and folios 
 full of little bits from Nature ; scraps containing the first 
 ideas for larger works, and sketches of figures to be intro- 
 duced. These are what Cox used to call his " stock in 
 trade," and are very interesting, especially to artists. 
 
 mr. frederick timmins's collection, edgbaston. 
 Carreg-Cennen Castle, South Wales. 1847. 
 
 This large and beautiful drawing, sometimes called the 
 " Rain Cloud," represents undulating hills seen through the 
 dropping rain. The grey sky is unusually fine in form and 
 colour. The castle rises on a high eminence in the middle 
 distance, and in the foreground is a girl tending a flock of 
 goats ; the foremost one is in high light, and being brought 
 against the deep shade of a ravine, give the greatest point of 
 contrast. This subject has been fully described at the end of 
 the fourth chapter. 
 
 View from the Upper Part of the old Holyhead 
 Road, i 840. 
 
 A highly-finisliL'tl and important drawing of the middle 
 period, rcpn.-scnting ihc full extent of the JJedr valley and 
 ])art of that of the Conway valley nearest to Bettws. In the 
 distance are Moel Siabod, the Glyder mountains, and the 
 peaks of Snowdon ; and a grand mass of rocks rises up on 
 the right. Some cattle are being driven up the road, which, 
 I understand, were put in by I^Vederick Taylcr. The colour
 
 WATER-COLOUR DRAWINGS. 275 
 
 is less fresh and the handling less free than in his later Chap. xvi. 
 works ; the blues have slightly faded, but the whole effect is 
 harmonious. 
 
 Crossing the Brook, or Going to the Hayfield. 
 A small drawing, very fresh in colour, with a tender, pearly 
 sky, against which one or two slender trees stand out in 
 relief. In the distance are hayfields, with the usual incidents 
 of waggon and figures. The quality of this drawing 
 is very fine, and resembles some of the Ulverstone Sand 
 sketches made between 1834 and 1840. 
 
 The Mountain Top — Morning. 
 
 This very beautiful painting represents mists clearing off 
 the summit of Cader Idris, and between the rocks of the fore- 
 ground are the figures of two men. It is on rough paper, 
 and is grand both in form and colour. Cox related that 
 whilst making this sketch, two travellers stopped to ask him 
 their way to the top of Cader, and he immediately put them 
 into his drawing. 
 
 Old Houses at Hereford. 
 
 An early drawing of about 181 5, very like some of Trout's 
 early works, quiet and low in tone, but forcible. The scene 
 represented is a lane in the old part of the town, with two 
 quaint-looking figures. 
 
 Beeston Castle, Cheshire. 
 
 A very large and powerful drawing, on rough paper, with a 
 fine group of trees on the right-hand side, and some horses 
 and figures employed in agriculture. The tone of this draw- 
 ing is rather low, and without much variety in the colour. It 
 was lent to the Birmingham Exhibition in 1864. 
 
 Fort Royal, Calais. 
 
 A small, careful drawing, quiet and rather subdued in 
 
 T 2
 
 276 LIFE OF DAVID COX. 
 
 Chap XVI. colour, but full of aerial perspective. A vessel is approaching, 
 and some fishing-boats are beautifully introduced in the dis- 
 tance. The sea is excellent both in form and colour. Date 
 about 1835. 
 
 Harlech Castle. 
 
 The castle is in deep shadow, with the sea behind ; the sky 
 also is dark, with an evening glow on the upper part of the 
 clouds. Great breadth and repose are the chief charac- 
 teristics of this very early drawing. 
 
 Penmaen-Mawr, and Entrance to the Menai 
 Straits. 1849. 
 
 The woods and hills of the Isle of Anglesea, near Beau- 
 maris, form the foreground and middle distance of this 
 charming drawing, which is pure in tone, as well as very rich 
 in colour. It is of Cox's best period, and is more highly 
 finished than most of his later works. 
 
 Conway Castle. Date about 1844. 
 
 A small drawing of the estuary of the Conway river at 
 sunrise, slight and hazy, but tender and pleasing in colour. 
 Some cattle are seen standing about on the wet sands in the 
 distance. It is very suggestive, but wants rather more 
 finish to make it a complete work. 
 
 Besides the above, Mr. Timmins possesses a large and 
 very impressive but rather unfinished sketch of a snowstorm 
 in the Lledr valley ; it is grand in feeling and of the best 
 period. A mnn is seen collecting a flock of sheep, sur- 
 rounded by rocks and beetling crags. 
 
 Also a fine sea-shore view, with a very effective sky, full 
 of drifting clouds; and several other drawings of the middle 
 and latest period.
 
 WATER-COLOUR DRAWINGS. 277 
 
 MR. H. T. BROADHURSt's COLLECTION, NEAR MANCHESTER. CHAP. XVL 
 
 Bolton Abbey. 1847. 2. ft. by 3 ft. 
 
 This grand drawing was pronounced by the members of 
 the Water Colour Society, when it was exhibited in Pall 
 Mall, as the finest Cox had ever painted. There is much 
 splendour of colour, the yellows and blues, which abound, 
 being less neutralised than in most of his later works. The 
 abbey and some trees are reflected in a large pool of water, 
 towards which some cows are descending, as is their wont on 
 a hot midsummer's day. On the left is a grand group of 
 trees, full of dark shadows. The handling is very easy and 
 free. A copy of this important drawing appears in the book. 
 
 Bathers Frightened by a Bull. 1853. 
 
 Two or three lads about to bathe are taking refuge near a 
 tree from a wicked-looking bull, who has intruded himself 
 into the middle of a pool of water, and is putting down his 
 head in rather a threatening attitude. There is a great 
 appearance of reality, although the handling is slight, and 
 rather unfinished. It is on the rough paper, and was once in 
 Mr. Roberts's collection. 
 
 By the kindness of Mr. Broadhurst I am enabled to 
 give a copy of this drawing. In this collection are also 
 many beautiful water-colour sketches, in folio chiefly, of the 
 middle period. 
 
 The Stubble-field. 1845. 
 
 This is the large drawing on rough paper which Cox made 
 for Mr. Charles Birch, and for which he received £2^. It 
 was exhibited in the Water Colour Society, and was consi- 
 dered at the time one of the best he had ever painted, as it 
 undoubtedly was. The sky is marvellously full of movement, 
 and beautiful in colour. The stubble is suggested rather
 
 278 LIFE OF DAVID COX, 
 
 Chap. XVI. than drawn, but seen at the right distance everything takes 
 its proper place. When lent a few years ago to the Birming- 
 ham Water Colour Exhibition, it was hung in the place of 
 honour, and dwarfed everything else in the room by its great 
 power, brilliancy, and truth to nature. It is now, I believe, 
 in the possession of ]\Ir. John Hawkins, of Park Road, 
 Edgbaston. Several smaller drawings of this subject by Cox 
 exist. 
 
 MR. J. JAFFRAy's collection, PARK ROAD, BRISTOL ROAD, 
 
 BIRMINGHAM. 
 
 St. Martin's Church. Date about 1825. 
 
 This early upright drawing represents the entrance to 
 Smithfield from Moat Lane, and part of the old moat and 
 the spire of the church and old buildings rising up beyond. 
 The colour is quiet and tender, and the reflections in the 
 water very successful. This part of the town of Birmingham 
 has been greatly altered of late years, and these buildings 
 have been swept away. 
 
 Powas Castle. Date about 1831. 
 
 A small and successful drawing of the garden at Powis 
 Castle ; also a rapid sketch of the same subject, very beautiful 
 in colour. 
 
 Returning from the Moors. 1855. 10 by 14 in. 
 
 A repetition of the favourite subject of peat gatherers 
 returning from labour ; broad and powerful in the treatment, 
 with a dark sky, and a storm approaching. 
 
 Seed Time. 1855. 10 by 14 in. 
 
 A ploughed fidd, in which some horses are drawing a 
 harrow guided by a husljandman. The sky indicates wind,
 
 WATER-COLOUR DRAWINGS. 279 
 
 and many birds are hovering- about. The colour is fresh and chap. xvi. 
 full, and the effect of movement is admirably given. This 
 and the preceding drawing- are on rough paper, without 
 much finish. 
 
 The Porch of St. Philip's Church, Birmingham. 
 
 An upright sketch, very rapid and lovely in its light-grey 
 colour. This has been previously described. 
 
 A hill scene, with cattle descending a road, and some 
 other sketches — one of meadows with cows, date about 1820, 
 low in tone, and rather highly finished ; and one late one, 
 with a dark sky, and grand energy in the feeling — are com- 
 prised also in this collection. 
 
 MR. PETER ALLEN S COLLECTION. 
 
 The Lugg Meadows. Date about 181 7. 17 by 26J 
 
 m. 
 
 This early low-toned drawing is of the finest quality; it 
 represents a still summer's afternoon with a flock of sheep at 
 rest in a wide tract of meadow land, under the shadows pro- 
 jected by a fine group of trees on the left. The light is 
 rather subdued, and the feeling is one of complete repose. 
 No figure breaks the dreamy stillness which pervades the 
 entire scene. This sentiment is heightened by the arrange- 
 ment of the principal lines, which are parallel with the 
 horizon. I have seen no more perfect example of this period 
 of Cox's work, and I am glad to be able to give a photograph 
 of it at the commencement of the Hereford chapter. 
 
 Peat Gatherers Returning from the Moors. Date 
 about 1854. Size 2of by 29 in. 
 
 An upright on the rough paper. A rocky glen occupies 
 the middle of the drawing, with moorland and mountains 
 above. In the foreground two women are bending beneath
 
 2 So LIFE OF DAVID COX. 
 
 Chap. XVI. their creels loaded with peat. The colour is very true, and 
 the treatment free and effective. 
 
 Stoke-Say, near Ludlow. 1853. 11 by 15 in. 
 
 This drawing is very similar to the one dated 1852 in 
 Mr. Ellis's collection already described. The same wonder- 
 ful sky, storm-tossed and full of rain, is the leading feature 
 of the scene. A photograph of this drawing also appears 
 by the kindness of Mr. Allen. 
 
 BoLSOVER Castle. 1837. 15^ by 22^ in. 
 
 This highly-finished drawing on smooth paper is in the 
 possession of Mr. Agar, of Brixton Hill. The colour is 
 brilliant ; the sky is a summer one with light grey clouds, 
 and on the road leading to the castle and church a man on 
 horseback, in a white smock, is seen leading another horse. 
 On the left are some fine trees and leaf plants in the fore- 
 ground. This drawing was exhibited two years ago in the 
 Loan Collection in Pall Mall. It formerly belonged to 
 Canon Greening, of Durham, and was purchased ten years 
 ago for 100 guineas. It is an excellent example of the 
 middle period. 
 
 Welsh Landscape, The Salmon Trap. 
 
 This drawing is on rough paper in the latest style, and was 
 lent to the London International Exhibition in 1872 by F. 
 Pender, Esq., M.P. The scenery is that of Bctt\vs-y-Coed. 
 Some grand rocks and mountains form the middle distance, 
 at the base of which is a belt of dark trees, and a stream 
 flowing through a salmon trap. A woman is holding up a 
 salmon in licr li.ind, and close by a man is kneeling down 
 occupied with the sj)ort. An elderly figure is seen approach-
 
 WATER-COLOUR DRAWINGS. 28 1 
 
 ing on the left near some fine dark trees. The light Is carried chap, xvi, 
 across the picture on the figures, and on some railings, and 
 on the traps ; but the general effect is dark and rather 
 gloomy, although powerful and Impressive. 
 
 Of the fine collection of drawings possessed by the late 
 Mr. Edwin Bullock, twenty-three fine ones still remain 
 unsold, and are the property of Mrs. Bullock, having been 
 discovered, I am informed, some time after Mr. Bullock's 
 death. Of these I should specially mention the following: — 
 
 The Brookside. io by i6|. Sometimes called the 
 " Stump and the Magpie." 
 
 This celebrated drawing is very powerful and truthful. 
 A stream reflects a dark fringe of rushes. The colour and 
 handling are fresh and vigorous. Also " Mosely Common 
 with an old Windmill," i if by 1 8 In., an early drawing, very 
 pleasing from its great breadth and simplicity. 
 
 Dudley Castle, with Lime-kilns. i2f by 17^ In. 
 
 A warm evening glow lights up the sky and castle hill, the 
 latter being clothed with low-toned green trees. On the left 
 of the drawing grey curling pillars of smoke rise from the lime- 
 kilns and drift across the scene, thus adding to the composition 
 and also conveying a feeling of mystery. Some water forms 
 the foreground, on which dark canal boats are cleverly massed 
 together. They are very powerful in colour, and assist in 
 imparting a luminous quality to the rest of the drawing. 
 
 A Farmyard. 6| by gf in. Date 1850. 
 
 A bright little drawing, slight and sketchy, yet powerful in 
 effect. The sky is a tender grey, as of the early morning ; 
 some cattle are grouped In a farmyard, as If waiting to be 
 milked, behind which are some farm buildings and trees, and 
 the outline of faint hills in the distance.
 
 282 LIFE OF DAVID COX. 
 
 Chap. XVI. WARWICK CaSTLE, EvENING. 
 
 A very fine large drawing. The castle appears to be 
 lighted up, as if a fete was going on. The sky is dark, with 
 a streak of light near the horizon. The water underneath 
 the castle reflects downwards the light and dark masses of 
 shadow from the castle, to which the Broken Bridge adds 
 additional force. 
 
 View near Atherston. 
 
 A grand drawing of the best period. The house is seen 
 in the distance between some fine trees, which appear to be 
 tossing and bending before a powerful wind ; the sky is 
 stormy, with rain approaching. It is one of those wild effects 
 in which Cox delighted, and which show his mastery and 
 rapid power. The oft-repeated drawing of the " Mill near 
 Lichfield " is another in this collection. 
 
 I have endeavoured, in the preceding account of Cox's 
 drawings, to describe some of the important and most cele- 
 brated ones of every period. 
 
 In 1870 an interesting collection of four hundred and thirty- 
 five water-colour drawings was exhibited in Manchester, being 
 chiefly loans from gentlemen in that neighbourhood. It 
 comprised twenty-six drawings by David Cox, some very 
 beautiful ones ; for instance, " Lancaster Sands," "Evening 
 Repose," "Vale of Llanrwst," "Landscape with Man and 
 Horse" (two), " Bolton Abbey," " Bettws-y-Coed Church," 
 "Calais Pier," and "Landscape with Sheep." Such sub- 
 jects as "Landscape with Sheep," and "With a Man and 
 Horse," were peculiarly those In which Cox excelled. 
 Plenty of weeds and rough herbage in the foreground, a 
 few ragged trees, the man and horse cutting In strong relief 
 against the distant green, "windy" sky, and the sheep all in 
 movement, were the characteristics of these fresh, swift, and 
 very powerful drawings, the form and colour of the cloudy
 
 WATER-COLOUR DRAWINGS. 283 
 
 sky, and the feeling of space, being one of their great charms, chap. xvi. 
 In order thoroughly to appreciate all their fine, strong, and 
 unusual qualities, Cox's drawings, especially those on the 
 rough Scotch paper, must be looked at from a distance; 
 then everything takes its right place, with a wonderful 
 appearance of finish, which is almost entirely lost when 
 viewed close. 
 
 I give in the Appendix No. II. a list of the original and 
 important collections of drawings by Cox which belonged 
 to Mr. Charles Birch, Mr. Norman Wilkinson, Mr. William 
 Roberts, and Mr. Edwin Bullock. The prices which they 
 produced at the sales by auction are also given in most 
 cases. 
 
 I have included in this Appendix an account of some other 
 important sales of Cox's drawings which have taken place 
 of late years. In the Appendix No. I. will be found a list of 
 all the drawings exhibited by David Cox in the Old Water 
 Colour Society, in London, between 1813 and 1859 inclusive.
 
 1855—1859- 
 
 XVII. 
 LAST YEARS AT HARBORNE. 
 
 1855 TO 1859. 
 
 Chap. xviL ^B^f^ ^^^ winter of 1855-56 Cox worked steadily and 
 — W\ K successfully, and produced many works both in oil 
 ^^^ and water colour, and although there was not the 
 same finish, there was a grander feeling than in 
 earlier days. 
 
 From the sketches made at Bettws and Capel Curig the 
 preceding autumn he finished some admirable drawings, 
 and these — eleven works in all — were exhibited in Pall Mall 
 in the spring of 1856. The largest and most important were 
 " Driving the Flock," " On the Moors near Bettws," "Peat 
 Gatherers, North Wales," and '* A Hayfield." Besides these, 
 " Dover — Wind and Rain," and " Twilight," were very 
 successful drawings. "The Peat Gatherers," with a dark 
 sky and women bending in patient advance under the Welsh 
 creels or baskets full of peat, and a wild moorland losing 
 itself in the mist, was a complete poem in itself. " On the 
 Moors," a pelting storm is descending, and in the midst a 
 wild-looking bull is bellowing with extended tail. The artist 
 has thrown into this drawing his deepest and most incom- 
 municable quality. 
 
 On the 24th May Cox travelled up to London and remained 
 there a few weeks on a visit to his son. It had been pre- 
 viously arranged that Mr., now Sir William, Boxall, R.A.,
 
 LAST YEARS AT HARBORNE. 285 
 
 should paint a likeness of Cox on this occasion, and on the chap.xvii. 
 6th of June he went, accompanied by his grand-daughter, to 18551^859. 
 that artist's studio, where the portrait was commenced. He 
 appears to have enjoyed the sitting, as he said that Boxall 
 conversed with him very pleasantly all the time. He went 
 again on the 12th, and he was also able to pay visits to his 
 old friends Mr. Ellis and Mr. Norman Wilkinson. Few men 
 had friends more attached to him than Cox had ; a friendship 
 once formed was rarely or never broken, and the word 
 indifference was not in his vocabulary. The portrait by 
 Sir W. Boxall is in the possession of Mr. David Cox, jun., at 
 Brixton Hill, and was lent by him to the Dublin Fine Art 
 Exhibition in 1872. It is satisfactory as a work of art, but is 
 not considered quite so good a likeness as the one painted 
 the preceding year by Sir J. W. Gordon, exhibited in 1856 
 in the Royal Academy. He went to see the Academy and 
 the other exhibitions during his visit. 
 
 Cox returned home to Greenfield House about the middle 
 of June, and he does not appear to have been at all the worse 
 for this journey, as he was able to undertake another one at 
 the end of August to Bettws-y-Coed. 
 
 The following letters, written to him by one of his most 
 intimate friends just before and just after this visit to London, 
 will, I think, be read with interest as showing what was 
 thought of the works which he exhibited this year by this 
 gentleman, who was a good judge, what others also thought, 
 and how much Cox was loved by his friends : — 
 
 " May loth, 1856. 
 
 " Dear Cox, — I ought to have been allowed to see your 
 drawings before they went into the Water Colour Exhibition 
 this year. I wonder who bought the * Peat Gatherers,' which 
 is the grandest picture I have ever seen by you or any one. 
 How you came to give such a high character to those two 
 women with the black hair I cannot conceive, except that, as
 
 286 LIFE OF DAVID COX. 
 
 Chap. XVII. J havc often said, you don't draw with your fingers, but with 
 1855— 1859. you7^ mmd. 
 
 '* The landscape is as wild and as true to nature as any- 
 thing Turner, or Poussin, or Salvator ever did. What is the 
 use of your being an invalid every now and then ? It don't 
 spoil your painting a bit. ' The Peat Gatherers ' does really 
 outdo everything that was ever hung up in that room. It 
 made the tears come into my eyes to think that you had done 
 such a good thing. The bull with his tail up in the storm 
 made me laugh with pleasure ; and the little sketch of Dover, 
 although so slight, was being talked about all over the room 
 when I arrived, and I kept hearing of it before I could find 
 it. It seems as if you had become famous to the world all of 
 a sudden, whereas you have been famous to me and other 
 friends I could name from our young days. But now every- 
 body is talking of you, and I hear no complaints of your 
 want of finish. 
 
 "When I dined with Ward, the Academician, who has 
 painted the pictures about Marie Antoinette, he said to me, 
 ' I consider David Cox is a great man, and the finest land- 
 scape-painter living,' and Ward did not know how much] I 
 loved you. But the best of all things which was said of you 
 
 is what poor dear little said one day, that what he 
 
 complained of was, that when once people began to buy old 
 Cox's drawings they never bought any one else's. 
 
 "Your portrait by Sir J. W. Gordon I have only seen on 
 one dark day, and I could not see the eyes; the mouth 
 appeared very like, but the head seemed too small for the 
 body. The portrait is too high to be seen well. It does not 
 represent you as speaking, but as if you were listening. Now 
 we all like to be listening to you, and you look best when you 
 are talking. 
 
 " You have got the place of honour in the Academy, as 
 Ward says. lie declares it to be the finest thing that 
 Watson Gordon has done.
 
 LAST YEARS AT HARBORNE. 287 
 
 "I am afraid you do not mean to come to see me this chap. xvii. 
 
 year, but I hope you will ; it will never be summer if I do 1855— 1859. 
 not see you. 
 
 " Believe me, your affectionate." 
 
 "June 29th, 1856. 
 
 " Dear Cox, — This last small picture shows me you can 
 work and paint as well as you did ten years ago, and although 
 I think it is very natural that at your age you should only 
 paint what you yourself happen to fancy, yet I hope you will 
 make the exertion to paint me a common with a low horizon, 
 and hardly a tree anywhere. Oh, if you knew how I walk up 
 and down before your large picture of ' Bettws Church,' and 
 how often I walk into the room where it is just to see how it 
 looks, you would envy me the pleasure I have. I wonder 
 you could ever part with it. I see now how very carefully 
 you painted it, so many tints so carefully put on. When I 
 compare it with all the modern landscapes in the exhibition, 
 to me they are all poor. 
 
 "Now pray jump out of your chair and put on your hat 
 and go out to the common, and help me to enjoy life by 
 looking at nature through Cox. 
 
 " Your affectionate." 
 
 On the 1 6th August, 1856, Cox wrote to his son a short 
 letter, from which the following is an extract : — 
 
 "We have the lady, Rosa Bonheur, here. I had the 
 honour to see her at Mr. Birch's, She afterwards went to 
 Mr. Bullock's. I am very well, and should like to go out for 
 a short painting. I have finished two paintings, and sent 
 them into the Birmingham Exhibition. 
 
 "David Cox." 
 
 Mr. Birch gave a grand dinner in honour of his guest,
 
 LIFE OF DAVID COX. 
 
 Chap. XVII. Mademoiselle Rosa Bonheur. He invited literary men, 
 1855^859. artists, and patrons of art to it, as he said he wished to make 
 the company assembled as " representative " as he could. I 
 am informed that she called at Cox's house and visited his 
 studio, being much interested in what she saw there. Cox 
 had in his possession his sketch of the Birmingham Horse 
 Fair ; he produced it from his portfolio, saying that he also 
 was an animal painter, and the lady expressed her admiration 
 of it. This, I believe, is the same identical drawing as the 
 one now possessed by Mr. Quilter, of which the print (by the 
 Autotype Company) is given in this book. There was also 
 a large dinner party the following day at Mr. Bullock's to 
 meet Rosa Bonheur. 
 
 Cox found the journey he made to Bettws this autumn very 
 fatiguing, and although the Welsh air had refreshed him, he 
 never returned. He was the better reconciled to this as he 
 found that he was not equal to sketching out of doors on this 
 last visit. The winter tried him a good deal, and his eye- 
 sight was weaker, which gave a rather loose and blotty 
 appearance to many of the works painted after this date. 
 At the beginning of March, 1857, he sold a picture, which 
 he had recently painted, of Rhyl, for ^50, and one of the 
 " Night Train " for /40 ; also the " Bull," for ^15, which is 
 the one now in the South Kensington Museum, I believe. 
 On the 2nd April, 1857, he wrote to his son a letter, from 
 which the following is an extract : — 
 
 " ]My subjects are very slight and unfinished, but my eyes 
 are so bad in the finishing that all my friends cannot like 
 them. I fear I cannot paint any more, and my doctor wishes 
 me to go into fresh air, but I fear I cannot go to London yet 
 for some time. 
 
 "David Cox." 
 
 Again he wrote to his son on the 20th April, 1857 : —
 
 LAST YEARS AT HARBORNE. 289 
 
 "I wish you to thank my brother artists for their good Chap.xvii. 
 wishes towards me. I thought them so very kind. Tell ig-TI^s- 
 them so, with my kind regards. 
 
 " David Cox." 
 
 In spite of failing health Cox was able to complete and 
 exhibit fourteen drawings this year in the Water Colour 
 Exhibition: "Near Capel Curig," " Gordal Scar," "War- 
 wick Castle," "On the LIugwy," "Carnarvon Castle," 
 "Forest Scene," "Bolton Abbey," and several views near 
 Capel Curig, were the principal ones. On the 20th May, 
 1857, he wrote thus to his son about his intended journey to 
 London : — 
 
 " It is my intention to go on Monday by the Great AVestern 
 line, and ]\Ir. Deakin (the artist) and I start by half-past 
 seven, so that we may arrive by eleven. My friend Deakin 
 will not stay longer than the one day, so as to see the 
 Exhibitions, and back at • night. I hope it will be convenient 
 to you to meet me at the station by eleven. 
 
 " David Cox." 
 
 The simplicity and seriousness of the drawings which had 
 been sent to London by Cox this year made a great impres- 
 sion on the public. It was known that the state of his health 
 prevented his bestowing the same amount of labour as 
 formerly on the "finishing" of his w^orks, and they were 
 regarded as the last expressions of a great mind in harmony 
 with nature and at rest with itself. The " Carnarvon 
 Castle," which forms part of Mr. David Cox's, junior, collec- 
 tion, has been described in the chapter on water-colours. 
 The warm light on the grey walls is very beautiful. The 
 same may be said of the " Bolton Abbey," which is very 
 subdued, but harmonious in colour. The views near Capel 
 Curig excel almost any others in power and grand feeling, 
 with the exception, perhaps, of the " Forest Scene." 
 
 u
 
 2gO LIFE OF DAVID COX. 
 
 Chap. XVII. Cox arrived safely in London, escorted by Mr. Peter 
 1855-1859. Deakin, on the 25th May. He appears to have enjoyed 
 himself as usual on this visit, taking short walks in the 
 neighbourhood of Brixton Hill. On the 29th he went to Sir 
 William Boxall's to have his portrait (which had been 
 painted the year before) revised, and the same day he also 
 visited the Academy, and another day the Water Colour 
 Exhibition. Every Sunday he spent with his friend Ellis at 
 Streatham Common. 
 
 At the beginning of June he was taken very unwell, and 
 was attended by Mr. Kingdom, an old friend and former 
 medical attendant. He did not visit London again, but as 
 soon as he was sufficiently recovered he returned to Har- 
 borne, which was on the 13th June. His son accompanied 
 him home on this occasion. 
 
 With the return of summer Cox's health and strength 
 revived, and he again set to work with much energy, espe- 
 cially with oils. 
 
 On the 8th July, 1857, he wrote to his son, " I am, thank 
 God, in very good health, and painting to enjoy myself." 
 
 Again, on the 13th August, 1857, he writes thus : — 
 
 " The weather has been so rainy and stormy that I have 
 given up the idea of going to Wales. I hope you will come 
 here, and perhaps we may go and make a few sketches. 
 
 "David Cox." 
 
 About this time a gentleman, who was a friend of David 
 Cox, relates that he went one morning to call on him soon 
 after breakfast. He was seated in his little smoking-room, of 
 which the window looked into the garden. After the first 
 greeting, Cox said, " 1 know I can trust you, so I will con- 
 fide a secret to you about something in which I am so much 
 interested. You see that rose-bush by the wall ; a wren has 
 built her nest in it, and there are five little ones lately
 
 LAST YEARS AT HARBORXE. 29 1 
 
 hatched. I can watch her and her mate feeding them from Chap. xvii. 
 where I sit, and I would not have them disturbed for all the 1855— 1859. 
 world. I was afraid my cat, who often runs along the wall, 
 might find them, so puss has been shut up in a room for 
 several days. Poor puss ! I am sorry she should be confined, 
 and it gives Mrs. Fowler a good deal of trouble, you know, 
 to csLvry up her food." 
 
 Shortly after this the friend called again, and the first 
 words Cox exclaimed were, " Hurrah ! hurrah ! they are all 
 gone, all safe. I watched the mother teaching her little 
 brood to fly so patiently ; and the nest is now empty. I 
 would much sooner have lost twenty pounds," he rejoined, 
 " than that one of the little ones should have been hurt ! " 
 
 The tenderness of heart illustrated by the above anecdote 
 was one of his characteristics through life. 
 
 He continued to paint in oils during the autumn, and on 
 the 29th September, 1857, he wrote to his son, ''I have 
 finished four oil-paintings, which you will be quite pleased 
 with. They are as much as I could paint. I have been 
 quite happy to have my oil-pictures. Hurrah! hurrah!" 
 He also continued to work through the following winter at 
 water-colours, and in the spring of 1858 he again sent 
 thirteen drawings to the Water Colour Exhibition. The 
 principal works contributed by him this year were — "Snow- 
 don," the "Vale of Clwyd, near St. Asaph," " Snowdon 
 from Capel Curig," " Skirts of a Common," " Port Gyfing," 
 " Penmaen Bach," " Kenilworth," and " Bettws-y-Coed 
 Church." That there was no perceptible falling off in the 
 quality of the works sent may be inferred from the following 
 letter, written to Cox by a friend on whose judgment he 
 relied : — 
 
 "April 8th, 1858. 
 
 " To David Cox, Esq. 
 
 " Dear Cox, — I have been to Foord's. You have sent 
 up a magnificent lot of pictures, better than you have sent 
 
 u 2
 
 2g2 LIFE OF DAVID COX. 
 
 Chap. XVII. for Several years. The largest of all is the grandest in 
 18-3^^8-9. colour ; the most pleasing, and equal to it in all its perfec- 
 tions, is the ' Kenilworth.' The cleverest is the sea-coast, 
 with the bathing-machine in the foreground. The Bettws-y- 
 Coed is very good — more force, but not so much elegance, as 
 in my oil-picture of the same subject. The sheep picture, 
 too, is very good. The others are beautiful in different ways, 
 and I congratulate you on having sent up such a very capital 
 lot this year. There will be a sensation produced by your 
 drawings this year, I am sure. There is one, with the bright 
 light on the fields in the middle distance, that I thought 
 delightful, and quite a new effect to me. But my oil-picture 
 
 beats everything. 
 
 " Your affectionate." 
 
 Cox remained at Greenfield House all this year, but he was 
 still able to paint, and also to take short walks and to go into 
 Birmingham, as the following extract from a letter to his son 
 shows : — 
 
 " Harboine, September 2nd, 1858. 
 
 " I have been to Birmingham, and saw the Birmingham 
 Exhibition. It is a very good one. I am very well, and I 
 wish I could walk well, so as to go to some greater distance." 
 
 Again he wrote to his son on the 23rd December, 1858 : — 
 
 •' My dear David, — In two days we shall have Christ- 
 mas, and I ])ray you and my dear children every comfort and 
 health for many days to come. I am in health, and I thank 
 our God that Ann and Mercie are well and comfortable. I 
 cannot sec to work, paint, or at drawings." 
 
 This last remark referred as much to the dark short days 
 as to the state of his health. 'i1ie winter tried Cox very 
 much ; his sight and memory were to some extent beginning
 
 LAST YEARS AT HARBORNE. 293 
 
 to fail him, and for some time past he had suffered from an Chap.xvii. 
 
 infirmity, not very unusual with old people, of using wrong- 1855—1859. 
 
 words in mistake, although knowing all the time the word he 
 
 really wished to use. His son went down to see him as usual 
 
 for New Year's Day, and found him far from well. He had 
 
 caught a severe cold, and was very weak and depressed. By 
 
 the 20th of January Cox had taken entirely to his bed, and 
 
 for more than a week the symptoms increased in severity — 
 
 great difficulty of breathing, and utter prostration — so that 
 
 his medical attendants. Dr. Bell Fletcher and Mr. Bindley, 
 
 considered that he was in great danger. 
 
 On the 24th of January, 1859, D. Cox, junior, wrote to his 
 daughters : — " My dear father continues in a hopeless state, 
 only taking notice occasionally to propose some kindness for 
 me. I can hardly make him understand the simplest words, 
 and he seems to be made restless by talking to him." 
 
 Happily by the 30th of January he began to rally, the 
 symptoms improved, and he was able each day after this to 
 take more nourishment. By the middle of February he had 
 so far recovered that he was able to go into another room for 
 several hours each day, and his son was able to return home. 
 With the return of spring he continued gradually to gain in 
 strength. He came down-stairs, and occasionally received 
 the visits of his intimate friends, who delighted to send him 
 any little delicacies which they hoped would tempt his appe- 
 tite. Cox was also able again to dispatch seven drawings to 
 the Water Colour Exhibition. This contribution^the last 
 he ever sent — consisted of the following works: — "The 
 Stepping Stones, Bettws," the "Mountain Tarn," " Darley 
 Churchyard," "Rocks near Bettws-y-Coed," " Penmaen 
 Mawr," " Kenilworth Castle," and " Twilight." Each of 
 these was beautiful and grand in its way, proving, too, that 
 in spite of ill-health and increasing years there was no failing 
 in the artist's deep feeling for nature, nor in his powers of 
 expression.
 
 294 LIFE OF DAVID COX. 
 
 Chap.xvii. I have already, in my chapter on water-colours, described 
 1855—1859. the pathos and gloom of that very poetical drawing, the 
 " Darley Churchyard," with the moon just rising, and the 
 old gravedigger still at his work ; and of the " Mountain 
 Tarn," with its resistless, roaring torrent. I cannot do better 
 than quote the following words from Mr. Ruskin's notes on 
 the Exhibitions of 1859 : — 
 
 " In the rooms of the Old Water Colour Society, the first 
 thing to be looked at, after Hunt's, is David Cox's magnifi- 
 cent waterfall at the upper end of the room — unsurpassable 
 in its own broad way, and giving in the foam examples of 
 execution as broad as Salvator's, and infinitely more subtle 
 and lovely." 
 
 Although unable this spring to do much in the way of 
 painting, Cox was pleased to turn over his portfolios, and 
 arrange work for the future that he still hoped to be able to 
 carry out ; but he unfortunately caught cold again in April, 
 and each attack left him weaker. In a May number of Punch, 
 (1859), page 192, the following interesting and touching 
 notice of Cox occurred. I think it will be considered well 
 worthy of insertion. 
 
 " Punch among the Painters. — Dear old David, — 
 and next to nature who can Mr. Punch have better than David 
 Cox ? — I feel as if you and I were shaking hands for a long, 
 long j)arting. Is it the wavy mist of tears in my eyes, or the 
 dimness of years in yours, that blears those Welsh mountains 
 and wild western moorlands, the last, I fear, that your glorious 
 old hand — true to the heart as ever, but now trembling — will 
 create for the pleasure of all that have ever looked nature 
 lovingly in the fiice ? Alas ! and is time drawing the veil 
 between you and tlie lo(jming hills and gusty skies ? In 
 brain and hf-art you sec them still — 1)right and fresh as ever 
 — perhaps brighter and fresher. Jkit the eye will grow 
 glazed, and the stiffening fmgcr will (lag, for all the wind's
 
 LAST YEARS AT HARBORNE. 295 
 
 bidding, and the inward beauty and glory will pass faintly Chap. xvii. 
 and more faintly into shape and colour, till what used to be 185^859. 
 noble, free, and generous transcripts of earth, and sea, and 
 sky, are now hazy and indistinct landscapes of dreamland ! 
 
 " All who have ever loved nature must love David Cox. 
 How ! — not love the man who for fifty years has done liege 
 suit and service to the solemn purple of far-off hills, the 
 sudden gleam of golden cornfields, the stately march or wild 
 glee of summer clouds, the tossing of meadow grass on the 
 uplands, or the flush of heather-bells along the moor ! 
 
 " Well, let those who love him take their leave of him ; for 
 there hang his last works in the room of the Old Water 
 Colour Society, touching in their mellow indistinctness, but 
 honestly beautiful to the end. He leaves many good men 
 behind, but no equal. 
 
 " There was, moreover, an intense sense of the solemnity, 
 beauty, and variety of Nature, which made every drawing of 
 his fresh and gladdening, familiar as his hand was to all of 
 us, and much as he affected the same spots and subjects year 
 after year. North Wales had his heart. He had absorbed 
 its colouring and contours into himself. 
 
 "In one of Mr. Punch's country excursions — and where may 
 not Mr. Punch_ set up, that is, set down, his pavilion, and 
 sound his roo-too it? — he came after a successful pitch at 
 Llanrwst to the bridge at Bettws-y-Coed (you will please 
 supply the vowels), and looking round him exclaimed to 
 himself, ' I know this country ! ' He did know it in David 
 Cox's drawings, for it was to this very spot, as Mr. Punch 
 found out in a confidential chat with the artists at the Oak 
 that night, the faithful old man had resorted year after year, 
 loving the place like a mistress, both hill, and field, and river, 
 till they laid their hearts bare to him, and told all they had 
 to tell — every year something new and always worth telling, 
 and whispered to none, but to old David. 
 
 " So go, my dear young friends, reverently and tenderly.
 
 296 LIFE OF DAVID COX. 
 
 Ch-aj. XVII. and give your farewell and God-speed to old David Cox, for he 
 ,o.^o-„ will draw no more. He will divide the shattered weather- 
 Stained, wind-rent old mantle among many, for whom the 
 rags and tatters will make whole suits, wherein they will 
 array themselves very proudly, and make no small figure in 
 many exhibition rooms." 
 
 I have omitted to mention that, at the end of 1858, several 
 friends and admirers of David Cox, residing in the neighbour- 
 hood of London, proposed that an exhibition solely of the 
 works of that artist should take place. Clarkson Stanfield, 
 R.A., Frederick Tayler, F. W. Topham, Tom Taylor, and 
 Edwin Field, were of the number of those who interested 
 themselves in this matter ; they obtained the promise of 
 assistance from some friends in Birmingham, and Mr. George 
 Stanfield consented to act as secretary. It was shortly 
 arranged that this exhibition should be held in the large 
 room of the Conversazione Society at Hampstead. A large 
 number of artists and amateurs assembled on the day of 
 opening, and Mr. Edwin Field gave an address. Mr. W. 
 S. Ellis, Mr. Norman Wilkinson, Mr. Tom Taylor, Mr. 
 David Cox, junior, and others in London, sent many con- 
 tributions. Mr. Mayou, and some others, sent drawings 
 from the country, and likewise Mr. Hollingsworth, of 
 Birmingham, contributed a great many drawings and 
 sketches. lie also induced David Cox himself to lend some. 
 The collection was very interesting, and although not entirely 
 successful, in the sense that it was not a thoroughly repre- 
 sentative on*.' of the artist's work, it afforded exquisite 
 pleasure to a large number of his brother artists as well as 
 to amateurs. 
 
 This probably led to the formation of a committee at the 
 commencement of 1859, having for its object a more 
 important l^xhibition of the Works of David Cox, to be held 
 in London, in the spring of that year. The use of the
 
 LAST YEARS AT HARBORXE. 297 
 
 German Galler}^, New Bond Street, was secured, and at the Chap. xvii. 
 end of April it was opened to the pubHc. The collection igcZI^arQ 
 consisted of one hundred and sixty-nine works, some in oil 
 and some in water-colours. Messrs. John Allnutt, H. H. 
 Betts, H. Bradley, G. Briscoe, W. S. Ellis, Robert Grundy, 
 Edwin Gwyther, E. W. Field, John Henderson, John 
 Hollingsworth, John Heugh, G. Layton, S. Mayou, J. G. 
 Reeves, Tom Taylor, and Norman Wilkinson, were the 
 chief contributors, besides some works lent by David Cox 
 and by his son. 
 
 The following account of this Exhibition is from the A7d- 
 Journal oi the ist May, 1859: — 
 
 *' There is no more severe trial to which the pictures of 
 any artist can be subjected than by collecting them together, 
 and when thus combined, by viewing them as a whole, or 
 comparing them with each other. The critic is then in a 
 position to observe and test the progress or retrogression of 
 the artist, to compare him with himself, to scan his merits 
 or defects, and to ascertain whether he has been conscious of 
 either, and if so, whether he has laboured to correct the one 
 and maintain the other ; in short, the art-life of the man is 
 placed before the spectator, and laid open to his judgment 
 in indelible characters, which are the seal of his reputa- 
 tion ; how few are those who can undergo the ordeal with- 
 out apprehension of the result ! 
 
 " To such a trial, however, has the veteran landscape- 
 painter, David Cox, been submitted by his friends and 
 admirers : an Exhibition of about one hundred and seventy 
 of his works having recently been opened, and a rich treat 
 the Exhibition is to all who can appreciate thorough English 
 scenery represented in a style of art as original as it is true. 
 We have sometimes heard people say they cannot understand 
 Cox. We could only offer to such our pity — pity that they 
 had not eyes for Art or Nature, that they could not see his 
 glorious sunshine, the motions of his clouds as they ' float
 
 298 LIFE OF DAVID COX. 
 
 Chap. XVII. through the azure air,' — pity that they could not inhale the 
 185^859. sweet breath of his hayfields and purple heaths, nor see the 
 rushing of his summer showers, nor repose with him under the 
 shadows of his thick umbrageous elms and his graceful ash- 
 trees. Not understand Cox ! why there is hardly a peasant 
 in the land who goes to his daily toil by the hedgerows, or 
 in the fields, who could not comprehend and thoroughly feel 
 the truth and beauty of his landscapes, who would not 
 acknowledge that what he shows them is just that which 
 ever}^ villager sees above and around him each summer of 
 his life. . . . From the first Cox seems to have founded a 
 style of his own, and rarely if ever to have departed from the 
 principles he laid down for his guidance. One of the few 
 early pictures now exhibited, ' Meadows on the River Lugg, 
 Herefordshire,' from the collection of an early patron, Mr. 
 Allnutt, reminds us, in colour and handling, of the late 
 George Barrett ; but this is the only work in which can be 
 traced resemblance to any other artist, living or dead. 
 
 " From the same collection is also another picture of his 
 earlier time, and one which has been regarded among the 
 best of his productions, ' George IV. embarking for Scot- 
 land at Greenwich,' a kind of subject very rare from the 
 hand of this artist. It is an elaborate composition, gorgeous 
 in colour and picturesquely treated." 
 
 After specially noticing many of the works, the article 
 referring to the picture of "The Bull," remarks — "This is 
 a highly poetical composition, one may almost hear the 
 roaring of the affrighted animal, and the splashing of the 
 heavy rain as it pours in torrents down upon the meadows, 
 and the seething mists rise up as from a boiling cauldron." 
 " To those who love and reverence such pictures (as we 
 have described) the Exhibition now open In Bond Street 
 cannot fail to prove a rich treat, and will convince any 
 sceptic, if he has eyes, that David Cox must always stand 
 in the first rank of I'ritish landscape-painters."
 
 LAST YEARS AT IfARBORXE. 299 
 
 Great merit was due to the committee, I think, in having- Chap. xvn. 
 brought together this collection, which contained works of 1855— 1859. 
 nearly every period in Cox's long career, from the earliest 
 to the latest, and many of them were representative ones 
 of the highest excellence. In the Appendix, No. III., is an 
 additional notice of this Exhibition, which appeared in a 
 London paper. 
 
 The improvement which had taken place in Cox's health 
 at the end of February did not last long ; early in April, 
 one of his grand-daughters wrote: — 
 
 " I found grandpapa very poorly, his breathing at times is 
 very distressing; I don't see that he is weaker, but he 
 evidently thinks himself worse." 
 
 And again on the 24th April : — 
 
 " Though the weather is most trynng, I trust dear grand- 
 papa is not worse, indeed I think J. and I have done him 
 some good. He has rallied since we came down, and 
 though low at times, I see his appetite is good ; he seems 
 to enjoy what he eats, and has had three good nights." 
 
 From this attack he again gradually rallied, and on the 
 24th May Mrs. Fowler sent the following report : — 
 
 " I am thankful to say he (the master) is quite as well, or, 
 I think, better ; he has very good nights, and Mr. Bindley 
 said yesterday his pulse was rather stronger. He was so 
 well on Sunday that he was talking to Mr. Hall of trying to 
 paint, but he has not begun yet." 
 
 Again, on the 26th ^lay, Mrs. Fowler wrote : — 
 
 " Your dear grandpapa is pretty well for him ; he has 
 been out in the garden the last two days for a short time. 
 He walks very much better than he did when he was out in
 
 300 LIFE OF DAVID COX. 
 
 Chap. XVII. April I he talks of having a ride soon, and he talks of writing 
 1855—1859- to your papa. He sends his love to you all." 
 
 The improvement recorded in the preceding letters was, 
 however, only like the flicker of the expiring lamp. At the 
 beginning of June he again caught cold ; until then he had 
 been able to come down-stairs, and he was generally cheerful, 
 but feeling a presentiment of what was impending, one even- 
 ing when about to leave his parlour, he looked round the 
 walls, which were covered with works of art, and, in a low, 
 mournful tone of voice, exclaimed, " Good-bye, pictures ! 
 good-bye, I shall not see you any more!" This, indeed, 
 turned out too true, for he never entered that room again. 
 
 On the evening of Monday, the 6th of June, Mr. Bindley, 
 observing a change for the worse in his patient's symptoms, 
 telegraphed to his son to come down at once. Mr. D. Cox, 
 junior, travelled down at night, and arrived at Greenfield 
 House at half-past six in the morning of the 7th, and soon 
 afterwards he wrote thus to his daughters : — 
 
 " Your dear grandpapa is very weak and his breathing is 
 difficult ; he seems to have been failing for the last two or 
 three days, and Mr. Bindley sent the message. I pray that 
 I may have a better account to-morrow. My coming down 
 as I did has been a great relief, and my dear father had been 
 very nervously wishing it for a day or two past. Grandpapa 
 has asked most affectionately after you all." 
 
 A few hours aft(;r the preceding letter was written by his 
 .son, this good man passed away. His peaceful end is thus 
 described in a second letter, from which 1 am enabled to give 
 the following extract : — 
 
 " Jlaibornc, June 71!), 1859. 
 
 " Mv di:ar Children, — My heart is full while I write a 
 few lines, so ccjiitrary to the eager hope I expressed in my 
 note only a few liours ago.
 
 LAST YEARS AT HARBORNE. 3OI 
 
 "At half-past ten o'clock, only a few minutes after send- Chap.xvii. 
 ing- my note to you by Mr. HolHngsworth, I quitted my 1855— 1859. 
 father to give him, as I thought, a little opportunity for a 
 nap, but, hearing his cough, I was going up-stairs to advise 
 him to try something for it, when I knew from Mercy's alarm 
 some change was taking place. He passed away with ' God 
 bless you,' and not a sign more," &c., &c. 
 
 *' David Cox, Junior." 
 
 Although he had been in failing health for some time, he 
 was not considered in any particular danger, until he again 
 caught cold, which brought on an attack of bronchitis, and 
 this, Mr. Bindley informs me, was the immediate cause of his 
 death. 
 
 At last, at the advanced age of seventy-six, David Cox 
 had finished his work. Of him it may be truly said, that his 
 work only ceased with his life. Work which had brought 
 delight and consolation to thousands, his mission as a true 
 artist, had been well fulfilled. He had shown how beautiful 
 and noble is the scenery of England and Wales, how lovable 
 is country life at all seasons of the year and in all its phases ; 
 but, above all, how much there is in nature to elevate and 
 refine the heart of man.
 
 XVIII. 
 CONCLUSION. 
 
 Chap, xviii. ^^^JHE funeral took place in Harborne churchyard on 
 
 Tuesday, the 14th June, 1859. There, under a 
 
 spreading chestnut-tree, the remains of David Cox 
 
 were laid to rest in the same grave in which his 
 
 dear wife had been buried fourteen years before. 
 
 Many of his old friends attended, and the Society of 
 Painters in Water Colours was represented by its president, 
 who came down on purpose from London. The most touch- 
 ing part of the ceremony consisted in the deep interest shown 
 by a great number of poor and aged persons, inhabitants of the 
 village, who either followed the coffin of their dear benefactor 
 and friend, or who stood round about in groups in the church- 
 yard. An artist who was present has told me that he never 
 before witnessed such evident signs of genuine grief among 
 the poor as on that occasion, and that scarcely an eye was 
 dry. There is no doubt that the expression made use of by a 
 working man employed in one of the Birmingham printing 
 offices, who lived in Harborne, thoroughly represented the 
 feelings of his own class about David Cox, when, in reply to 
 a question, he said, " Oh, sir, he is not only respected at 
 Harborne, he is beloved by all the poor there." 
 
 An interesting picture of the funeral of David Cox was 
 painted by his old pupil, Mr. C. T. Burt; it now hangs in 
 the public gallery of the Midland Institute, having been lent 
 by its owner, Mr. J. Ilollingsworth. The sorrowful proces-
 
 CONCLUSION. 303 
 
 sion is seen in the distance passing- up the avenue of trees Chap.xviii. 
 towards the church, and in the foreground many old men, 
 women, and children are standing about, and others are 
 following in the wake of the mourners. 
 
 Soon after his death many sympathizing and appreciative 
 notices appeared in the local and other newspapers. It would 
 occupy too much space to quote these in full, but I have 
 selected the following short extracts from some of the papers, 
 which will show what the general feeling was at the time. 
 
 The Birmingham Daily Post wrote, June 8th, 1859 : — 
 
 "Yesterday morning old David Cox, the contemporary of 
 Turner and Girtin, and one of that small band of artists who 
 have made the English school of water-colour painters the 
 finest in the world, passed from amongst us, cheered by the 
 presence of his son, possessing the love and veneration of 
 hosts of friends, and occupying a foremost place in the grand 
 galaxy of art of which England now boasts." 
 
 T\ie Midland Counties Herald, June gth, 1859, contained an 
 article as follows : — 
 
 " The English school of landscape painting has lost one of 
 its most distinguished ornaments, and Birmingham one of the 
 sons of whom she had just reason to be proud, in the person 
 of Mr. David Cox, who expired at a ripe old age on Tuesday 
 last at his residence, Harborne. Although his health had 
 been feeble for some years, the end was sudden and somewhat 
 unexpected among his intimate friends, by whom, on account 
 of his estimable personal qualities, his loss will be severely 
 felt, while in the outer world of art its announcement will be 
 received with sincere regret. In professional stature David 
 Cox was indeed a giant among his fellows, and his ever- 
 welcome productions will be sadly missed from the walls of 
 exhibition rooms which they have long adorned." 
 
 I extract the following from the obituary in the Art- Journal 
 of the I St July, 1859: — 
 
 " A few weeks only have elapsed since we directed the
 
 304 
 
 LIFE OF DAVID COX. 
 
 Chap. XVIII. attention of our readers to the collection of pictures by David 
 Cox exhibited in the metropolis, and now we have to record 
 the death of the veteran painter, one whose equal, as an 
 uncompromising and truthful delineator of English rural 
 landscape, we never expect to see. It almost seems as if the 
 collection in question had been gathered together to form a 
 chaplet of flowers of his own rearing to be placed on his 
 grave. Our personal knowledge of the artist and the recol- 
 lection of his simple and unassuming character, would have 
 restrained us from saying while he lived what we can say 
 now that praise ' falls listless on unhearing ears.' Though 
 by no means insensible to any commendation bestowed on 
 his works, we never met with a man who received it with 
 more diffidence or on whom it made a less self-complacent 
 impression. He possessed, in its way, a genius as original as 
 that of Turner. There are those who cannot or will not 
 understand either. We sorrow for them as we do for the 
 physically blind to whom the glories of nature and art are 
 irremediably closed." 
 
 Cox's will was signed on the 2nd August, 1858, in the 
 presence of two of his friends, the Rev. Edward Roberts, 
 curate of Harborne, and Peter Deakin, artist, of that place. 
 His only son David and Mr. W. S. Ellis were appointed 
 trustees and executors. To the latter he bequeathed his 
 large drawing of " Cader Idris," and to William Roberts 
 and Charles Birch a drawing, each of the value of /20, 
 to be selected by his trustees. He bequeathed substantial 
 legacies to each of his four grand-daughters, and the 
 sum of ;^500 to his faithful housekeeper Ann Fowler; 
 his son being left residuary legatee of all his estate and 
 effects. The executors proved this will in August under 
 / 1 2,000. 
 
 A sale (by Cheshire and Gibbon, the auctioneers) of such 
 (effects and pictures as were not selected to be kept by the 
 family, took place a month or two after the decease of David
 
 CONCLUSION. 305 
 
 Cox; but his son retained all his father's own works — Chap.xviii. 
 paintings, drawings, and sketches — and these have never as 
 yet been offered for sale. 
 
 . Many letters of condolence were naturally written to Mr. 
 David Cox, junior, and his family, but of these I shall give 
 only one ; it is written by Samuel Palmer, one of the oldest 
 members of the Water Colour Society, and I think it will be 
 read with interest as indicative of the feelino-s of his brother 
 
 artists. 
 
 "6, Douro Place, Victoria Road, Kensington, July, 1859. 
 
 ** My dear Sir, — But for severe illness I should sooner 
 have expressed my very sincere condolements with you on 
 your great loss. Sincere it certainly is ; for, although it was 
 not my privilege to have spent in your dear father's society 
 more than an occasional half hour, yet that was sufficient to 
 attach any one to such a man, in whom intellectual and moral 
 were equally developed. Much as we all admired his works, 
 in common with the nation at large, we might also see in him 
 all that was kind and good, and at once honour the artist 
 and venerate the Christian. 
 
 " Thus our profession, in losing one of its brightest orna- 
 ments, sustained a still heavier loss in his example, who 
 showed the ardent students that devotion to art was not 
 incompatible with devotion to God. . . . 
 
 " With every sentiment of regard and esteem, believe me, 
 " My dear sir, yours most truly, 
 
 "Samuel Palmer. 
 
 " To David Cox, Esquire." 
 
 The reference in the preceding letter to the devotional 
 side of Cox's character suggests a dream which Cox once 
 had of being brought face to face with Christ, who did not 
 speak, but looked on him and smiled. The great beauty of 
 the Saviour's countenance much impressed him, and he tried, 
 but in vain, to paint it. 
 
 X
 
 3o6 LIFE OF DAVID COX. 
 
 Chap.xviii. It was in the Royal Academy, in 1849, that, looking at a 
 sacred subject with a lady, a remark of hers brought up the 
 recollection of this dream to Cox, which he then related to 
 her. " How I wish," she says, in a letter, " it were possible 
 to give his simple, unconscious manner of telling it — so full 
 of reverence and deep feeling!" 
 
 In the month following that in which David Cox died a 
 movement, emanating from the Birmingham Society of 
 Artists, for providing some monument, or permanent tribute 
 to his memory, led to the formation of a committee. 
 
 On the 25th July, 1859, a meeting took place. Dr. Bell 
 Fletcher in the chair, when the character of the memorial 
 came on for consideration, and it was resolved that a bust in 
 marble should be entrusted to Mr. Peter Hollis, the well- 
 known Birmingham sculptor. At a subsequent meeting of 
 the committee, after consultation with the subscribers, it was 
 determined that the best situation in which to place the bust 
 when completed would be the Public Art Gallery in Birming- 
 ham. There this bust, completed several years since, has 
 been placed on a pedestal, and may now be seen by all 
 comers at any time in the day. It is not so good a likeness 
 as the portrait by Sir J. W. Gordon, but it is noble in 
 expression, and represents Cox in deep thought, as if he 
 were musing over the subject of one of his grand pictures. 
 As a work of art it is carefully thought out in every part, and 
 it is well executed. Within the last few months a subscription 
 has been organized by Mr. Thrupp, to place a handsome 
 memorial window of stained glass in Harborne Church, to 
 the memory of David Cox. I understand It will probably be 
 placed there before the end of 1873. 
 
 A short time before his death, Mr. Edwin W. Field, reply- 
 ing to a letter on the subject of the foundation of a trust for 
 promoting the fine arts in Birmingham, wrote thus : — 
 
 "If the founder will not give his name to the fund, then 
 call it ' The David Cox Fine Arts Fund,' and so honour one
 
 CONCLUSIOX. , 307 
 
 of the very truest, purest, and greatest artists England has Chap.xviii. 
 produced, and a Birmingham man. Deo Laudamus f' 
 
 The idea was an excellent one, and although I believe it 
 has not yet been carried out, there could hardly be a more 
 appropriate or graceful tribute to the memory of Cox. I 
 hope it may not be entirely lost sight of by the rising 
 generation of art-lovers and patriotic men. Cox threw his 
 whole heart and life into his works, and they are indeed a 
 noble legacy for any man to have bequeathed to posterity. 
 The whole nation may be said to have benefited by them 
 either directly or indirectly, and they are surely deserving of 
 more than a passing notice and recognition. Such as I have 
 described, the man and the artist was David Cox. That he 
 was an artist of extraordinary genius is now admitted by 
 many who once slighted or ridiculed his works, and I expect, 
 therefore, as time rolls on, that his fame will reach even to a 
 higher place than it has yet attained. A supplementary 
 chapter, on the genius and character of Cox, will complete 
 my work, and with this I shall take leave of my readers. 
 
 X 2
 
 XIX. 
 
 SUPPLEMENTARY. — ON THE GENIUS AND 
 CHARACTER OF DAVID COX. 
 
 "Nature never did betray the heart that loved her."— W. WORDSWORTH. 
 
 Chap. XIX. ^('9S^'^^^.\ AVING arrived at the close of the narrative of the 
 incidents and art-work which are comprised in the 
 life of this great landscape-painter, I propose to 
 offer a few concluding remarks on the most salient 
 points of the genius and character of David Cox. I have 
 endeavoured to show that the precious and noble gift of genius 
 which had been bestowed on Cox was never allowed to lie 
 fallow during a long life. Never sparing himself, and never 
 induced for one moment to turn aside into other pursuits, 
 art-work was to him " his being's end and aim ;" ease and the 
 allurements of " pleasure " were without attractions to him. 
 Work, always work, was to David Cox true happiness ; thus, 
 with each succeeding year, his drawings became more broad, 
 more pure in colour, and more entirely penetrated with a 
 deep sympathy for, and an intimate knowledge of. Nature. 
 I shall premise a few remarks on the chief characteristics of 
 the landscapes of Cox by observing that In one respect I 
 think they excel almost all others — that of educating the eye 
 and the mind of the beholder in the beauties of English 
 scenery, and showing how much poetry may exist in the 
 merest field or lane, which I attribute to their great truth, 
 simplicity, and originality. He strove throughout life *' to 
 hold as 'twere the mirrour up to nature ; " to be able to gaze on 
 Nature as she appeared to him, in other words, to see through
 
 SUPPLEMENTARY. 3O9 
 
 his eyes, is a real benefit which I hold has been conferred on Chap.xix. 
 us by this artist, and which we should be ungrateful not to 
 acknowledge. Until rather recently the belief prevailed in 
 some quarters that he was only a water-colour painter ; I 
 have shown, however, how important and numerous were his 
 works in oil, and how continually they are still rising in 
 public estimation. In the same way doubt has been expressed 
 as to his accuracy and correctness in drawing. Without 
 doubt the imperfection of his eyesight during the two last 
 years of his life offered some difficulties as to correct out- 
 line ; but his knowledge of perspective was excellent, and 
 his rapidity, power, and success, during the greater part of 
 his life, in delineating important public buildings, difficult 
 street architecture, and interiors, has rarely been surpassed. 
 Cox had an unsuspicious nature, very gentle, and yet very 
 sensitive ; he had, moreover, a loving and child-like heart, 
 which was full of charity and warm affection for his friends, 
 and, indeed, for most created things. He loved the hills and 
 streams, the woods, the meadows, with their wild flowers 
 and '* soft, countless, and peaceful spears," even the roadside 
 weeds ; nothing was too lowly or familiar to find a place in 
 his breast. To children he was especially kind, as has been 
 abundantly shown, and also how grateful he was for any 
 kindness ; how willing at all times to help the poor, and to 
 give advice or assistance to brother artists who sometimes 
 had recourse to him. As with all men of true genius. Cox 
 felt that no person and no object in nature was too humble 
 or too lowly to be deserving of his respect and regard ; just 
 as he also felt that, in matters relating to Art, nothing was 
 really trifling or unimportant. 
 
 Disliking the whirl and bustle of great cities, display and 
 luxury were alien to his nature. Essentially simple in his 
 tastes and English in his feelings, he was of an independent 
 though forgiving spirit ; but when roused, he was well able 
 to assert his own dignity. In the thorough transparency,
 
 3IO 
 
 LIFE OF DAVID COX. 
 
 Chap. XIX. simplicity, and guilelessness of Cox's character, is explained 
 his wonderful sympathy with nature. If his character had 
 been different, he never could have painted pictures so little 
 alloyed with the dross of humanity. 
 
 He was, moreover, of an ardent and impulsive tempera- 
 ment, yet unassuming in his demeanour to all, with a keen 
 yet quiet sense of humour, and withal social in his feelings. 
 Perhaps too distrustful of his own powers, like some other 
 great men, and rather erring on the side of modesty. Yet 
 there are many indications that he was not altogether una- 
 ware of the great merits of his work. In his deep feeling, 
 insight, and reverence for nature, he v/as a true poet, and 
 rarely if ever equalled. His mind took in rapidly a complete 
 and perfect impression of the natural objects presented to it, 
 to which he gave utterance in the readiest, the most direct, 
 and, indeed, the only way he could. His mode of expression 
 was that to which he was impelled in order to express the 
 broad and varied truths which moved him. His hand and 
 thoughts worked most harmoniously together ; the sweep of 
 his large brush appeared guided and inspired by the working 
 of his mind, and in the maturity of his powers he became 
 truly a giant in art, and rendered at once, without apparent 
 effort, and yet accurately, not only the forms, but the move- 
 ments of the scenes before him, and thus produced those 
 broad pictures of nature, so unsurpassed in truth, so rarely 
 equalled in power, and so embued with the deepest love for 
 the simplest by-paths of rural life, as well as for the wildest 
 and grandest scenes of our island. The wider the range and 
 the grander the subject of Cox's pictures, the simpler became 
 the arrangement and the more imposing the masses ; whilst 
 rural and pastoral scenes of a more homely character were 
 arranged on less severe principles. 
 
 In truth to nature, the works of Cox should be ranked 
 especially high. Truthful they are if anything — truth not 
 worked out with careful and laborious stippling, but conveyed
 
 SUPPLEMENTARY. 3 I I 
 
 as if by inspiration, in a rapid, almost loose manner, yet Chap.xix. 
 thorough and comprehensive, full of pathos, feeling, and 
 sympathy with nature in all her moods and aspects. It is 
 remarkable how wide this sympathy was, both with gay and 
 joyous scenes, as well as with those that are solemn, grave, 
 and severe. Thus Cox has rendered with equal truth pictures 
 of the bustle and throng of market-places, of wide reaches of 
 sandy shores melting away in the silvery light of early morn- 
 ing, or seas and skies bathed in the soft yellow glow of 
 sunset, peaceful brooks fringed with broad-leaved water- 
 plants, hay and harvest fields full of breezy daylight and the 
 cheerful movement of pastoral life, and harmless rural frolic ; 
 or, on the other hand, angry torrents pent between crags 
 and the debris of rocks, dark mountains wreathed with mists, 
 and dreary moorlands swept by pitiless storms. Humanity, 
 too, in its saddest and dreariest moments has not been 
 overlooked — the humble funeral of the aged sons of the soil, 
 or, sadder still, that of the young, where promise has been 
 left unfulfilled ; the aged sexton still at his mournful work by 
 the light of the rising moon. No matter what the subject, 
 it only required that the chord of sympathy should be touched, 
 and his feelings stirred, and straightway those sympathies 
 and feelings were re-echoed in his works. 
 
 Cox's work carries you in spirit into the very scene itself. 
 You share in the joy or sorrow of the moment ; you feel the 
 summer's breeze on your cheek, smell the perfume of the 
 new-made hay, see the birds soaring in the sky, the clouds 
 driven by the- wind, and hear the roaring of the wintry blast, 
 and the wild roar of many waters — 
 
 "The divine voice of the water and the wind." 
 
 Although Cox was one of the hardest and most unwearied 
 of workers, feeling, as Turner did, that thorough knowledge 
 of form and mastery in drawing must be the only foundation
 
 312 
 
 LIFE OF DAVID COX. 
 
 Chap. XIX. of all true art, and that it could only be reached by a great 
 amount of laborious chalk and pencil sketching, and pen 
 and ink etching (practised by him greatly in his earlier days), 
 yet it cannot be doubted that he had great powers of imagi- 
 nation. This imaginative power enabled him to seize 
 .instinctively all that was poetical in any scene, and, discard- 
 ing the trivial and common-place, he produced rapidly with 
 his brush, out of the simplest materials, a poem full of natural 
 truth, but withal containing the most subtle knowledge and 
 judgment. 
 
 Repose, also, is one of the qualities in which his works 
 abound — a feeling of peaceful rest and permanence. His 
 broad meadows, hills, and rocks lie around as if they had so 
 remained for untold ages ; his mountains, clothed with 
 forests, have a massive appearance, the effect of which is 
 often heightened into mystery by the clouds with which he 
 loved to surround them. Cox sought for gloom and mystery 
 as an expression of the infinite. This is especially evident in 
 many of his later works — the solemn feeling increasing more 
 especially after the death of his wife, which, although loose 
 in handling, sometimes termed *' blotty," are among the 
 finest and most impressive he ever produced. He knew well 
 the value of the streak of light close to the horizon, seen 
 beneath a dark and lowering sky, when the departing day is 
 deepening into night, or when the first flush of dawn is seen 
 struggling through the rising mists, and illumining the 
 mountain tops, the valleys being still shrouded in obscurity 
 and gloom. 
 
 Cox's wonderful experience, knowledge of nature, and 
 power of memory, enabled him to combine what was essen- 
 tial to the feeling and expression of the work in hand, and to 
 reject all that was out of harmony with it. He knew what 
 he wanted, and when once he had thought his subject 
 thoroughly out he did it at once, without swerving to the 
 right or left, in the most direct and apparently easy manner. 
 His drawings arc remarkable, too, for the veiy happy inci-
 
 SUPPLEMENTARY. 
 
 313 
 
 dents Introduced always in the right place, helping the com- chap. xix. 
 
 position, giving the point required, and tending to illustrate 
 
 the season of the year, time of day, and action appropriate 
 to each locality. His figures are generally of picturesque 
 men and women, thick-set and often aged, yet full of life 
 and action, or else of children in the full enjoyment of play 
 and fun. 
 
 The drawings of Cox are equally noticeable for their 
 depth yet purity of colour and their atmospheric effects. 
 The appearance of atmosphere, light, and space, in some of 
 them is very remarkable. You feel that you can almost 
 walk along his roads and wander round his forest trees. 
 Many of his skies have a, grand stormy character, and a 
 lowering tumultuous aspect, rarely equalled. As already 
 remarked, Cox's manner of work was impulsive. He 
 appears to have held his brush in a peculiarly loose way, 
 giving sideway strokes, and thus producing that effect of 
 wind and movement so apparent in many of his works. 
 This manner, although so truthful, may not be equally liked 
 and understood by all ; but I think there can be no doubt 
 that to those who are the most conversant with natural 
 scenery, and who are the most humble of votaries of 
 Nature, the works of Cox convey a sense of reality and 
 out-of-door life beyond those of any other artist. He cared 
 more for the feeling and effect than for the actual subject of 
 his sketch. He had great power of generalising what was 
 too much cut up, and sacrificing what was immaterial. He 
 had the habit, sometimes, when impressed with a rapid 
 passage of light, movement of clouds, or other effect, of 
 turning round with his back to the scene, and making a 
 rapid memorandum, with chalk and colours, of the effect as it 
 existed in his mind, as he said that the impression was more 
 fresh, powerful, and vivid thus than if he had continued to 
 gaze on the scene, which would have become weakened by 
 looking. Some of my readers may, perhaps, be inclined to 
 think that, by dwelling continually on the great beauty and
 
 314 
 
 LIFE OF DAVID COX. 
 
 Chap. XIX. truth of Cox's works, I have been led into the error of 
 exalting them above their fair place in the commonwealth of 
 Art. To such I would reply first, by asking them to go to his 
 representative works described (how imperfectly T shall be the 
 first to own) in these pages; and then, by referring them to the 
 opinions recorded on the works and genius of David Cox by 
 some of our most eminent art-critics, John Ruskin, Francis 
 Turner Palgrave, Tom Taylor, and others. 
 
 Cox has exercised, I believe, rather an important influence 
 on the landscape art of England. His example has tended to 
 raise it out of that prettiness, gay colouring, and overcrowd- 
 ing of subject into one picture, which are unfortunately still 
 the bane of so many works in our annual exhibitions. No 
 one understood better, or obeyed more constantly the law of 
 sacrifice ; that law which is a stumbling-block to so many 
 young artists, but without the observance of which good art 
 is almost impossible. 
 
 Cox has also contrasted a broad, truthful, and simple 
 rendering of Nature, to that exaggerated straining after 
 effect and contrast, sometimes approved of for decoration 
 or stage scenery, but which, in almost all circumstances and 
 positions, is out of harmony with a refined and cultivated 
 taste. Art ought never to be degraded to please and satisfy 
 the bad taste of the public ; it is, moreover, I believe, even 
 from a monetary point of view, unnecessary ; for the public 
 in England, as well as on the Continent, are learning to 
 discriminate between good and false art. 
 
 Cox's character, honest, unaffected, and truthful, shines out 
 clearly in most of his works; he threw his whole soul into 
 his work, and for that reason, I believe, it touches and moves 
 you so deeply. Perhaps the fact that he relied less on the 
 rules of art than Turner, Miiller, and some other great 
 land.scape-painters, but was more entirely a worshipper of 
 Nature, more humbly and exclusively, may account for some 
 of his most eminent and unique qualities.
 
 SUPPLEMENTARY. 315 
 
 It has been remarked that men of original genius are Chap. xix. 
 impelled to do their work in this world for the benefit of 
 mankind, irrespective of any idea of temporary gains ; and 
 thus that Milton worked daily at his " Paradise Lost," 
 knowing full well that he should receive but ^5 for that 
 immortal work. The same remark applies, to some extent, to 
 David Cox, who painted pictures of the highest excellence and 
 truth, whilst expecting to receive for them, as I have shown, 
 little more than the cost of the materials, and giving many 
 of them away as presents to his friends. The thoughts and 
 feelings enshrined in all noble work have a tendency to make 
 the world better, brighter, and happier. That this applies 
 to painting as well as to literature, need scarcely be insisted 
 on. It is the only true and worthy aim of Art ; and who 
 shall estimate in gold the intrinsic value of such productions ? 
 The true artistic gift is one of joyfulness, and a fountain of 
 freshness to all weary travellers along the stony paths and 
 dusty highways of life. 
 
 Landscape art, pre-eminently, is allied to the poetry of 
 Nature, and the more the artist, as well as the poet, has felt 
 his innermost feelings stirred, and his deepest sympathies 
 awakened by natural objects and events, the more power has 
 he of touching the same chord in the hearts of others by 
 his work. This is the true explanation of the supremacy of 
 Robert Burns as a lyrical poet. The simplest incident in 
 Nature awoke feelings in his breast with which all mankind 
 are kin, but which he above all others knew how to express 
 with perfect truth and touching simplicity. It has been well 
 said that the crucial proof of a true poet lies in the power 
 of his human sympathy ; and there can be little doubt that 
 the successful representation of the deeper poetry of Nature 
 by an artist (in which Cox excelled) depends on the intense- 
 ness and truthfulness of his insight into Nature, and on the 
 sympathy which exists between her and his own feelings. 
 That Nature laid bare her heart and told her secrets to Old
 
 3l6 LIFE OF DAVID COX. 
 
 Chap. XIX. David, as to no other living man, is, I believe the simple 
 truth, and the reason why his grand works are more touching 
 than those of any other artist. 
 
 As the genius of Turner has been likened to the immortal 
 Shakespeare, as displayed in the wonderful mental range of 
 his drawings and paintings, and the sublimity of their con- 
 ceptions, so that of David Cox may be said to bear a striking 
 resemblance to Wordsworth and to Burns, in the intense 
 love for Nature, truthfulness, and pathos, which are the chief 
 and noblest characteristics of his works. 
 
 Turner and Cox both lived to the age of seventy-six, but 
 Turner attained to the zenith of his fame and power at a 
 much earlier period of his life than David Cox did. This 
 may be partly accounted for, perhaps, by the fact that in the 
 earlier years of Cox's career so much of his time was taken 
 up in the occupation of giving lessons. 
 
 Born in a humble position, and without influential friends, 
 David Cox had to fight his own way upwards amidst great 
 difificulties — difficulties that would have discouraged, if not 
 entirely overwhelmed, a less ardent and courageous spirit. 
 His early struggles, and eventual success, should be a great 
 encouragement to young artists. Without any regular 
 course of instruction in art, he turned, as we have seen, in 
 his youthful days to Nature, as to his best teacher, and at 
 her shrine he was an unwearied and constant worshipper, 
 until he had considerably passed man's allotted space of 
 threescore years and ten ; and there the old and venerable 
 man remained faithful until the last dark shadows closed 
 around him. To enumerate the spots chosen as subjects by 
 Cox during his long career would comprise, as I have shown, 
 more than half England and Wales ; but Bettws was the 
 scene he loved above all others in his latter years. Thither 
 his thoughts turned in his last illness, when he was some- 
 times heard to exclaim, " Dear old Bettws ! how I wish I 
 could see you again ! "
 
 SUPPLEMENTARY. 3 i 7 
 
 That there is a solid and a truthful foundation for the chap. xix. 
 high place in public estimation now attained by the works 
 of David Cox, and that neither fashion nor caprice have 
 assisted therein, is fully admitted, I believe, by most persons 
 who take an interest in Art. It is a fact deserving of notice, 
 that at all recent sales of importance, where the works of 
 Cox have been offered side by side with those of other 
 deceased British artists of reputation, such as Etty, 
 Maclise, Sir Charles Eastlake, and D. Roberts, the latter 
 have been occasionally sold at about the original price, or 
 not much beyond, whilst the works of Cox, especially 
 those in oil, have gone for two or three times as much as 
 they were previously purchased at, and in some cases for 
 far more even than that. The cause of this is, I think, 
 easily discovered in their unconventional and broad truth — the 
 truth of Nature as it appeared to an artist of original 
 genius. It will be long, I fear, before we see his like again. 
 If there had been anything conventional and meretricious 
 in Cox's pictures they would scarcely have passed so un- 
 scathed through the adverse criticisms with which they were 
 at one time assailed, but, like pure gold, the more it is 
 subjected to friction and acids, the brighter and more 
 resplendent it becomes. 
 
 *' Honour to whom honour is due " was a favourite motto 
 with Cox, but of all mottoes, the one most applicable to 
 him is "Excelsior," for he was unceasingly striving upwards. 
 
 The life-long development of his genius may be well com- 
 pared to a seedling of the forest, of lowly aspect and humble 
 growth at first, and long forced to struggle with adverse 
 circumstances ; but which, by dint of ever sending forth fresh 
 buds and branches, has risen higher and higher, increasing 
 in beauty and strength each year, until in its fullest maturity 
 it attains to that serene height above its fellows, where the 
 light of heaven illumines its topmost boughs, and the 
 evening sun sheds a ray of glory on its venerable head.
 
 APPENDIX I. 
 
 DRAWINGS BY DAVID COX EXHIBITED AT THE SOCIETY OF PAINTERS 
 IN WATER COLOURS, LONDON, FROM 1813 TO 1859. 
 
 App I 1813.— Gravesend, Fishing Boat. Haystack, Sketch from Nature. Eton 
 
 College. View on the Banks of the Thames, near Chertsey. Lane near 
 
 Dulwich. Hastings, Fishing Boats returning on the approach of a Storm. 
 Westminster Abbey, from Battersea Fields. Llanberris Lake. A Heath 
 Scene. Cornfield, near Dulwich. Edinburgh Castle. A Barley Field. 
 Stacking Hay. A Lee Shore, Coast of Sussex. Cottage near Windsor, Sketch 
 from Nature. The Wrekin, Shropshire. Westminster Bridge, from Lambeth. 
 
 1 8 14. — Cottage near Windsor. Oak Trees. Sketch from Nature. Twi- 
 light. Westminster Abbey, from Lambeth. Windsor Castle, from St. Leonard's 
 Hill. Midday. Llanberris Lake, North Wales. View on the Thames below 
 Gravesend. Millbank, Thames Side. Morning. Snowdon, North Wales. 
 Dulwich Mill, Surrey. 
 
 18 1 5. — Cox did not exhibit this year. 
 
 1 81 6. — Sketch on the Banks of the Thames. Windmill in Staffordshire. 
 Hastings, Boats. Cottages near Hereford. Chepstow Castle, River Wye. 
 The Sands at Low Water, Hastings. Fish Market, Hastings. 
 
 1 81 7. — Cox did not exhibit this year. 
 
 1 81 8. — View on Sydenham Common. View in the Vale of Festiniog, North 
 Wales. View on the River Lugg, near Hereford. Heath Scene. Gloucester 
 from the Ross Road. Scene on the Beach, Hastings. Early Morning. A 
 Stackyard. Three Figures, Cottage Child, Hastings Fisherman, Beggar. 
 J'lougliing, a Sketch. Cottage in Kent. Landscape, Morning. 
 
 1819. — Landscape Sketch. Dindor liill and Rottcros Woods, River Wye, 
 near Hereford. Windmill, a Sketch. Fish Market on the Beach at Hastings. 
 View looking down the Valley from Dolgelly to Barmouth, North Wales. 
 Hayficld. I'art of Hereford, a sketch made on the sjjot. Cader Idris, from 
 the Machynlleth Road, looking towards 'ial-y-Llyn, North Wales. Distant 
 View of Goodrich Castle, on the Wye. Stacking Hay, a Sketch.
 
 APPENDIX I. 
 
 319 
 
 1820.— Coast Scene, Evening. View in North Wales. Coast Scene. App. I. 
 
 Haymakers. Coast Scene, near Hastings. Ploughing Scene in Herefordshire, 
 
 with Stoke Park and the Malvern Hills in the distance. Cottage in Hereford- 
 shire. View in the Pass of Llanberris, North Wales. View of the City of 
 Bath, from Beacon Hill. Sketch from Nature. Scene on the Sands at 
 Hastings, Hayfield. Sketch from Nature, Lugg Meadows, near Hereford. 
 View on the Coast, near Barmouth, North Wales. Ross Market House, 
 Herefordshire, a Sketch. Llanberris Lake and Snowdon Mountains. Boy 
 AngHng, View on the River Lugg, Herefordshire. 
 
 1 82 1.— Water Mill at Festiniog, North Wales. Caesar's Tower and part of 
 Leicester's Buildings, Kenilworth Castle. Comb Martin, North Devon. View 
 on the Beach, near the Old Pier, Hastings. 
 
 1822. — View near the Village of Pipe, Herefordshire. Repairing a Vessel 
 on the Thames, off Rotherhithe. Morning Scene on the Thames, near 
 Gravesend. Evening Scene on the Thames. Scene on the Thames, near 
 Northfleet. Scene on the Thames, near Gravesend. Domestic Ducks. 
 Town and Castle of Hay, on the River Wye, Brecknockshire. View in the 
 Pass of Llanberris, North Wales. Hayfield, Gloucestershire. Distant View 
 of Harlech Castle, North Wales, Morning. Scene on the Beach, Hastings, 
 Sussex. 
 
 1823. — Loan Collection. (Many of the pictures exhibited this year were 
 on Loan). Cottage on a Heath (proprietor, the Earl of Essex). Scene in 
 Herefordshire (proprietor, J. Allnutt, Esq.). View near Dolgelly (proprietor, 
 J. Allnutt, Esq.). Angling (proprietor, Sir J. Swinburne, Bart.). Afternoon 
 (proprietor, J. Allnutt, Esq.). 
 
 1823. — A Heath Scene. Rocky Scene with Figures. Hastings, Fishing 
 Boats. North Shore, Liverpool. Hawkers crossing the Sands near Barmouth, 
 North Wales. Dockyard, Building a Sloop. Gravel-pit Scene on the Thames 
 below Greenwich. Scene on the Thames near Rotherhithe. On the Med- 
 way. The Pool of London. Vessels on the Thames. Embarkation of His 
 Majesty George IV. from Greenwich, August loth, 1823. Boats on the 
 Thames, Gravesend in the distance. Boats on the Thames, Evening, Green- 
 wich in the distance. Village of BuIHngham, Herefordshire. Lane Scene 
 near Hereford. Fishing Boat on the Thames. 
 
 1824. — A Hay Cart. Early Morning, on the Thames, near Battersea. 
 Cader Idris, from the Barmouth Road. Fishing Boat on the Thames. Boys 
 and Sheep, scene below Gravesend. Vessels coming up the Thames. 
 Shepherds collecting their Flocks, Evening, from scenery in Herefordshire. 
 Interior of Tintern Abbey. Gravesend Fishing Boats. Passengers landino- 
 at the Stairs, Gravesend. Vessels on the Thames, by the Custom House. 
 Westminster Abbey, from Lambeth Palace. Rocks on the River Wye. Part 
 of Goodrich Castle, Herefordshire. Windmill on a Heath. Great Malvern
 
 320 LIFE OF DAVID COX. 
 
 App. I. Church, a Sketch. Sands at Low Water, Hastings. Distant View of Harlech 
 Castle. Greenwich, from Sydenham Hill. Vessels at Rotherhithe. Ly- 
 
 mouth Pier, North Devon. Lambeth Palace, from Millbank, a Sketch. 
 
 Hayfield, View near Hereford. 
 
 1825. — Boats on the Thames, near Battersea (purchaser, Mr. Wall). Dis- 
 tant View of Greenwich (sold). Haunted Vale, North Wales, Morning (sold). 
 Vessels coming up the Thames (purchaser, Mr. Knyvett). View on the Wye 
 (sold). Carthage, -^neas, and Achates. Aberystwith Castle, Evening. Coast 
 Scene near Barmouth (sold). Evening (purchaser, J. Pye, Esq.). Goodrich 
 Castle. Cader Idris, from Kymmer Abbey, North Wales (purchaser. Lord 
 Northwich). Cornfield, Herefordshire (sold). A Sketch. A Heath Scene. 
 Near Rome. On the Medway, Kent. Lane near Hereford. Hayfield. 
 Hay on the River Wye. Evening. Billingsgate, from the Custom House 
 Stairs, Low Water. View on the Wye. A Sketch. Chester. Boats on the 
 Thames, near Battersea. Hayfield, from Nature. Battersea Bridge. Clifton, 
 near Bristol. Gravesend Boats. On the Thames. Morning Landscape, with 
 Sheep. Warwick Castle. Hereford, a Sketch from Nature. 
 
 1826. — View on the Thames. A Sketch. Vale Crucis Abbey, Derby- 
 shire. Hayfield. Coast Scene, with Fishermen. Pirate's Isle, 
 
 " A sail ! a sail ! a promised prize to hope ! 
 Her nation — flag — how speaks the telescope ? " 
 
 Lord Byron's Corsair. 
 
 Moelwyn, near Tan-y-bwlch, INIerionethshire. Evening. Distant View of 
 Cardigan Bay, from near Harlech. Boats on the Thames, Greenwich in the 
 distance. Snowdon, from near Beddgelert. Westminster Bridge. Kenil- 
 worth. Evening. The Inn at Tal-y-Llyn, North Wales. View between Hay 
 and Bwlth, Brecknockshire. London, from Heme Bay. Lymouth Pier, 
 North Devon. Snowdon. Lane Scene. Westminster, from Lambeth. 
 Cottage Scene. Hayfield, Harlech in the distance. 
 
 1827. — Dover, from the Sea. Debarkation, Composition. Hayfield. 
 Fishermen, Hastings. Part of Kenilworth Castle. Canal, Birmingham. 
 Festiniog, North Wales. On the Coast, near Towyn, North Wales. Great 
 Malvern, from the Worcester Road. East Cliffs, Hastings. London, from 
 Nunhead Hill. View new Dolgelly, North Wales. Shrimp Catchers going 
 out. Fishermen on the Coast, Hastings. Cornfield. Scotch Drivers. 
 Shrimp Catchers (for a lady's album). 
 
 1828. — Hayfield. View from Kinmer Abbey, North Wales. London, 
 from Greenwich Park. The Grave. Cader Idris, Evening, the Storm 
 clearing off. Ullswatcr, Morning. Welsh Drovers. A Windmill. Lymouth 
 Pier, North Devon. The Dying Brigand, Evening. A Heath Scene. On 
 the Beach at Hastings. Dolgelly, North Wales. The Aran Mountain, from 
 the Beddgelert Road. Chelsea Reach. Bolton Abbey, Yorkshire. -Hastings, 
 Boats returning in approach of Storm. The Moelwyn, North Wales, Misty
 
 APPENDIX I. 321 
 
 Morning. On the Coast, near Towyn, North Wales. Scotch Drovers. App. I. 
 
 Cader Idris, from the Barmouth Road. Snowdon, Twilight. Boats on a 
 
 River, Twilight. On the Banks of the Thames, Battersea. South Side of 
 Cader Idris, North Wales. The Aran Mountains, North Wales. 
 
 1829. — On the Thames, below Gravesend. Fruit and Flower Market at 
 Brussels. Road Scene, with figures. From Litde Malvern, Worcester in the 
 distance. Pastoral Landscape. Entrance to Calais Harbour. Landscape. 
 Shepherds, Rocks near Beddgelert. Vessels off Gravesend. Dutch Hay- 
 Boats. Heath Scene, Afternoon. Gravel Pit. Calais Pier. Returning 
 from Market. Interior of Maentvvrog Church, North Wales. Sand Carriers, 
 Calais. On the Coast, Boulogne. Dutch Boats on the Scheldt. Tintern 
 Abbey. Fish Market, Boulogne. Millbank, Thames side. On the Sands at 
 Hastings. Hayfield. Vessels on the Thames below Greenwich. Wands- 
 worth Common. Boats on the Thames off Greenwich. Westminster, from 
 Vauxhall. Gipsies. Convict Ship. Beach at Hastings. Coast Scene. 
 Gleaners, Afternoon. Coast Scene. Dover. 
 
 1830. — Cottages on a Common. Bolton Abbey. Cader Idris, Morning. 
 The Severn and the Wye, from Wyndcliff. Village of Mansell, near Hereford. 
 Boats on the Thames. Chelsea Hospital. Shrimpers. Calais. Shepherds. 
 Sand-banks, Calais. East Cliff, Hastings. On the Coast, Boulogne. In 
 the Garden of the Tuileries. Shakespeare's Cliff Part of the Tuileries, at 
 Paris. Pedmore Church, Worcestershire. Gleaners. On the Coast of 
 Picardy. Coast Scene. Cader Idris, from the Barmouth Road. Evening. 
 On the Thames. Drovers. Gleaners Returning, Afternoon. Goodrich 
 Casde. Vauxhall Bridge. Ferry House. Coast, Hastings. On the Lake, 
 Tal-y-Llyn. North Wales. Cornfield. 
 
 1 83 i.^View on the Wye, near Chepstow. Pont Neuf, from the Quai de 
 I'Ecole, Paris. Fort Rouge, Calais. Dieppe Pier. A Heath Scene. Harlech 
 Castle, Twilight. The Arrival. Whitehall. Calais Pier. Bridge in War- 
 wickshire. Cottage, near Hereford. Scene in Yorkshire. Chamber of Depu- 
 ties, Paris. Wyndcliff, in the Wye. Goodrich Castle, in the Wye. Sketch 
 from Nature. Battersea Fields. Cader Idris, North Wales. On the River 
 Ure, North Wales. On the Wharf, near Bolton Abbey, Yorkshire. 
 
 1832. — Bolton Castle, Wensleydale, Yorkshire. Antwerp, Morning. 
 Entrance to the Inner Court, Dudley Castle. A Hayfield. An Interior. 
 Peat Moor, North Wales. The Great Hall, Haddon. Heath Scene. Corn- 
 field. A Rocky Glen. Part of Windsor Castle. Stacking Hay. June. 
 Lane, in Herefordshire. Westminster, from Vauxhall Bridge. Harlech 
 Castle. Entrance to Haddon Hall. Ploughing. Windermere during the 
 Regalia, — 
 
 " But never yet, by night or day, 
 
 In dew of spring, or summer ray, 
 
 Did the sweet valley shine so gay 
 
 As now it shines." — Lalla Rookh.
 
 322 LIFE OF DAVID COX. 
 
 App. I. Langdale Pikes, Westmoreland. Westminster Abbey, from Lambeth. A 
 
 Rocky Coast, after a Storm. Near Dolgelly, North Wales. Bedroom in 
 
 Haddon. Pier at Dieppe. Shrimpers on the Coast, Calais. Bolton Abbey. 
 Calais Boats off Fort Rouge. Coast, Boulogne. Recess in the Drawing- 
 Room, Haddon. Rowsley Bridge, Derbyshire. Near Harlech, Morning. 
 Snowdon, North Wales. The Garden, Haddon. On the Coast, near 
 Barmouth. 
 
 1833. — Landscape, Showery Day. Calais Pier. Causeway, Boulogne. A 
 Brig entering Dieppe Harbour. The Music Lesson. Landscape. On the 
 French Coast. The Proposal. On the Sands, Calais. Coast, near Boulogne. 
 Harlech Castle. Rocky Landscape, Dieppe Pier. An Old House at Amiens. 
 Garden Scene. Ploughing. Bridge near INIaentwrog, North Wales. From 
 Richmond Hill. Boats on the Thames. Hayfield. Dieppe, Morning. 
 Pont-y-Cysylty. Vale of Llangollen. A Landscape. Returning from 
 Ploughing. Funeral of a Nun. Fort Rouge, Calais, Morning. Staircase 
 at Haddon Hall. Boats on the Scheldt. On the Sands, Boulogne. Melham 
 Cove, Yorkshire. Bolton Abbey, Yorkshire. Boats on the Thames. A 
 Road Scene. Shakespeare's Cliff. Lane Scene, Herefordshire. Entrance 
 to Calais Harbour. 
 
 1834. — Bridge over the Derwent, near Chatsworth Park, Derbyshire. On 
 the French Coast. Lane Scene, Staffordshire. Rocky Landscape, with 
 Figures. Bolton Abbey. Distant View of Bolsover, Derbyshire. On the 
 Castle Walls, Harlech, North Wales. Snowdon. Landscape, Showery Day. 
 Part of Kymmer Abbey, North Wales. A Villa. Barge on the Thames. 
 On the Coast, near Boulogne. Near Cernioge, North Wales. Lane Scene, 
 Herefordshire. Penmaenmawr. Heath Scene. Road Scene, with Figures. 
 Heath Scene. The Lady of the Manor. Lac de Gaure, Hautes Pyrenees, 
 from Sketch made on the spot by Mr. J. H. Bland, scene of Mr. and 
 Mrs. W. H. Pattison's Sad Loss. Woody Landscape. A Terrace, with 
 Figures. 
 
 1835. — Ulverstone Sands. South Downs, Sussex. Waterfall of Pont-y- 
 Pair, North Wales. Waiting for the Ferry Boat. Showery Day, Bolton, 
 Yorkshire. Hope Green, Cheshire, a sketch from Nature. Returning from 
 Ploughing. Heath Scene, with Figures. Lane Scene, Herefordshire. Lan- 
 caster, Morning. Richmond Hill. On the Thames, near Gravesend. A 
 Fresh Breeze. Norwood, Surrey. On the River Llugwy, North Wales. 
 Old London Bridge. Market People crossing the Ulverstone Sands. Holy- 
 head Road, near Nant Frangon. Bolsover Castle. 
 
 1836.— Pass of Killiecrankie. Stirling Castle, Evening. Ellcrsidc Peat 
 Moss, Lancashire. Lane Scene. Lancaster Sands. Market People returning 
 from Ulverstone. Haddon Hall. P.ridge, near Capel Curig, North Wales. 
 Windmill, near Kenilworlh, Warwick.shirc. Harlech Castle, North Wales. 
 Cottages, near Lancaster. Landscape, with Fern Cutters. Market People 
 crossing the Lancaster Sands. Chatsworth Park, Derbyshire. Bolton Casllc,
 
 APPENDIX I. ;^2^ 
 
 Yorkshire, Twilight. Harlech Castle, from Tan-y-Bwlch. Heath Scene. App. I. 
 
 Boats on the Scheldt. Bridge near Coniston Lake, Westmoreland, Wind- 
 
 mill, Morning. Waterfall on the Llugwy, North Wales. Landscape. Near 
 Loch Awe, North Britain. On the French Coast, Evening. Lancaster 
 Sands, Morning. Road Scene, with Figures. On the Road from Tremadoc 
 to Beddgelert, North Wales. Cottages near Bettws-y-Coed, North Wales. 
 Criccieth Castle, North Wales. Evening. Showery Day. Aston Hall, War- 
 wickshire. Barden Castle, from Bolton Park, Yorkshire. Snowdon and 
 Moel Siabod Mountains, from Pentre-Voelas, North Wales. On the Road 
 from Sheffield to Baslow, Derbyshire. 
 
 1837. — Cottage on Gill's Heath, Warwickshire. A Mountain Road. 
 Infantry on the March. Market People crossing Lancaster Sands. Water 
 Mill, near Dolbenmaen. Lane Scene. Landscape, Cattle and Drivers. 
 Pont-y-Cefn, near Capel Curig, North Wales. Cottage in Surrey. Vale 
 Crucis Abbey, near Llangollen. Calais Pier. Lancaster Sands, Evening. 
 Windsor Castle. Entrance to Calais Harbour. Cassybte Aquaduct. Haddon 
 Hall, Derbyshire. Showery Day. Windermere Lake. Public House, side 
 of Ulverstone Sands. Road near Ulverstone. Kenilworth Castle. Ploughing. 
 Cornfield, Midday. Evening, Gleaners Returning. 
 
 1838. — Returning from Hawking. Haddon Hall. Ulverstone Sands. 
 The Louvre and Tuileries, from Pont Neuf. Bolton Abbey, Yorkshire. 
 Windmill, near Kenilworth Castle. Boat on the Thames. On the Coast 
 near Aberdovey. Rocky Scene. Infantry on the March. Road Scene, with 
 Gipsies. On the Thames, near Gravesend. River Scene, North Wales. 
 The Pier at Ulverstone. Terrace in the Garden at Powis Castle. Near 
 Bolton Park, Yorkshire. Gipsies. Garden Scene, Powis Castle. Dover 
 Pier. Ploughing. Landscape near Woodstock. Lancaster Sands, Morning. 
 Harlech Castle. Castleton, Derbyshire. Powis Castle, the Seat of the 
 Right Hon. Lord Clive. Noon, Boys Angling. Going to Market. Penmaen- 
 mawr. North Wales. Going out Hawking. Barden Tower. On the Wharfe, 
 Yorkshire. Drover. A Mountain Road. Stirling Castle. Cavalry on the 
 March. 
 
 1839. — Market People crossing Lancaster Sands. A Farm in Staffordshire. 
 Boys Angling. Barden, from Bolton Park. The Town Walls, Conway. 
 Going to Market. Bolsover Castle, Derbyshire. Cavalry on the March. 
 Going to Hayfield. View near Windsor. Rocky Scene, with Brigands. 
 Cader Idris, North Wales. A Lane Scene. A Hayfield, Evening. A Sawpit. 
 A Summer Day. On the Thames, Morning. On the Holyhead Road, near 
 Penmaenm-Bwr, North Wales. Bala Lake, North Wales. A Hay Cart. 
 Inverary Castle. Battersea Fields. A Mountain Road. A Marine Village, 
 Morning. A Castle in the Olden Time. 
 
 1840. — From the Tremadoc Road, looking towards the Pass of Pont 
 Aberglaslyn, North Wales. A Brook. A Forest. Boats on the Thames. 
 A Bay Window in the Portrait Gallery, Hardwick. The Portrait Gallery, 
 
 Y 2
 
 224 LIFE OF DAVID COX. 
 
 A PP. I. Hardwick Hall, Derbyshire. Throne in the Portrait Gallery, Hardwick Hall. 
 
 A Farm Yard. Mill on the Trent. Water Mill in Staffordshire. Mountain 
 
 Road. Rocky Coast. Harlech Castle, North Wales. Coast Scene. Pier 
 at Liverpool. A Wood Scene. Bolsover Castle, Derbyshire. Hardwick 
 Park. Bolsover Castle in the Distance. 
 
 1 841. — Noon. Market People crossing the Lancaster Sands. Road 
 through a Wood, Tan-y-Bwlch, North Wales. On the River Llugwy, North 
 Wales. Landscape, composition. Brigands Reposing, Lancaster Sands, from 
 Hest Bank. A Heath Scene. Vale Crucis Abbey, North Wales. A Brook 
 Scene. Windsor Castle, from Sandpit Gate. 
 
 1842.— Brook Scene. Lancaster, The Old Holyhead Road, near Pen- 
 machno. Twilight. Distant View of Kenilworth Castle. Cornfield, Kenil- 
 worth Castle. Bolsover Castle, Powis Castle, Farm Yard, at Beckenham, 
 Kent. Lane at Harborne, Staffordshire. Bolton Abbey. Gipsies. Going 
 to Plough. Heath Scene. Powis Castle. Gate Tower, Kenilworth Castle. 
 Fern Gatherers. Breiddyn Hills, from Powis Park, 
 
 1842. — Sands at Rhyl, North Wales, Penmaenmawr, North Wales, Cader 
 Idris, North Wales. Bolsover Castle, Derbyshire, Stubble Field, with 
 Gleaners, River Wrion, North Wales. On the Wharf, near Bolton Abbey. 
 Sherwood Forest, Wharton Hall, Yorkshire, Chatsworth. Lancaster Sands, 
 Morning. Harlech Castle, North Wales. Kenilworth Castle. A River 
 Scene, Vale of Conway, from near Llanbedr. 
 
 1844. — Summons to the Noonday Meal, North Wales. Scene in Bolton 
 Park, Yorkshire, A Mill near Bromsgrove. Bala Lake, North Wales. 
 Lower End of the Llyn Dinas, North Wales, Merivale, seat of W. S. Dug- 
 dale, Esq,, M.P. A Mill on the Trent, Mountain Road near Harlech, 
 ]<.iver Scene, Derbyshire. Powis Park. On the River Llugwy, near Capel 
 Curig, North Wales. 
 
 1845. — Distant View of Kenilworth Castle. Gipsies, Early Morning, 
 Market People crossing the Lancaster Sands. Distant View of Brough 
 Castle. Knaresborough Castle. Cloudy Day. Garden Terrace, Haddon. 
 River ^Vye, near Chepstow. Mill near Conway, North Wales. Hampton 
 Court. Dryslwyn Castle, Vale of Towy, South Wales, Morning. Evening. 
 Cottages in Cheshire. Midday. Going to IMough. 
 
 1846. — Hardwick Hall, ])LTl>yshire. Outskirts of a Forest. Vale of 
 Dolwyddelan, North Wales. Mill at Bettws-y-Coed, North Wales. The 
 Watering Trough. Knaresborough Castle, Yorkshire. Cottages near Bettws- 
 y-Coed, North Wales, Near Atherstone, Yorkshire. Harlech Castle, North 
 ^Vales. Cornfield near Rhyl, North Wales. A \\'cedy Bank, Cottages at 
 Rowley, Staffordshire.
 
 APPENDIX I. 325 
 
 1847. — River Llugwy, from Pont-y-Kefyn, near Capel Curig. Windsor App. I. 
 
 Park. George's Dock, Liverpool. Mill near Llangadoc, South Wales. 
 
 Bolton Abbey. Caer-Cennen Castle, South Wales. Vale of Dolwyddelan, 
 North Wales. Cottages at Bettws-y-Coed. Mill in Staffordshire. Near 
 Atherstone, Warwickshire. Moorland, near Kirby Stephen. Welsh Scenery. 
 Vale of Clwyd. 
 
 1848. — Lower End of the Vale of Clwyd, North Wales. Going to the 
 Hayfield. A Green Lane, Staffordshire. The Skylark. Windy Day. River 
 Trent. Peace and War. Sherwood Forest. Haymaking, Festiniog, North 
 Wales. Showery Bay. A Gravel Pit. Mountain Stream, Trefrew, North 
 Wales. Village of Rowsley, Derbyshire. Holyhead Road, near Pentre 
 Voelas, North Wales. 
 
 1849. — Barden Tower, Yorkshire. The Night Train. The Missing Flock. 
 Cross Roads. Beeston Castle. Shepherds collecting their Flocks. Lane in 
 Surrey. Going to the Cornfield. Cottages at Rowley, Staffordshire. Near 
 Altrincham, Cheshire. River Leder, from Pont-y-Pant. The River Machno, 
 North Wales. Bettws-y-Coed, North Wales. Rainy Day. From the Moun- 
 tain above Bettws-y-Coed. 
 
 1850. — Summer. A Rocky Glen. Changing the Pastures. Beaver Grove, 
 Bettws-y-Coed. Blackberry Gatherers, Cottages near Bettws-y-Coed. The 
 Water Tower, Kenilworth Castle. The Vale of Conway. A Welsh Funeral 
 Bettws-y-Coed, North Wales. River Machno, near Tandy Mill, North Wales. 
 Rocks near Bettws-y-Coed. Flint Castle. A Farm at Bettws-y-Coed, North 
 Wales. Near Pandy Mills, North Wales. 
 
 185 1. — Rocky Scene near Capel Curig, North Wales. Going to the Hay- 
 field. A Gipsy Encampment. Morning. Shearing Sheep, Vale of Dolwyd- 
 delan. Cornfield, Bettws-y-Coed, North Wales. Cutting Green Rye. Lang- 
 harm Castle, North Wales. Beaver Grove, Bettws-y-Coed. Moel Siabod, 
 near Capel Curig, North Wales. Sketch near Llanrwst, North Wales. 
 
 1852. — Cottages at Harborne, Staffordshire. Part of Conway Castle. On 
 the River Conway, near Bettws-y-Coed. Bettws-y-Coed Church, North 
 Wales. Besom Makers gathering Heath on Carrington Moss, Cheshire. 
 On the Llugwy, near Bettws-y-Coed. Penmaen Beach, on the Coast between 
 Conway and Bangor. A Peat Bog above Bettws-y-Coed. Lane near 
 Llanrwst, North Wales. Gipsies crossing a Heath. Mountain Path above 
 Bettws-y-Coed. Lane near Sale, Cheshire. On the Coast near Rhyl, North 
 Wales. 
 
 1853. — Rainbow. Barden Castle. Near Bettws-y-Coed, North Wales. 
 Mountain Rill. The Summit of a Mountain. The Challenge. The Old 
 Road from Capel Curig to Bangor. North-east Point of Great Orm's Head. 
 Windy Day. Coast of Rhyl, North Wales. Lane near Bettws-y-Coed, North 
 Wales. Bathers.
 
 2 26 LIFE OF DAVID COX. 
 
 ^p_I^ 1854.— Near Capel Curig. Keep the Left Road. Snowdon, from near 
 Capel Curig. Peat Gatherers. Cutting his Stick. Ludford Bridge. Cross- 
 ing the Downs. 
 
 i855._Skirt of a Wood. FHnt Casde. Snowdon, from Capel Curig. , 
 Hayfield. The Coming Gale. Besom Makers carrying Heath. Gipsy 
 Encampment. Going to Market. Heath Scene. The Old London Stage. 
 Asking the Way. Church at Bettws-y-Coed. Near Ludlow. 
 
 1856.— Driving the Flock. Peat Gatherers, North Wales. Near the 
 Coast. Hayfield. On the Moors, near Bettws-y-Coed. Sultry Evening. 
 Twilight. Wind and Rain. North Wales. Horses Drinking. Dover. 
 
 1857.— Near Capel Curig. On the Llugwy, Bettws-y-Coed. Gordal Scar. 
 Carnarvon Castle. Shrimpers, Hastings. Warwick Castle. Near Ludlow. 
 Forest Scene. Near Capel Curig. On the River Conway, near Bettws-y- 
 Coed. Near Capel Curig. Near Capel Curig. Bolton Abbey, Yorkshire, 
 Evening. Near Rhwy, North Wales. 
 
 1858.— Snowdon, from Capel Curig. Snowdon, near St. Asaph. Kenil- 
 worth. Skirts of a Common. Pont-Gyfyng. Penmaen Beach. Going to 
 Market. Near Capel Curig. Coast at Rhyl. Bettws-y-Coed. Rhyl, on the 
 Sands. Changing the Pasture. 
 
 1859. — The Stepping-stones, Bettws. The Mountain Tarn. 
 
 " Resistless, roaring, dreadful, down it comes 
 From the rude mountain and the mossy wild, 
 Tumbling through rocks abrupt." 
 
 Thomson. 
 
 Darley Churchyard. Rocks near Bettws-y-Coed. Penmaenmawr. Kenil- 
 worth Castle. Twilight.
 
 APPENDIX 11. 
 
 AN ACCOUNT OF EIGHT OF THE ]MOST IMPORTANT COLLECTIONS OF 
 WATER-COLOUR DRAWINGS AND SEPIAS BY DAVID COX OFFERED 
 FOR SALE FROM 1856 TO 1872. 
 
 yR. CHARLES BIRCH'S Collection, February 27th, 1856. app. ir. 
 
 |V^ Water-Colour Drawings. — A Land Storm, 13 inches by 9 inches, 
 
 iqi.^ guineas. A Road Scene, from the Bernal Collection^ 11 
 inches by 9 inches, g)4 guineas. Richmond Hill, from the 
 Bernal Collection, 11 inches by 7 inches, 16 guineas. Heath Scene, 
 Windmill and Figures, from the Bernal Collection, 10 inches by 7 inches, 
 8 guineas. Ruins and Mountainous Distance, from the Bernal Collection, 
 10 inches by 8 inches, 9 guineas. Going to Market, with Passing Storm, 
 from the Bernal Collection, 11 inches by 8 inches, 9 guineas. Figures 
 with Cattle at a Watering Place, from the Bernal Collection, 14 inches by 
 10 inches, 22 ^/^ guineas. Tintern Abbey, 10 inches by 7 inches, 8)4 guineas. 
 Group of Cattle on the Edge of a Lake, 14 inches by 10 inches, 12 guineas. 
 Travellers Passing a Ford, 11 inches by 7 inches, dated 1850, g}4 guineas. 
 Cavern Scene, 8 inches by 5 inches, 5 guineas. Coast Scene, 10 inches by 7 
 inches, g}4 guineas. The Hop Gatherers, 19 inches by 11 inches, 27 guineas. 
 
 Mr. Charles Birch's Collection, February 27th, 1857. Water Colour 
 Drawings. — Scarborough Castle, io)4 inches by 7}^ inches. The Downs, 10 
 inches by 7 inches. A Village Scene, lo^^^ inches by 734^ inches. The 
 Belated Traveller, lo^^ inches by 7 inches. Wind and Rain, 10^ inches by 
 7 inches. Scotch Drovers, 10 inches by 7 inches. A Coast Scene, 9^ inches 
 by 6}( inches. Calais Jetty, 9 inches by 6 inches. Rhaiadr Bridge, 
 Radnorshire, 9^ inches by 63/( inches, Bolsover Castle, effect of Storm, 
 16 inches by 11 inches. 
 
 Mr. Norman Wilkinson's Collection, June 14th, 1861. In Folios. — 
 Beaver Bridge, Conway. Pont-y-Pair, River Llugwy. Rhyl. The Coast at 
 Rhyl. On the Llugwy. Rowsley, Derbyshire. Bolton Abbey. Study for 
 the Large Picture. Flint Castle. The Coast at Rhyl. The Strid, on the 
 Wharfe. A Cornfield. Harvest Time. North Shore, Liverpool. At Rhyl. 
 On the Wharfe, near Old Park. Pont-y-Gyftin. A Sketch at Bettws. 
 Emigrants' Office, Liverpool. Ulverstone Sands. On the Road to Llyn,
 
 328 LIFE OF DAVID COX. 
 
 App. II. Crafnant. Waterfalls, Bettws-y-Coed. Near Rowsley. Staircase, Barden 
 
 Tower. Pont-y-Pant. Bridge at Bettws-y-Coed. Near the Inn at Bolton 
 
 Abbey. Salmon Trap on the Lledr. Interior of a Cottage, near Pen- 
 machno Mill, with figures, Bolton Abbey. St. George's Dock, Liverpool. 
 Part of Bolton Abbey. The Coast at Rhyl. Cottage, North Wales. Mill 
 at Bettws-y-Coed. On the Wharfe. On the River Llugwy. Penrhyn 
 Castle. Barden Tower. Lancaster Sands. Melham, Yorkshire. Rowsley, 
 Derbyshire. Near the Conway Falls. Salmon Trap, Bettws-y-Coed. In 
 the Vale of the Lledr. Road over the Mountain, Bettws-y-Coed. Bettws 
 Church. Mill near Bromsgrove. The Hall, Bolton Abbey. On the River 
 Llugwy. The River Lledr, Dolwyddelan Valley. Framed Drawings. — In 
 the Village of Bettws-y-Coed. Valley of the Lledr. A A'iew of Bolton 
 Abbey. Ford over the Lledr. Park Side. On the Llugwy, BettAvs-y-Coed. 
 Snowdon, from near Capel Curig. Mill near Bettws-y-Coed. Interior of a 
 Kitchen. Fly Fishing, River Llugwy. From the Inn, Bolton Bridge. Near 
 Llyn, Crafnant. On the Llugwy, Bettws-y-Coed. Pandy Mill, Penmachno. 
 Pont-y-Pant, River Lledr. On the River Lledr. Barden Tower, from a 
 distance. Interior of a Stable. View near Windsor. A Stormy Evening. 
 Near Barden Tower. At Moel Siabod. First Peep of Bolton Abbey. Farm 
 at Bettws-y-Coed. Barden Tower, from the IMeadow. A View on the Llugwy. 
 Men at a Well. A Scene in North Wales. Heath Scene and Waggon. Horse 
 Fair at Birmingham. The Vale of Dolwyddelan. Near Bettws-y-Coed. Bettws- 
 y-Coed Bridge. On the Holyhead Road, near Capel Curig. In the Village 
 of Trefrew. View in the Vale of Dolwyddelan. The Swallow Falls. Bettws- 
 y-Coed Church. Barden Tower. On Barden Fells. Near Llyn Cranfant. 
 Asking the Way. A Mountain Scene, North Wales. Bettws-y-Coed Village. 
 A Girl Milking Cows, North Wales. On the Road to Llanrwst. Cottages 
 and Cattle. Harborne. Pont-y-Pair, River Llugwy. Heath Scene. IMill 
 near Bettws-y-Coed. View near Barden, Yorkshire. On the River Machno. 
 Rock in Dolwyddelan Valley. Bolton Abbey, Evening. Sheep on the Way. 
 Barden Tower, from the Bridge. A Welsh Cottage, with figures. Bettws 
 Church. Stepping Stones over the Conway. Cottage near the Bridge of 
 Bettws. Bolton Abbey. East End of Bettws Church, River Conway. The 
 Vale of Dolwyddelan, North Wales {the large work exhibited in the gallery of 
 the Water Colour Society). 
 
 Mr. William Roberts's Collection, May 21st, 1867. Drawings in 
 Sepia. — After a Shower. Returning from Market, ;^io los. From Otlcy 
 Bridge, ;^i2 i2i-. Otley Bridge, ;^i8 iSj. Ilkley, ^^5 5^. Near Ilkky, 
 ;;^ii IIJ-. Bolton Bridge and Abbey, ;^ 16 i6s. Bolton, from the Tower 
 Window, ;3^7 yx. Bolton Abbey, north side, j£i2 12s. Bolton Abbey, south 
 side, ;^i5 iss. On the River Wharfe, near the Strid, ^25 4s. Bartkn 
 Tower, ;^i3 13^-. On the Road to Barden Tower, ^19 igs. Barden Tower, 
 j£i4 J 4s. Conway Castle, ;£$ ^s. Water Colour Drawings. — A Lane 
 Scene, with figures, a sketch, ^5 5^-. On the Wharfe, near Bolton Abbey, 
 jCS Ss. From Bolton Abbey, -£6 iGs. 6d. Near Bala, North Wales, 
 ^10 loj. A Sleeping Boy (not sold). A Scene at Windsor, ^10 icj-.
 
 APPENDIX II. 
 
 329 
 
 Traveller Asleep, Coirmercial Room, Lancaster (not sold). A Sketch near App. II. 
 
 Kenilworth Castle, £\2 \2s. 6d. Cavalry, ^19 19^. The Italian Garden, • 
 
 Powis Castle, £'] i^s. bd. Aberystwith, ^37 i6j-. An Interior, ^15 15^.' 
 On the River Wharfe, £^6 5s. Harlech Castle, ^28 lyx. 6d. Ruins of an 
 Abbey, Evening, ^^21. Battle of the Bridge (recollections of a drawing by 
 Cattermole), £33 12s. A Scene on the Wye, £^6 155-. A Landscape, with 
 figures, £s2 iis. A Landscape, Kenilworth, ^28 7^. Kenilworth Castle, 
 £34 iss. Hill Top, with Cattle, bright sunny effect, ^^28 7^. Landscape, 
 with Cart Shed, £32 iis. A Cottage in Surrey, £31 iss. Blackpool', 
 £4 los. Blackpool, ^12 12^. The Dying Knight, after Cattermole, 
 ;^2 2 IS. A Mountain Landscape, Solitude, £31 los. Peat Gatherers 
 returning from the Moors, ^89 5^. Crossing Lancaster Sands, £5;^ 12s. 
 Bolton Abbey, ;,^2 7 6s. On the Wharfe, near the Strid, bequeathed to 
 Mr. Roberts by David Cox, ^77 16s. 
 
 Mr. Peter Allen's Collection, March 6th, 1869. — The sale included 
 forty water-colour drawings and five sepias. The following were the most 
 important drawings: — Bolton Abbey, dated 1844, 125 guineas. A River 
 Scene, with cows, dock-leaves in the foreground. Windermere Lake. Wind- 
 sor Castle, from the Allnutt Collection, exhibited at Leeds, the view taken 
 from Virginia Water, 240 guineas. Landscape, with a man travelling, 
 showery weather. Haymakers, Vale of Carmarthen, 105 guineas. Windsor 
 Castle, early morning, guard exercising, exhibited at Leeds, 210 guineas. 
 The Hayfield, exhibited at Leeds, 95 guineas. Peat Gatherers, upright, from 
 the Cox Exhibition, 200 guineas. Windsor, from the River. Barden Tower, 
 with cattle on a road. A grand View in Wales, with a man and horse 
 crossing a stream, exhibited at Leeds, 24 inches by 34 inches, 355 guineas. 
 The Welsh Funeral, 24 inches by 34 inches, an original study for the drawing 
 exhibited at Leeds, no guineas. Landscape, with windmill, and horses on 
 road, 140 guineas. Flock of Sheep near a Pool of Water, early morning, 
 17 inches by 28 inches, exhibited at Leeds, 166 guineas. Woody Landscape, 
 with figures at a stile, exhibited at Leeds 1851, 150 guineas. Going to the 
 Harvest Field, 1845, 200 guineas. Broom Gatherers, 1854 (at Sir J. Heron's), 
 200 guineas. An open Landscape, with a pool of water, and swine in the 
 foreground, 1840, 236 guineas. Wind, Rain, and Storm, dated 1845, exhi- 
 bited at Leeds, 400 guineas. The Weald of Kent, exhibited at the Art- 
 Treasures Exhibition at Manchester (No. 480), 345 guineas. 
 
 Mr. Thomas Brown's Collection, June 5th, 1859. — Water-colour 
 drawings. View off the Dutch Coast, with fishing-boats in a squall. View 
 in Wales, with a woman driving geese, evening. The Gardens of the Tuile- 
 ries, 1830. Part of Kenilworth Castle, with figures driving sheep. A Calm 
 off Greenwich, with Boats, 18 18. A Harvest Field, with gleaners. A 
 Rabbit Warren. Changing the Pasture. Welsh Drovers, with a flock of 
 sheep. A Landscape, with a lock and fisherman. A Sea Piece, with fishing- 
 boats in a brisk gale. A View in Wales, with a milkman and cows. Con- 
 way, 1835, an important drawing. The Pass of Llanberris, with a coach and
 
 App. II. 
 
 330 T.IFE OF DAVID COX. 
 
 figures, an important drawing. Old Houses at Lambeth, old cottages. Hay- 
 niaking. A French Street-scene. A Landscape, with a Welshwoman on a 
 grey pony, and two other figures. Hay Barges in a Calm. A Meadow, with 
 a windmill, morning. Windsor Castle. Rouen. A Pastoral Scene, peasants 
 returning, 1826. A Landscape, with mounted figures, Aston Hall in the 
 distance!' A Welsh Landscape, with a man on a grey horse in conversation 
 with two women. A Flock of Southdown Sheep near a Windmill. A Rocky 
 Pass, with troops on the march. A Harvest Field, with sportsmen and dogs, 
 Bolsover Castle in the distance. 
 
 Mr. Edwin Bullock's Collection, May 21st, 1870.— Twelve sepia 
 drawings, including Rowsley Mill, Dudley Castle, ^letchley Abbey, The Pea- 
 cock, Rowsley, Macstoke Priory, &c. Water-colour drawings :— A Ruined 
 Castle, ;^8. A River Scene, with figures, and a dog on a bridge, ^30. The 
 Entrance to a Chateau, with figures and horses, dated 1829, £2^. Barden 
 Tower, Yorkshire, ;^88. Near Sale, fi-om Manchester. A Mounted Peasant 
 driving a Cow, and other figures, ^76. Interior of Bettws-y-Coed Church, 
 £\o. A Landscape, with a cottage, and ducks in a pool, £'^^. Bolton 
 Abbey, ^130. The Ferry at Oxford, ^30. Malvern Abbey, ^^105. A 
 Mountainous Landscape, with a cottage in the foreground, ^^50. Montmartre, 
 dated 1829, ^18. A Valley, with two cows near a river, ^54. Crossing the 
 Downs, 1854, ^105. A Rocky Landscape, with a waggon and horses, ;^74. 
 Four Miles from Sale, two peasants, with a cart and horses, ^^95. Hayfield, 
 with a rainbow, figures, and horse, ^37. The Waterfall at Bettws-y-Coed, 
 ^22. A Heath Scene, with figures, ^28. A Welsh River Scene, with a 
 woman carrying a pail on her head, £^'~^. A Landscape, with a peasant boy 
 driving cattle up a hill, £a,o. A Welsh River Scene, with an angler, a 
 mounted peasant driving cattle in the distance, ^^65. A Landscape, with 
 figures, after J. Cristall, ;^2o. A Landscape, with two peasants, with a dog 
 and sheep, £36. Windsor Castle, from the Forest, with cows, ^^50. A 
 Rocky River Scene, with two figures and a cottage, ;^2 6. View of a Castle, 
 ^24. A Landscape, with a casde and cows, ^^30. View of an Abbey, with 
 figures, ;^i7. Literior of a Kitchen, £14. A Landscape, with peasants 
 driving Cattle, 1823,^52. A Rocky Scene, with a horseman, ^,^25. Hast- 
 ings Beach, 1813, ;^25. Mill at Bettws, ;;^too. Vale of Dolwyddelan, North 
 Wales, ;^6o. Peat Gatherers, North Wales, 1854, ^90. Cutting his Stick, 
 1854, ;^i35. A River Scene, with cows, ;^5o. A Welsh Road Scene, with 
 cattle and ducks, presented by the artist to Mr. Bond, 1846, ^230. Cross 
 Roads, 1847, ;^37o. Keep the Left Road, 1854, ^200. A Forest Scene, 
 with three figures, with a white horse, ;^i7o. Royal Oak and Bettws-y-Coed 
 Church, £gs. The River Ure, Yorkshire, with peasants and horses, ^52. 
 A Landscape, with a boy and child about to cross a rustic bridge, and three 
 other figures on a road, £2^^- Stoke-Say, near Ludlow, a woman and child 
 on a road in the foreground, ^130. Bolsover Castle, a man with a pony on 
 a road,;^340. Pcnmaenmawr, figures with a donkey descending the roads, 
 1853, ^'140. Boys Bathing alarmed by a Bull, ^330. Ludford Bridge, 
 West Ludlow, £-j6. A Mountain Scene, with a shepherd with a pony and
 
 APPENDIX II. 331 
 
 sheep. Interior of the picture gallery at Hardwick Hall, upright, ;^7 5. The App. II. 
 Companion Gallery at Hard wick Hall, ^75. The Picture Gallery at Hard- ~~ 
 
 wick Hall, ;z^3oo. 
 
 Mr. Gillott's Collection, May 4th, 1872. — Water-colour drawings. 
 A Mountainous Lake Scene, GJ/g inches by 10 inches, ^28 7^. Showery 
 Weather, 6)4 inches by 9 inches, ^12 is. On the Thames, with hay barges 
 and boats, 6)4 inches by 9^ inches, £sj 15^-. A Valley in Wales, with 
 horsemen and cattle; 5^ inches by 7^^ inches, £21. A Quiet Pool, 
 7)4 inches by io)4 inches, ^58 16s. A Welsh Valley, with drovers and 
 cattle, 10^ inches, by 14^^ inches, £86 2s. Milking Time, 10^ inches by 
 14/4^ inches, ^99 155-. Coast Scene, with figures and boats, 4^^ inches by 
 6^ inches, £^4. i^s. The New Inn, Lynmouth, 6 inches by S)4, £iq 195-. 
 Old Cottages, 6}i inches by 9^ inches, ^22 is. An Overshot Mill in 
 Wales, with figures, 8^ inches by 13^^ inches, ^85 is. Gresmere Church, 
 7>^ inches by 514 inches, £i() i^s. Tintern Abbey, 6)4 inches by 9 inches, 
 1836, ^30 9J-. Lancaster Sands, with a farmer on horseback and fishermen, 
 1827, ?>}i inches by 11^ inches, ^120 15^-. Val Crucis Abbey, 6)4 inches, 
 by loSs inches, ^^26 5J-. IMountainous Landscape, a sketch, ^24 33-. 
 Greenwich Hospital, 11 14; inches by i^yi inches, ^92 %s. A Garden 
 Terrace in North Wales, 7^ inches by 1 0^4 inches, £/^6 6s. A Rocky 
 River Scene, with angler, 10^ inches by 141^ inches, ^189. Fort Rouge, 
 Calais, 7^ inches by 11^ inches, £^2 los. Ploughing, 714^ inches by 1014^ 
 inches, ;^i68. Lake Scene, with flock of sheep and figures, 1838, i)i inches 
 by 12^ inches, ;^278 5^-. A Farm, with cows and ducks near a pool, iqi^ 
 inches by 14^ inches, £^S'^ i°-^- 
 
 Mr. J. Tattersall's Collection, July 6th, 1872.— Of seventy fine 
 drawings and sketches, the following were the most important : Sketches and 
 Drawings in colours, Lots 22, 23, 25, 26, and 32, Hay, Brecknockshire; 
 ditto, with Viaduct; Port Madoc; View on the Essex Shore of the Thames, 
 and a ferry boat with sheep, all in sepia, 135 guineas (Agnew). Lots 39, 42, 
 56, 69, and 70, A Welsh Landscape, effect of Grain ; Liverpool ; Flounder 
 Boat on the Thames ; Peat Gatherers and Ulverstone Sands ; Coming Storm 
 — drawings in colours — 160 guineas (Greenwood). Drawings in water-colours. 
 Lots 81, 83, and 84, Harborne Lane ; Watering of Horses ; and Ploughing, a 
 view in Surrey, 140 guineas (Tooth). Lots 86 and 87, A Hayfield ; and 
 Cader Idris from Kymmer Abbey, North Wales, no guineas (White). Lots 
 88, 89, Two Views on the Thames, Greenwich in the distance. Lots 90, 91, 
 Views on the Coast near Barmouth, North Wales, and a Cornfield ; View of 
 the Black Mountain, North Wales, 145 guineas (Agnew). Lot 92, Greenwich 
 Hospital, with boats and figures, 105 guineas (Greenwood). Lots 93, 94, A 
 Coast Scene, with fishermen and boats ; and View on the Coast near Towyn, 
 North Wales, 100 guineas (White). Lots 95, 97, 98, East Cliff, Hastings- 
 Moonlight ; The Approach to Dunkirk ; and Dry Sand Banks, Barmouth, 
 North Wales, 108 guineas (Tooth). Lots 100, 102, View on the Wye below 
 Tintern Abbey; Tintern Abbey — Evening; and Distant View of Harlech
 
 A pp. II. 
 
 332 LIFE OF DAVID COX. 
 
 Castle, North Wales, 130 guineas (M'Lean). Lots 103, 104, Milking Time; 
 and Looking up the Vale of Llanwrog, 108 guineas (Noseda). 
 
 Recapiitilaiion. 
 
 Mr. Charles Birch's Collection, February 27th, 1856; ditto, February 27th, 
 
 1857- 
 
 Mr. Norman Wilkinson's ditto, June 14th, 1861. 
 
 Mr. William Roberts's ditto, May 21st, 1867. 
 
 Mr. Peter Allen's ditto, March 6th, 1 869. 
 
 Mr. Thomas Brown's ditto, June 5th, 1869, 
 
 Mr. Edwin Bullock's ditto. May 21st, 1S70. 
 
 Mr. Gillott's ditto. May 4th, 1872. 
 
 Mr. J. TattersalFs ditto, July 6th, 1872.
 
 APPENDIX III. 
 
 CRITIQUE ON THE COLLECTION OF WATER-COLOUR DRAWINGS 
 AND PAINTINGS BY DAVID COX, EXHIBITED IN THE GERMAN 
 GALLERY, BOND STREET, LONDON, APRIL, iSS9.—Fro?n the Standard. 
 
 'E feel it necessary to express our fears that future exhibitions will App. III. 
 
 11^ not sustain the fame of the present one, unless they are made retro- 
 
 spective ; because David Cox occupies the highest place among 
 the living artists of the day as a sound and honest exponent of 
 the English school. We mean that he is the repository of the 
 traditions and principles of the English school as practised in the time of 
 Reynolds, and recorded in his most valuable discourses to the students of the 
 Royal Academy. It is, therefore, that we feel grateful to the committee for 
 the opportunity they have given us of appreciating David Cox at his just 
 value — of directing public attention to his great merits while he is still among 
 us, and for enabhng us, while so much uncertainty exists in the public mind 
 as to what constitutes legitimate art, to vindicate its principles in the truly 
 valuable and highly interesting collection now submitted to public inspection 
 at the German Gallery. 
 
 David Cox is truly English in the choice of his subjects ; the mode of 
 treating them, and his execution for the most part is as original as his mind 
 is genuine. He has, therefore, rendered an invaluable service to native art 
 by adhering unshaken to its healthy practice amidst the fashionable vagaries 
 of modern criticism. His sturdy love for early traditions enables him to vary 
 his style of treatment without abandoning the fundamental laws of his art. 
 In every subject there is so perfect a unity of intention, that, if it be fairly 
 studied, the mind of the spectator is never distracted by tricks and trifling to 
 entrap the admiration of the unlearned, nor is the connoisseur ever reminded 
 of any other painter. The masses of verdure, rocks, and trees partake 
 equally of the same touch, tone, and feeling. The real charms of outdoor 
 nature are the motives which Cox labours to render manifest, and when he 
 has adopted one of them as a starting-point, every accessory and each object 
 is made subservient to that purpose. If it be his will to inspire the spectator 
 with a sense of elegant repose, the general tone is delicate, the forms are 
 pure, and the execution finished. Examples of this kind may be seen chiefly 
 on the screen near the door. If it be his wish to display his powers
 
 334 LIFE OF DAVID COX. 
 
 App. III. on a larger scale and in a higher range of art, the masses are more 
 simple, and become rather apparent as the leading features of the com- 
 position, while the forms of objects generally assmne characteristics of 
 approaching geometrical precision. Two examples of this arrangement 
 will be alluded to lower down. If it be his intention to drench the 
 country with rain, it pours down with a black intensity that makes the 
 poor bull (no) bellow again with a sense of loneliness, desolation, and 
 misery. If it be necessary to give an additional interest to an otherwise 
 commonplace subject, he sends a strong wind across the scene, the herbage 
 on the banks is separated by it into distinct portions, branches are bent, and 
 leaves blown in clusters of foliage from their natural position ; the boy's 
 kite pitches madly overhead to break loose from its bondage ; the gulls wheel 
 wildly in the air ; the old woman with the basket struggles almost in vain 
 along the slippery road, which, with the grass recently watered by the passing 
 shower, sparkles and glitters with intermittent beams of hght as the clouds 
 scud rapidly across the sun. And so real — artistically real — are all these 
 phases of the atmosphere as they are recorded on the paper, that no stretch 
 of the imagination is required to beheve that the event occurred ; nor is the 
 slightest suspicion raised in the mind of the spectator that the artist was 
 not present when it actually took place. These general remarks on the col- 
 lection will be more directly verified by selecting such works as will illustrate 
 them, besides others having different merits, which we have not space to 
 enlarge upon. 
 
 Among the drawings of the more deUcate kind, in which the effort of the 
 artist has been to produce on the mind of the spectator a sensation of refined 
 enjoyment, even when viewing scenes of rural occupation, we noticed the fol- 
 lowing :— The '-Waggon and Horses," in which the line of the clouds 
 arranges with that formed by the waggon and team of horses. In the " Heath 
 Scene and Windmill " the sky contrasts with the dark form of the foreground. 
 The same simple style of arrangement exists in the -'View of Windsor Castle," 
 and produces a most charming effect by the retiring curve of the foreground end- 
 ing with the white turrets of the castle, illumined by a brilliant sun, and rendered 
 conspicuous, although so distant, by a mass of light clouds placed immediately 
 over the castle to attract the eye and increase the size of the buildings, as the 
 principal point of interest. " Landscape" (76) is another example in which 
 field occupation is pleasingly treated. " Hay Carting " is remarkably elegant, 
 and will serve to show, when compared with " The Hayficld," with what 
 variety the artist can treat subjects so similar. The latter has a more clear 
 atmosphere, is cool in colour, and the whole scene is bathed in air and light. 
 The tints of the distance and sky accord witli those in the middle distance, 
 conveying a sensation of repose, which is not disturbed by too much angular 
 drawing in the heaps of hay. The figures, although small, are truly lifelike in 
 their attitude, while the whole view is thrown into an aerial and a vaporous 
 effect by contrast with the i)ositive colours of their dresses, the force of which 
 is sustained by those of the team of horses, the whole forming the strong line 
 of the composition. The same feeling tor classical elegance and refined
 
 APPENDIX III. 
 
 335 
 
 serenity will be observed in the drawing entitled " Landscape " (80). In the App. III. 
 
 composition of this there is not one object introduced which is not conducive 
 
 to quietude, so that the eye may contemplate the smooth lake, under a tran- 
 quil sky, Avith graceful trees in the foreground, and the round tops of which 
 gently contrast with the delicate forms of the distant mountains. " Meadows, 
 Hereford," must be considered as taking a higher position in art. It is more 
 important in size than most of the above, and is undoubtedly composed on 
 principles of a more severe character. The unity and subdued light pervad- 
 ing the whole scene is more imaginary in its general aspect, evidently selected 
 by the artist to produce more than the ordinary feeling of dreamy thought. 
 The leading lines are extremely simple and few, arranged parallel to each 
 other, and the stems of the trees contrasting with them at right angles assist 
 in giving prominence to their simplicity. So anxious has the artist been to 
 sustain his principal motive (to employ a musical term) in respect of his lead- 
 ing lines, that the flock of sheep introduced in the foreground to give life, 
 movement, and interest to the subject are so closely kept together in their 
 progress across the scene, that they do not disturb the straightness of the 
 principal line in the foreground. " Near Carnarvon " is not so severe in 
 character; but the "Meadows on the River Lugg, Herefordshire," is the 
 largest water-colour drawing in the collection, and has been a very fine one, 
 of the highly scientific class ; but the colours have entirely changed by time, 
 and little but the arrangement as regards lines and masses remains to record 
 the merits of the artist. A flock of sheep, introduced in the same manner as 
 the above, will serve to show his adherence to well-founded principles. They 
 form a prominent feature, parallel v/ith the base line of the mountains in the 
 distance. The whole subject, although very fine as a composition, and 
 belonging to the same style of art as " Meadows, Hereford," diff'ers from it 
 materially by being more full in subject, and was, no doubt, originally more 
 rich and powerful in general treatment. 
 
 "Rhyl" presents at the first glance a fine effect of light and air; the 
 clouds fly across the scene in rapid motion, the waves rush in quick succession 
 towards the sands, the gulls are screaming and whirling in the air, and the 
 ladies' dresses on the long line of the shore flutter in accordance with the 
 movement which pervades the subject, and complete the intention of the 
 painter in the representation of fashionable visitors to a popular watering-place 
 inhaling the sea air till they can taste the salt on their lips, and struggling 
 against the sea-breeze, scarcely able to keep on their feet while enjoying the 
 brilliant gleams of sun— free from London fog and smoke — darting down " 
 upon them from between the flying clouds. The picture is in oil-colours, and 
 has a rather unfinished appearance; but the general effect of a seaside 
 situation is most delightfully and truly represented. " Showery AVeather " is 
 another stormy eftect. The men and the sheep going slowly into the gloom 
 of the middle distance assist the sentiment of the composition, by seeming 
 to resign themselves to their destiny. " Mischief" is a more rustic and lively 
 scene, and the light is partial and brilliant. This drawing takes its title from 
 a boy, who is driving some geese to the water, across which, on a rude brido-e.
 
 ro^ 
 
 LIFE OF DAVID COX. 
 
 App. III. is an old woman threatening him with her upraised stick. The most tremen- 
 
 dous storm of rain in the collection is represented in the drawing, to which 
 
 we have already alluded, entitled " The Bull." The rain really descends in 
 torrents, while the sohtary animal seems to be bellowing hopelessly towards a 
 distance, which is as cheerless in aspect as his own situation is miserable. 
 The value of the Hght colour on his horns will be readily appreciated by an 
 artistic eye as a set-off to the density of the background. In this way of 
 treating stormy scenes, Cox differs from Gainsborough, whose disposition was 
 so amiable, in a pictorial sense, according to M. Theophilus Silvestre, that if 
 he painted a coming hurricane, it was evidently not so close at hand but 
 man and cattle would have ample time to seek a place of shelter ; but Cox, 
 being of a more energetic character, and possessing a more sturdy nature in 
 the thorough rendering of his single-minded intention, spares neither man 
 nor animal, clouds nor trees ; his masculine and relentless pencil rends the 
 clouds into pieces, the branches are driven across stems that bend to the 
 gale, and living things, whether man or beast, are as mercilessly dealt with as 
 the brook forced over its banks, or the rushes by its sides when torn up by 
 their roots, and blown away to wither on dry land. It is this singleness of 
 purpose in all that he draws which makes his works so pleasing to the eye, 
 invests them with so remarkable a character of variety, and with so much instruc- 
 tion for the researches of the young artist, and the improvement of the public. 
 Besides those drawings, which may be noticed as the stormy and classical, 
 there are many examples in others of the same learning, but it is devoted to 
 the production of simply powerful and striking effects. The roughness with 
 which several of these is executed is very likely to induce persons not over- 
 skilled in art to think that they are the result of carelessness and want of 
 thought ; but that would be an error, for they are carefully studied, and full 
 of meaning, which will be appreciated if the spectator will stand at a proper 
 distance, and allow the scene to realise itself in his mind. The intention of 
 the painter will then become gradually apparent, and that which at first 
 appeared a slovenly sketch or a sloppy drawing, will assume all the unity of 
 a finished picture. It is a remarkable fact that the roughest of drawings by 
 Cox, when seen in an exhibition with works by other painters, will, at a 
 proper distance, assume an appearance of more complete finish than any of 
 those by which they are surrounded, with all their details minutely elaborated, 
 and the objects most clearly and brightly coloured. "The Oak Tree" 
 requires this precaution before the effect of wind will be perceived. The 
 same degree of patience must be devoted to the examination of a " Wood- 
 bank Scene," which is dark and powerful. The little piece of pathway on 
 the left, appearing at first a confusion of tints, will become perfectly true and 
 real if time enough be spent upon it. " Children Blackberrying " has a fine 
 mass of rocks in the distance, and is besides a splendid brilliant piece of 
 daylight. " Peat Gatherers " is a drawing of remarkable power, in which the 
 artist's intention is most completely carried out. The figures are trudging 
 through a heavy shower over the marshy ground, and, with tlie exception of 
 the dingy but positive colour of their dresses, the whole scene is an epitome
 
 APPENDIX III. 337 
 
 of rain, slush, and bog — not a very agreeable subject, it is true, unless the App. III. 
 
 undoubted merit displayed in it overrides, which it ought, all other consider- 
 
 ations. The same mental energy is manifested, in a more solemn and 
 dignified manner, in the view of " Barden Castle," ^here the only bright 
 objects are the white clouds, which draw attention to the castle by their round 
 forms contrasting with the angles of the turrets, rendering them sufficiently 
 prominent, and giving value to the mass of secluded woodland scenery below. 
 The gradations are admirably preserved in the dark tints, and the undulations 
 of the ground are as carefully indicated ; while the sheep, being only partially 
 seen, and forming an irregular line across the middle distance, adding to the 
 massiveness of the castle, although animated objects, really increase the 
 sentiment of solitude and the magnitude of the whole composition. " Beeston 
 Castle, Cheshire," is another example of themasterly mannerin Avhich Cox treats 
 such subjects. " The Vale of Clywd " has a fine general character, and is 
 painted in oil. The sheep, the labourers, and the man on horseback, all 
 going into the gloom of the middle distance, bounded by a group of picturesque 
 trees, produce an excellent efi'ect. " A Heath," also in oil, is warm in colour, 
 and difl'ers in tone and treatment from any other work in the room, but is 
 equally meritorious. " Going to Market," although roughly executed, is very 
 charming, and the bank, with its portion of bare earth, is expressed with 
 admirable truth. " Dover Castle " forms a relief to the darker subjects, for it 
 is all light, motion, and air. Some pilots in the foreground, looking out to 
 sea, are very slightly sketched, but full of expression in their attitudes. We 
 return again to wild scenery in the view of " Penman Bach," which is a 
 drawing so very freely pencilled, that it will require some attention to com- 
 prehend ; but, after a while, a wave or two just peering out from the gloom 
 in the distance will, with a little reflection, suggest a very perfect idea of the 
 sea and its motion. A view, " Near Stoke-Say, Salop," may be classed among 
 the drawings of a vigorous character, and is, like many others in this collection 
 remarkable for the freshness of its general effect. On the table in the middle 
 of the room is a work, entitled " Streatham Common," which, we must admit, 
 is dashed in with so much boldness, that it scarcely reveals, after a long 
 examination, and at the proper distance too, any of those lurking beauties of 
 nature so generally found under the same circumstances among those numerous 
 productions to which we have directed attention. 
 
 As the genius of David Cox delights chiefly in English atmosphere, and the 
 verdure of its landscape, he rarely seems to attempt securing effects expressed 
 in glowing tints, nor does he indulge in any conventional displays of gorgeous 
 colours. There is, however, a " View on the Sands," in which persons are 
 going to market, under an appearance of the sun forcing its way through a 
 fog ; but among so many drawings of a decided character and striking effects, 
 it seems rather feeble in its general management. " The Chat Moss Broom 
 Gatherers " may be ranked as chiefly devoted to showing the force that can be 
 obtained by the contrast of strong tints, the painter having been tempted, no 
 doubt, by the rich lines of the growing broom ; but, although the colour is 
 caused to predominate as the leading feature of the scene, gleams of light are 
 
 Z
 
 338. LIFE OF DAVID COX. 
 
 App. III. very skilfully introduced, and the figures, which, if we remember rightly, are 
 
 larger in this drawing than in any other, attract no inconsiderable share of 
 
 attention. 
 
 The last landscape we shall notice is one which, in point of feeling and 
 conception, ranks higher in art than any we have seen from the same hand, 
 and is entitled the " Mountain Top." The largest portion of the design 
 consists of abroadly-defined mass of rock, leaving a small opening for the 
 sky, where, against the bright spot of light, a dark blue cloud with its serrated 
 edge cuts angrily across with most threatening aspect. Low down in the 
 foreground, on a rocky fragment, the form of an eagle comes mystically off 
 from amidst the deepest part ot the gloom. The sense of wild solitude and 
 solemn quiet is increased by a sheep running through the dismal glen close 
 under the rock upon which the watchful eagle sits. The sentiment of this 
 desolate and romantic scene is heightened by the breadth of mournful dark- 
 ness enveloping the side of the mountain, the contention indicated in the 
 elements above, and the coming struggle for life below. This composition is, 
 in our judgment, the most epic work that 'this artist ever produced. 
 
 However highly we have estimated the landscapes. by David Cox, we are 
 not disposed to pass over in silence the mode in which he indicates, we can- 
 not say draws, his figures. His intention is expressed with so much certainty 
 and truth, and his figures act with so much ease and spirit, that it is questionable 
 whether he would not have succeeded equally well if he had devoted his 
 energies to that branch of art. In addition to those we have mentioned 
 above, we would direct attention to the labourers in the hayfield drawings, 
 and the attitudes of the pilots in the small drawing entitled " Dover Castle ; " 
 but we would more particularly claim admiration for a very small subject, No. 
 167, "The Proposal." It is an interior, in which there are two figures, a 
 young and gallant cavalier, and a maiden of high degree. The latter is seated 
 with her back to an ancient bay window, the lover stands by her side bending 
 gracefully over her while making the proposal, which she receives with a 
 gesture expressive partly of pleasure, and of not a little coquetry. With 
 scarcely any outline, in the ordinary acceptance of the term, the superior rank 
 and the elegant forms of these two persons are very decidedly marked. The 
 oaken wainscoting of the room, the crimson of the large arm-chair, and the 
 rest of the furniture, are all tinted with extreme delicacy and truth. The 
 sentiment of the whole scene is suggestive of retirement ; the empty arm-chair 
 intimates that the lover has taken a quick advantage of a temporary absence 
 to make his proposal ; and the mild light entering at the bay window, spreading 
 its soft rays about the room, seems to imply a silence broken only by the con- 
 fiding whispers of the cautious lovers. This is so charming a composition, 
 that, while we do not believe we have a landscape painter equal to David 
 Cox, we feel equally disposed to challenge the painters of " interiors and 
 figures" to produce a subject so full of delicate feeling and refined art as may 
 be found in the little gem now hanging in a corner of the Cerman Gallery. 
 
 We are aware that David Cox, like Turner, Constable, and others who 
 have displayed original genius in a peculiar manner, has but a limited number
 
 APPENDIX III. 339 
 
 of admirers ; but we feel that in noticing this collection so fully, we are doing App. III. 
 
 but simple justice to the merits of the artist, and giving all the support we can 
 
 to the admirable plan commenced by the Committee ; and, as their sole 
 
 object is to make British Art known to the world, for any profits arising from 
 
 the exhibitions are to be given to " The Artists' Benevolent Fund," we wish 
 
 them a success that may amply reward their endeavours in this excellent 
 
 undertaking. 
 
 THE END. 
 
 \1KTI i; AND CO., rUlN'lhKS, CITY KOAD, LO.NDO.N.
 
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