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Other names now confront us, among them two men, David Cox and Peter DeWint, who in their day were considered masters of the medium. These last struck a new note in water-color, or rather a new technic in its handling.
Girtin, measured by the standard of to-day, was an extreme impressionist, leaving behind him sketches dashed in with an appearance of freedom which Peter DeWint and David Cox might have envied when in after years they were at the height of their power.
Life was so good every minute, every ounce of it! from the Duchess's chef to these ethereal splendours of autumn from the warm bath, the luxurious bed, and breakfast, she had but lately enjoyed, to these artistic memories that ran through her brain, as she glanced from side to side, reminded now of Turner, now of DeWint, revelling in the complexity of her own being.
Indeed to hear Von Raumer's account of our water-color exhibitions, you would suppose that such men as Turner, Dewint, Prout, and many others, had no merit whatever, and no name except in London. Raumer is not an honest man. But had he fixed his charges on the book-decorators amongst us, what an unlimited field for ridicule the most reasonable!
To this, I think, we may attribute on analysis the freedom of handling which though each man has his distinctive method is characteristic of both Cox and DeWint. If we add to these two methods of using the brush a third its manipulation as though it were a pen we shall have all the fluid processes on one or the other of which the beauty of all modern water-color drawings depends.
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