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These subjects, and those in immediate connexion with them, are treated of extensively; as also their application to Science, Art, and, Industry. * READINGS in SCIENCE; familiar EXPLANATIONS of Appearances and Principles in NATURAL PHILOSOPHY. With many Engravings. 5s. Edited by T.C. GIRTIN. 2s. 6d. "I am fearfully and wonderfully made!"
It was a fine experience, and he came home with many beautiful scenes on paper, which he in after years made into complete pictures. Next he made the acquaintance of Thomas Girtin, the first in his country of a fine school of water-colour painters, and this acquaintance grew into a close friendship.
He taught in schools, first charging five shillings a lesson, then raising his terms to ten shillings, next charging a guinea. He founded his style very much on that of his friend and contemporary Girtin, the water-colour painter. Both delighted in a golden yellowness of tone which it is probable Girtin had originated.
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.
The influence of Girtin upon English art has hardly been sufficiently recognised. Mr. Ruskin has had too little to say on behalf of one to whom it is evident that Turner owed very much. Turner's rapid advance in his profession may be traced in his frequent change of residence. In 1796 he had quitted his father's house in Hand Court, to occupy rooms at No. 26 Maiden Lane.
The two were devoted to each other and worked together at any sort of mechanical art work that would bring them a living. When Girtin died Turner said: "Had Tim Girtin lived, I should have starved," showing how highly he valued Girtin's work. Turner is said to have been "a stout, clumsy little fellow, who never cared how he looked.
They were most excellent friends, and when Girtin died in Rome, Turner was one of his most sincere mourners. Toward the close of Sir Joshua Reynolds' life, Turner frequented his studio, copied pictures, and acquired some art secrets. He began to teach water-color drawing in schools, while still a boy, at from a crown to a guinea a lesson.
Water-colours by Lawrence, Prout, Girtin, Turner, Chinnery, Paul Sandby, Cipriani, and other masters; casts after Canova; mezzotints after Sir Joshua; Hogarth's famous picture of David Garrick and his wife, now well hung in Windsor Castle, were about him, and early attracted his observant eye.
Much of the latter part of the Diary, as we hold it, is occupied with the description of a tour in England and Wales. Here Green is lucid, graceful, and refined: producing one after another little vignettes in prose, which remind us of the simple drawings of the water-colour masters of the age, of Girtin or Cozens or Glover.
Adams went to the sales and bought what he was told to buy; now a classical drawing by Rafael or Rubens; now a water-color by Girtin or Cotman, if possible unfinished because it was more likely to be a sketch from nature; and he bought them not because they went together on the contrary, they made rather awkward spots on the wall as they did on the mind but because he could afford to buy those, and not others.
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