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 622 Painting (the exact date of whose birth and death is unknown, but who was cotemporary with Cozens) ; John Smith (1749—1831) of Warwick; and, above all, Thomas Girtin (1773—1802), and the great Joseph Mallord William Turner, all of whom are well represented in the South Kensington Museum. Thomas Girtin, the cotemporary and rival of Turner, was, like him, London bred, and a faithful interpreter of the atmospheric effects peculiar to the smoke-laden city and its environs. To the delicate execution and poetic feeling of Cozens, he added a force and clearness of colouring, with a general balance and harmony of tone such as had never before been attained in water-colour painting ; whilst Turner, by his perfect combination of all the great qualities of his cotemporaries, combined with that peculiar delicacy of execution and mastery of aerial effects of every variety in which he has never been surpassed, may be said to have completed the develop- ment of the art. George Barret (died 1842), John Varley (1778—1842), William Henry Pyne (1769—1843), John Glover (1767— 1849), William Delamotte (1775—1863), William Havell (1782—1857), and J. Cristall (1767—1847), who with several others were the true founders of the Water-colour Society, were members of the same school, and are all represented by their works at the South Kensington Museum. 5. English Painters of the Nineteenth Century. The first great name which meets the student of paint- ing in England in the nineteenth century is that of Sir Thomas Lawrence (1769 — 1830), a portrait painter, whose