pollard trees and old moss-grown orchards, combined with cottages and
farm-houses in the most paintable state of decay, with tangled hedges
and neglected fences, overrun with vegetation clinging to them with all
"the careless grace of Nature." However neglected these might be by the
farmer, they were always tit-bits for Patrick. When sketching such
subjects he was in his glory, and he returned to his easel loaded with
sketch-book treasures, which when painted form the gems of many a
collection.

In some of these charming subjects glimpses of the distant capital may
be observed, with the dome of St. Paul's in the distance; but they are
introduced with such skill and correctness as in no way to interfere
with the rural character of his subject. When he went farther afield
--to Windsor Forest, Hampshire, the New Forest, or the Isle of Wight
--he was equally diligent with his pencil, and came home laden with
sketches of the old monarchs of the forest. When in a state of partial
decay his skilful touch brought them to life again, laden with branches
and lichen, with leaves and twigs and bark, and with every feature that
gives such a charm to these important elements in true English
landscape scenery. On my brother's first visit to London, accompanied
by my father, he visited many collections where the old Dutch masters
were to be seen, and he doubtless derived much advantage from his
careful studies, more particularly from the works of Hobbema, Ruysdael,
and Wynants. These came home to him as representations of Nature as
she is. They were more free from the traditional modes of representing
her. The works of Claude Lorraine and Richard Wilson were also the
objects of his admiration, though the influence of the time for
classicality of treatment to a certain extent vitiated these noble
works. When a glorious sunset was observed, the usual expression among
the lovers of art was, "What a magnificent Claudish effect!" thus