Bath in its relation to Art. 103 



better houses were wanted ; streets, squares, circus, crescents, 

 all of fair proportions, sprang up rapidly. And Bath was 

 fortunate in its architects. All honour to the genius and 

 energy of the two Woods, father and son. In the hands 

 of inferior men, what fatal mistakes might have been made ! 

 A large and skilful yet wise and practical plan was carried 

 out, combining the effects of various noble piles of building 

 and harmonising all with the surrounding scenery. Macaulay 

 mentions the transformation from " the four or five hundred 

 mean old houses crowded within the Roman wall on the 

 banks of the Avon into the beautiful city stretching up 

 the hills," the city " which charms even eyes familiar with 

 the masterpieces of Bramante and Palladio." 



As yet the English people cared little for 



Early Painters. ^ .. 6 ^' f 



Pamting, not even the more educated, who 

 admired and understood Greek and Italian architecture. 

 There had been comparatively little foreign travel to give 

 knowledge of the great masters whose works had created a 

 new intellectual world in the older cities of Europe. Only 

 meagre encouragement was given to the few struggling 

 artists who set up their easels. Gradually, however, young 

 men came, aiming first at what was most likely to give em- 

 ployment — portraiture, and willing, even when well-qualified 

 for higher work, to wait patiently. Such was the case with 

 Gainsborough, who -began here in 1760 by painting portraits 

 at five guineas each. Happily he was not one of those of 

 whom it could be said — 



" Chill penury repressed their noble rage 

 And froze the genial current of their soul." 



In the interval of his unprofitable sittings he studied the 

 ■fine trees of the neighbourhood. One near the London 



