410 JOURNAL OF THE PLYMOUTH INSTITUTION. 
by way of annual study from Nature, I will refer to other works of 
his, some of which were executed earlier than the sketches named. 
Mr. Mark Grigg, of Tamerton, an appreciative judge of artistic 
talent, gave Cook, many years before his death, a commission to 
paint two oil pictures on panels, to be affixed to his dining-room 
walls at his house at Tamerton. The subjects chosen were most 
appropriately the bringing in the stream from the Meavy by Sir 
Francis Drake, and the Spanish Armada. These fine pictures were 
made from studies first carefully prepared, the costume and acces- 
sories of the several figures having been supplied by Col. Hamilton 
Smith. One represents Sir Francis Drake and a party of figures at 
a spot near, but rather below, Sheepstor Bridge. The other repre- 
sents the Spanish Armada immediately after its defeat, in the naval 
engagement with the British ships. These panels measure five feet 
by two feet each. The two sepia sketches, Cook’s studies for the 
panels, are before you. 
In order to obtain correct materials for this latter work, Cook, 
when in London, went to Somerset House, purposely to inspect and 
make drawings of models of ships of the period. Nothing ever 
done by Cook in oil was so fine or so important as these two panels. 
He was in doubt at one time, and probably at this time, whether 
to confine himself to oil or water colour, or whether to paint 
occasionally in both vehicles ; but he was not long in deciding, and 
his oil pictures or sketches are very few, for he kept to water 
colours after this. 
In another vehicle, viz., that of “distemper,” he was quite an 
adept, and he could have made his fortune in London as a scene- 
painter. The examples of David Roberts and Clarkson Stanfield, 
both Royal Academicians, would have quite justified his following 
them as a professional scene-painter, and I have heard Cook say 
that what he did in the scene-loft helped him materially to a freer 
execution. What he did do as a scene-painter is soon told. George 
Wightwick wrote a play called “Richard I.” This historical 
drama was produced at the Plymouth Theatre by Mr. Newcombe, 
the lessee, in 1848, Col. Hamilton Smith made sketches for the 
scenery and costume, and Cook painted each of the scenes from 
Col. Smith’s sketches in a most vigorous and artistic manner, 
astonishing Col. Smith, Wightwick, and myself, as well as many 
other friends, with his apparent knowledge of this comparatively 
new class of art to him. I watched him at work in the scene-loft 
