Pp. 50-53. The article explores how 'the startling similarity between Wilson's Holt Bridge on the River Dee [P110] and Claude's [Landscape near] Rome and the Ponte Molle (Birmingham Museums & Art Gallery) helps to define the nature of Wilson's quiet revolution' in landscape painting. The author sees the link as a prime example of the eighteenth-century notion of 'imitation' and stresses the significance of Wilson's attention to the meteorological conditions of the British countryside.
