produced, and does itself actually exist in the mind." A landscape in words Among the other poems by Dyer that accompanied the first appearance of "Grongar Hill" in Savage's miscellany was his epistle to his teacher Jonathan Richardson, "To a Famous Painter", in which he modestly confessed that “As yet I but in verse can paint”. Not all artists were so outspoken. In his textbook Instructions for Drawing and Colouring Landscapes (London, 1805), Edward Dayes returned to the same description of trees downhill that Gilpin cites as a correct middle ground. Though perhaps "it is too much detailed for any mass in a picture" in itself, he finds it commendable nevertheless as illustrating the principle that diversification of form and colour is needed in painting "to prevent monotony". Bishop John Jebb appealed to other qualities in the text. The demand that a poet should keep to the single viewpoint of an observer is no more than the objection of a mere painter. It is not the objection of a man of moral sensibility; for who would sacrifice for a technicism of art those specialities which ... prepare us for one of the most touching applications in English poetry; for which, be it observed, had we been kept at a distance, according to the rules of perspective, we should not have been sufficiently interested spectators. Gilpin's own nephew, William Sawrey Gilpin, sided with the bishop's appeal in a theoretical work of his own. "Can the mind be pleased, nay delighted, without being interested?" he objected. "How different the estimation of an extensive prospect that suggested the beautiful reflections of the poet" in the passage beginning “See on the mountain’s southern side" (lines 114–28). For all that, the debate over the pictorial qualities of Dyer's poem continued into the 20th century in much the same terms. Christopher Hussey, in his book The Picturesque: studies in a point of view (1927), finds in it a Claudian landscape "composed into a unity", an assessment dismissed by John Barrell in The Idea of Landscape and the Sense of Place (1972). For Barrell the poetic effects are random and the sense of place is disrupted by the way that "the eighteenth century poet is forever interrupting his scene-painting to find its moral or emotional analogue". On the other hand, Barrell saw little difference between the approaches adopted by either Dyer and William Gilpin. Where the latter