ara ▁regions ▁and ▁subsequently ▁spent ▁much ▁time ▁painting ▁cattle ▁as ▁the ▁guest ▁of ▁a ▁gentleman ▁gra z ier ▁of ▁the ▁Camp agna . ▁Mason ▁delight ed ▁in ▁the ▁Camp agna , ▁and ▁produced ▁a ▁number ▁of ▁pictures ▁there ▁including ▁" Pl ough ing ▁in ▁the ▁Camp agna ", ▁" In ▁the ▁Salt ▁Marsh es " ▁( 1 8 5 6 ), ▁and ▁" A ▁F ount ain ▁with ▁Fig ures ". ▁When ▁thinking ▁out ▁a ▁composition , ▁which ▁often ▁origin ated ▁in ▁some ▁literary ▁subject , ▁he ▁usually ▁st rolled ▁the ▁neighbour ing ▁country ▁in ▁search ▁of ▁particular ▁forms ▁and ▁colours ▁for ▁the ▁access ories . ▁Sometimes ▁a ▁new ▁subject ▁would ▁be ▁thus ▁suggested , ▁as ▁in ▁the ▁case ▁of ▁his ▁" Pl ough ing ▁in ▁the ▁Camp agna " ▁for ▁which ▁he ▁desert ed ▁another ▁work ▁already ▁begun . ▁ ▁Mason ▁had ▁many ▁associ ates ▁amongst ▁the ▁pain ters ▁and ▁architect s ▁who ▁visited ▁Rome , ▁and ▁when ▁Freder ic ▁Le ight on ▁made ▁the ▁city ▁his ▁winter ▁headquarters , ▁he ▁and ▁Mason ▁became ▁firm ▁friends . ▁Giovanni ▁Costa ▁was ▁for ▁many ▁years ▁Mason ' s ▁constant ▁companion ▁in ▁Italy . ▁Costa , ▁who ▁in ▁the ▁early ▁days ▁of ▁their ▁int im acy ▁thought ▁Mason ' s ▁execution ▁child ish , ▁recogn ised ▁from ▁the ▁first ▁the ▁beauty ▁of ▁the ▁sentiment ▁which ▁character ised ▁all ▁his ▁work . ▁They ▁adopted ▁together ▁a ▁system , ▁which ▁they ▁christ ened ▁" the ▁E tr us can ", ▁of ▁prepar ing ▁their ▁pictures ▁in ▁mon