to convince himself that Prout had exceptional genius for catching the spirit of architectural work, and that all he required was technical training, and he sent for him to London, kindly undertaking to give him a room and food in his house in Wilderness Row, Camberwell, whilst prosecuting his studies in Town. Here he remained for about two years, and was introduced to Northcote and Benjamin West, the latter of whom gave him valuable hints on the management of chiaroscuro, and Prout often recurred to his meeting with West and to the utility his advice had been to him. In 1803 and 1804 Britton sent Prout into Cambridge, Essex, and Wiltshire to make sketches and studies of buildings. Some of these were engraved in his Beauties, and others in Architectural Antiquities, 1835.
In the year 1805, Prout returned to Plymouth mainly on account of his health and his headaches, which unfitted him for prosecuting his studies with ease and energy.
He had in the previous year sent his first picture to the Royal Academy, and he was for the next ten years an occasional exhibitor, his subjects being mainly views in Devonshire and coast scenes. His simple drawings, says Mr. Ruskin, were made for the middle classes, even for the second order of the middle classes.
"The great people always bought Canaletti, not Prout. There was no quality in the bright little watercolours which could look other than pert in ghostly corridors and petty in halls of state; but they gave an unquestionable tone of liberal-mindedness to a suburban villa, and were the cheerfullest possible decoration for a moderate-sized breakfast parlour opening on a nicely-mown lawn. Their liveliness even rose, on occasion, to the charity of beautifying the narrow chambers
