The Eighteenth Century
trip to Palestine is especially famous. Unfortunately, the numerous sketches he brought from these voyages are marked by that triviality and poverty of colour with which works superficially felt are stamped, and which damage most of the works of the pupils and followers of Vorobyov.
Among these landscape painters who aimed not so much at the expression of a mood, or, at least, at accuracy in rendition, but rather at striking effects and conventional colouring, who, in short, were, after all, what is aptly denoted by the French term "pittoresque"—among these painters the most noteworthy for their excellent schooling and considerable skill were the following: Maxim Vorobyov's son, Socrates,—the two Chernetzovs, who gave many purely topographic models, in finesse of workmanship sometimes hardly inferior to the best drawing by Galaktionov,—Rabus,—Rayev,—Goravsky,—the water colour painters: Beine, Klages and Premazi. To this list must be added the name of the celebrated landscape-painter Fyodor Matvyeyev (1758–1826), who specialised in Roman views. The later followers of this school were: Bogolyubov, Lagorio, Meshchersky, M. Villier, N. Makovsky, A. Orlovsky, Sudkovsky, Klever and many others. This heterogeneous group of artists may be considered as a whole, for to all of them the main aspect of their artis-
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