All the major painters of the period were to varying degrees influenced by forms of Neoclassicism, which revived Greek and Roman form of artistic expression. Italy became an important point of reference for Scottish artists, with over fifty artists and architects known to have travelled there in the period 1730–80 as part of a Grand Tour, to paint, sample the art and learn from Italian masters. With so many artists visiting or resident, Rome became almost a "Third Academy)" for Scots. In the second half of the century Scots became the major figures in the trade in antique sculpture, particularly Gavin Hamilton, Colin Morison (1732–1801) and James Byres (1734–1817), making them the arbiters of British taste in this area. However, the only major Scottish collection of marble before the nineteenth century was that of James Johnstone, 2nd Marquess of Annandale. Scottish artists in the later eighteenth century were strongly influenced by the Enlightenment, which stressed rationalism and human inquiry, of which Scotland was a major centre of influence. Artists like Alan Ramsey formed The Select Society, with philosophers David Hume and Adam Smith and produced his "Dialogue on Taste", which made a major contribution to the study of aesthetics. Scotland also played a major part in the origins of the Romantic movement through the publication of James Macpherson's Ossian cycle, which was proclaimed as a Celtic equivalent of the Classical epics. "Fingal", written in 1762, was speedily translated into many European languages, and its deep appreciation of natural beauty and the melancholy tenderness of its treatment of the ancient legend did more than any single work to bring about the Romantic movement in European, and especially in German literature, influencing Herder and Goethe. The origins of the Scottish landscape painting tradition are in the Nories' capriccios or pastiches of Italian and Dutch landscapes. Jacob More, having trained with the Nories, moved to Italy in 1773 and is chiefly known as a landscape painter. This period saw a shift in attitudes to the Highlands and mountain landscapes in general, from viewing them as hostile, empty regions occupied by backwards and marginal people, to interpreting them as aesthetically pleasing exemplars of nature, occupied by rugged primitives, which were now depicted in a dramatic fashion. Produced before his departure to Italy, More's series of four "Falls of Clyde" (1771–73) paintings have been described by art historian Duncan Macmillan as treating the waterfalls as "a kind of natural national monument" and has been seen as an early work in developing a romantic sensibility to the Scottish landscape.