1798-1863. Delacroix' journal says that when he saw the Journal

Vol. I.

Ibid.

Ibid.

de Eugène pictures of Constable he sent for and comDelacroix." pletely changed his painting, "The Massacre of Scio," which was at the time being exhibited. And in 1847 he writes: "Constable dit que la superiorité du vert de ses prairies tient à ce qu'il est un composé d'une multitude de verts differents. Ce qu'il dit ici du vert des prairies peut s'appliquer à tous les autres tons." And again: "Constable, homme admirable, est une des gloires anglaises. Je vous en ai déjà parlé, et de l'impression qu'il m'avait produite au moment où je peignais le Massacre de Scio. Lui et Turner sont de véritables réformateurs. Ils sont sortis de l'ornière des paysagistes anciens. Notre école a grandement profité de leur example. Gericault était revenu tout étourdi de l'un des grands paysages qu'il nous a envoyés."

Delacroix and the other originators of the Romantic movement in France were very much impressed by the forceful work of Constable and at once adopted many of his principles. They were struck by the originality of his method, and he had a great effect on

them and on the "School of 1830," Millet, Daubigny, Rousseau, Troyon, and the modern successor of Claude, Corot, who, although not 1796-1875. endowed with the imaginative power of Turner, yet idealized more than any landscape painter before him. His lovely notes of early morning and the quiet and rest of evening are a new personal and poetical revelation to the world. (See Plate 13.) Like Constable he was rejected by the critics of his day. They Isaid his work was unfinished and careless. But the opinion of the few who recognized the coming of a genius in each case prevailed, and public opinion has placed them both in their true places among the most famous artists. Turner occupies a unique place in the history of art (see Plate 12), as the most imaginative landscape painter the world has seen, and as one of its supreme colourists.

About the middle of the nineteenth century the impressionists appeared in France. They had a new theory of placing brilliant colours pure on the canvas and not first mixed on the palette. This gave a very bright and beautiful quality of vibrating air, and many of the

ideas of this school will live; but its work seems an incomplete and transitional phase of art, though the names of its great leaders Manet, Monet, Degas and Renoir will always be remembered. This brings us to the latest school of landscape in Holland, with which we are more specially concerned, as the most recent expression of the subjective view of landscape painting.

It will thus be seen that the men who have had the most powerful influence on landscape art are Claude, Ruysdael, Constable, Turner, and Corot. They were all original and creative men, with a special love of nature and the gift of being able to reproduce their ideas on canvas. Each had his own characteristic views about art, and his own very individual manner and treatment. Each worked in ways not known before his day, and each had a great influence on those who came after him. They were the leaders of the different movements, that culminated in the modern art of landscape painting.