who formed the Norwich School. Crome was its leader, and
the school made its influence felt upon English landscape painting.
Cotman (1782-1842) was the best painter of the group after Crome, a
man who depicted landscape and harbor scenes in a style that recalls
Girtin and Turner.

The most complete, full-rounded landscapist in England was John
Constable (1776-1837). His foreign bias, such as it was, came from a
study of the Dutch masters. There were two sources from which the
English landscapists drew. Those who were inclined to the ideal, men
like Wilson, Calcott (1779-1844), and Turner, drew from the Italian of
Poussin and Claude; those who were content to do nature in her real
dress, men like Gainsborough and Constable, drew from the Dutch of
Hobbema and his contemporaries. A certain sombreness of color and
manner of composition show in Constable that may be attributed to
Holland; but these were slight features as compared with the
originality of the man. He was a close student of nature who painted
what he saw in English country life, especially about Hampstead, and
painted it with a knowledge and an artistic sensitiveness never
surpassed in England. The rural feeling was strong with him, and his
evident pleasure in simple scenes is readily communicated to the
spectator. There is no attempt at the grand or the heroic. He never
cared much for mountains or water, but was fond of cultivated uplands,
trees, bowling clouds, and torn skies. Bursts of sunlight, storms,
atmospheres, all pleased him. With detail he was little concerned. He
saw landscape in large patches of form and color, and so painted it.
His handling was broad and solid, and at times a little heavy. His
light was often forced by sharp contrast with shadows, and often his
pictures appear spotty from isolated glitters of light strewn here and
there. In color he helped eliminate the brown landscape and
substituted in its place the green and blue of nature. In atmosphere
he was excellent. His influence upon English art was impressive, and
in 1824 the exhibition at Paris of his Hay Wain, together with some
work by Bonington and Fielding had a decided effect upon the then
rising landscape school of France. The French realized that nature lay
at the bottom of Constable's art, and they profited, not by imitating
Constable, but by studying his nature model.

[Illustration: FIG. 99.--BURNE JONES. FLAMMA VESTALIS.]

Bonington (1801-1828) died young, and though of