It is, however, the art of Constable to which direct influence must be attributed in the foundation of the modern school of landscape--_paysage intime_--in France (see Vol. II., pp. 93-4). Of this school, wholly unrepresented until lately in our National Gallery, a few examples--characteristic, if not very important--may now be seen in Room XVII. (see Nos. 2058, 2135, etc.). --> _We have now concluded our survey of the Foreign Schools. The western doors in Room XVII. lead down a side staircase into the entrance Hall, and thus form an exit from the Gallery. On the staircases leading to the Hall and thence down to the basement, some foreign pictures are now placed. The visitor who wishes to see the British School should return into Room XVI. and thence proceed into the East Vestibule, where a few portraits by British masters are hung. Descending the steps and ascending those opposite, the visitor will come into the West Vestibule, which leads to the rooms of the British School--XVIII., XIX., XX., and XXI. Finally, at the east end of the Gallery, we reach Room XXII., devoted to the Turner Collection. For remarks on the British School see Volume II. From the Entrance Hall, the visitor reaches the West Basement, and by corresponding stairs on the other side the East Basement. In the Basement Rooms are collections of copies from Old Masters and the Turner Water Colours. For notes on the former, see end of this volume; for the Turners, see Volume II._ [Illustration] FOOTNOTES: [36] Elsewhere Mr. Ruskin speaks of "Twickenham classicism" (with a side allusion, of course, to Pope) "consisting principally in conceptions of ancient or of rural life such as have influenced the erection of most of our suburban villas" (_Pre-Raphaelitism_, reprinted in _On the Old Road_, i. 283). [37] In a later lecture on landscape (delivered at Oxford and reported in Cook's _Studies in Ruskin_, p. 290) Ruskin cited Evelyn (who was nearly contemporary with Claude) as another case in point: "We passed through a forest (of Fontainebleau)," says Evelyn, "so prodigiously encompass'd with hideous rocks of white hard stone, heaped one on another in mountainous height, that I think the like is nowhere to be found more horrid and solitary." It is interesting to note how long this ignorance of mountains lasted, even amongst painters. James Barry, the R. A., was "amazed at finding the realities of the Alps grander than the imaginations of Salvator," and writes to Edmund Burke from Turin in 1766 to say that he saw the moon from the Mont Cenis five times as big as usual, "from being so much nearer to it"! NUMERICAL CATALOGUE, WITH BIOGRAPHICAL AND DESCRIPTIVE NOTES N. B.--_The pictures here described are pictures belonging to Foreign Schools only. The numerals refer to the numbers on the frames._ _Pictures in the National Gallery to which, because they are deposited on loan or for other reasons, no numbers are attached, are described at the end of the Numerical Catalogue._