THE outbreak of the Franco-German War in 1870 scattered far and wide the little group that congregated at the Café Guerbois, and had a curious effect upon the evolution of their methods of painting. Several of the leading members of the circle crossed to England, and the studies they pursued in London formed the basis for the unconventional departures which have produced the masterpieces of Modern Impressionism. Practically all the later developments of their art date from the above-named year, and if a place of genesis be sought for it will be found in the London National Gallery. As related in a previous chapter, Edouard Manet, the acknowledged head at the Café Guerbois gatherings, became a captain in the Garde Nationale, with Meissonier as his colonel. Boudin and Jongkind fled to Belgium, and became labourers. Monet, Pissarro, Bonvin, Daubigny, and some friends, braved the horrors of “La Manche” and settled in London. They arrived almost penniless, thoroughly disheartened by the terrible events which were threatening their motherland with disaster. The journey, momentous to the unhappy passengers, was the opening of a new epoch in art. The following letter from Pissarro, to the author, written in November 1902, gives an interesting account of their doings in London. He says: “In 1870 I found myself in London with Monet, and we met Daubigny and Bonvin. Monet and I were very enthusiastic over the London landscapes. Monet worked in the parks, whilst I, living at Lower Norwood, at that time a charming suburb, studied the effects of fog, snow, and springtime. We worked from Nature, and later on Monet painted in London some superb studies of mist. We also visited the museums. The water-colours and paintings of Turner and of Constable, the canvases of Old Crome, have certainly had influence upon us. We admired Gainsborough, Lawrence, Reynolds, &c., but we were struck chiefly by the landscape-painters, who shared more in our aim with regard to “plein air,” light, and fugitive effects. Watts, Rossetti, strongly interested us amongst the modern men. About this time we had the idea of sending our studies to the exhibition of the Royal Academy. Naturally we were rejected.” “Naturally we were rejected!” These poor exiles were offering to the conservative Academy canvases painted in a method that Constable could not get accepted forty years before.