Crome, by his isolation at Norwich, escaped this tendency. The Norwich painters, however, were, to a certain degree, an accident. In the London of their time, the almost total cessation of intercourse with continental Europe, due to the war with France, had not prevented the academical standard from penetrating and taking root. The independence of Hogarth in the preceding century had been without result; and Sir Joshua Reynolds, in principle if not always in practice, had preached the doctrine of submission to accepted formulas. Benjamin West, who had succeeded him as president of the Royal Academy, was little but an academic formula himself; and landscape (whose greatest representative had been, until his death in 1782, Richard Wilson, a painter of merit, who had united to a charming sense of color an adherence to the strictest classical influence) was wallowing in the mire of conventionality. [Illustration: THE PARSON'S DAUGHTER. FROM A PAINTING BY GEORGE ROMNEY IN THE NATIONAL GALLERY, LONDON. This portrait, from an unknown model, gives Romney with all his charm and more than his usual sincerity.] To the London of 1800, however, were to be given two landscape painters who may fairly claim the honor of placing their art on a higher pinnacle than it had ever before reached. One of them, John Constable, remains to-day the direct source from which all representation of the free open air is derived, be the painter Saxon, Gallic, or Teuton. The other, Joseph Mallord William Turner, may be said to reach greater heights than his contemporary; but, unlike him, his art is so based on qualities peculiar to himself that he stands alone, though having many imitators who have never achieved more than a superficial resemblance to his work. Constable, founding his work on nature with close observance of natural laws, was able to exert an influence by which all painters have since profited. When he came to London, at the age of twenty-three, to study in the school of the Royal Academy, he attracted the attention of Sir George Beaumont, an amateur painter who, by his taste and social position, was all-powerful in the artistic circles of the metropolis. It was he who asked the young painter the famous question, "Where do you place your brown tree?" this freak of vegetation being one of the essential component parts of the properly constructed academical landscape of the period. For a year or two the youth placed brown trees, submissively enough, in landscapes painfully precise in detail and deficient in atmosphere. Then he did that which to a common, sensible mind would seem the most obvious thing for a landscape painter to do, but which had been done so rarely that the simple act was the boldest of innovations. He took his colors out of doors, and painted from nature. [Illustration: JOHN CONSTABLE. FROM AN ENGRAVING BY LUCAS, AFTER A PORTRAIT BY C.E. LESLIE