In 1829, however, the world moving, Constable was elected to membership in the Royal Academy. The most notable triumph of his life, though, befell seven years earlier, in 1822, when he sent three pictures to be exhibited in the Salon in Paris. The Hay-Wain, and Hampstead Heath, both at present in the National Gallery, London, were of the three, and excited the greatest enthusiasm among the group of young painters who, with Delacroix at their head, were warring against the academic rule imposed by David. Constable's work thenceforward was the dominant influence in France, and from it can be directly traced the great group of landscape painters which we to-day miscall the "Barbizon" school. It is pleasant to recall that official honor--the first which he received--came to Constable by the award of the great gold medal of the Salon at this time. For a number of years after this he sent his work to the successive Salons. Pecuniary success, such as fell to the lot of Turner, was never his; the first painter who looked at nature in the open air "through his temperament," as Zola aptly expresses it, was perforce contented to live a modest life at Hampstead, happy in his work, grateful to nature who disclosed so many of her secrets to him. [Illustration: THE "FIGHTING TEMERAIRE" TUGGED TO HER LAST BERTH. FROM A PAINTING BY J.M.W. TURNER. The "Fighting Téméraire" was a line-of-battle ship of ninety-eight guns which Lord Nelson captured from the French at the battle of the Nile, August 1, 1798. In the battle of Trafalgar, October 21, 1805, she fought next to the "Victory"--the ship from which Nelson commanded the battle, and aboard which, in the course of it, he was killed. She was sold out of the service in 1838, and towed to Rotherhithe to be broken up. Turner's painting was exhibited at the Royal Academy of 1839. His picture touched the popular heart, and though no reproduction in black and white can approach the splendor of color in the original, the engraving renders faithfully the sentiment of the picture.] "I love," he said, "every stile and stump and lane in the village; as long as I am able to hold a brush, I shall never cease to paint them." He ceased to "hold a brush" on the 30th of March, 1837.