Just as England by her influence had created Rousseau and his peculiar mode of thinking,[24] so, again, British influence was to show its power in the world of Art. The parallel is striking, but nevertheless true. In the years 1824, 1826 and 1829, Constable, whom Muther calls the father of landscape painting,[25] and whom Meier Graefe calls the father of modern painting,[26] exhibited in Paris, and his style soon became a dominant force.[27] Stendhal, though very much too moderate, was one of the first to raise, his voice against the lack of idealism (transfiguration, simplification) in these English pictures; but his efforts were of no avail, and he might just as well have shouted in the face of a hurricane. [6] According to Dr. Wilhelm Lübke, _Outlines of the History of Art_ (Vol. II, p. 452), Patenier might almost be called the founder of the modern northern school of landscape painting. See also p. 575 in the same volume. On this subject see also Muther, _Geschichte der Malerei_, Vol. II, p. 72: "Although in a way it is possible to establish in what respect the painting of the Netherlands in the sixteenth century ran parallel with that of Italy, it is also necessary to emphasize the fact, on the other hand, that painting." Muther mentions Hendrik Met de Bles, Joachim de Patenier and Bosch as the leaders of this tendency. [7] See W. H. Riehl, _Culturstudien aus drei Jahrhunderten_, p. 67. [8] This use of the word sentimental in regard to the love of nature for its own sake, is not by any means unprecedented. Schiller, in his essay _Ueber naive und sentimentale Dichtung_, as an advocate in favour of the love in question, constantly refers to it as sentimental. (See 1838 Edition of _Works_, Vol. XII, pp. 167-281.) [9] See W. R. Hardie, _Lectures in Classical Subjects_, pp. 16-17: "What are the scenes in Nature which had the greatest attraction for the ancients? The landscape which a Greek would choose for his environment was a tranquil one, a cultivated spot or a spot capable of cultivation;" and p. 21: "... apart from the work of one or two exceptional poets like Æschylus or Pindar, it must be allowed that the ancient view of Nature was somewhat prosaic and practical, showing a decided preference for fertile, habitable and accessible country."