In the other instance we may not go the whole way with Mr Gosse, when in speaking of the Pre-Raphaelite principle he says that "the school of Turnerian landscape was fatally affected by them," or that all the landscape painters, except Alfred Hunt, "accepted the veto which the Pre-Raphaelites had tacitly laid upon composition or a striving after an artificial harmony of forms in landscape." But to a certain extent their influence undoubtedly was prejudicial in that respect. In suggesting another reason for the cessation of Turner s influence he is quite as near the mark, namely, the action of the Royal Academy in admitting no landscape painters to membership. At Turner's death in 1851 there were only three, among whom was Creswick. "This popular artist," says Mr Gosse, "was the Upas tree under whose shadow the Academical patronage of landscape died in England. From his election as an associate in 1842 to that of Vicat Cole in 1869, no landscape painter entered the doors of the Royal Academy." Of this august body we shall have something to say later on. IV MANET AND WHISTLER AGAINST THE WORLD Let us now cross the channel again, and see what is going on there, in 1863. Evidently there is something on, or there would not be so much excitement. As we approach the Capital we are aware of one name being prominent in the general uproar--that of EDOUARD MANET. Manet's revolt against tradition began before he became an artist, as was in fact necessary, or he would never have been allowed to become one. The traditions of the Bourgoisie were sacred, and their power and importance since the revolution of 1848 not to be lightly set aside. But young Manet was so determined that he was at last allowed by his bourgeois parents to have his way, and was sent to study under that very rough diamond Couture. Now again his "revolting" qualities showed themselves, this time in the life class. Theodore Duret, his friend and biographer, puts it so amusingly that a quotation, untranslated, is imperative:--"Cette repulsion qui se developpe chez Manet pour l'art de la tradition," he says, "se manifeste surtout par le mepris qu'il temoigne aux modeles posant dans l'atelier et a l'etude du nu telle qu'elle etait alors conduite. Le culte de l'antique comme on le comprenait dans la premiere moitie du XIXe siecle parmi les peintres avait amene la recherche de modeles speciaux. On leur demandait des formes pleines. Les hommes en particulier devaient avoir une poitrine large et bombee, un torse puissant, des membres muscles. Les individus doues des qualites requises qui posaient alors dans les ateliers, s'etaient habitues a prendre des attitudes pretendues expressive et heroiques, mais toujours tendues et conventionelles, d'ou l'imprevu etait banni. Manet, porte vers le naturel et epris de recherches, s'irritait de ces poses d'un type fixe et toujours les memes. Aussi faisait-il tres mauvais menage avec les modeles. Il cherchait a en