Sir Edwin Landseer, elected R.A. 1830, it may be said, years before the transformation now spoken of, was welcome in any house whose threshold he pleased to cross. His was rather the exception which proved the rule, and for these reasons; he flourished most just when Court patronage was making the Scotch Highlands fashionable; he was the painter of hounds, horses, animals themselves so eminently aristocratic that no Englishman with any pretensions to social breeding could affect disregard for them, or for their reproducer in art without losing caste. Hence it is that while fifty years since, the Clive Newcomes who took to painting were spoken of by their families in a low voice much as if they had taken to drink, the painter of repute to-day who chose to receive pupils[83] would have no more difficulty in filling his studio twice over, than a fashionable crammer for the army or Civil Service in filling his lecture room. As a fact it is not in the private studios of great artists that the Royal Academician of the future, unlike the intending exhibitor in the Parisian salon, is to-day generally trained. Sass had a rival, or a professional descendant, in the father of a clever versifier H. S. Leigh. Since that day, English artists have generally learnt their craft in the Royal Academy, or the Slade or other schools of England, or in foreign ateliers. These have transformed the surface of Victorian England. The same organization of art teaching, which is to-day at the disposal of all is said to have discouraged the development of individuality. Where genius exists, it is not very likely to be strangled by the conventions of a public school, nor to be prevented from exchanging State teachers for those whom native inspiration prompts it to prefer.