_Camille Roqueplan_, the many-sided pupil of Gros, made his first appearance as a landscape painter with a sunset in 1822. He opposed the genuine windmills of the old Dutch masters to those everlasting windmills of Watelet, with their leaden water and their meagre landscape. In his pictures a green plain, intersected by canals, stretches round; a fresh and luminous grey sky arches above. That undaunted traveller _Camille Flers_, who had been an actor and ballet dancer in Brazil before his appearance as a painter, represented the rich pastures of Normandy with truth, but was diffident in the presence of nature where she is grand. His pupil, _Louis Cabat_, was hailed with special enthusiasm by the young generation on account of his firm harmonious style. His pictures showed that he had been a zealous student of the great Dutch artists, and that it was his pride to handle his brush in their manner, expressing as much as possible without injuring pictorial effect. He is on many sides in touch with Charles de la Berge. Later he even had the courage to see Italy with fresh eyes, and in a simple manner to record his impressions without regard for the rules and theories of the Classicists. But the risk was too great. He became once more an admirer of imposing landscape, an adherent of Poussin, and as such he is almost exclusively known to us of a younger generation. [Illustration: _Baschet._ J. M. W. TURNER.] _Paul Huet_ was altogether a Romanticist. In de la Berge there is the greatest objectivity possible, in Huet there is impassioned expression. His heart told him that the hour was come for giving passion utterance; he wanted to render the energy of nature, the intensity of her life, with the whole might of vivid colouring. In his pictures there is something of Byronic poetry; the conception is rich and powerful, the symphony of colour passionately dramatic. In every one of his landscapes there breathes the human soul with its unrest, its hopelessness, and its doubts. Huet was the child of an epoch, which at one moment exulted to the skies and at another sorrowed to death in the most violent contrast; and he has proclaimed this temper of the age with all the freedom and power possible, where it is only earth and sky, clouds and trees that are the medium of expression. Most of his works, like Romanticism in general, have an earnest, passionate, and sombre character; nothing of the ceremonial pompousness peculiar to Classical landscapes. He has a passion for boisterous storms and waters foaming over, clouds with the lightning flashing through them, and the struggle of humanity against the raging elements. In this effort to express as much as possible he often makes his pictures too theatrical in effect. In one of his principal works, the "View of Rouen," painted in 1833, the breadth of execution almost verges on emptiness and panoramic view. Huet was in the habit of heaping many objects together in his landscapes. He delighted