from Paris and the provinces are masterpieces of spirited, impressionist observation--qualities which he owed, not to Gros, but to Constable. He was the first to communicate the knowledge of the great English classic painters to the youth of France, and they of Barbizon and Ville d'Avray continued to spin the threads which connect Constable with the present. [Illustration: RICHARD PARKES BONINGTON.] CHAPTER XXV LANDSCAPE FROM 1830 That same Salon of 1822 in which Delacroix exhibited his "Dante's Bark" brought to Frenchmen a knowledge of the powerful movement which had taken place on the opposite side of the Channel. English water-colour painting was brilliantly represented by Bonington, who sent his "View of Lillebonne" and his "View of Havre." Copley Fielding, Robson, and John Varley also contributed works; and these easy, spirited productions, with their skies washed in broadly and their bright, clear tones, were like a revelation to the young French artists of the period. The horizon was felt to be growing clear. In 1824, at the time when Delacroix's "Massacre of Chios" appeared, the sun actually rose, bringing a flood of light. The English had learnt the way to France, and took the Louvre by storm. John Constable was represented by three pictures, and Bonington, Copley Fielding, Harding, Samuel Prout, and Varley were also accorded a place. This exhibition gave the deathblow to Classical landscape painting. Michallon had died young in 1822; and men like Bidault and Watelet could do nothing against such a battalion of colourists. Constable alone passed sentence upon them of eternal condemnation. Familiar neither with Georges Michel nor with the great Dutch painters, the French had not remarked that a landscape has need of a sky expressive of the spirit of the hour and the character of the season. Even what was done by Michel seemed a kind of diffident calligraphy when set beside the fresh strand-pieces of Bonington, the creations of the water-colour artists, bathed as they were in light, and the bold pictures of the Bergholt master, with their bright green and their cloudy horizon. The French landscape painters, who had been so timid until then, recognised that their painting had been a convention, despite all their striving after truth to nature.