The _Weymouth Bay_ (No. 1808), which realised as much as £2240 at the Marquis de la Rochebrune’s sale in 1873, has been enthusiastically commented upon by Bürger, but cannot pass the ordeal of searching criticism. It is incoherent, and in the details of the foreground and the painting of the figures and sheep lacks the purposeful sureness of touch which is the hall-mark of Constable’s art. _The Cottage_ (No. 1806) has the same provenance. Mr. P. M. Turner, in an article in the _Burlington Magazine_, suggests that F. W. Watts, a feeble imitator of Constable, is the real author of this timidly executed painting—an attribution which is certainly more convincing than the one in the official catalogue. The _Glebe Farm_ (No. 1810) tallies closely, as regards the superficial aspect, with the picture of the same title at the National Gallery, to which it is, however, so inferior as to put Constable’s authorship out of the question. _The Windmill_ (No. 1810A), a gift of Mr. Sedelmeyer, seems to be a copy of the _Spring_ at the Victoria and Albert Museum. _The Rainbow_ (No. 1807) may possibly be by Constable, although its authorship has been questioned by several reliable authorities. James Webb (1825?-1895), a painter of undeniable talent for imitating the manner of artists greater than himself, is beyond much doubt responsible both for the _Landscape_ (No. 1820), which is officially given to Richard Wilson (1714-1782), and for the view of the _Pont Neuf_ (No. 1819), which is still exhibited as an example by the greatest English landscape painter J. M. W. Turner (1775-1851). Unfortunately Turner’s name has to be added to Hogarth’s and Gainsborough’s in the list of eminent British masters who are not represented at the Louvre. [Illustration: PLATE LIV.—JOHN CONSTABLE (1776-1837) No. 1809.—HAMPSTEAD HEATH (Vue de Hampstead Heath) A wide-spreading landscape view, with little incident, from Hampstead Heath looking in a northerly direction. Painted in oil on canvas. 1 ft. 1¼ in. × 1 ft. 2¼ in. (0·26 × 0·36.)] BONINGTON