Far otherwise was it with Constable, who has done more than any one man to interpret for future generations what Hampstead was in the first half of the nineteenth century, for the Heath and the grand views from its summit inspired some of his finest landscapes, and many of his most charming drawings give details of its scenery. Even before his marriage in 1816 Constable used constantly to go up to Hampstead from his London lodgings to paint, and in 1821 he took a small cottage, No. 2 Lower Terrace, still very much what it was then, for his wife and their three little children. There they lived until 1826, when they removed to the present No. 25 Downshire Hill, but in 1827 Constable gave up his London studio, and settled down permanently {20} with his family in Well Walk, at which house is uncertain, some saying it was No. 40, others No. 46. There his wife, to whom he was devotedly attached, died, and her loss made him cling to Hampstead more closely than ever. She was buried in the churchyard of St. John, where later her husband was laid to rest beside her. [Illustration: CONSTABLE'S FIRS, HAMPSTEAD HEATH] Though the fame of no one of them is quite equal to that of Constable, many other resident artists have aided in maintaining the æsthetic traditions of Hampstead. Some of the best works of William Collins were produced in a house on the Green, and his friend Edward Irving often visited him there. Sir Thomas Beechey retired to Hampstead after his long career of activity; Edward Duncan, Edward Dighton, and Thomas Davis, all resided for some time and died there. Paul Falconer Poole was looked upon as a Hampstead artist _par excellence_, for he worked in the neighbourhood for some twenty-five years. William Clarkson Stanfield was devoted to the old town, and lived in what is now the Public Library, in Prince Arthur Road, from 1847 to 1865, when he removed to Belsize Park Gardens, then St. Margaret's Road, dying in his new home in 1869. Alfred Stevens, who lived for some time in Hampstead, and died there in 1875, executed the beautiful monument to the Duke of Wellington for St. Paul's, in the temporary church of St. Stephen's, which he rented for the purpose. The sculptor John Foley passed away at the Priory, Upper Terrace, in 1874, and in 1888 Frank Holl died in the house he had built for himself in Fitz-John's Avenue. The last {21} twenty years of the long life of Miss Margaret Gillies, one of the first Englishwomen to adopt art as a profession, were spent at No. 25 Church Row, and Mrs. Mary Harrison, one of the first members of what is now the Old Water-Colour Society, resided for sixteen years and died at Chestnut Lodge. Even more intimately associated with Hampstead than any of these was George du Maurier, for he turned its scenery and the familiar incidents of its Heath to account in many of his clever drawings for _Punch_. 'It was,' says his friend Canon Ainger, writing in the _Hampstead Annual_ for 1897, 'by the Whitestone