[21] _Sämmtliche Werke_ (Stuttgart and Tübingen, 1838), Vol. XII, "Ueber naive und sentimentale Dichtung," p. 168, 169: "This kind of pleasure at the sight of Nature is not an æsthetic pleasure, but a moral one: for it is arrived at by means of an idea, and it is not felt immediately the act of contemplation has taken place, neither does it depend for its existence upon beauty of form." And, p. 189, after pointing out that the Greeks completely lacked this feeling for Nature, he says: "Whence comes this different sense? How is it that we who, in everything related to Nature, are inferior to the ancients, should pay such homage to her, should cling so heartily to her, and be able to embrace the inanimate world with such warmth of feeling? It is not our greater conformity to Nature, but, on the contrary, the opposition to her, which is inherent in our conditions and our customs, that impels us to find some satisfaction in the physical world for our awakening instinct for truth and primitive rudeness, which, like the moral tendency from which that instinct arises, lies incorruptible and indestructible in all human hearts and can find no satisfaction in the moral world." [22] See _Hegels Leben_, by Karl Rosenkranz, especially pp. 475, 476 and 482, 483. [23] See _The Life and Letters of John Constable_, by C. R. Leslie, R.A., pp. 343, 349. [24] See J. Morley's _Rousseau_, Vol. I, pp. 85, 86: "According to his own account, it was Voltaire's Letters on the English which first drew him seriously to study, and nothing which that illustrious man wrote at this time escaped him." And p. 146: "Locke was Rousseau's most immediate inspirer, and the latter affirmed himself to have treated the same matters exactly on Locke's principles. Rousseau, however, exaggerated Locke's politics as greatly as Condillac exaggerated his metaphysics." And p. 147: "We need not quote passages from Locke to demonstrate the substantial correspondence of assumption between him and the author of the Social Contract. They are to be found in every chapter." [25] _Geschichte der Malerei_, Vol. III, p. 175. [26] _Modern Art_, Vol. I, p. 140. [27] _Ibid._, p. 138: "What his fatherland neglected was taken over by the Continent. Strange as this neglect may seem, the rapidity with which Europe assimilated Constable is even more remarkable. The movement began in Paris.... France needed what Constable had to give.... The young Frenchmen saw the traditional English freedom with eyes sharpened by enthusiasm." 3. Portrait Painting.