. A wanderer in London. e staircase, and as a child I wondered before it aswe entered the National Gallery on the way to coolerthings. That was thirty years ago, I suppose; but I re-member the impression still. If Room XX is Cromes room, Room XXI is and Constables — the conjunction is interesting:to me intensely so because in the Mousehold Heath andmore than one of the Constable sketches, but particularlythe Stoke-by-Nayland, Suffolk, No. 1819, The MillStream, No. 1816, The Country Lane, No. 1821, andThe Cornfield, No. 1065, one seems to see the germ ofBarbizon landscape. As
. A wanderer in London. e staircase, and as a child I wondered before it aswe entered the National Gallery on the way to coolerthings. That was thirty years ago, I suppose; but I re-member the impression still. If Room XX is Cromes room, Room XXI is and Constables — the conjunction is interesting:to me intensely so because in the Mousehold Heath andmore than one of the Constable sketches, but particularlythe Stoke-by-Nayland, Suffolk, No. 1819, The MillStream, No. 1816, The Country Lane, No. 1821, andThe Cornfield, No. 1065, one seems to see the germ ofBarbizon landscape. As one so often sees the father in theson — a hint of the elder generation in a passing expressionon even the infants face — so as one looks at these picturesmay one catch glimpses of Troyon and Rousseau, Diaz andMillet. The gleaner in the foreground of No. 1065 issheer Millet. Constables larger and more painty land-scapes, the Flatford Mill, The Hay Wain, and soforth, seem to me smaller efforts than some of his more. l.\\)\ AMI ( ) AFTKR THE PlfTIKK IIOMNKY IN 1111 NVIKiNM. <,KV TURNER 117 impressionistic and rapid sketches here and elsewhere — atSouth Kensington and the Diploma Gallery. There is lessof inevitable masterly genius about them than in the little Summer Afternoon after a Shower, No. 1815, which isterrific, and No. 1817, The Gleaners, and No. 1822,Dedham Vale. These are to me among the greatestworks of EngUsh art. Room XXI contains also James Wards view of HarlechCastle, in the grand manner, a vast landscape of muchpower and interest; and here are six Turners which haveoverflowed from Room XXII, two of them of especialbeauty — the Bligh Sands, No. 496, and Abingdon,No. 485, in a golden morning mist. It is to this room alsothat one must go for Wilkies gentle translations of JanSteen and Teniers into homely Doric, and for a beautifulmellow Cotman, River Scene, No. 1111, of which I nevertire. Of the Turners in Room XXIII feel myself incapabl
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