their
distinct personality almost forbade his being considered a disciple of
any school.

Holman Hunt may be called the one persistent follower of this cult. He
has consistently embodied his convictions in his pictures, the value of
which to English art cannot yet be determined. This is also true of the
marvellous work of Burne Jones; but although they have but few faithful
followers, Pre-raphaelite art no longer needs defence nor apology.

Its secondary effect is far-reaching. To it may be largely attributed the
more earnest study of Nature as well as the simplicity of treatment and
lack of conventionality which now characterizes English art to an extent
before unknown.

* * * * *

Impressionism is the most distinctive feature of nineteenth-century art,
and is too large a subject to be treated in an introduction--any proper
consideration of it demands a volume.

The entire execution of a picture out-of-doors was sometimes practised by
Constable, more frequently by Turner, and some of the peculiarities of
the French impressionist artists were shared by the English landscape
painters of the early part of the century. While no one could dream of
calling Constable an impressionist, it is interesting to recall the
reception of his "Opening of Waterloo Bridge." Ridiculed in London, it
was accepted in Paris, and is now honored at the Royal Academy.

This picture was covered with pure white, in impasto, a method dear to
impressionists. Was Constable in advance of his critics? is a question
that comes involuntarily to mind as we read the life of this artist, and
recall the excitement which the exhibition of his works caused at the
Salon of 1824, and the interest they aroused in Delacroix and other
French painters.

The word Impressionism calls to mind the names of Manet, Monet, Pissaro,
Mme. Berthe Morisot, Paul Cezanne, Whistler, Sargent, Hassam, and many
others. Impressionists exhibited their pictures in Paris as early as
1874; not until 1878 were they seen to advantage in London, when Whistler
exhibited in the Grosvenor Gallery; and the New English Art Club, founded
in 1885, was the outcome of the need of this school to be better
represented in its special exhibitions than was possible in other
galleries.

In a comprehensive sense Impressionism includes all artists who represent
their subjects with breadth and collectiveness rather than in detail--in
the way in which we see a view at