use his life-long rival
Ingres also took the opportunity of exhibiting a selection of his works
in the same building. But in spite of this success, and in spite of his
being elected an Academician in 1857, the critics remained incorrigible.
His pictures in the Salon of 1859 once more called forth one of those
storms of abuse that Delacroix had the gift of arousing. Weary and
disheartened--"All my life long I have been livre aux betes," was his
bitter exclamation--he vowed to exhibit no more, and kept his word.

III

RUSKIN AGAINST THE PHILISTINES

IN England, meantime, great things were being accomplished amid peaceful
surroundings. In portraiture Lawrence soon became supreme, and what
excellence he possessed was accentuated on his death in 1830 by the
appointment of Sir Martin Archer Shee as his successor in the Presidency
of the Royal Academy. That was the end of portraiture in England until a
new school arose. But it was in landscape that our country occupied the
field in the first half of the nineteenth century, and tilled it with
the astonishing results that are usually the effect of doing much and
saying little. The work accomplished by Turner, Constable, and Cotman,
in the first half of the century, to say nothing of Crome and one or two
of the older men who were still alive, has never been equalled in any
country, and yet less was heard about the execution of it than would
keep a modern journalist in bread and cheese for a week. Turner, who
wouldn't sell his pictures, and Constable, who couldn't, between them
filled up the measure of English art without any other aid than that of
the materials with which they recorded their gorgeous communion with
nature. When Ruskin stepped in with the "Modern Painters," originally
designed as a vindication of Turner against certain later-day critics,
Turner's comment was, "He knows a great deal more about my pictures than
I do. He puts things into my head and points out meanings in them that I
never intended." That was in 1843, when Turner was well on in his third
manner--within eight years of his death. But let us go back to the
beginning.

Until he developed his latest manner, Turner was about the most popular
artist that ever lived. His pictures were not above the comprehension of
the public, educated or otherwise, and no effort was either needed or
demanded to understand them. In the diary of a provincial amateur,
Thomas Greene, are recorded an impression of Tu