60 the Benchers of
Lincoln's Inn accepted his _School of Legislature_, and in 1867 he was
elected an academician.

Two somewhat remarkable effects of the movement are attributed to it by
Mr Edmund Gosse (in a note on the work of Alfred Hunt, written in
1884), which are probably typical of many more. The Liverpool Academy,
founded in 1810, had an annual grant of L200 from the Corporation. In
1857 it gave a prize to Millais' _Blind Girl_ in preference to the most
popular picture of the year (Abraham Solomon's _Waiting for the
Verdict_), and so great was the public indignation that pressure was
brought to bear on the Corporation, the grant was withdrawn, and the
Academy ruined.

In the other instance we may not go the whole way with Mr Gosse, when in
speaking of the Pre-Raphaelite principle he says that "the school of
Turnerian landscape was fatally affected by them," or that all the
landscape painters, except Alfred Hunt, "accepted the veto which the
Pre-Raphaelites had tacitly laid upon composition or a striving after an
artificial harmony of forms in landscape." But to a certain extent their
influence undoubtedly was prejudicial in that respect. In suggesting
another reason for the cessation of Turner s influence he is quite as
near the mark, namely, the action of the Royal Academy in admitting no
landscape painters to membership. At Turner's death in 1851 there were
only three, among whom was Creswick. "This popular artist," says Mr
Gosse, "was the Upas tree under whose shadow the Academical patronage of
landscape died in England. From his election as an associate in 1842 to
that of Vicat Cole in 1869, no landscape painter entered the doors of
the Royal Academy." Of this august body we shall have something to say
later on.

IV

MANET AND WHISTLER AGAINST THE WORLD

Let us now cross the channel again, and see what is going on there, in
1863. Evidently there is something on, or there would not be so much
excitement. As we approach the Capital we are aware of one name being
prominent in the general uproar--that of EDOUARD MANET.

Manet's revolt against tradition began before he became an artist, as
was in fact necessary, or he would never have been allowed to become
one. The traditions of the Bourgoisie were sacred, and their power and
importance since the revolution of 1848 not to be lightly set aside. But
young Manet was so determined that he was at last allowed by his
bourgeois parents to have his way,