but little that can be attributed to the influence of Constable, whether direct or indirect. Indeed, in some respects it represents the diametrically opposite point of view. Constable's work is really done in the manner of Rembrandt; that is to say, it is unified by a chiaroscuro scheme into which the local colour is worked. Mr. Whistler's painting is really done in the manner of Harunobu; that is to say, it is unified by the rhythmic iteration of certain selected notes of colour. If, then, we compare Constable with the most perfect development of contemporary landscape, it will be seen that he is not only the first of the moderns, but perhaps was also the last of our old masters.
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