182 THE ESSEX FIELD CLUB.
great painter. He was born at Flatford Mill in 1776, and was the second son of
Golding Constable, the owner of the Mill. He first went to a school about fifteen
miles from East Bergholt, thence to a school at Lavenham, and afterwards to
Dedham Grammar School, under Dr. Grimwood, where he did not excel except in
penmanship, but his master detected the hoy's talent. The story is told that
during his lessons a pause would sometimes occur, which Dr. Grimwood would be
the first to break, "Go on, I am not asleep ! Ah ! now I see you are in your
painting room." It was originally intended that he should take Orders, but he
had no taste for the necessary studies, and his father determined to make him a
miller. For a year he performed his duties carefully and well, but all his spare
time was spent in the company of a plumber and glazier of Bergholt whose tastes
corresponded with his own, one John Dunthorne, whose son subsequently became
pupil and assistant to Constable.
In 1795 Constable's father gave consent to his going to London, to see what
success he might have as a painter. After a year's absence he came home, but he
returned to London in 1799, being admitted a student of the Royal Academy.
From that time his home was in London, but he made long and frequent visits in
the summer and autumn of each year to Bergholt. Of all artists perhaps none
appealed more to the sympathy of the naturalist than Constable. Being asked
by Sir George Beaumont what style he meant to imitate, he replied—"None but
God Almighty's style." "The great vice of the day," said he, "is braving an
attempt to do something beyond the truth." In a lecture upon Constable before
the Phrenological Society occurred the following passage : "He seemed to think
that he came into the world to convince mankind that nature is beautiful. Instead
of seeking for the material of poetic landscape in foreign countries, amidst
temples, classic groves, or in our own, among castles, lakes, and mountains, he
taught that the simple cottage, the village green, the church, the meadows covered
with cattle, the canal with its barges, its locks, and reedy banks, contained all the
materials and called up all the associations for a picture." Constable said, "I
love every stile and stump in the village, and as long as I am able to hold a brush
I shall never cease to paint them." Mr. Shenstone went on to remark that
the lives of all pioneers, whether in art, science, or literature, were apt to be tinged
with sadness. It seldom fell to their lot to gain the appreciation and sympathy
of the world during their lifetime, and so it was with Constable. Early in life
his father was opposed to his making art a profession. Later his marriage was
long delayed by the opposition of his bride s grandfather, Dr. Rhudde, a former
rector of East Bergholt, who failed to appreciate Constable's genius. They
married without the parent or grandparent's consent, and feared for some years
permanent poverty, but happily Dr. Rhudde in time relented. The honour of
being elected a Royal Academician was also delayed until late in life, after the
death of his wife, and how keenly he felt in the matter of its tardy bestowal was
best described in his own words : "It has been delayed until I am solitary and
cannot impart it." Constable was never fully appreciated in England during his
lifetime. The British public suffered the due recognition of this great and pure
painter of our own national scenery to come from Fiance and from posterity. He
was awarded a gold medal by the king of France in 1828, and his pictures
appeared to have been much appreciated in France. But in Paris, as in London,
professorial critics would not admit that his art was true. Mr. Shenstone
enumerated the pictures painted by Constable of places in the Dedham district,
and which were now in the National Gallery, or at South Kensington, and in
conclusion said—"The county has, of course, somewhat altered since his day, so