It was not long before the example of Constable led some of the younger French artists to study the old Dutch pictures in the Louvre. They were dissatisfied with the methods of painting upheld by the older artists. It seemed to them a waste of time to set up a model in a studio, and then, instead of drawing it as they saw it, to correct it according to some standard of perfection. Nor did they find any interest in putting a number of such figures into artificial groups, in order to build up some grand composition, supposed to represent some classical subject or story of the old time. They were full of interest in the life of their own time, which was the period following the Revolution, when France felt young again and vigorous, and the young artists and poets and fiction-writers were eager to express in their work their joy in the reality of life. When life was so real and so full of promise, why should they look back to the times of the great Italians and occupy themselves with the artificial and make-believe?