Chambers drew shipping with admirable accuracy--there is ample proof of this in his picture, _Off Portsmouth_ (p. 52)--and knew the ways of the sea intimately; Stanfield was also an excellent draughtsman, but on the whole was more artificial than Chambers. Both men were for some while successful scene painters, and in Stanfield’s work particularly the influence of the theatre is apparent; there is an obvious scenic quality in such pictures as the _Entrance to the Zuyder Zee_ (p. 54) and _The Port of La Rochelle_ (p. 53); and his _Coast Scene_ (p. 55) is planned and composed with the scene-painter’s feeling for construction and distribution of detail. But, despite the theatrical atmosphere of his art, Stanfield’s achievements are not to be despised, because the foundation of them was sound and the knowledge he displayed in them was acquired at first hand. Dyce’s _Pegwell Bay_ (p. 57) is interesting for two reasons, as a digression by a successful figure painter into open-air work, and as an illustration of the influence exercised by the Pre-Raphaelite movement upon the painters of the time. It is an extraordinary piece of precise statement, photographic in its accuracy, and is painted with a careful regard for reality that deserves recognition. Indeed, its simple honesty makes it of more account than such a picture as Cooke’s _Dutch Boats in a Calm_ (p. 58), which, capable though it is, has more than a suspicion of artificiality; or than E. T. Crawford’s _Closehauled, Crossing the Bar_ (p. 59), in which the spirited treatment of the sea is to some extent discounted by a certain clumsiness in the drawing of the sailing-boats and by the somewhat mechanical manner in which they are used to help out the composition. There is artificiality, too, in the design of Müller’s _Dredging on the Medway_ (p. 60), but it is more cleverly disguised, and the handling is more accomplished. All three of these men, however, contributed something to the sequence of paintings which stands to the credit of the British school, and all were serious observers of the sea. So, too, was Copley Fielding, though other subject-matter than the sea engaged much of his attention. But he spent a good deal of his time on the coast and used his opportunities there with considerable discretion. As a result his sea paintings have a sympathetic quality that is undeniably persuasive, and they derive an additional charm from their dexterity of brushwork and from their pleasant management of colour and tone. The _Coast Scene_ (p. 61) represents him well; it is an eminently skilful technical exercise, and it conveys correctly an impression of gathering storm and of the force of a rising wind. The suggestion, also, of cold, gleaming light when the sky is partly veiled by dark clouds is sufficiently true and is made with due restraint--without that over-accentuation of tone contrasts which is so apt to destroy breadth and unity of effect.