So there is, too, for conceptions of such a totally different type as _The Wreck_ by C. E. Holloway (p. 68), and the _Marine_ by Whistler (p. 69). These go to the opposite extreme, eliminating detail, avoiding precise and careful explanations, conceding nothing to the unimaginative man who can only believe what is made perfectly clear to his limited vision. They demand from every one who sees them a full measure of thought and intelligent analysis so that the shrewd understanding which controls their apparent carelessness of method can be estimated at its proper worth. Holloway’s painting is, in fact, only a rapid note in which he has visualized a momentary impression, but visualized it so surely that he has been able to make other people see just what he himself saw in the subject. Whistler’s _Marine_ is an impression, too, a summary of movement and wave action; but it is something more than a simple realization of the fundamental things in nature because into the treatment of it a decorative intention has been definitely admitted. By the painter’s skill the formality of the design has been cleverly concealed, and by the spontaneity of his method the deliberate processes of his art are kept from being too apparent; but formality and deliberation have both contributed to the successful evolution of a very significant picture. Quite a different kind of sentiment pervades Hook’s vigorous canvas, _The Seaweed Raker_ (p. 71). He was not concerned with subtleties of suggestion or with problems of decorative adjustment, but with the robust representation of nature’s ruggedness, and there was a simple honesty in his virile, forcible work. He understood the sea, and though he looked at it in rather a literal way he never made his paintings of it commonplace. Partly this was due, no doubt, to the unaffected directness of his executive devices and to the frankness of his craftsmanship--he never resorted to any graceful artifices to soften off the bare facts of his subjects--but there came in also the influence of a temperament which was by no means insensible to the romance of the sea and to the sombre poetry of the seaman’s life. That Hook was one of the greatest of British marine painters can fairly be claimed.