There is nothing either mythical or fantastic about H. S. Tuke’s _August Blue_ (p. 88); on the contrary it is a purely realistic painting of a most ordinary subject--some boys bathing from a boat on a calm sunlit sea. But out of this quite ordinary material he has built up a picture with an exceptional degree of dignity, largely felt, and with a kind of classic distinction of manner. But there is in it no coldness or want of human interest; it is living, animated, and essentially of to-day, and wholly right in its fresh, unforced naturalism. Easy, fluent draughtsmanship and strength of design help to make it a memorable exercise in descriptive painting. The next three pictures, Sir David Murray’s _The Fiend’s Weather_ (p. 89), _Where the Somme meets the Sea_, by Tom Robertson (p. 90), and Moffat Lindner’s _The Storm-Cloud, Christchurch Harbour_ (p. 91), provide a sufficiently striking contrast in effects of atmosphere. The first suggests the turmoil of a gathering storm, threatening ruin and destruction to everything in its path and sweeping irresistibly over land and sea. In his treatment of it the artist has made the most of a dramatic opportunity to show how thorough has been his study of nature and how well he understands her ways, even when she is in one of her most perverse moods. The second picture finds her at her gentlest moment, exquisitely calm and peaceful and perfectly in repose; the third at a time when beneath her smile lies a threat, and when almost without warning a sudden outburst may break the quiet of a summer evening. All three paintings deserve attention, for they represent artists who are prominent amongst us to-day and whose work is with justice widely appreciated. Another painter who handles coast subjects with notable ability is W. Russell Flint. His two water-colours, _The Fane Islands_ (p. 93) and _Passing Sails_ (p. 95), have a breadth and distinction of manner and a brilliant directness of brushwork that can be unreservedly admired. His simplified method of dealing with nature’s facts is very effective, as it gives plainly the real essentials without any labouring of detail and without diverting attention from the things that he wishes to emphasize. It has a decorative value, too, and adds a quality of style to his work. During the last few years he has produced many paintings of this type--coast scenes with figures--and he has kept them consistently at a high level of accomplishment.