Two absolutely opposed points of view are illustrated in _The Wave_ (p. 123), by Nevinson, and _Margate_ (p. 121), by James McBey. _The Wave_ is an exposition of a modern theory of pictorial expression; it is set forth with unhesitating clearness of manner and method, and allows the artist’s attitude to be estimated at its full value. In such a series as this it fittingly has its place because it presents an aspect of marine painting that has to be considered. The _Margate_ sketch, like W. T. M. Hawksworth’s clever _Low Water, Penzance_ (p. 125), and the _Wet Rocks, St. Ives_, by R. Borlase Smart (p. 126), is frankly naturalistic, professing to be nothing more than a plain record of things as they are, and propounding no new theories about the development and evolution of art. Its spontaneous delicacy of handling is one of its most evident merits. _Motor Launches_, by G. S. Allfree (p. 127), is an example of a type of work which seeks to combine actuality and fantasy in carefully studied proportion, and to produce by this combination something that will be more significant than an absolutely imitative transcription of nature. Certain features of the picture are exaggerated and given marked emphasis so that they may point more definitely the meaning of the subject and increase the strength of its dramatic suggestion. When this method is employed with sane understanding--and with the necessary touch of imagination--it has excellent results. In this case the artist has seen correctly how far it would be expedient for him to go and has not spoiled his picture by making it too audacious. Yet another phase of modern thought in art influences the work of I. W. Brooks, whose desire is not so much to tell a story or to hold the mirror up to nature as to produce an ornamental abstraction. When the methods he employs to attain this end are not too much defined the outcome of them is a picture like _In Cymyran Bay_ (p. 129), which has a most agreeable restfulness and decorative balance and is inspired by a feeling of serious reality. When he is more explicit in his processes he arrives at results like the two coast scenes (pp. 128 and 131), which have the arbitrary expression of a Japanese print and go as far in their elimination of everything save the fundamentals of the design. But such methods are undeniably legitimate because where they are used with due discretion they make possible the working out of decorative schemes which have both distinction and beauty.