It was not till about 1880 that Whistler took up water-colour painting. The _London Bridge_ referred to above was done soon after his return from Venice. He then used this medium for some fine drawings made in the Channel Islands, and from time to time in various places in England and abroad, chiefly at St. Ives and Southend. It is almost unnecessary to say that he used water-colour with the same unerring mastery he displayed in his etchings and pastels. But the curious will notice the use he made in nearly all his water-colours of the grey underpainting which played such an important part in the drawings of the early topographers. He did not, however, use this grey underpainting, as they did, merely to establish the broad division of light and shade. In his bold and skilful hands it did more than this; it formed the unifying element--the ground tone or harmony--which knit together the lovely tones and colours which made his works so charming and delightful to the eye. The influence of Whistler’s methods and ideals is clearly marked in the works of men like J. Buxton Knight and C. E. Holloway, two artists who produced a greater volume of fine work in water-colour than Whistler. We might have chosen them on this account to take his place in our small gallery of representative water-colour painters, but the quality of Whistler’s work seemed to us of more consequence than their quantity. And though both these men--especially Buxton Knight--urgently demand fuller recognition than they have yet received, we are bound to admit that Whistler was a greater genius than either; and that seems to settle the matter. (5) THE WORK OF TO-DAY We have now traced the development in the past of subject-matter and technique in British landscape painting in water-colour, and we have surveyed as well as our poor memories would enable us to do so--for the Museums have long been closed and most private collections are inaccessible, and it is therefore impossible either to verify or renew our earlier impressions--the differing aims and diverse achievements of a few of those who have made our national art so glorious and so memorable. We have done this because the careful and attentive study of the history of an art provides the best, and, indeed, the only, means by which we can educate ourselves to value and appreciate it. Historical studies enable us to enlarge our sympathies and discipline our tastes, so that the man who knows best what has been done in the past will be the first to appreciate the good work which is being done by living artists. He will also be the most indulgent critic of a young artist’s shortcomings, and the readiest to help and encourage him in his difficult struggle toward self-expression and mastery over his intractable material.