However, in the works of other distinguished living artists, like Matthew Hale, Albert Goodwin--whose _Lincoln_ is here reproduced (Plate VIII), Hughes-Stanton, Lamorna Birch, Wilson Steer, Rich, Gere, etc., we often find a similar use of topographical matter for the purposes of poetical expression, but at the same time they show a marked preference for the choice of subject-matter enriched by historical and literary associations. The majority of drawings here reproduced are the outcome of their painters’ loving and tireless effort to render the appearances of Nature in their exact tones and colours. There is little of conscious artifice or preoccupation with abstract design of form or colour in drawings like C. M. Gere’s vivid presentment of light--_The Round House_ (Plate VII), Eyre Walker’s _Pool in the Woods_ (Plate XIII), R. W. Allan’s _Maple in Autumn_ (Plate XV), George Houston’s _Iona_ (Plate XX), or in Mark Fisher’s _Landscape_. But though their aims, broadly speaking, are the same, viz. the truthful rendering of particular effects of light and particular scenes, yet each work is different from each, and each is personal and individual, because the artist has painted only what he liked and knew best. In other cases, generally in the choice of subject-matter, one is often reminded of the works of the older men, only to realize as the result of the comparisons thus provoked the important differences which distinguish the new treatment and justify the repetition of the same motives. Sir Ernest Waterlow’s _In Crowhurst Park_ (Plate XIV), for instance, calls up memories of David Cox, of E. M. Wimperis, Tom Collier and many others who have delighted in such wide surveys of rolling down and moving cloud. But Sir Ernest’s work holds its own against all our historical reminiscences; it is so vivid, so evidently the outcome of the artist’s experiences, so freely and confidently set up. Robert Little’s _Tidal Basin_, _Montrose_ (Plate X), Lamorna Birch’s _Environs of Camborne_ (Plate V), and Murray Smith’s _On the Way to the South Downs_ (Plate XXII), justify themselves in the same way. How easily, too, can we imagine Girtin or Cozens painting the scene which Russell Flint has portrayed so vividly in his _April Evening, Rydal Water_ (Plate XIX). Yet how differently they would have painted it! In all this one sees the Naturalistic movement begun in the nineteenth century still at work, with its inevitable tendency towards Pantheism--its exaltation of Nature at the expense of man and the individual. Moralists have dwelt upon its dangers in the deadening effect it is supposed to produce upon the sense of individual responsibility and freedom of will. But with results like these before our eyes we are more inclined to dwell upon its advantages, its enlargement of our sympathies and knowledge.