only is everything which renders her the prosaic handmaiden of mankind scrupulously avoided, but all abruptnesses of landscape, all the chance incidents of mountain scenery; and, indeed, they are not of frequent occurrence in nature as she is in England. A familiar corner of the country is preferred to wide prospects, and some quiet phase to nature in agitation. Soft, undulating valleys, gently spreading hills conforming to the Hogarthian line of beauty, are especially favoured. And should the rainbow, the biblical symbol of atonement, stand in the sky, the landscape is for English eyes in the zenith of its beauty. [Illustration: _Brothers, photo._ AUMONIER. THE SILVER LINING TO THE CLOUD. (_By permission of the Corporation of Manchester, the owners of the picture._)] [Illustration: _Cassell & Co._ COLIN HUNTER. THEIR ONLY HARVEST.] [Illustration: _Brothers, photo._ HENRY MOORE. MOUNT'S BAY. (_By permission of the Corporation of Manchester, the owners of the picture._)] There is _Birket Forster_, one of the first and most energetic followers of Walker--Birket Forster, whose charming woodcuts became known in Germany likewise; _Inchbold_, who with a light hand combines the tender green of the grasses upon the dunes and the bright blue of the sea into a whole pervaded with light, and of great refinement; _Leader_, whose bright evening landscapes, and _Corbet_, whose delicate moods of morning, are so beautiful. _Mark Fisher_, who in the matter of tones closely follows the French landscape school, though he remains entirely English in sentiment, has painted with great artistic power the dreamy peace of solitary regions as well as the noisy and busy life of the purlieus of the town. _John White_, in 1882, signalised himself with a landscape, "Gold and Silver," which was bathed in light and air. The gold was a waving cornfield threaded by a sandy little yellow path; the silver was the sea glittering and sparkling in the background. Moved by Birket Forster, _Ernest Parton_ seeks to combine refinement of tone with incisiveness in the painting of detail. His motives are usually quite simple--a stream and a birch wood in the dusk, a range of poplars stretching dreamily along the side of a ditch. _Marshall_ painted gloomy London streets enveloped in mist; _Docharty_ blossoming hawthorn bushes and autumn evening with russet-leaved oaks; while _Alfred East_ became the painter of spring in all its fragrance, when the meadows are resplendent in their earliest verdure, and the leaves of the trees which have just unfolded stand out against the firmament in light green patches of colour, when the limes are blossoming and the crops begin to sprout. _M. J. Aumonier_ appears in the harmony of colouring, and in the softness of his fine, light-hued tones, as the true heir of Walker and Mason. A discreet and intimate sense of poetry pervades his valleys with their veiled and golden light, a fertile odour of the earth streams from