his rich meadows, and from all the luxuriant, cultivated, and peacefully idyllic tracts which he has painted so lovingly and so well. _Gregory_, _Knight_, _Alfred Parsons_, _David Fulton_, _A. R. Brown_, and _St. Clair Simmons_ have all something personal in their work, a bashful tenderness beneath what is seemingly arid. The study of water-colour would alone claim a chapter for itself. Since water-colour allows of more breadth and unity than oil-painting, it is precisely here that there may be found exceedingly charming and discreet concords, softly chiming tones of delicate blue, greenish, and rosy light, giving the most refined sensations produced by English colouring. [Illustration: _Mag. of Art._ LUKE FILDES. VENETIAN WOMEN. (_By permission of the Berlin Photographic Co., the owners of the copyright._)] Of course, England has a great part to play in the painting of the sea. It is not for nothing that a nation occupies an insular and maritime position, above all with such a sea and upon such coasts, and the English painter knows well how to give an heroic and poetic cast to the weather-beaten features of the sailor. For thirty years _Henry Moore_, the elder brother of Albert Moore, was the undisputed monarch of this province of art. Moore began as a landscape painter. From 1853 to 1857 he painted the glistening cliffs and secluded nooks of Cumberland, and then the green valleys of Switzerland flooded with the summer air and the clear morning light--quiet scenes of rustic life, the toil of the wood-cutter and the haymaker, somewhat as Julien Dupré handles such matters at the present time in Paris. From 1858 he began his conquest of the sea, and in the succeeding interval he painted it in all the phases of its changing life,--at times in grey and sombre morning, at other times when the sun stands high; at times in quietude, at other times when the wind sweeps heavily across the waves, when the storm rises or subsides, when the sky is clouded or when it brightens. It is a joy to follow him in all quarters of the world, to see how he constantly studies the waves of every zone on fair or stormy days, amid the clearness and brilliancy of the mirror of the sea, as amid the strife of the elements; as a painter he is, at the same time, always a student of nature, and treats the sea as though he had to paint its portrait. In the presence of his sea-pieces one has the impression of a window opening suddenly upon the ocean. Henry Moore measures the boundless expanse quite calmly, like a captain calculating the chances of being able to make a crossing. Nowhere else does there live any painter who regards the sea so much with the eyes of a sailor, and who combines such eminent qualities with this objective and cool, attentive observation, which seems to behold in the sea merely its navigable capacity. [Illustration: _Brothers, photo._ STANHOPE FORBES. THE LIGHTHOUSE.