For the English painters of the day, so far as they do not remain in the country, Venice has become what the East was for the earlier generations. They no longer study the romantic Venice which Turner painted and Byron sang in _Childe Harold_, they do not paint the noble beauty of Venetian architecture or its canals glowing in the sun, but the Venice of the day, with its narrow alleys and pretty girls, Venice with its marvellous effects of light and the picturesque figures of its streets. Nor are they at pains to discover "ideal" traits in the character of the Italian people. They paint true, everyday scenes from popular life, but these are glorified by the magic of light. After Zezzos, Ludwig Passini, Cecil van Haanen, Tito, and Eugène Blaas, the Englishmen Luke Fildes, W. Logsdail, and Henry Woods are the most skilful painters of Venetian street scenes. In the pictures of _Luke Fildes_ and _W. Logsdail_ there are usually to be seen in the foreground beautiful women, painted life-size, washing linen in the canal or seated knitting at the house door; the heads are bright and animated, the colours almost glaringly vivid. _Henry Woods_, the brother-in-law of Luke Fildes, rather followed the paths prescribed by Favretto in such pictures as "Venetian Trade in the Streets," "The Sale of an Old Master," "Preparation or the First Communion," "Back from the Rialto," and the like; of all the English he has carried out the study of bright daylight most consistently. The little glass house which he built in 1879 at the back of the Palazzo Vendramin became the model of all the glass studios now disseminated over the city of the lagunes.