Peter Monamy (1670–1749) was a marine painter of the school of the younger Van de Velde. “The Old East India Wharf at London Bridge,” a large and interesting canvas at the South Kensington Gallery, and “The Calm,” a small but very attractive picture at Dulwich, go far toward the maintenance of his great contemporary reputation. A second marine painter of much promise was Charles Brooking (1723–59). Of the few pictures by him in London galleries the most delightful is “The Calm,” a picture recently added to the National Gallery. A series of his naval reviews was reproduced by Boydell in 1753, and other works were engraved by Canot and Ravenet. Samuel Scott (1710–72), after Van de Velde the most important marine painter of the century, did some of his fine views of the Thames and old London bridges as early as 1745. Excellent examples of his work are in the National Gallery and at South Kensington. [Illustration: DUNNINGTON CLIFF _By Thomas Smith_] There were also during this period several men whose chief pictures were of animals, but with considerable incidental use of landscape. James Seymour (1702–52), known as a portrait painter of fine horses, also painted many hunting-scenes where horses and dogs are trooping at full speed through broken country. Contemporary with Seymour was John Wootton (d. 1765) the excellence of whose representations of animals is well shown by his illustrations of Gay’s “Fables” in 1731. Wootton was also painting landscapes in the Italian manner before 1751. George Stubbs (1724–1806) began his work as an animal painter before the middle of the century. In 1740 he broke away from conventions by resolving never to copy any picture but “to look into Nature for himself and consult and study her only.” This sturdy independence ripened in 1754 into a determination to visit Italy in order to test his opinion that “Nature is superior to all Art,” a dictum worthy of note so early in the century.