MASTERPIECES OF THE SEA
Lumenaise or Ryder for glorious and precious color; no doubt he enjoyed the varied fashions in dress of France and Italy; but he did not adopt the one nor covet the other—he went, like the single-hearted gentleman he was, after his own leading and independently interpreted his own mind.
We are told that sometimes in speaking of his earlier work, he would call it monochromatic, and this was, in the main, a just criticism from a self-analysing spirit; but those also who have seen many of his last canvases must recognize a veritable "sea-change" in his variety and richness of color—not constant but occasional, and indeed sometimes implying that he too, like Thomas Hovenden and Alexander Harrison, had instinctively taken what was best, by compromise and adaptation, from the Impressionists. Indeed, he was glad to express his obligation to this modern school for help when he felt that he could well accept it; although he abhorred the prevalent neglect of careful drawing and inattention to
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