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It is these last movements which, because they are new and strange, so impress critics and public that observation loses its sense of proportion; the force of the main current (A.) is lost sight of, and the strength of subsidiary currents (B. B. +) is overlooked.

The newest movements (C. C. C. +) are usually either too bitterly denounced or too widely praised, their true relationship is not perceived; all sense of perspective is lost in the immediate presence of the startling.

There are no hard and fast lines dividing any of these currents and movements. When and where they begin no one can say; when and where they end no one can tell.

Impressionism is identified with Monet more than any other painter, because all his life long he has been the steadfast and consistent exponent of extreme theories regarding the painting of light effects.

But Impressionism, even the painting of light effects, had its beginning long before Monet; with the beginning of painting itself, the germs were there.