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NOTE 
 
 ON THE ILLUSTRATED EDITION OF 
 MR. RUSKIN’S NOTES. 
 
 HE Illustrated Edition of Mr. Ruskin’s Notes was 
 
 undertaken, by his permission, with a view to assisting 
 a remembrance of his Turner Drawings, in so far as that 
 was possible, by reproductions of the Engravings of them. 
 
 The Engravings themselves being scattered through so 
 many works — Hakewell’s “Italy,” Whitaker’s “ Richmond- 
 shire,” Finden’s “ Byron,” Finden’s “ Bible,” Scott’s Works, 
 “ The Liber Studiorum,” “ The Keepsake,” “ England and 
 Wales,” “ The Rivers of France,” and two being unpublished, 
 — the acquisition of them in their entirety would have been 
 a matter of considerable expense and of some difficulty. 
 
 To engrave them afresh would have been impossible, 
 partly from the expense, but principally from the unfor- 
 tunate fact that there are no engravers who could have 
 successfully accomplished the work. 
 
 So the only means that presented itself was the new 
 process of photogravure , 1 which had successfully reproduced 
 
 1 It may not be out of place here to explain shortly the process of 
 photogravure or photographic engraving : — 
 
 By exposing a film of bichromated gelatine, or other substance 
 sensitive to the action of light, under a photographic negative, and 
 afterwards washing away the unaltered or unexposed parts, a relief 
 mould is obtained. A cast of this being taken in wax or gutta percha, 
 and the surface rendered conducting by blackleading, it is placed in an 
 electrotyping bath, and copper is deposited on it to the required thick- 
 ness of the plate. A good negative is thus essential to the success of 
 the print, and the best results can only follow from a copy capable of 
 rendering a perfectly clear and sharp negative. 
 
NOTE. 
 
 drawings of the Old Masters in an enlarged edition of the 
 Grosvenor Catalogue. 
 
 Difficulties, however, presented themselves in the present 
 instance, where it was necessary to reduce some of the fine 
 vignettes, and in fact in every case where lines originally 
 close together had to have the spaces between them re- 
 duced. For in certain cases the reduction resulted in no- 
 thing less than a blending of the lines, with, as a natural 
 result, muddiness in the reduced copy, as opposed to delicacy 
 in the original engraving. 
 
 Messrs. Dawson and Co., the producers of the photo- 
 gravures, have endeavoured to overcome this by again and 
 again taking fresh negatives, and by having the plates worked 
 upon by an engraver who produced some of the original 
 plates, and in almost every instance it will be admitted 
 that they have succeeded admirably. The delay which has 
 occurred in the production of the work has arisen from this 
 cause. 
 
 The copies of the photogravures have been carefully 
 selected, and each volume bears the stamp of the Fine Art 
 Society in testimony of this. 
 
 The plates were destroyed on the completion of the 
 edition. 
 
 148, New Bond Street, 
 
 November , 1878. 
 
NOTES by Mr RUSKIN 
 
 ON HIS COLLECTION OF DRAWINGS 
 
 BY THE LATE 
 
 J. M. W. Turner, ra. 
 
 EXHIBITED AT 
 
 THE FINE ART SOCIETY’S GALLERIES; 
 
 ALSO A LIST OF THE ENGRAVED WORKS OF THAT MASTER 
 SHOWN AT THE SAME TIME 
 
 ILLUSTRATED WITH THIRTY- FIVE PLATES, AND a 4 MAP 
 INDICATIVE OF THE T LACES IN THE 'BRITISH 
 ISLES ILLUSTRATED BY HIM. 
 
 LONDON. 
 
 PRINTED AT THE CHISWICK PRESS, FOR 
 
 THE FINE ART SOCIETY. 
 
 148 New Bond Street. 
 1878 
 
CHISWICK PRESS I— CHARLES WHITTINGHAM, TOOKS COURT, 
 CHANCERY LANE. 
 
CONTENTS. 
 
 PART I. 
 
 PAGK 
 
 I NTRODUCTION S 
 
 Prefatory Note 11 
 
 DRAWINGS. 
 
 First Group. School Days, 1775-1800 13 
 
 Second Group. The Rock Foundations, Switzerland, 1800- 
 
 1810 17 
 
 Third Group. Dreamland, Italy, 1810-1820 . ... 23 
 
 Fourth Group. Reality. England at Rest .... 28 
 
 Fifth Group. Reality. England Disquieted ... 32 
 
 Sixth Group. Meditation. England Passing Away . . 39 
 
 Seventh Group. Minstrelsy. The Passionate Pilgrim . 44 
 
 Eighth Group. Morning. By the Riversides ... 47 
 
 Ninth Group. Again the Alps 50 
 
 Tenth Group. Sunset 52 
 
 ILLUSTRATIVE STUDIES AND SUPPLEMENTARY 
 
 SKETCHES 58 
 
 ADDENDA. 
 
 Further Illustrative Studies 68 
 
 EPILOGUE 71 
 
2 
 
 CONTENTS 
 
 PART II. 
 
 Preface 79 
 
 Notes on my own Drawings and Engravings . . 81 
 
 Notes respecting future Uses of Engravings . . 137 
 
 APPENDIX. 
 
 Notes by the Rev. W. Kingsley on the Turner 
 
 Drawings 141 
 
 List of the Engraved Works of the late 
 J. M. W. Turner, R.A., Exhibited at the Fine 
 Art Society’s Galleries, with Mr. Ruskin’s 
 Drawings by the same master .... 147 
 
 A Map indicative of the Principal Places in 
 the British Isles Illustrated by Turner . 186 
 
LIST OF PLATES. 
 
 Page 
 
 B OLTON ABBEY .... Frontispiece. 
 
 Lake of Thun To face 17 
 
 Bonneville . . . . . . . . . 18 
 
 Isola Bella ........ 23 
 
 Turin .......... 24 
 
 Florence 26 
 
 Heysham 28 
 
 Egglestone Abbey ....... 30 
 
 Richmond, Yorkshire ....... 32 
 
 Work. Dudley Castle ....... 34 
 
 Play. Richmond Bridge, Surrey ..... 36 
 
 Louth 38 
 
 Langharne Castle 40 
 
 Okehampton Castle ....... 42 
 
 Staffa ......... 44 
 
 Corinth ......... 46 
 
 Rouen, from St. Catherine’s Hill ..... 50 
 
 Lake of Zug — E arly morning . . . . . 53 
 
 Arona 54 
 
 Lochmaben 62 
 
 Gosport 71 
 
 The Bridge of Narni 79 
 
 The Falls of Terni ....... 81 
 
 Lancaster Sands ........ 89 
 
 Carnarvon Castle 98 
 
 Flint Castle ........ 100 
 
 Rome, from Mount Mario . . . . . .104 
 
4 
 
 LIST OF PLATES. 
 
 Page 
 
 Fall of the Tees 138 
 
 Leicester Abbey . . . . . . . .149 
 
 Nemi 164 
 
 The Plains of Troy 170 
 
 Rouen 172 
 
 Fountain, Constantinople . . . . .174 
 
 Jerusalem, The Pool of Bethesda . . . . 176 
 
 Vesuvius, Angry 182 
 
 Map .......... 186 
 
INTRODUCTION. 
 
 T HE following main facts respecting the tenour 
 of Turner’s life and work may be depended 
 upon, and should be kept in mind, as they 
 are evidenced by, or illustrate, the pieces of his art 
 here shown. 
 
 He was born on St. George’s Day in 1775. He 
 produced no work of importance till he was past 
 twenty ; — working constantly, from the day he could 
 hold a pencil, in steady studentship, with gradually 
 increasing intelligence, and, fortunately for him, rightly 
 guided skill. His true master was Dr. Munro: — 
 to the practical teaching of that first patron, and the 
 wise simplicity of the method of water-colour study 
 in which he was disciplined by him, and companioned 
 by Girtin, the healthy and constant development of 
 the youth’s power is primarily to be attributed. The 
 greatness of the power itself, it is impossible to over- 
 estimate. As in my own advancing life I learn 
 more of the laws of noble art, I recognize faults in 
 Turner to which once I was blind ; but only as I 
 recognize also powers which my boy’s enthusiasm 
 did but disgrace by its advocacy. 
 
 In the summer of 1797, when he was two-and- 
 
 a 
 
6 
 
 INTRODUCTION. 
 
 twenty, he took, if not actually his first journey, cer- 
 tainly the first with fully prepared and cultivated 
 faculties, into Yorkshire and Cumberland. 
 
 In the following year he exhibited ten pictures in 
 the Royal Academy, to one of which he attached the 
 first poetical motto he ever gave to a picture. The 
 subject of it was “ Morning among the Coniston 
 Fells,” and the lines chosen for it, these, — (Mil- 
 ton’s) : 
 
 “Ye mists and exhalations, that now rise 
 From hill, or steaming lake, dusky or gray, 
 
 Till the sun paint your fleecy skirts with gold, 
 
 In honour to the world’s great Author, rise.” 
 
 As I write the words, (12 th February, 1878, in the 
 80th year since the picture was exhibited), I raise 
 my eyes to these Coniston Fells, and see them, at 
 this moment imaged in their lake, in quietly re- 
 versed and perfect similitude, the sky cloudless 
 above them, cloudless beneath, and two level lines 
 of blue vapour drawn across their sun-lighted and 
 russet moorlands, like an azure fesse across a golden 
 shield. 
 
 The subjects of the other pictures exhibited in 
 that year, 1 798, had better be glanced at in order, 
 showing as they do the strong impression made on 
 his mind by the northern hills, and their ruins. 
 
 Wensleydale. 
 
 Dunstanborough Castle. 
 
 Kirkstall Abbey. 
 
 Fountains Abbey. 
 
INTRODUCTION. 
 
 7 
 
 Norham Castle. 
 
 Holy Island Cathedral. 
 
 Ambleside Mill. 
 
 Buttermere Lake. 
 
 The Fern House, Mickleham, Surrey. 
 
 Four of the pencil drawings, exhibited here 
 among the illustrative sketches, were, I doubt not, 
 made on this journey. 
 
 The first group of drawings, I to 6, belong to 
 the time of his schooling and show the method of 
 it completely. For simplicity in memory it will 
 be wise, and practically and broadly true, to con- 
 sider this period as extending to the close of the 
 century, over the first twenty-five years of Turner’s 
 life. In 1800 he exhibited his first sacred and 
 epic picture, the “ Fifth Plague of Egypt,” and 
 his established work and artist-power begin. 
 
 It is usual, and I have hitherto complied with 
 the general impression on this matter in my ar- 
 rangements of his work, to divide its accomplished 
 skill into three periods, early, middle, and of de- 
 cline. Of course all such arrangement is more or 
 less arbitrary ; some virtues are lost, some gained, 
 continually ; and, on the whole, the best method 
 of understanding and clearest means of remem- 
 bering the facts will be simply to divide his art- 
 life by tens of years. The distinctions of manner 
 belonging to each decade are approximately very 
 notable and defined. Here is a brief view of 
 them. 
 
8 
 
 INTRODUCTION. 
 
 First Period. 1800-1810. 
 
 His manner is stern, reserved, quiet, grave in 
 colour, forceful in hand. His mind tranquil ; fixed, 
 in physical study, on mountain subject ; in moral 
 study, on the Mythology of Homer and the Law 
 of the Old Testament. 
 
 Second Period. 1810-1820. 
 
 His manner becomes gentle and refined in the 
 extreme. He perceives the most subtle qualities of 
 natural beauty in form and atmosphere; for the 
 most part denying himself colour. His execution 
 is unrivalled in precision and care. His mind 
 fixed chiefly on the loveliness of material things ; 
 morally, on the passing away of human life, as a 
 cloud, from the midst of them. 
 
 Third Period. 1820-1830. 
 
 A great change gradually takes place, owing to 
 some evil chances of his life, in his moral temper. 
 He begins, after 1825, to exert and exhibit his power 
 wantonly and irregularly, the power itself always in- 
 creasing, and complete colour being now added to 
 his scale in all conception. His handling becomes 
 again more masculine, the refined work being re- 
 served for particular passages. He forms, in this 
 period, his own complete and individual manner as 
 a painter. 
 
INTRODUCTION. 
 
 9 
 
 Fourth Period. 1830-1840. 
 
 He produces his most wonderful work in his own 
 special manner, — in the perfect pieces of it, insuper- 
 able. It was in this period that l became aware of his 
 power. My first piece of writing on his works was 
 a letter, intended for the papers, written in defence of 
 the picture of “Juliet and her Nurse,” exhibited in 
 1836 (when I was seventeen). The following pic- 
 tures are examples of his manner at this period, none 
 of them, unhappily, now in anything like perfect 
 preservation, but even in their partial ruin, marvellous. 
 (The perfect pieces which I have called insuperable 
 are the drawings made in the same years, of which 
 examples are given in the collection.) 
 
 Childe Harold 
 The Golden Bough 
 Mercury and Argus 
 Juliet and her Nurse 
 Shylock (the Rialto of Venice) 
 
 H ERO AND LEANDER . 
 
 Val d’Aosta (Avalanche) 
 Phryne ..... 
 Modern Italy. 
 
 The Slave-Ship 
 
 The Fighting Temeraire 
 
 Exhibited in 1832 
 1834 
 1836 
 
 1836 
 
 (once mine) 1837 
 18 37 
 
 1837 
 
 1838 
 1838 
 
 (once mine) 1838 
 1838 
 
 Fifth and Last Period. 1840-1850. 
 
 Virtually, the works belonging to this period are 
 limited to the first five years of it. His health, and 
 
 B 
 
IO 
 
 INTRODUCTION. 
 
 with it in great degree his mind, failed suddenly in the 
 year 1 845. He died in 1851. The paintings of these 
 five closing years are, to the rest of his work, what 
 Count Robert of Paris and Castle Dangerous are to 
 the Waverley Novels. But Scott’s mind failed slowly, 
 by almost imperceptible degrees ; Turner’s suddenly 
 with snap of some vital chord in 1845. The work of 
 the first five years of the decade is in many respects 
 supremely, and with reviving power, beautiful. The 
 “ Campo Santo, Venice,” 1842, and the “Approach to 
 Venice,” 1844, were, when first painted, the two most 
 beautiful pieces of colour that I ever saw from his 
 hand, and the noblest drawings in the present series 
 are of the years 1842 and 1843. 
 
 Morning breaks as I write, along those Coniston 
 Fells, and the level mists, motionless and grey 
 beneath the rose of the moorlands, veil the lower 
 woods, and the sleeping village, and the long lawns 
 by the lake-shore. 
 
 Oh, that some one had but told me, in my youth, 
 when all my heart seemed to be set on these colours 
 and clouds, that appear for a little while and then 
 vanish away, how little my love of them would serve 
 me, when the silence of lawn and wood in the dews 
 of morning should be completed ; and all my thoughts 
 should be of those whom, by neither, I was to meet 
 more ! 
 
 Brantwood, 12 th February , 1878. 
 
PREFATORY NOTE. 
 
 T HE drawings here shown are divided into 
 groups, not chronological merely, but referred 
 to the special circumstances or temper of mind 
 in which they were produced. Their relation to 
 the five periods of Turner’s life, which are defined 
 in the Introduction, is, therefore, a subdivided one, 
 and there are ten groups of drawings illustrating the 
 six periods, in the manner shown in this table. 
 
 Divisions in the 
 Introduction. 
 
 Divisions in the 
 Catalogue. 
 
 School days, 1775-1800. 
 1st Period, 1800-1810. 
 
 Group i. 1775-1800. 
 Group ii. 1800-1810 
 
 2nd Period, 1810-1820. 
 
 Group iii. 1810-1820. 
 
 3rd Period, 1820-1830 
 
 ( Before change. Group iv. 
 ( During change. Group v. 
 
 1820-1825. 
 
 1825-1830. 
 
 Best England drawings. 
 4th Period, Most highly finished vig- 
 1830-1840 nettes, & c. 
 
 Best France drawings. 
 
 Group vi. 1830-1840. 
 
 Group vii. 1830-1840. 
 Group viii. 1830-1840. 
 
 Best Alpine sketches. 
 5th Period, Finished drawings in rea- 
 1840-1845 lization of them for 
 friends. 
 
 Group ix. 1840-1845. 
 
 Group x. 1840-1845. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
First Group. School Days, 
 1775-1800. 
 
 HE Dover Mail. 
 
 A drawing of his earliest boyhood, deeply inter- 
 esting in the number of the elements of his character 
 already shown to be determined. 
 
 First, A. his interest in sailors, and in such con- 
 ditions of lower English life as were connected with 
 them ; not jesting with it, like Marryat or Dickens, 
 but giving, so far as he could, the mere facts of it, 
 I do not know with what personal feeling about 
 them, how far, that is to say, the interest was joyful, 
 how far regretful, and how far morbid. I shall 
 return presently to this question. See No. 36. 
 
 B. The perfect power already attained over the 
 means at his disposal. It is impossible to lay 
 a flat wash of water-colour better than this sky is 
 laid. 
 
 C. Perception of qualities of size, and aerial dis- 
 tance, the castle being already treated with almost 
 as much sense of its vastness, and pale hue in 
 distance, as ever was shown in his central work. 
 
 D. Love of mist, and gradations of vanishing 
 form : see the way he dwells on the effect of the 
 dust from the coach-wheels. 
 
H 
 
 GROUP I. 
 
 E. Perfectly decisive drawing of whatever is seen, 
 no slurring of outline, and the effect of the dust itself 
 got, not by rubbing out, but by pure painting . 1 
 
 F. Conventional touch for trees ; taught to the 
 boy by his masters : conquered gradually as we shall 
 see, by his own intense veracity, but never wholly, 
 even to the end of life. No bad habit of youth ever 
 can be, and I give this drawing so much importance, 
 in description, because it shows a quite unthought of 
 fact in human nature, that all a man is, (as with a 
 crow or a duckling,) was in the shell of him, mental 
 vulgarity and all ! The moral question of his life is, 
 what of this good in him you can^/tf/and nourish ; 
 what of the bad, chain down. 
 
 Tunbridge Castle. (Oxford Rudimentary Series.) 
 
 An example of the constant method of Turner’s - 
 study, in early youth. He soon found that the 
 yellow and blue he had been taught to use were 
 false, and worse than useless : he cast all colour 
 aside for a while, and worked only for form and 
 light ; not light and shade observe ; but only gra- 
 dated light, showing everything in the clearest and 
 loveliest way he could. Shade proper, with its 
 hiding and terror, was at present ignored by him 
 altogether. Amateurs and artists of lower power 
 are constantly betrayed into it by their inability 
 to draw, and their love of strong and cheaply 
 got sensation. The little bit of reflected light 
 under the bridge, and half tone over the boats in 
 this drawing, is worth any quantity of sensational 
 etchings. 
 
 1 I am advised by a friend and good judge that this is not so. 
 It does not matter, however — all his beautiful mist effects in 
 the fine drawings are unquestionably got by pure painting. 
 
GROUP I. 
 
 iS 
 
 The material is, I believe, Prussian blue with 
 British ink. See illustrative sketch, No. 80. 
 
 3. Pont Aberglaslyn. 
 
 A drawing of the same period, showing his inci- 
 pient notions of mountain form. Again note (as 
 showing his early love of mystery, carrying it right 
 up into his foreground,) the smoke on the left hand, 
 painted, or rather, left zzzzpainted, with deliberate 
 skill, not rubbed or washed out. 
 
 4. BERGAMO. (Oxford Rudimentary Series.) 
 
 This wonderful little drawing is the earliest ex- 
 ample I can give of the great distinctive passion of 
 Turner’s nature ; the one which separates him from 
 all other modern landscapists, — his sympathy with 
 sorrow, deepened by continual sense of the power of 
 death. All other recent work is done either in happy 
 perception of natural beauty, or in morbid enjoy- 
 ment of the sensation of grief ; Turner alone works 
 in a grief he would escape from, but cannot. 
 
 It is this inner feeling which, added to his percep- 
 tion of what was wise in practice, kept his colour 
 dark and grave so long. This little drawing was 
 evidently made before he had ever been abroad. It 
 is an endeavour to realize his impressions of Italy, 
 from some other person’s sketch : the Alps, with the 
 outline of Sussex downs, and the small square-built 
 Bergamo, enough show this ; but the solemnity of 
 feeling in the colour and simple design of it, as in 
 the prominence of the shrine on the hill against the 
 sky, are unfound in any of his later works. 
 
 The touch is singularly broad : it was already be- 
 coming his practice to exercise himself, if usually in 
 the minutest, often in the boldest execution ; the 
 latter being his ideal of method in heroic work. 
 
i6 
 
 GROUP I. 
 
 5. Ruined Abbey. Unfi7iished (Oxford Educational 
 Series.) 
 
 There are many drawings of this class in the 
 National Gallery ; few out of it ; and of those few, 
 it would be difficult to find one more perfectly de- 
 monstrative of the method of Turner’s work. I can 
 never get the public to believe, nor, until they believe 
 it, can they ever understand, the grasp of a great 
 master’s mind, that, as in fresco, so in water-colour, 
 there can be no retouching after your day’s work is 
 done ; if you know what you want, you can do it at 
 once, then; and if you don’t, you cannot do it at 
 all. There is absolute demonstration in this and at 
 least fifty other such unfinished pieces in the National 
 Gallery, that Turner did his work bit by bit, finishing 
 at once, and sure of his final harmony. When a 
 given colour was needed over the whole picture, he 
 would, of course, lay it over all at once and then go 
 on with detail, over that, as he does here over white 
 paper. I gave the drawing to the Oxford Schools , / 
 to be used in examination, a copy of it being re- 
 quired as a test of skill. 
 
 6. Boat-Building. 
 
 By patient labour, like that in No. 5 , the youth at 
 last attains such power as we see here. Utmost 
 delicacy, with utmost decision. Take a lens to it, 
 you will find the teeth of the saw in the carpenter’s 
 hand, and the blocks of the shrouds, in the distant 
 vessels. Yet the gradation of the interior of the 
 boat is given with one dash of colour, carefully 
 managed while wet, and the harmony of the whole is 
 perfect. The sky is singularly tender and lovely. 
 
 Nothing more to be learned now in ways of doing : 
 it is time for us to see what we have to do. 
 

 
 
 
 
 
 
 
 
 
 
 
GROUP II. 
 
 i7 
 
 Second Group. The Rock Founda- 
 tions, Switzerland, 1800- 18 10. 
 
 7 - 
 
 AKE of Thun from Neuhaus. 
 
 The Niesen dark in centre; the group of the 
 Stockhorn in light, in the distance. 
 
 This drawing begins the series which I hold 
 myself greatly fortunate in possessing, of studies 
 illustrative of the first impression made on Turner’s 
 mind by the Alps. 
 
 To most men of the age (he was at this time five- 
 and-twenty) they are entirely delightful and exhila- 
 rating : to him they are an unbroken influence of 
 gloomy majesty, making him thenceforth of entirely 
 solemn heart in all his work, and giving him concep- 
 tions of the vastness and rock-frame of the earth’s 
 mass, which afterwards regulated his design, down 
 even to a roadside bank. 
 
 Six out of the nine drawings in this group are 
 studies, not made on the spot, but records, for future 
 use, of the actual impression received on the spot ; 
 to be afterwards completed into a drawing, if required. 
 
 And observe generally, Turner never, after this 
 time, drew from nature without composing. His 
 lightest pencil sketch was the plan of a picture, his 
 completest study on the spot, a part of one. But he 
 rarely painted on the spot ; — he looked, gathered, 
 considered ; — then painted the sum of what he had 
 gained, up to the point necessary for due note of 
 it — and, much more of the impression, since that 
 would pass, than of the scene, which would remain. 
 
 The Niesen and Stockhorn might be completely 
 drawn at any time ; but his vision of them amidst 
 their thunder-clouds, and his impression of the stormy 
 
 C 
 
i8 
 
 GROUP II. 
 
 lake, with the busy people at its shore, careless of 
 storm or calm, was to be kept. And kept it was, 
 to his latest day, realized first completely in the “ Lake 
 of Thun,” of the Liber Studiorum. 
 
 The study itself, however, is far inferior to most 
 of his work ; the mountain is curiously heavy and 
 over-charged in darkness ; there is, perhaps, scarcely 
 another of his drawings showing this fault to such a 
 degree ; but he was not yet well on his guard against 
 -it, and was working chiefly with a view to gain power. 
 Hence the blackness of the Calais Pier, and other oil 
 paintings of this time. 
 
 8. Vevay. 
 
 A few of the backs of the houses of the lovely old 
 village, as they used to rise out of the lake, — the sun 
 setting over Jura in the distance. Inestimable in its 
 quiet tone, and grandeur of form perceived in simple 
 things ; already he shows the full passion for the 
 mystery of light, which was to be the characteristic 
 influence of his future art. 
 
 The drawing is otherwise interesting as a very clear 
 example of his practice at this time in dark drawings, 
 manufacturing his own tinted paper with a wash of 
 grey, and taking out the lights. 
 
 9. Geneva. 
 
 This is a finished drawing, yet made more or less 
 experimentally, in preparation for the large one, No. 
 70, under which I shall give account of both. 
 
 10. Bonneville, Savoy. 
 
 A quite stupendous study, recording, probably, 
 Turner’s first impression as he drew near the great 
 Alps. He painted it again and again, but none of 
 the more finished realizations approach the majesty 
 
GROUP II. 
 
 l 9 
 
 of this sketch, which adds to all its other merits that 
 of being literally true. The grand old keep on the 
 right with round towers at the angles, stood till 
 within the last ten years, and was then pulled down for 
 such use as its stones and ground would serve for ; the 
 more extensive ruins on the farther crag were about 
 the same time bought by an “ avocat ” of the place, 
 and cleared away, he building for himself a villa with 
 a roof in the style of a Chinese pagoda, where the 
 main tower had been. It does not in the least matter 
 to the British public, who rarely stop now at Bonne- 
 ville even for lunch ; and never look at anything on 
 the road to it, being told there is nothing to be seen 
 till they get to Chamouni. 
 
 To me it once mattered not a little, for I used to 
 pass months and months at Bonneville climbing 
 among the ravines of the Mont Vergi ; but shall, 
 probably, never be there again : so now / need not 
 mind, neither. 
 
 In all points of composition and execution, this 
 drawing is insuperable, as an example of Turner’s 
 grandest manner, nor has any painter in the world 
 ever rivalled it in calm reserve of resource, and 
 measured putting forth of strength. Mountains) 
 properly speaking, never had been drawn before at 
 all, and will, probably, never be drawn so well again. 
 
 ii. The Aiguillette. First Study. 
 
 The peak forming the central subjectin this drawing 
 is the termination of a range of limestone crags, 
 joining the Aiguille de Varens on the north, and 
 forming a seeming pinnacle above this ravine, which 
 descends into the valley of the Arve between the 
 Nant d’Arpenaz and village of Maglans. 
 
 The little bridge and cottage stood exactly as 
 Turner has drawn them, in my young days. The 
 
20 
 
 GROUP II. 
 
 sketch has been quite literal ; only afterwards Turner 
 was vexed with the formality of the gable, and rubbed 
 out a minor one in white — only its place suggested — 
 the other still showing through. The cottage is now 
 gone ; the bridge would scarcely be noticed, the 
 diligence road goes over so many like it. Note 
 especially that Turner at this time of his work does 
 not make things more picturesque than they are, in 
 first sketching them ; there is no coaxing or break- 
 ing the simple masonry of the commonplace arch. 
 
 12. The Aiguillette. Finished Drawing. 
 
 But here, when he completes the composition for 
 a perfect rendering of his impression of the Valley 
 of Cluse, he bends and breaks it a little, making it, 
 so, really more true to the spirit of the place ; for 
 the bridges generally are curved or broken in and 
 out a little, and this one is rare in its formality. 
 
 This drawing has been made at least five years 
 later than the sketch ; the power of drawing animals 
 having been perfected in the meanwhile (of which 
 presently). It is unique, to my present knowledge, 
 in grave purity and majestic delicacy among the 
 drawings of this period. His memory fastens in- 
 tensely on the first impression of the pastoral moun- 
 tains, and the change, under the power of Hermes, 
 of the white cloud on the hill into the white flocks 
 in the valley. 
 
 He was always fond of the junction of streams ; 
 at the right hand, in the lower corner of the drawing, 
 the strong eddies of the Arve itself mingle with the 
 calm of the waters of the little brook ending their 
 course. The stones through which these eddies flow 
 indicate, by their sloping cleavage, that they are a 
 part of the great rock system over which the cascade 
 falls in the middle distance. 
 
GROUP II. 
 
 21 
 
 The harmony of blue and warm brown, constant 
 in his finest early work, is here perfected. The blue 
 of the shadowy cloud cannot be lovelier, the warm 
 colour is concentrated by the little pitcher and horse 
 saddle (see how little is enough !), and all thrown 
 into light and air by the black dog. 
 
 Look carefully, and with magnifying glass, at the 
 crowded sheep. 
 
 The Glacier des Bossons. 
 
 Fierce, fresh sketch, colossal in power. Directed 
 chiefly to show the looseness of the huge tumbled 
 blocks of moraine, and the distortion of the bent 
 trees. The leaving the outline of the ice clear with 
 one wash is especially characteristic of him. 
 
 This drawing has been touched with chalky white, 
 not easily seen, except in side light ; but the ice- 
 drawing is much dependent on it. 
 
 Observe in this and the Bonneville (No. io), that 
 Turner is no slave to method, but unhesitatingly uses 
 two methods when there are two textures. In both, 
 he takes the rough near lights out roughly, and lays 
 the light on the snow and ice smoothly. But he 
 would only allow himself this licence in sketching. 
 His finished work is always consistent in method, 
 either all transparent (as No. 12) or all opaque (as 
 No. 29). The two white parasols in No. 33 are 
 literally the only instance known to me of his using 
 body-white in a transparent drawing, and, I doubt 
 not, then only because he had scratched the paper 
 too thin to trust it. 
 
 Fortified Pass in the Val d’Aos-i^. 
 
 Perfectly true to the place, about ten miles below 
 Cormayeur, and a quite stupendous piece of drawing 
 power. Note the way the outline of the foreground 
 
22 
 
 GROUP II. 
 
 bush is left by the black blot of shadow, and then 
 the whole bush created by two scratches for stems. 
 
 This scene impressed him greatly. He amplified 
 it first into a drawing for Mr. Fawkes, and then for 
 exhibition (alas) into the large water colour (the 
 “ Battle of Fort Rock ”) now in the National Gallery, 
 which, however, is an inferior work, terribly forced 
 and conventionalized. 
 
 In the Val d’Aosta. 
 
 I am not quite sure if I am right in the name of 
 this village ; its remnant of (Roman ?) bridge is 
 I think some eight or ten miles above Ivrea. It 
 has been erroneously sometimes called Narni. See 
 No. 19. 
 
 This drawing is one of the first efforts which 
 Turner made to give Italian classical character 
 to the landscape of the South Alps, and to impose 
 his former refinement on his recent impressions 
 of mountain power. It fails in many respects, es- 
 pecially in the ludicrous figure ; he was not yet able 
 to draw either the figure, or even animals with skill ; 
 and nearly all his power vanishes in the effort to 
 discipline and conventionalize it : the drawing is 
 entirely transitional, — an example of the effort by 
 which he fought up to the power of doing work like 
 that of No. 13, a much later drawing, though I 
 am obliged, for its relation to No. 12, to put the last 
 first. 
 
 In both, however, the trees are still very rudely 
 drawn, and it took some four or five years more 
 to develop his strength into the serene splendour in 
 which he produced the great series of Italian designs 
 which we have next to examine. 
 

 
 
 
 
 
 
 
 
 
 
 

GROUP III. 
 
 2 3 
 
 Third Group. Dreamland, Italy, 
 1810-1820. 
 
 16. 
 
 TSOLA Bella, Lago Maggiore. 
 
 -*■ Here begins a series which expresses the mind of 
 
 Turner in its consummate power, but not yet in its 
 widest range. Ordering to himself still the same limits 
 in method and aim, he reaches, under these condi- 
 tions, the summit of excellence, and of all these 
 drawings there is but one criticism possible — they 
 “cannot be better done.” Standards of exquisitest 
 landscape art, the first of such existent among men, 
 and unsurpassable. 
 
 We begin with the simplest, apparently ; perhaps, 
 if we had time to analyze it, the most wonderful 
 in reality ; its charm of harmony being reached 
 through such confusion of form, and its charm of 
 poetry through such poverty of material. Flower- 
 pots, pedestals of statues, and gravel walks, chiefly ; 
 for the statues themselves are, in the reality, com- 
 monest garden ornaments, nor otherwise here repre- 
 sented. But the sense of calm sunshine, of peace 
 and purity in the distant hills, and of orderly human 
 affection at rest in playful artifice among them, ren- 
 der the drawing, to myself, a very chiefly valued 
 possession. 
 
 1 7. Turin, from the Church of the Superga. 
 
 One of the most interesting compositions here, in 
 its demonstration of Turner’s first principle of 
 carrying his masses by other masses. 1 (Compare 
 33.) He learned it, without doubt, from Titian and 
 Veronese ; adopting their architecture as his ideal ; 
 
 1 Putting the figures here as definitely for the foundation of 
 the pillars as a Lombard would put his dragon sculptures. 
 
-4 
 
 GROUP III. 
 
 but. for his foundations, such figures as he saw, here 
 on one side, beggars, at' endant now always in the 
 portico of palace or church. Beyond the city, the 
 straight road through the plain was a principal 
 object in Turner’s mind, the first fifteen miles of ap- 
 proach to the pass of the Cenis. 
 
 The inlaid diamond-shaped mosaics in the pave- 
 ment, which complete the perspective of the dis- 
 tance, are his own invention. The portico is in 
 reality paved with square slabs of marble only. 
 
 8. Florence, from Fiesole. 
 
 Showing the enormous advance made in his tree 
 drawing, since the thorny branches of No. 12 and No. 
 15. But chiefly, this piece is notable for the tender- 
 ness of its distant undulating hills ; carried out with 
 subtlety of tint and perfectness of form, quite un- 
 dreamt of before Turner saw it. 
 
 He had great sympathy at this time with monks ; 
 and always drew them reverently and well. The 
 little bend of wall within which they are placed is 
 not really a part of the Franciscans’ garden, but one 
 of the turns of the road in the ascent to Fiesole. 
 
 9. The Bridge of Narni. 
 
 The railroad between Perugia and Rome now 
 passes along the opposite bank of the river, the 
 station being just outside the picture, to the right; 
 few travellers, as they pass, getting even a glimpse 
 of the grand ruin of the Roman bridge, still less 
 of the mediaeval one just above. 
 
 Turner’s mind, at this time, was in such quiet joy 
 of power, that he not so much wilfully as inevitably, 
 ignored all but the loveliness in every scene he drew. 
 This river is, in truth, here neither calm nor pure ; 
 it is the white and sulphurous Nar of which Virgil 
 uses the name and the image, in the great line which, 
 

GROUP III. 
 
 2 5 
 
 with its deep, redoubled full vowels, imitates the 
 trumpet call of the Fury. 
 
 Audiit et Triviae longe lacus, audiit amnis, 
 
 Sulfur ed Nar albus aqud, fontesque Velini. 
 
 (Compare, by the way, for the Virgilian art — 
 
 — longa canoros 
 
 Dant per colla modos ; sonat amnis, et Asia long& 
 
 Pulsa palus.) 
 
 Assuming, however, that the stream is to be calm 
 and clear, a more lovely study of water-surface does 
 not exist. Note again Turner’s sympathy with 
 monastic life, in the way he leads the eye by the 
 bright trees to the convent on the hill, seen through 
 the ruined Roman arch. 
 
 20. The Falls of Terni. 
 
 “ Fontesque Velini,” themselves. Probably the 
 most perfect piece of waterfall-drawing in existence. 
 The Reichenbach at Farnley and the High Fall of 
 Tees run it hard ; but they both break more into 
 foam, which is comparatively easy ; while the subtlety 
 of the drawing of the massy veil of water here 
 shadowing the cliff is beyond all other conquest of 
 difficulty supreme. For pure painting of light and 
 mist also I know nothing like it, the rock drawing 
 through the spray showing that the work is all 
 straightforward, there is no sponging. 
 
 The public seem to agree with me in their esti- 
 mate of this drawing. I had to give 500 guineas 1 
 for it at Christie’s. 
 
 21. Rome, from the Monte Mario. 
 
 The Turner drawings of Rome, and Tivoli, made 
 in the first enthusiasm of his art, and with a devotion 
 
 And more, but I forget exactly how much. 
 D 
 
26 
 
 GROUP III. 
 
 to his subject, which arose from a faith in classic tradi- 
 tion and classic design quite inconceivable to the 
 dilettante temper of the modern connoisseur, will in 
 future be held precious among European treasures of 
 art, not only because they are the subtlest pieces of 
 point-work executed since the best days of the Floren- 
 tines, but the most accurate pieces of topography 
 extant, either among architects or engineers, of the 
 central city of the world. 
 
 This little drawing represents, within its compass 
 of 84 inches by 54, every principal building in Rome, 
 in Turner’s time, so far as they could be seen from 
 this point; and that with such earnestness and accuracy 
 that if you take a lens of good power to it, you will 
 find even the ruinous masonry of the arches of the 
 Coliseum distinctly felt and indicated. 
 
 The most accomplished gem engraving shows no 
 finer work, and, in landscape drawing, not the slightest 
 attempt has ever been made to match it. 
 
 22. NEMI. 
 
 No less true, this, than the Rome ; but with clearer 
 and lovelier light, and a sense of whatever is most 
 beautiful and awful in the repose of volcanic Italy, 
 which stayed in his mind for ever, forming all his 
 thoughts of Fate and life. The skipping goats are 
 meant for opposition to this key-note of beautiful 
 , terror. 
 
 Consummate in all ways. I have never seen, and 
 would give much to see, the Hakewill drawing of La 
 Riccia : but, unless that beats it, this is the loveliest 
 of the series. 
 
 For example of Turner’s execution, see how the 
 light tree is left, as he finishes the distant lake and 
 crag ; and note, with lens, that the houses of the 
 village on the right are painted before the sea horizon, 
 
GROUP III. 
 
 2 7 
 
 which is laid in afterwards with a wash that stops 
 short before touching the houses. 
 
 23. Vesuvius Calm. 
 
 With the Nemi, my Hakewill possessions end, (to 
 my extreme discontent), but this drawing is of the 
 same time, and no less exquisite in work, perhaps 
 surpassing all in qualities of delicate mist. 
 
 As a composition, it is interesting in bringing us 
 first clearly acquainted with a principle of Turner’s, 
 of which as we go on we shall see numerous in- 
 stances, always to repeat a form which had become 
 too conspicuous, and to divert the eye from it. The 
 duplicate sails, made here so conspicuous on both 
 sides, are thus introduced entirely to divert the eye 
 from the too distinct duplicity of the mountain cone. 
 Compare notes on No. 33, p. 35 ; No. 39, p. 41 ; and 
 No. 50, p. 46. 
 
 24. Vesuvius Angry. 
 
 I am very thankful to possess these companion 
 drawings, but chiefly this one, because the engraving 
 from it was the first piece of Turner I ever saw. It 
 was published by Smith and Elder in their annual, 
 “ Friendship’s Offering,” when I was a mere boy ; 
 and what between my love of volcanoes, and geo- 
 logy, — my delight in Miss Edgeworth’s story of 
 “ The Little Merchants,” — and my unconscious sense 
 of real art, I used to feast on that engraving every 
 evening for months, and return to it again and again 
 for years, before I knew anything either about draw- 
 ing, or Turner, or myself. It is a most valued 
 possession to me now, also, because it proves irre- 
 fragably that Turner was reserving his power, while 
 he made all these tender and beautiful drawings ; 
 that he had already within himself the volcano of 
 fiercer fire ; and that it was no change of principle or 
 
28 
 
 GROUP IV. 
 
 temper, but the progressive expression of his entire 
 mind, which led him, as life wore on, to his so-called 
 “ extravagant ” work, of which more presently : in the 
 meantime observe that the execution of this terrific 
 subject is just as pure and quiet as that of the lake 
 of Nemi, and the complex drawing of the volcanic 
 cloud finished with the precision of a miniature . 1 
 
 A good objection was made to the design by my 
 keenly thoughtful friend, W. Kingsley. He said that 
 he believed Turner had never seen an eruption ; if 
 he had, he would have made the falling ashes obscure 
 the flame. I think we may receive the scene, however, 
 as one of instantaneous renewed eruption. The ashes 
 will be down on us in half a minute more, but, till 
 that curtain falls, we can see clearly. 
 
 Fourth Group. Reality. England 
 at Rest. 
 
 25 - 
 
 H EYSHAM (Village of), Lancaster Bay and 
 Cumberland Hills in the Distance. 
 
 This lovely drawing, with the group it intro- 
 duces, shows the state of Turner’s mind in its first 
 perfect grasp of English scenery, entering into 
 all its humblest details with intense affection, and 
 shrinking from no labour in the expression of this 
 delight, not only in the landscape but the sky, which 
 is always more lovely in his English drawings than 
 in any other. 
 
 1 For this drawing, and its companion, Turner had fifteen 
 guineas each. I was obliged, at Christie’s, to give three hun- 
 dred, and odd, for “ The Calm,” and two hundred and fifty 
 for “ The Anger.” 
 
GROUP IV. 
 
 29 
 
 I cannot strictly date the Yorkshire series, but in 
 general temper and power they are slightly in 
 advance of the Hakewill : the foliage more free, 
 rich and marvellous in composition ; the effects of 
 mist more varied and true, the rock and hill drawing 
 insuperable ; the skies exquisite in complex form, 
 his first and most intense cloud painting. (In this 
 Heysham there is more design, and more work, in 
 the sky alone than would make a dozen of common 
 water-colour drawings ; compare No. 32, page 34,) 
 and all this done without losing for a moment the 
 sincere simplicity of the wild country and homely 
 people, in any morbid or strained idealization. 
 
 26. Egglestone Abbey. 
 
 One of the finest of the series in its foliage : 
 notable also for intense truth to the spot : the little 
 brooklet and dingle joining the Tees on the right 
 being not even the least displaced to bring them 
 within the picture. 
 
 I fear the drawing is much faded ; I never saw it 
 in its freshness, but suppose the distant foliated 
 arches of the abbey were once far more distinct. 
 The effect was always, however, one of misty diffused 
 sunshine : and the simple colours have changed so 
 harmoniously that I find in their faintness more to 
 discover through mystery than to surrender as lost. 
 
 The cluster of foliage in the foreground will be 
 seen to have been much altered before he got it 
 to his mind, and will serve to show how easily his 
 alterations may be detected ; the tall trees on the left 
 in their perfect freshness of straightforward execu- 
 tion serve for ready means of comparison. 
 
 27. Richmond, Yorkshire. 
 
 A favourite subject with him : painted twice also 
 in the England series. The most beautiful of the 
 
3 ° 
 
 GROUP IV. 
 
 three drawings, after engraving its outline carefully 
 for “ Modern Painters,” I gave to Cambridge, where it 
 now leads the series of Turners in the Fitzwilliam 
 Museum. The second subject, though a lovely draw- 
 ing, I got provoked with for having a manufactory 
 in it ; (alas, the entire scene is now destroyed by a 
 complete inferno of manufactory at the base of the 
 Castle!) and allowed Mr. Gambart to get it from 
 me ; this last one, I don’t think anybody is likely to 
 get, while I live. There is no more lovely rendering 
 of old English life ; the scarcely altered sweetness of 
 hill and stream, the baronial ruin on their crag, the 
 old-fashioned town with the little gardens behind 
 each house, the winding walks for pleasure along the 
 river shore — all now, in their reality, devastated by 
 the hell-blasts of avarice and luxury. 
 
 28. Farnley. 
 
 I have no more drawings (I wish I had !) belonging 
 to the published Yorkshire series. My best of all, 
 the junction of the Greta and Tees, I gave to Oxford ; 
 and these which now follow are drawings belonging 
 to the same period, showing the kind of work he did 
 for the pleasure of English gentlemen, in the repre- 
 sentation of their houses. 
 
 He visited much at this time : was of course always 
 kindly treated, and did his utmost to please his hosts 
 by faithful and lovely drawings of their houses. 
 
 There are no drawings by his hand finished with 
 so great care as the good examples of this most ac- 
 curately “ domestic ” landscape. 
 
 This drawing of Farnley Hall is an entirely 
 characteristic one. The subject itself is by no means 
 interesting ; and would not have stayed Turner for 
 a moment in itself, the blank broad hillside being 
 extremely difficult to treat, and its scattered piece 
 of wood, apparently intractable into any grace of 
 

GROUP IV. 
 
 3 1 
 
 composition. But not a space of the park is modi- 
 fied : just as the trees really were set, he sets them ; 
 marks carefully the line of the drive up to the house, 
 and then applies his whole skill to lead the eye de- 
 lightedly into the finitudes of distance across the 
 moorlands ; and to find minute decoration of herb- 
 age and heath among the sandstone blocks of the 
 foreground. There is nothing more lovely, or more 
 true, existent by his hand. 
 
 29. The “Peasant’s Nest,” Farnley. 
 
 The drawing, kindly identified by Major Fawkes, 
 came to me with No. 9, and No. 30, from a collection 
 in the West of England, sold in the year 1868. 
 
 It is the first example we have seen of Turner’s 
 body-colour work on grey paper, being, as before 
 observed, totally in this manner ; and not at all allow- 
 ing the mixture of transparent with opaque pigment. 
 
 It will, I hope (with No. 28), put an end to the 
 ordinary notion that Turner “ could not draw trees.” 
 But it may very well encourage the also very ordi- 
 nary, and much better founded notion, that he could 
 not colour them. His dislike of fresh green is a 
 curious idiosyncrasy in him; no drawing exists, that 
 I know of, founded frankly on that key of colour, 
 nor is there any evidence of his having taken any 
 pleasure in the colours of flowers. Here, the upper 
 foliage is grey or black, and the foreground weedy, 
 while the real delights of such a place would have 
 been altogether in spring-time, when all the grey 
 trunks would have been fresh in leaf, and the prim- 
 roses bright among the rocks. That the figures 
 should be dressed only in black and white became 
 necessary, in this subdued key of general tones : but 
 may perhaps also suggest some reason for it, which 
 we cannot know. 
 
32 
 
 GROUP V. 
 
 30. The Avenue, Farnley. 
 
 Nearly the same tones of colour, however, are 
 adopted here, but a gleam of blue on the white figure 
 completes what was always Turner’s ideal of a lady’s 
 dress. 
 
 A quite magnificent sketch, but grievously injured 
 by damp and various ill-treatment. I have no idea 
 what the original effect was in the distance — now 
 hopelessly darkened. 
 
 Fifth Group. Reality. England 
 Disquieted. 
 
 S 
 
 31. 
 
 UNSHINE on the Tamar. 
 
 The drawings we have hitherto examined have, 
 without exception, expressed one consistent impres- 
 sion on the young painter’s mind, that the world, 
 however grave or sublime in some of its moods 
 or passions, was nevertheless constructed entirely 
 as it ought to be ; and was a fair and noble world 
 to live in, and to draw. Waterfalls, he thought, at 
 Terni, did entirely right to fall ; mountains, at Bon- 
 neville, did entirely right to rise ; monks, at Fiesole, 
 did well to measure their hours ; lovers, at Farnley, 
 to forget them ; and the calm of Vesuvius was 
 made more lovely, as its cone more lofty, by the 
 intermittent blaze of its volcanic fire. 
 
 But a time has now come when he recognizes that 
 
GROUP V. 
 
 33 
 
 all is not right with the world — a discovery con- 
 temporary, probably, with the more grave one that 
 all was not right within himself. Howsoever it 
 came to pass, a strange, and in many respects griev- 
 ous metamorphosis takes place upon him, about 
 the year 1825. Thenceforward he shows clearly 
 the sense of a terrific wrongness and sadness, 
 mingled in the beautiful order of the earth ; his 
 work becomes partly satirical, partly reckless, partly 
 — and in its greatest and noblest features — tragic. 
 
 This new phase of temper shows itself first in a 
 resolute portraiture of whatever is commonplace and 
 matter-of-fact in life, to take its full place in oppo- 
 sition to the beautiful and heroic. We may trace 
 this intent unmistakably in the “ Liber Studiorum,” 
 where indeed the commonplace prevails to an extent 
 greatly destructive of the value of the series, con- 
 sidered as a whole ; the “ Hedging and Ditching,” 
 “ Watercress Gatherers,” “ Young Anglers,” and other 
 such plates, introducing rather discord than true op- 
 ponent emotion amongthegrander designsof pastoral 
 and mountain scenery. With this change of feeling 
 came a twofold change of technical method. He had 
 no patience with his vulgar subjects, and dashed them 
 in with violent pencilling and often crude and coarse 
 colour, to the general hurting of his sensitiveness in 
 many ways ; and, perhaps, the slight loss of defining 
 power in the hand. For his beautiful subjects, he 
 sought now the complete truth of their colour but as 
 a part of their melancholy sentiment ; and thus it 
 came to pass that the loveliest hues, which in the 
 hands of every other great painter express nothing 
 but delight and purity, are with Turner wrought 
 most richly when they are pensive ; and wear with 
 their dearest beauty the shadows of death. How far 
 he was himself responsible for this change, and how 
 far it was under the conditions of his London life in- 
 
 E 
 
GROUP V. 
 
 34 
 
 ' 
 
 evitable — and what modern philosophers would call 
 the development of natural law — I have no means 
 of deciding; but, assuredly, whether faultful or fated, 
 real conditions of error affect his work from this time 
 forward, in consequence of which it in many respects 
 greatly lost its influence with the public. When they 
 see, gathered now together in one group, examples 
 of the drawings in which the calamitous change is 
 expressed most clearly, the public may perhaps see 
 how in the deepest sense their own follies were the 
 cause of all that they blamed, and of the infinitely 
 greater all that they lost. 
 
 This first drawing, however, No. 31, does not 
 accurately belong to the group, yet it shows already 
 one of Turner’s specially English (in the humiliat- 
 ing sense) points of character — that, like Bewick, 
 he could pigs draw better than any other animal. 
 There is also some trace already of Turner’s con- 
 stant feeling afterwards. Sunshine, and rivers, and 
 sweet hills ; yes, and who is there to see or care 
 for them ? — Only the pigs. 
 
 The drawing is in his finest manner, earlier perhaps 
 than some of the Yorkshires. 
 
 32. Work. Dudley Castle. 
 
 One of Turner’s first expressions of his full under- 
 standing of what England was to become. Compare 
 the ruined castle on the hill, and the church spire 
 scarcely discernible among the moon-lighted clouds, 
 as emblems of the passing away of the baron and 
 the monk, with the vignette on the title-page of 
 Bewick’s Birds. 1 
 
 Laid open on the table. 
 
GROUP V. 
 
 35 
 
 The hasty execution of the sky, almost with a few 
 radiating sweeps of the brush, is most notable when 
 compared with the tender work in Nos. 25 or 27. 
 I have no doubt that at least twice the time given 
 to this whole drawing of Dudley was spent on the 
 sky of the Heysham alone. 
 
 As an example of rapid execution, however, the 
 drawing is greatly admirable ; and quite faultless, to 
 the point it intends. 
 
 33. Play. Richmond Bridge, Surrey. 
 
 Not so this, though in many respects a very pre- 
 cious drawing to me ; among other reasons, because 
 it was the first I ever possessed ; my Father buying 
 it for me, thinking I should not ask for another, — 
 we both then agreeing that it had nearly everything 
 characteristic of Turner in it, and more especially the 
 gay figures ! 
 
 A more wonderful or instructive piece of composi- 
 tion I could not have had by me ; nor was I ever 
 weary of trying to analyze it. After thirty years’ 
 endeavour, I finally surrender that hope — with all 
 similar hopes of ever analyzing true inventive or 
 creative work. 
 
 One or two quite evident conditions of his artistic 
 method may be specified, however. Among the 
 first, the carrying his mass of foliage by the mass of 
 figures (compare No. 17), and his resolution that, in 
 a work meant especially for a piece of colour, there 
 should be no black that did not proclaim itself as 
 such. The parasols are put in the foreground so 
 conspicuously, to repeat and reverse the arches of the 
 bridge (compare notes on No. 23), and the plumy 
 tossing of the foliage, to repeat the feather head- 
 dresses of the figures. 
 
36 
 
 GROUP V. 
 
 Nothing can be more exquisite than the aerial 
 foliage beyond the bridge ; but the sunshine through- 
 out is partly sacrificed to play of colour, chiefly by 
 the extreme yellowness of the grass, with blue 
 shadows, while the lights on the other colours are 
 kept cool, and the shades warm, those of the crimson 
 shawl by the parasols being pale crimson, with the 
 lights white. 
 
 Note again the intensely facile, though therefore 
 most wonderful, laying in of the sky — a few sweeps 
 of broken cobalt blue made into cumulus clouds in 
 a moment by two or three clusters of outline-touches. 
 In the left-hand upper corner, however, the colouring 
 is morbid and impossible, and the whole drawing 
 much reprehensible in its wanton power. Compare, 
 in relation to it, Turner’s rough map of the road 
 over the bridge to Sandycombe Lodge (Illustrative 
 Sketches, No. ioi). 
 
 On the March — Winchelsea. 
 
 Turner was always greatly interested, I never 
 could make out why, in the low hill and humble 
 antiquities of Winchelsea. The tower and East gate, 
 though little more, either of them, than heaps of old 
 stone, are yet made each a separate subject in the 
 “ Liber Studiorum,” and this regiment on the march 
 was introduced before, in an elaborate though smaller 
 drawing of the town from a distance, made for the 
 Southern coast. Here, the piece of thundrous light 
 and wild hailstorm among the houses on the hill to 
 the left is entirely grand, and so also the mingling of 
 the shaken trees (all the grace of their foliage torn 
 out of them by the wind) with the wild rain as they 
 melt back into it. But he has missed his mark in 
 the vermilions of the foreground, which fail in distinc- 
 
GROUP V. 
 
 37 
 
 tion of hues between sunlight and shade : the violently 
 forced shadows on the field (false in form also) not 
 redeeming the want of tone, but rather exhibiting it. 
 He is, throughout, ill at ease, both in himself, and 
 about the men and the camp-followers ; partly laugh- 
 ing the strange half-cruel, half-sorrowful laugh that 
 we wonder at, also, so often, in Bewick : thinking of 
 the trouble the poor fellows are getting into, drenched 
 utterly, just as they stagger up the hill to their quar- 
 ters, half dead with heat and thirst, and white with 
 dust. 
 
 My father gave me the drawing for a birthday 
 present, in 1840, and it used to hang in my rooms at 
 Oxford ; no mortal would believe, and now I can 
 scarcely understand myself, the quantity of pleasure 
 it gave me. At that time, I loved storm, and dark 
 weather, and soldiers. Now, I want blue sky, pure 
 air, and peace. 
 
 35. Louth — The Horse Fair. 
 
 Another drawing of what he clearly felt to be 
 objectionable, and painted, first, as a part, and a very 
 principal part of the English scenery he had under- 
 taken to illustrate ; and yet more, I fear, to please 
 the publisher, and get circulation for the book in 
 quarters where the mere picturesque was no recom- 
 mendation. He dwells (I think, ironically) on the 
 elaborate carving of the church spire, with which the 
 foreground interests are so distantly and vaguely 
 connected. 
 
 36. Devonport. 
 
 By comparing the groups of figures in this draw- 
 ing with those in the other four which I have 
 arranged with it (Nos. 33 to 37), and the boy’s 
 
38 
 
 GROUP V. 
 
 drawing, No. I, I think it will be seen that much 
 of what the public were most pained by in Turner’s 
 figure drawing arose from what Turner himself had 
 been chiefly pained by in the public. He saw, and 
 more clearly than he knew himself, the especial 
 forte of England in “vulgarity.” I cannot better 
 explain the word than by pointing to those groups 
 of Turner’s figures exaggerating this special quality 
 as it manifested itself to him, either in Richmond 
 picnics, barrack domestic life, jockey commerce, or 
 here, finally, in the general relationships of Jack 
 ashore. With all this, nevertheless, he had in him- 
 self no small sympathy ; he liked it at once and was 
 disgusted by it ; and while he lived, in imagina- 
 tion, in ancient Carthage, lived, practically, in 
 modern Margate. I cannot understand these ways 
 of his ; only be assured that what offends us in 
 these figures was also, in a high degree, offensive to 
 him, though he chose to paint it as a peculiarly 
 English phenomenon, and though he took in the 
 midst of it, ignobly, an animal English enjoyment, 
 acknowledging it all the while to be ugly and wrong. 
 
 His sympathy with the sailor’s part of it, how- 
 ever, is deeper than any other, and a most intimate 
 element in his whole life and genius. No more 
 wonderful drawing, take it all in all, exists, by his 
 hand, than this one, and the sky is the most exqui- 
 site in my own entire collection of his drawings. 
 It is quite consummately true, as all things are 
 when they are consummately lovely. It is of 
 course the breaking up of the warm rain-clouds of 
 summer, thunder passing away in the west, the 
 golden light and melting blue mingled with yet fall- 
 ing rain, which troubles the water surface, making 
 it misty altogether, in the shade to the left, but gra- 
 dually leaving the reflection clearer under the warm 
 opening light. For subtle, and yet easily vigorous 
 

GROUP VI. 
 
 39 
 
 drawing of the hulls of our old ships of war, study 
 the group in the rain, no less than the rougher one 
 on the right. 
 
 Gosport. 
 
 A delightful piece of fast sailing, whether of boats 
 or clouds ; and another of the wonderful pieces of 
 Turner composition which are delicious in no ex- 
 plicable manner. It was the second drawing of his 
 I ever possessed, and would be among the last I 
 should willingly part with. The blue sky, exqui- 
 sitely beautiful in grace of indicated motion through 
 fast-flying white clouds, seems revealed there in pure 
 irony ; the rude figures in the boat being very 
 definitely terrestrial and marine, but not heavenly. 
 But with them we close our study of the Dis- 
 quietudes. 
 
 Sixth Group. Meditation. England 
 Passing Away. 
 
 38. 
 
 ALISBURY. 
 
 The seven drawings placed in this next following 
 group are entirely fine examples of the series known 
 as Turner’s “ England and Wales,” representing his 
 central power and dominant feelings in middle life, 
 towards his native country. 
 
 If the reader will cast his eye down the column of 
 their titles in the introductory table, I think he 
 
40 
 
 GROUP VI. 
 
 ought to be struck by the sequence of these seven 
 words, expressing their essential subjects : — 
 
 Cathedral. 
 
 Castle. 
 
 Castle. 
 
 Castle. 
 
 Castle. 
 
 Abbey. 
 
 Abbey. 
 
 He may suppose at first that I myself chose these 
 subjects owing to my love of architecture. But that 
 is not so. They have come to me as Fate appointed, 
 two of them, long coveted, only last year ; all of 
 them bought simply as beautiful Turner work, 
 and not at all as representations of architecture. 
 But so it is, that every one of the seven was com- 
 posed by Turner to do honour to some of those 
 buildings of which it is England’s present boast that 
 she needs no more. And, instead of Cathedrals, 
 Castles, or Abbeys, the Hotel, the Restaurant, the 
 Station, and the Manufactory must, in days to 
 come, be the objects of her artist’s worship. In 
 the future England and Wales series, the Salis- 
 bury Terminus, the Carnarvon Buffet, the Grand 
 Okehampton Hotel, and the United Bolton Mills 
 will be the only objects thought deserving of por- 
 traiture. But the future England and Wales will 
 never be painted by a Turner. 
 
 This drawing is of unsurpassable beauty in its sky, 
 and effect of fast-flying storm and following sun- 
 beams : it is one which also I think every lover of 
 art should enjoy, because it represents in the sweet- 
 est way what all have seen, and what it is well 
 within the power of painting to imitate. Few of the 
 public now ever see a sunrise, nor can the colours of 
 sunrise be ever represented but feebly and in many 
 
GROUP VI. 
 
 4 1 
 
 respects inharmoniously, by art ; but we all of us 
 are sometimes out in April weather ; and its soft 
 clouds and gentle beams are entirely within the 
 scope of Turner’s enchantment and arrest. No 
 more lovely or skilful work in water-colour exists 
 than the execution of the distance in this drawing. 
 
 39. Langharne Castle, Coast of South Wales. 
 
 Described at length in “ Modern Painters.” Its 
 sweeping sea is very grand ; but the chief wonder 
 of the drawing to my present mind is in the exqui- 
 site stone and ivy drawing of the grey ruin. 
 
 Among the artifices of repetition, before noticed 
 as frequent in Turner’s design, those used in this case 
 are very notable. The castle was too simply four- 
 square in its mass to be entirely satisfactory to him ; 
 so he shows the much more cubic packages of the 
 wreckage, repeating the quality of masonry in 
 them, by their cross cords and divisions ; compare 
 the oar in No. 50 ; and, the narrow turret and broader 
 tower of the castle being repeated so as to catch the 
 eye too distinctly, he triples them with the piece of 
 floating mast and fore-top, — and thus diffuses their 
 form over the drawing, as he diffused the arches of 
 Richmond Bridge with the parasols. 
 
 40. Carnarvon Castle. 
 
 Quite one of the most exquisite pieces of Turner’s 
 twilight mist. Its primrose-coloured sky has been 
 often objected to, but this is only because Turner is 
 resolved to have the true colour in opposition to his 
 violets, and as he cannot give the relative light, per- 
 sons who look for effects of light only are always 
 offended. But any one with real eyes for colour, 
 who will look well into the drawing of the rosy 
 towers, and purple mountains and clouds beyond the 
 
 F 
 
42 
 
 GROUP VI. 
 
 Menai, will be thankful for them in their perfectness, 
 and very glad that Turner did not what a common 
 painter would, darken them all down to throw out his 
 twilight. 
 
 41. Flint Castle. 
 
 This is the loveliest piece of pure water-colour 
 painting in my whole collection ; nor do I know 
 anything elsewhere that can compare, and little that 
 can rival, the play of light on the sea surface and the 
 infinite purity of colour in the ripples of it as they 
 near the sand. 
 
 The violent green and orange in the near figures 
 are in themselves painful ; but they are of invaluable 
 use in throwing all the green in the water, and warm 
 colours of the castle and sky, into aerial distance ; and 
 the effect of the light would have been impossible 
 without them. 
 
 42. Okehampton Castle. 
 
 I have arranged these drawings to illustrate 
 Turner’s versatility. The contrast between the iri- 
 descent sea and misty morning woods must, it seems 
 to me, be felt with pleasant surprise. Remember 
 what division of subject there used to be among old 
 painters, — how Hobbima and Both were always in 
 thickets, Cuyp in calm fields, Vandevelde on grey 
 sea, — and then think how this man is woodman, or 
 seaman, or cragsman, or eagle in cloud, at his will. 
 
 Here we have another pretty instance of the 
 conquest by iteration. The pyramidal form of the 
 castle mound, too conspicuous, is repeated twice 
 over by the angular blocks of sandstone in the 
 foreground ; and we are not compelled any more to 
 climb it, whenever we look. The smoke of the 
 
 
GROUP VI. 
 
 43 
 
 sportsman’s shot repeats the mist on the far away 
 hills. (I wish Turner had fallen on some gentler 
 expedient.) The winding valley in the left-hand 
 distance, painted with little more than a single 
 wash, and a scratch of light through it, may be 
 taken for example of the painter’s loveliest work at 
 speed ; but the sky is unusually careless. 
 
 43. Leicester Abbey. 
 
 Every way consummate, but chiefly in the beau- 
 tiful drawing of the towered wall of the moat, of the 
 willow branches, and the stepping-stones. 
 
 The sunset and moonrise thus associated are not 
 meant to be actually contemporaneous. Strictly, 
 this is two pictures in one ; and we are expected to 
 think of the whole as a moving diorama. 
 
 44. Bolton Abbey. 
 
 A deservedly celebrated drawing, analyzed at 
 length in “Modern Painters.” A proof of my own 
 etching from the rocks, in first state, is among the 
 other engravings. 
 
 Glorious as the rock drawing is, and beautiful as 
 the flow of the dark stream, I regret the exaggera- 
 tion of mountain scale which he admitted to fulfil the 
 strength of his mental impression. This habit gained 
 on him in later years injuriously ; and though this 
 Bolton is unrivalled as a piece of lovely art, I denied 
 myself more in giving to Oxford the quiet sincerity of 
 transcript with which his younger spirit reverenced 
 the streams of Greta and Tees. 
 
44 
 
 GROUP VII. 
 
 Seventh Group. Minstrelsy. The 
 Passionate Pilgrim. 
 
 45 - 
 
 TAFFA. Vignette Title-Page to the “Lord 
 of the Isles.” 
 
 All the designs of Turner until middle life had been 
 made, it must be remembered, either in his own 
 natural feeling, or under the influence of classic writers 
 only. In Italy he was guided by Virgil and Ovid, in 
 England by Thomson and Pope. But his work under 
 Mr. Rogers brought him into closer relation with 
 modern thought ; and now for some seven or 
 eight years he works chiefly under the influence 
 of Scott and Byron, this phase of his mind being 
 typically represented by the “ Childe Harold.” 
 
 The vignettes to Rogers’ “Italy” (all but one, in 
 the National Gallery,) were simply his own reminis- 
 cences of the Alps and the Campagna, rapidly and 
 concisely given in right sympathy with the medita- 
 tive poem they illustrate. They are entirely exqui- 
 site ; poetical in the highest and purest sense ; ex- 
 emplary and delightful beyond all praise. 
 
 The illustrations to Scott and Byron were much 
 more laboured, and are more or less artificial and 
 unequal. I have never been able to possess myself 
 of any of the finest ; the best I had, Ashestiel, was 
 given to Cambridge. The group shown in the fol- 
 lowing series represents them very feebly, one only, 
 the plains of Troy, being of their highest class, and 
 even that not well representing its order. 
 
 This vignette of Staffa (Fingal’s Cave) I bought 
 
GROUP VII. 
 
 45 
 
 only the other day for its geology, there being 
 no other such accurate drawing of basaltic rock 
 (note the hexagonal outline of the column used in 
 the decoration). But it is interesting also in its 
 effect of light (looking out of the cave to the sea), 
 and in the wonderful outline drawing of the rich 
 decoration. 
 
 4 6. Lochmaben. 
 
 Average vignette work, the subject not greatly 
 interesting him. I have never seen it, but suppose 
 the masses of ruin to be nearly shapeless and un- 
 manageable, except in the distance. I am glad to 
 have it, nevertheless, for the sake of the Bruce. 
 
 47. Rouen. 
 
 One of the most exquisitely finished of the Scott 
 series, but forced in effect to suit the purposes of 
 engraving. Compare notes on No. 56. 
 
 48. Fountain, Constantinople. 
 
 One of the Byron vignettes. These are all finished 
 with extraordinary labour ; there is as much draw- 
 ing in the left-hand distance of this, alone, as in 
 some of the Rogers’ “Italy” vignettes altogether. 
 But it is like cameo-work, and takes more trouble 
 to look at than it is worth. 
 
 The painting of the little china vase in front, in 
 its complete expression of porcelain with so few 
 touches, is executively very admirable. 
 
 49. The Plains of Troy. 
 
 One of the most elaborate of the Byron vignettes, 
 and full of beauty. I need not hope to make the 
 public believe that the meaning of the sunset con- 
 
46 
 
 GROUP VII. 
 
 tending with the storm is the contest of the powers 
 of Apollo and Athene ; but there is nevertheless no 
 question as to the fact. For Turner’s grasp of 
 Homeric sentiment was complete from the day he 
 painted Chryses praying to the sun as it lightened 
 in going down, over the surf of the beach, through 
 the crimson sunrise of the Polyphemus, with the 
 horses of Apollo drawn in the orb, down to this 
 piece of passionate pilgrimage, the Childe always 
 leading him, whose true love was at last known 
 “ from another one” at Missolonghi. 
 
 I hope Dr. Schliemann may like it a little ; let 
 me at least thank him with reverent heart for all 
 his life’s work, and its passionate pilgrimages. 
 
 50. Corinth. 
 
 This and the next following belong to the series 
 of illustrations of Palestine, to which Turner gave 
 his utmost strength, as far as he knew himself at 
 this time in what his strength lay. He had never 
 been in Palestine — (his time for that pilgrimage is 
 perhaps to come), — and the drawings have grave 
 faults, but are quite unrivalled examples of his 
 richest executive power on a small seal?. My three 
 best (“Solomon’s Pool,” “Lebanon,” and “Jericho”) 
 were given to Cambridge and Oxford, but these that 
 I have left are not unworthy. The crowded figures of 
 the foreground here are meant in illustration of 
 St. Paul’s trade : “ By their occupation they were 
 tent makers.” You will dislike them at first, but 
 if they were not there, you would have felt the white 
 houses a painful interruption to the Acropolis — as it 
 is they are a reposeful space of light. The square 
 oar in front is to repeat and conquer their square- 
 ness ; the little triangular flag, to join them with the 
 Acropolis slope ; and their divided masses to echo its 
 duplicity. 
 
GROUP VIII. 
 
 47 
 
 51. Jerusalem — The Pool of Bethesda. 
 
 From the engraving of this drawing, lent me by 
 one of my girl companions when I was a youth of 
 fourteen, I first learned what real architectural 
 drawing was. I believe it to have been one of the 
 subjects which Turner accepted, when other artists 
 had refused it as intractable, the mere square angle 
 of blank walls seeming a hopeless difficulty. But 
 the artifices of shadow or mist and transparent ray, 
 by which he has dealt with it, are too laborious, and 
 by no means wholly true or defensible ; to be reve- 
 renced only as his effort to do all his best in a sacred 
 service. I hope that the infinite care and finish 
 thus given, in his advancing age, to subjects not in 
 themselves pleasing to him, will be a practical lesson 
 to the careless egotism in which the rising race of 
 young painters too often waste their narrower power. 
 
 Eighth Group. Morning. By the 
 Riversides. 
 
 52. 
 
 ONT DE Busel? 
 
 From the more or less conscientious, but mis- 
 taken temper, in which Turner worked for the 
 illustration of the thoughts of others, and of scenes 
 in which he had little personal interest, he was con- 
 tinually recalled by the impressions on his own 
 mind, in his later continental journeys. These he got 
 into the habit of recording, chiefly for his own plea- 
 sure, in the masses of studies which between 1853 
 and 1845 accumulated in bundles and rolls, seen by 
 none, until my work upon them in the National Gallery 
 after his death. Of these “ personal ” subjects, he 
 realized two connected series on the French Rivers ; 
 
4 8 
 
 GROUP VIII. 
 
 of which the subjects on the Seine are on the whole 
 the most wonderful work he ever did, and the most 
 admirable in artistic qualities. Those on the Loire, 
 less elaborate, are more majestic and pensive. 
 Fortune enabled me to possess myself of this com- 
 plete series, and to place it, for the foundation of our 
 future art schooling, in the Galleries of Oxford. Of 
 Seine subjects, fortune gave me one, the Rouen, 
 No. 56, on the whole the mightiest piece of work in 
 these rooms next to the Goldau (No. 65). Of the 
 unpublished drawings, I obtained, belonging to the 
 same period, one on the Loire, quite inestimable, 
 (given to Oxford Standard Series No. 3) ; five others 
 are here, variously characteristic, but it is in the 
 National Gallery that his work of this class can alone 
 be adequately studied. It is notable always for its 
 pensiveness — the chief feeling on his mind being now 
 the sorrow of declining life — with an eternity of 
 beauty in his thoughts. 
 
 I do not know where the scene of this little 
 mountain study is ; there are thousands of such 
 among the southern hills of France ; and the name 
 I have given, Busel, is a conjecture only from the in- 
 decipherable inscription. Perhaps I love the little 
 drawing more for remembering many a drive down 
 hill to such bright and sunny bridges, in the old days 
 when one saw rivers sometimes as one crossed them, 
 and went up and down hills instead of underneath 
 them. 
 
 53. Dinant, on the Meuse. 
 
 It will be seen both in the last drawing and this, 
 how absolutely determined Turner’s execution was, 
 leaving the grey or warm tinted paper entirely un- 
 touched for part of his ground colour. This Dinant 
 is a study of the highest quality, the rock drawing 
 under the fort insuperable. 
 
GROUP VIII. 
 
 49 
 
 54. On the Rhine. 
 
 The place must be recognizable enough ; but 
 almost any reach of the old Rhine, with village 
 below, and towers above, served Turner for such a 
 drawing. I say the old Rhine, for I suppose these 
 villages, with their little remnant of walls, tree-planted, 
 and clustered gables, and arched bridges over the 
 mountain brooks, are all gone now, and nothing but 
 the rail-station and steamer quay any more visible. 
 
 This drawing is one of the most precious I have ; 
 to me quite inestimable in expression of pure white 
 in warm sunlight. It is so difficult to keep warm 
 in so bright and unsubdued a tone. The ' basalt 
 rock drawing is also entirely grand. 
 
 55. Twilight. 
 
 An example of the extremely simple things which 
 Turner would often set down note of ; as if he was 
 afraid of forgetting these, while more splendid effects 
 of sky or scene might often be trusted to memory : 
 there is no record whatever, for instance, of the 
 effect of the sunset for the next following drawing ; 
 only a pencil outline, one of three on the same leaf, 
 now in the National Gallery. This little study of 
 twilight is very lovely in tone, and characteristic of 
 the pensive temper in which he was now working. 
 
 56. Rouen, from St. Catherine’s Hill. 
 
 No drawing in the great series of the Rivers of 
 France surpasses this, and few equal it. It is beyond 
 all wonder for ease, minuteness, and harmony of 
 power ; perfectly true and like the place ; also, inesti- 
 mable as a type of Turner’s consummate work. 
 
 If any foreign master of landscape painting, 
 hitherto unacquainted with Turner, wishes to know 
 
 G 
 
5 ° 
 
 GROUP IX. 
 
 his essential strength, let him study this single draw- 
 ing, and try to do anything like it. 
 
 I have never been certain of the material used by 
 Turner in his drawings on grey paper. It is often 
 common white chalk washed up, and I believe in 
 all cases some preparation of chalk, the difficulty of 
 working with which is trebled by its effect being 
 unseen till dry. 
 
 It has before been noticed that Turner always 
 signs a locality with some given incident ; the dili- 
 gence coming up the hill and passengers walking 
 therefore occur in both the views of Rouen, Nos. 47 
 and 56. There is no comparison, however, between 
 the two drawings in general quality : the smaller of 
 them was conventionalized and much spoiled by 
 direct reference to engraving ; No. 56 is the record 
 of a real impression, carried out for its own sake. 
 
 Ninth Group. Again the Alps. 
 
 57 - 
 
 ELL’S Chapel, Lake Lucerne. 
 
 Between the years 1840 and 1845, Turner went 
 every summer to Switzerland, finding, it seemed, 
 new strength and pleasure among the scenes which 
 had first formed his power. Every day, on these ex- 
 cursions, furnished him with many more subjects for 
 complete pictures than he could at all sufficiently ex- 
 press, and he could not bear to let any of these escape 
 him. His way was, therefore, to make rapid pencil 
 note of his subject on the spot ; and it seems, 
 

GROUP IX. 
 
 5i 
 
 at his inn in the evening, to put so much colour on 
 this outline as would recall the effect to his mind. 
 The five examples of such sketches here given, 
 Nos. 57 to 61, give good idea of their general manner, 
 but all the finest of this kind are in the National 
 Gallery. 
 
 This first, No. 57, is very slight, but a lovely 
 record of his retained impression of the Chapel, first 
 drawn by him in the exquisite vignette for Rogers- 
 The traveller now passes, at his choice, by the rail 
 behind the chapel, or steamer in front of it. Its 
 legend is no more — and its lake — will doubtless be 
 made a reservoir, in due time. Compare No. 70. 
 
 58. Dazio Grande. 
 
 On the Italian side of the St. Gothard, two miles 
 above Faido. Magnificent. See notes in Epilogue. 
 
 59. Bellinzona. 
 
 Or at least, the Ticino, two miles below Bellin- 
 zona, the opening valley to the pass of the Ber- 
 nardino in distance. This drawing shows the 
 pencil outline made on the spot more clearly than 
 the others ; the more that it has not been 
 followed in the mountain masses on the right, but 
 modified into quite new forms. The fury of the 
 rushing white water modelled into masses with a 
 few sweeps of the brush, and the lovely infinitude of 
 aerial peaks beyond, are in his finest manner. 
 
 60-61. The Bridge. 
 
 I am always in hopes of being told by some 
 traveller where this bridge is ; a very notable one 
 over a wide river, by evidently an important city. 
 
52 
 
 GROUP X. 
 
 Tenth Group. Sunset. 
 
 S EE Epilogue for notes, on these, the noblest drawings 
 ever made by him for passion and fully developed 
 power. Failing only in some qualities of execution, 
 never attainable but by the scrupulous patience of 
 youth ; and in some of delineation incompatible 
 with their effects of light, and of magnitude. 
 
 Only six of the nine drawings in this group, how- 
 ever, belong to it properly ; the other three (67, 68, 
 and 69) are placed with it for illustration, belonging 
 themselves to much earlier dates. 
 
 62. COBLENTZ. 
 
 The old bridge over the Moselle," Ehrenbreitstein 
 in the distance on the left. Last minutes of sunset, 
 the river mists rising. 
 
 Painted for me by Turner in 1842, and now 
 literally the only existent drawing which gives a 
 complete idea of the ideal of purple and golden colour 
 in which his later work for the Academy was done, 
 or of its exquisite execution. The “Sun of Venice,” 
 the San Benedetto looking towards Fusina, the 
 “Approach to Venice,” the “Cemetery at Murano,” 
 and such others, were all as exquisite as this ; but 
 they rotted, rent, faded, and mouldered away in 
 miserable patches of variously deforming changes, 
 darkening in spots ; but to the rich colours bringing 
 pallor, and to the subtle ones, absolute effacement. 
 Cleaning, and retouching over cracks, followed, and 
 the ruin is now total. This drawing alone remains 
 to show what they once were, and how they were 
 painted. There is nothing in painters’ work of any 
 time more exquisite, as any painter may quickly 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
GROUP X. 
 
 53 
 
 find out, who will try to copy the right-hand side of 
 it, with the gliding boat, struck with a few lines of 
 brown and vermilion over the exquisitely laid 
 ground of blue and purple ; or who will similarly 
 work out a square inch of the reflections on the left 
 under the bridge. 
 
 63. Constance. 
 
 Another drawing of the year 1842, and a greater 
 and better one than the last, but not so entirely 
 illustrating his Academy pictures, because the sky 
 here is laid in with a magnificently bold first wash, 
 and the green reflections on the left with the same 
 audacity, while his Academy pictures at this time 
 were laboured throughout like No. 62. 
 
 Part of the Lake of Constance is seen, pale behind 
 the city, retiring under the far-away blue clouds, 
 from behind which the sun is just going to rise. 
 There are many points of resemblance here to the 
 composition of the “ Leicester Abbey,” and both 
 drawings are consummate work of their time, but 
 the “ Constance ” is unique in its luxury of colour. 
 
 64. Lake of Zug — Early Morning. 
 
 The town of Aart seen yet in shadow over the 
 inner bay of the lake ; the first rays of rosy light 
 falling on the nearer shore. The sunrise is break- 
 ing through the blue mist, just above the battle-field 
 of Morgarten. The two Mythens which protect the 
 central and name-giving metropolis of Switzerland, 
 Schwytz, are bathed in his full light. 
 
 Painted a year later, for Mr. Munro of Novar, 
 with less care for the painting, and more for the 
 facts. (See Mr. Kingsley’s note.) An inestimable 
 drawing, but with bad faults, of which I need not 
 point out more than the coarse figure drawing, and 
 falsely oblique reflection of the sun. 
 
54 
 
 GROUP X. 
 
 65. Goldau. 
 
 Lake of Zug in distance, seen like a lake of lava 
 under the fiery sunset. Under the dark masses of 
 rock in the foreground lies buried the ancient 
 village of Goldau. The spire of the village of Aart, 
 the same which glitters through the morning mist 
 in No. 64, is here seen as a point of fire at the edge 
 of the distant lake. 
 
 Painted for me in 1843 (with No. 64 for Mr. 
 Munro). Engraved in “Modern Painters,” being on 
 the whole the mightiest drawing of his final time. 
 
 66. Pass of St. Gothard. 
 
 Just above Faido. Painted for me, with No. 65, in 
 1843 : etched by myself, and described at length in 
 “Modern Painters,” to which I must refer the reader : 
 some notes on the selection of the subject are how- 
 ever added here in the Epilogue. 
 
 67. Arona, Lago Maggiore. 
 
 I have placed this drawing next to the one repre- 
 senting the fury of the Ticino on its Alpine bed, 
 that the reader may compare the calm of the lake 
 with the passion of the river ; and fed the infinite 
 sympathy of the painter with them both. Vesuvius 
 in his two moods, not more marvellously opposed. 
 The Arona is far the earlier drawing, made originally 
 for the “ Keepsake ” Annual. The towers defending 
 the little port were quite among the most precious 
 historical monuments in Italy, dating from the time 
 of the military power of the lake districts of the 
 North, centred in that of the Comaschi, who were, 
 among the “ mountain-flint ” races of Italy, in the his- 
 tory of Lombardic war and architecture, what the 
 race of Fesole was to the Val d’Arno. But since I 
 
GROUP X. 
 
 55 
 
 first began studying Italian history, the only remain- 
 ing gate of Fesole (old Etruscan) has been pulled 
 down for the materials ; and this entirely unique 
 part of Arona destroyed by the modern progressists, 
 and a ‘ promenade ’ built over the filled-up space of 
 it, on which they may lounge, smoke, and read news- 
 papers. 
 
 68. Italy of the Olden Time. — (Sixty years since, I 
 
 mean.) 
 
 An unique drawing of Turner’s early period, 
 curiously broad in execution, majestic in tone, with 
 extremest subtlety of subdued colour : — inimitable 
 modelling of hill masses, and superb composition 
 throughout : but foliage treatment as yet not fully 
 developed, and bough drawing still grossly imperfect. 
 
 Placed here after the Arona, to complete, for my 
 readers, the old-fashioned journey from Coblentz by 
 Constance, Zug, and the St. Gothard, into deep 
 Italy, as Turner knew it, and as we old travellers 
 knew it, — doing thirty or forty miles a day, chatting 
 in every village, walking up every hill, staying in 
 every lovely place ; and seeing, what none of you, my 
 poor readers, can ever see more — human life in its 
 peace, and its homes. 
 
 69. Geneva. 
 
 This magnificent drawing (I owe the possession 
 of it to the kindness of my always helpful friend, 
 Mr. F. S. Ellis, — see further No. 87,) is a little earlier 
 than No. 68, but should be carefully compared with 
 it, the mountain drawing being, in like manner, 
 ineffably subtle ; while the foliage conventional, and 
 even feeble : the composition masterly in the ex- 
 treme, especially the placing of the cattle. 
 
 There are very few water-colour drawings by 
 
56 
 
 GROUP X. 
 
 X 
 
 T urner of this size, except those at Farnley ; of which 
 the chief, Lake Lucerne from Fluelen, is the grandest 
 work of Turner’s early time, and first expresses his 
 full perception of the tenderness of the great Alps, 
 and of their waters ; being to his Swiss work, what 
 the “ Coniston Fells” study was to his English work. 
 
 70. Fluelen. 
 
 And now note how constant his life is to these 
 first impressions. No. 70, placed as the last drawing 
 in this collection, is in fact the last Alpine drawing 
 Turner ever made with loving power; — not un- 
 abated power, — for it was painted in 1845, the year 
 of his failure ; and it shows, in the foreground work, 
 incipient conditions of fatal decline. But his love 
 for the scene remains unabated — for it is the old 
 place, Fluelen, the scene of that great Farnley draw- 
 ing, now fading away into a mere dream of depart- 
 ing light. 
 
 I have asked that it may be placed under his 
 portrait ; and have a few words yet to say of this and 
 the great Geneva ; but I should like the reader first 
 to glance over the Epilogue, that he may clearly 
 know the way in which these later drawings were 
 produced ; noting only for the present that, in some 
 respects, the execution of this one is in freshness 
 and clearness unrivalled, the sky being laid in with 
 one dash, like that of the “ Okehampton.” Also the 
 subtle modelling of the great limestone cliff on the 
 right, though different in manner, is not less won- 
 derful than that of the hill under the castle in 68. 
 Turner never attempted at any period of his life to 
 draw the higher snows, knowing their beauty to be 
 impossible ; their presence is only suggested among 
 the clouds by the broken fragments of white for the 
 Rothstock, on the left ; and the domed masses on 
 
GROUP X. 
 
 57 
 
 the right, which are imaginary altogether, and put 
 there only to give solidity to the nearer cliff, there 
 being in reality no snowy heights above that pro- 
 montory. 
 
 Tell’s chapel is on the other side of it ; but the 
 whole cliff tunnelled now for the railway, — and so 
 ends the story of the “ Sacred Lake, withdrawn 
 among the hills.” Doubtless it will soon be embanked 
 at Lucerne and drunk up by the Basle people, in 
 emulation of our British thirsting “ as the hart after 
 the waterbrooks,” — their own waterbrook of the 
 Rhine being used only as a Cloaca Maxima, prac- 
 tically, for all the fighting and singing about it that 
 has been, or is to be, on either shore, between the 
 wise and poetical nations it cannot separate. 
 
 H 
 
ILLUSTRATIVE STUDIES AND SUP- 
 
 PLEMENTARY SKETCHES. 
 
 I PLACE first among these, six of the great plates of the 
 “ Liber Studiorum,” engraved by Turner himself, with 
 his own hand ; namely : 
 
 7 1 . RAGLAN ; an inestimable and unique early proof. 
 
 72. The Lost Sailor, of which only two proofs exist 
 
 that I know of, besides. 
 
 73. The Devil’s Bridge, St. Gothard. Also only two 
 
 other proofs, I believe. 
 
 74. Glacier des Bois, and Source of the Arveron, 
 
 CHAMOUNI ; fine early impression. 
 
 75. ALsacus and Hesperie ; fine impression ; and the 
 
 greatest piece of tree-drawing in the Liber. 
 
 76. Mill near the Grande Chartreuse. 
 
 The five first were all engraved by Turner himself, ' 
 but only the Devil’s Bridge and yEsacus also etched 
 
ILLUSTRATIVE SKETCHES. 
 
 59 
 
 by him under the mezzotint. The Grande Char- 
 treuse is only in part engraved by him. My dear 
 old friend and master in etching, Thomas Lupton, 
 told me he was sure there was a great deal of 
 Turner’s own work in it ; and of his mind, more. 
 
 The first two of these belong to Oxford. I gave 
 them with the Loire series — to be companions to it 
 and to each other, as perpetual types of the two 
 modes of Turner’s sorrow for the passing away of 
 human souls. 
 
 Next come four early sketches, namely : — 
 
 77. The Tower of Oxford Cathedral, from the 
 Gardens of Corpus Christi College. 
 
 Inscribed, “ Christ Church Cathedral from Corpus 
 Gardens,” but not, I think, in his own hand. The 
 drawing was given me by my friend, since dead, Mrs. 
 Cowper of St. Paul’s, from whom also I bought — 
 she sorrowfully parting with them, because she had 
 duties for which the money was needed — the 
 Loire series, which I gave to Oxford, and the 
 Rouen, Rolandseck, and Dinant, Nos. 56, 55, 53. 
 
 It is an extremely early sketch, about the time 
 of the Dover Castle. 
 
 78. At Chester. Old shops, belonging to Messrs. 
 “ Clarke, (shoe) ? ” maker ? 
 
 “ Robarts ” Upholsterer ? the substantial ‘sign ’ of 
 two chairs of the oldest and newest fashion — St. 
 Jerome’s style (easy), and modern cheap-made, 
 uncomfortable to a degree, and not strong. Finally 
 ‘ Drugs and colours,’ no name. 
 
6o 
 
 ILLUSTRATIVE SKETCHES. 
 
 79. In the Main Street, Chester. Old style. Cathe- 
 
 dral tower seen over the gables. 
 
 Both these, Nos. 79 and 80, are very early, not 
 much more than a year’s difference between them 
 and the Oxford. 
 
 80. Pen and British Ink Sketch made on the back 
 
 of a letter in which a friend had asked for some 
 advice about drawing. He just turned the paper, 
 drew, wrote, and sent back folded the other way. 
 
 A most precious example of the advancing 
 method of study. 
 
 Hence to No. 100, inclusive, are placed various 
 pencil sketches made on the first tour into York- 
 shire and Scotland, some more or less touched with 
 colour. 
 
 81. Scarborough. 
 
 Observe the perfect, quiet, fearless decision, with 
 no hurry, and no showing off, perspective watched 
 in every line, then the perfect setting of the beds of 
 the rock up the angle of it, when they are vital to 
 it, up to the highest piece of Castle. And see the 
 love of walls and rocks, and many forms of them 
 gathered well together, as fixed in him already as 
 it was to his death. Compare Nos. 54, Rock and 
 wall ; 55, Rock and current wall, zigzag like forked 
 lightning up the hill ; 62, Rock and broad mass of 
 fortress ; 63, Walls, more his object than the town. 
 
 82. Scarborough. 
 
 First dash of colour on pencil, same day as 81. 
 Foam of sea deliberately left. Broad wash, stopping 
 short of outline, for future work on the all-important 
 edges ; never going over the outline, you observe. 
 
ILLUSTRATIVE SKETCHES. 
 
 61 
 
 83. Sketch on the Spot. Brinkburn Priory. 
 
 The England subject. This was all he wanted 
 for a subject of picture, if he saw no details on 
 the spot of any particular beauty and importance. 
 If he did, he went on, as we shall see ; if not, he put 
 in out of his own head what would serve. Neither 
 the trees nor stones here pleased him, only the bit 
 of Priory, nor that much. He did it when it was 
 wanted in the England series, but not to please 
 himself. 
 
 84. Jedburgh? 
 
 I used to be quite sure it was, but am a little 
 confused now by the modern improvements. An 
 exquisite Scottish scene of the olden time, at all 
 events. Distant hills most carefully outlined, 
 abbey the same ; the rest at speed,' noting only 
 well the steps in gable of cottage. 
 
 85. Edinburgh, from St. Anthony’s Chapel. 
 
 This is the scene in the Heart of Midlothian — 
 (scene in the moonlight, where Jeanie goes alone). 
 Look, how he dwells, on the points of the place — 
 the winding paths to the town — shepherd driving 
 the cows down it {sheep, those round things in the 
 middle, hieroglyphic) ; — they were to be there and 
 not elsewhere — wanted to centralize the whole pic- 
 ture in pastoral character. Then — look at Holy- 
 rood down on the right — and up the Canongate, 
 and up ! the Heart I think behind St. Anthony. 
 North bridge clear enough ; brow of Calton, note 
 the zigzag rock edge, the edge that is painted after- 
 wards for the entire main subject in the great 
 National Gallery North Bridge drawing. There’s 
 a spire, too ! — not Scott’s monument that, — but 
 St. Anthony’s chapel and Holyrood, and the fields 
 where Jeanie’s cows fed — they are his monument. 
 
62 
 
 ILLUSTRATIVE SKETCHES. 
 
 86. The Castle. 
 
 Bit of North Loch yet left on the right. Mound 
 building ? First of the deadly innovations. 
 
 A quite glorious sketch, of humiliating unerring- 
 ness. Never a line hesitating, never one changed. 
 You can scarcely see a finer example of early Turner 
 sketching. His greatest was about the 1820 time, 
 but this was the way he got to it. 
 
 87. View from foot of Calton, behind Lady Glen- 
 
 orchy’s Chapel. 
 
 Only the Ghost of Castle and Ghost of North 
 Bridge — these being drawn before : Houses on left, 
 accurately — but St. Giles’s — yes — we have not drawn 
 that before, we must go in at it, and, is that the 
 Heart then, low down on the left? — The little 
 scrawled sketch in the book laid open on the table 
 under the glass. It is Sir Walter’s own sketch of the 
 niche of the Tolbooth, which he had a mind to take 
 to Abbotsford, and his directions to the architect of 
 Abbotsford for transference of the same. 
 
 Beside it lie the MSS. of the “Black Dwarf,” 
 “ Peveril of the Peak,” “ Woodstock,” and the “ For- 
 tunes of Nigel.” I name this last because I got it 
 first — and it is the most important MS. in many 
 ways ; but note in the Woodstock the interpolation 
 on the left-hand page. It is significant, in a way 
 which I may tell you in the Epilogue. 
 
 The “Fortunes of Nigel” MS. was bought long 
 ago by my Father, the rest lately by me, when I 
 could : my friend Mr. F. S. Ellis giving me warning 
 when he could get them for me. 
 
 88. Stirling. 
 
 Look at the intense accuracy of the town along 
 the ridge, that King James rode up in the “ Lady of 
 
f/M i/i. 
 
 -S. & 
 
 

 
 
 
 
 
 
 
 
 
 
ILLUSTRATIVE SKETCHES. 63 
 
 the Lake,” after the Douglas “ had endured that 
 day,” all but one thing, 
 
 “ But Lufra had been fondly bred.” 
 
 89. Stirling, from the Castle foot. 
 
 Scene of the Laird of Balmavvhapple’s pistol shot. 
 Highlands in the distance, outlined carefully, Ben 
 Lomond (I think). Baillie Nicol Jarvie could tell 
 us if he would, perhaps — but won’t, only that — 
 “They’re the Hieland Hills — the Hieland Hills.” 
 
 90. Benvenue. 
 
 At least, I think so. I could have told, once, but 
 I don’t know the outline now, so well as some “ in 
 foreign land.” 
 
 91. Hawthornden ? 
 
 92. Borthwick ? 
 
 Very fine ; a wonderful bit of stone and stream. 
 
 93. Dunfermline? 
 
 94. Warkworth ? 
 
 Most important in showing his way of outlining 
 reflections in water, that he might be sure about 
 them. 
 
 95. The Strid ? 
 
 Rapid above, I think ; the stream eddies deep 
 where one can leap it. 
 
 Most instructive in his way of drawing the forms 
 of water. 
 
6 4 
 
 ILLUSTRATIVE SKETCHES. 
 
 9 6. Bridge and Waterfalls. 
 
 So also this, in drawing of rock. Some traveller 
 will, I hope, recognize it. 
 
 97. Solway? 
 
 With Skiddaw beyond. Precious in simplicity of 
 washed tint ; the group of figures, seen on this spot, 
 the original tint for those in the Salisbury. 
 
 98. Fast Study of Clouds. 
 
 99. Fast Study of Clouds. 
 
 100. Fall of Tees? 
 
 Tinting begun for a really careful drawing. 
 
 The remaining twenty examples are of mixed cha- 
 racter ; consisting of his own private studies or 
 sketches, either for practice, or play, or pleasure. 
 The first is only the back of a letter, written from 
 his Surrey Hermitage. 
 
 101. Invitation to Dine at his House, Sandycombe. 
 
 With scratched Guide Map, and hieroglyph of 
 Richmond Bridge (in the manner of Drayton’s “Poly- 
 olbion”) ; compare No. 33, “ Play.” He never called 
 it so to me, but it is vulgar English play, as opposed 
 to vulgar English work. 
 
 102. Dog. 
 
 What kind ? — sketched — but see inscription, certi- 
 fying the same. 
 
 103. Grouse. 
 
 Hard study, too laboured. 
 
ILLUSTRATIVE SKETCHES. 
 
 65 
 
 104. Pheasants. 
 
 Rapid note of colour for a bit in foreground ; 
 splendid. 
 
 105. JAY. 
 
 The most wonderful piece of water-colour work 
 at speed I have. It was given me by Mr. W. 
 Kingsley, of Kilverton, with many and many a 
 precious thing besides. See his terminal notes. 
 
 106. Mackerel. 
 
 Study on his kitchen dresser at Margate, splendid. 
 
 107. Mackerel. 
 
 Just a dash for three more. Cook impatient. 
 
 108. Study for Fish. 
 
 Coming on at speed, in the Slaver (modern trade ?). 
 
 109. Study for Fish. 
 
 Looking up to the sky, in the Slaver (modern 
 philosophy ?). 
 
 1 10. Namur ? 
 
 There are many such scenes; this is only given 
 as an example of work done deliberately, but stop- 
 ping when the future drawing is but just suggested. 
 
 hi. Wreck on Sands. 
 
 Memorandum in chalk on grey. 
 
 1 12. The Same Subject. 
 
 Later, tide further out, ship fallen over. 
 
 I 
 
66 
 
 ILLUSTRATIVE SKETCHES. 
 
 1 1 3. Rainbow. 
 
 Effect dashed down on the inside of the cover of 
 sketchbook, all the paper being gone, his point 
 being the gradation of light in the bow to the 
 darkness of cloud ; rare, therefore noted eagerly and 
 energetically. Wild sea, chalk cliffs with faint rosy 
 light from rosy distant clouds, opening of blue sky 
 beyond the rain, the veil being withdrawn gradually. 
 
 I bought the whole book from his good Margate 
 housekeeper, in whose house, at Chelsea, he died. 
 
 1 14. Heaped Thundercloud, over sea and land. Light 
 
 breaking over far horizon. 
 
 Mighty work. A leaf out of the same book. 
 
 115. Flying Scud of thundercloud, heavy central storm, 
 
 eddies of advancing tide meeting over tongue of 
 sand. 
 
 Noble. (Out of same book). 
 
 1 16. Studies for Three Subjects. 
 
 One under another, the highest, sunset on beach, 
 nearly a perfect drawing. 
 
 117. Studies for Three Subjects. 
 
 Moonrise (at top) wonderful. 
 
 One of these two has its study of green and 
 white sea upside down. 
 
 11 8. Alpine Stream. 
 
 Pretty bridge and torrent subject; slightest possible 
 indication of a perfectly intended picture, over the 
 pencil sketch from nature. 
 
 1 19. Sallenche. 
 
 Seen from St. Martin’s, pencil sketch of the grandest 
 time. 
 
ILLUSTRATIVE SKETCHES. 
 
 67 
 
 120. Mont Blanc. 
 
 Over the bridge of St. Martin’s. The old Hotel 
 du Mont Blanc on the left. 
 
 St. Martin’s Bridge with the cross on its key- 
 stone has been principal in Turner’s mind in both 
 these last two sketches. There will doubtless soon 
 be an iron one instead — with no such useless deco- 
 ration ; but probably a bill pasted on it of the Sun- 
 day trains to Chamouni at reduced fares. 
 
 J. RUSKIN. 
 
 Brantwood, 
 
 February 21 , 1878 . • 
 
 / 
 
ADDENDA. 
 
 1 2 I. 
 
 P ORTRAIT of Turner at about the age of 17, 
 by himself. 
 
 I have placed in this group, with the pencil 
 sketches above referred to, a few studies in colour, 
 letters, and the like, of various interest, but which 
 could not be properly examined in any consecutive 
 way with the larger drawings. Of these, the prin- 
 cipal is the “ Study” of Turner by himself, No. 121, 
 given by him to his housekeeper, and by her (Mrs. 
 Danby) bequeathed to me. It in the first place 
 shows the broad and somewhat clumsy manner 
 of his painting in the “school days in the second, 
 it is to me who knew him in his age, entirely the 
 germ and virtually capable contents of the man I 
 knew. But more — -of it, or of him, — I am not able 
 to say here or now. 
 
 122. His first (known) Sketch Book ; open at his first 
 sketch of Malmesbury. 1 
 
 1 Bought by me at Bristol, where it had been left. Nos. 
 123-126 given me by Mrs. Booth. The little water-colour 
 palette, it will be observed — sent out for in his last illness — 
 has the colours on the wrong side, his hand never having 
 lifted it. 
 
ADDENDA. 69 
 
 123. His last Sketch Book in Colour. It is full of 
 
 such memoranda of skies. 
 
 124. His actually last Sketch Book. 
 
 125. His Working Colour Box (for travelling). 
 
 126. His last Palette, as it was left. 
 
 J. R. 
 

 
 
 
 
EPILOGUE. 
 
 B ETWEEN the years 1840 and 1845, Turner exe- 
 cuted a series of drawings under quite other condi- 
 tions than those which he had previously accepted, 
 or insisted on. The history of these drawings, known to 
 me, down to somewhat minute particulars, will, I think, be at 
 least in several of these, interesting to the reader, after the 
 thirty years’ interval ; and at all events, illustrative of some 
 of the changes which have taken place during that interval, 
 in our estimate of the monetary value of a painter’s toil 
 (or genius? — see Turner’s own words to Mr. Kingsley, 
 at the close of his added notes). In the years 1840 and 
 1841, Turner had been, I believe, for the greater part 
 of their summers in Switzerland; and, as aforesaid, had 
 filled, for his own pleasure, many note-books with sketches 
 such as those numbered here from 57 to 61. My state- 
 ment in p. 51 that “all the finest are in the National Gal- 
 lery ” is a little too general, for a grander one than 58 exists 
 nowhere. 
 
 That sketch, with fourteen others, was placed by Turner 
 in the hands of Mr. Griffith of Norwood, in the winter 
 of 1841-42, as giving some clue to, or idea' of, drawings 
 which he proposed to make from them, if any buyers of such 
 productions could by Mr. Griffith’s zeal be found. 
 
 There were, therefore, in all, fifteen sketches, of which 
 Turner offered the choice to his public; but he proposed 
 only to make ten drawings. And of these ten, he made 
 anticipatorily four, to manifest what their quality would be, 
 
72 
 
 EPILOGUE. 
 
 and honestly “ show his hand ” (as Raphael to Durer) at 
 his sixty-five years of age, — whether it shook or not, or had 
 otherwise lost its cunning. 
 
 Four thus exemplary drawings I say he made for speci- 
 mens, or signs , as it were, for his re-opened shop, namely : 
 
 1. The Pass of the Splugen. 
 
 2. Mont Righi, seen from Lucerne, in the morning, dark 
 against dawn. 
 
 3. Mont Righi, seen from Lucerne at evening, red with 
 the last rays of sunset. 
 
 4. Lake Lucerne (the Bay of Uri) from above Brunnen, 
 with exquisite blue and rose mists and ‘ mackerel ’ sky on 
 the right. 
 
 And why he should not have made all the ten, to his own 
 mind, at once, who shall say? His oil pictures, he never 
 asked the public to choose the subjects of! — nay, at this 
 time of his life, he made his selections for the Exhibition 
 with some definite adversity to the public’s advice, as con- 
 veyed to him by its critics ! Why, therefore, of these direct 
 impressions from the nature which he had so long loved, 
 should he have asked anybody to choose which he should 
 realize ? So it was, however ; partly, it seems, in uncer- 
 tainty whether anybody would care to have them at all. 
 
 So he went to Mr. Griffith of Norwood. I loved — yes, 
 loved — Mr. Griffith ; and the happy hours he got for me ! 
 (I was introduced to Turner on Mr. Griffith’s garden-lawn.) 
 He was the only person whom Turner minded at that 
 time : But my father could not bear him. So there were 
 
 times, and times. 
 
 One day, then, early in 1842, Turner brought the four 
 drawings above-named, and the fifteen sketches in a roll in 
 his pocket, to Mr. Griffith (in Waterloo Place, where the 
 sale-room was). 
 
 I have no reason to doubt the substantial accuracy of 
 Mr. Griffith’s report of the first conversation. Says Mr. 
 Turner to Mr. Griffith, “ What do you think you can get for 
 such things as these ?” 
 
EPILOGUE. 
 
 73 
 
 Says Mr. Griffith to Mr. Turner : “ Well, perhaps, 
 commission included, eighty guineas each.” 
 
 Says Mr. Turner to Mr. Griffith : “ Ain’t they worth 
 more ?” 
 
 Says Mr. Griffith to Mr. Turner, (after looking curiously 
 into the execution, which, you will please note, is rather 
 what some people might call hazy) : “ They’re a little dif- 
 ferent from your usual style” — (Turner silent, Griffith does 
 not push the point) — “ but — but — yes, they are worth more, 
 but I could not get more.” 
 
 (Question of intrinsic value, and political economy in 
 Art, you see, early forced on my attention.) 
 
 So the bargain was made that if Mr. Griffith could sell 
 ten drawings — the four signs, to wit, and six others — for 
 eighty guineas each, Turner would make the six others 
 from such of the fifteen sketches as the purchasers chose, 
 and Griffith should have ten per cent, out of the eight hun- 
 dred total (Turner had expected a thousand, I believe). 
 
 So then Mr. Griffith thinks over the likely persons to get 
 commissions from, out of all England, for ten drawings by 
 Turner! and these not quite in his usual style, too, and he 
 sixty-five years old ; — reputation also pretty nearly over- 
 thrown finally, by Blackwood’s Magazine ; — a hard thing 
 enough ; but the old man must be pleased if possible ! So 
 Griffith did his best. 
 
 He sent to Mr.Munro of Novar, Turner’s old companion in 
 travel ; he sent to Mr. Windus of Tottenham ; he sent to 
 Mr. Bicknell of Herne Hill ; he sent to my father and me. 
 
 Mr. Windus of Tottenham came first, and at once said 
 “ the style was changed, he did not quite like it.” (He was 
 right, mind you, he knew his Turner, in style.) “ He would 
 not have any of these drawings.” I, as Fors would have it, 
 came next ; but my father was travelling for orders, and I 
 had no authority to do anything. The Splugen Pass I saw 
 in an instant to be the noblest Alpine drawing Turner had 
 ever till then made ; and the red Righi, such a piece of 
 colour as had never come my way before. I wrote to my 
 
 K 
 
74 
 
 EPILOGUE. 
 
 father, saying I would fain have that Splugen Pass, if he 
 were home in time to see it, and give me leave. Of more 
 than one drawing I had no hope, for my father knew the 
 worth of eighty guineas ; we had never before paid more 
 than from fifty to seventy, and my father said it was “ all 
 Mr. Griffith’s fault they had got up to eighty.” 
 
 Mr. Bicknell of Herne Hill bought the blue Righi, No. 2. 
 It used to hang in his drawing-room, next the window, 
 opposite another drawing, next the door, of which presently. 
 
 Then Mr. Munro of Novar, and bought the Lucerne lake, 
 No. 4, (and the red Righi? 1 ), and both Mr. Munro and 
 Mr. Bicknell chose a sketch to be “ realized” — Mr. Bicknell, 
 another Lucerne Lake ; and Mr. Munro, a Zurich, with 
 white sunshine in distance. 
 
 So, you see, when Turner came to hear how things were 
 going on, two of the sketches were provided for, which was 
 pretty well, considering the change of style. Three out of 
 the four pattern drawings he had shown were really bought — 
 “ And not that" said Turner, shaking his fist at the Pass of 
 the Splugen ; — but said no more ! 
 
 I came and saw the Pass of the Splugen again, and 
 heard how things were going on, and I knew well why 
 Turner had said “And not THAT.” 
 
 And next day Munro of Novar came again ; and he 
 also knew why Turner had said “ not that,” and made up 
 his mind ; and bought the Pass of the Splugen. 
 
 At last my father came home. I had not the way of 
 explaining my feelings to him somehow, any more than 
 Cordelia to her father; nevertheless, he knew them enough 
 to say I might have one of the sketches realized. He went 
 with me, and chose with me, to such end, the original of 
 the Ehrenbreitstein, No. 62, here. The sketch we saw is 
 now in the National Gallery. That made seven, in all, 
 bought and ordered. Three others had to be placed yet, 
 before Turner would begin to work. 
 
 1 I am not absolutely sure about this drawing, whether Mr. Bicknell 
 or Mr. Munro bought it. 
 
EPILOGUE. 
 
 75 
 
 Mr. Munro was got to order one more, a Righi dark in 
 twilight. By hard coaxing, and petitioning, I got my father’s 
 leave to promise to take a Lucerne Town, if it turned out 
 well ! The other sketches no one liked, no one would have 
 them at any price ; only nine drawings could be got orders 
 for, and there poor Mr. Griffith was. Turner growled ; 
 but said at last he would do the nine, i.e., the five more to 
 be realized. 
 
 He set to work in the spring of 1842 ; after three or four . 
 weeks, he came to Mr. Griffith, and said, in growls, at 
 intervals, “ The drawings were well forward, and he had 
 after all put the tenth in hand, out of those that no one 
 would have : he thought it would turn out as well as any of 
 them ; if Griffith liked to have it for his commission, he 
 might.” Griffith agreed, and Turner went home content, 
 and finished his ten drawings for seven hundred and twenty 
 guineas, cash clear. Griffith’s commission drawing, the one 
 that no one would have, is No. 63, and we’ll talk of its 
 quality a little, presently, oh, recusant British Public ! but 
 first I’ll finish my story, please. 
 
 My conditional drawing, also, turned out well, and I was 
 allowed to take it, but with comment. “ I was sure you 
 would be saddled with that drawing,” said my father. 
 
 Four or five years ago — Mr. Vokins knows when, I 
 haven’t the date handy here — he came out to me, saying he 
 wanted a first-rate Turner drawing, had I one to spare ? 
 
 “ Well,” I said, “I have none to spare , yet I have a reason 
 for letting one first-rate one go, if you give me a price.” 
 
 “What will you take ?” 
 
 “ A thousand pounds.” 
 
 Mr. Vokins wrote me the cheque in Denmark Hill draw- 
 ing-room, (my old servant, Lucy Tovey, bringing pen and 
 ink,) and took the Lucerne. Lucy, amazed and sorrowful, 
 put the drawing into his carriage. 
 
 I wished to get dead Turner, for one drawing, his own 
 original price for the whole ten, and thus did. Of the 
 remaining eight drawings, this is the brief history. 
 
76 
 
 EPILOGUE. 
 
 Mr. Munro some years afterwards would have allowed 
 me to have the Splugen Pass, for four hundred pounds, 
 through White of Maddox Street ; my father would then 
 have let me take it for that, but I myself thought it hard on 
 him and me, and would not, thinking it would too much 
 pain my father. It remained long in the possession of 
 Mr. Munro’s nephew ; so also the Novar Lucerne Lake, 
 and Zurich. But of that, and of the red Righi, there 
 were at first vicissitudes that are too long to tell ; only, 
 when the ten drawings were finished, and at Waterloo 
 Place, their possession was distributed thus : — 
 
 1. Splugen 
 
 2. Blue Righi . 
 
 3. Red Righi 
 
 4. Lucerne Lake 
 
 5. Lucerne Lake 
 
 6. Lucerne Town 
 
 7. COBLENTZ 
 
 8. Constance . 
 
 9. Dark Righi . 
 10. Zurich . 
 
 Munro of Novar. 
 Mr. Bicknell. 
 Munro of Novar. 
 Munro of Novar. 
 Mr. Bicknell. 
 
 J. R. 
 
 J. R. 
 
 Mr. Griffith. 
 Munro of Novar. 
 Munro of Novar. 
 
 Mr. Griffith soon afterwards let me have the Constance 
 for eighty guineas, and the day I brought that drawing 
 home to Denmark Hill was one of the happiest in my life. 
 
 Nos. I, 4, and 10 were, I believe, lately sold at Christie’s. 
 
 No. 5 was bought at Mr. Bicknell’s sale long ago, far over 
 my head, and went to Edinburgh ; there was a pretty story 
 connected with it, which I think is known to Dr. John 
 Brown. 
 
 No. 6 is — I know not where ; very sorrowful am I that it 
 is not here — for all my thousand pounds. 
 
 Nos. 7 and 8 are here, side by side, Nos. 62 and 63. 
 
 No. 3 was once mine also. It had a correction in it, which 
 I regretted ; and I let it go, which I regret more. Mr. 
 Mackay of Colnaghi’s had it of me, I don’t know who has 
 it now. 
 
 No. 9 was sold at Christie’s while I was last at Venice. 
 
EPILOGUE. 
 
 77 
 
 No. 2 was sold with No. 5 at Mr. Bicknell’s sale, and went 
 I know not where. 
 
 Turner had never made any drawings like these before, 
 and never made any like them again. But he offered, in the 
 next year ( 1 843), to do ten more on the same terms. But now 
 — only five commissions could be got. My father allowed 
 me to give two : Munro of Novar took three. Nobody 
 would take any more. Turner was angry; and, partly 
 ill, drawing near the end, you perceive. He did the five, 
 but said it was lucky there were no more to do. 
 
 The five were : 
 
 1. KUSSNACHT. Munro of Novar. 
 
 2. Z-UG. (No. 64.) Munro of Novar. 
 
 3. (I forget at this moment Munro’s third.) I think it was 
 the Zurich by moonlight, level over the rippling Limmat ; 
 a noble drawing, but not up to the mark of the rest. 
 
 4. Goldau. (No. 65.) J. R. 
 
 5. St. Gothard. (No. 66.) J. R. 
 
 Mr. Munro thought the Zug too blue, and let me have it. 
 So three are here. 
 
 64, 65, and 66. Done passionately ; and somewhat 
 hastily, as drawing near the end. Nevertheless, I would 
 not take all the rest of the collection put together for them. 
 
 For the end had not come, though it was near. His full, 
 final, unshortened strength is in these ; but put forth, as 
 for the last time — in the presence of the waiting Fate. 
 Summing his thoughts of many things, — nay, in a sort of 
 all things. He is not showing his hand, in these ; but his 
 heart. The Constance and Coblentz here, (with the 
 Splugen (1), Bay of Uri (4), and Zurich (10), of the 
 year 1842, are the most finished and faultless works of his 
 last period ; but these of 1843 are the truest and mightiest. 
 There is no conventionalism, — no exhibition of art in 
 them ; — absolute truth of passion, and truth of memory, 
 and sincerity of endeavour. “ That litter of stones which 
 I endeavoured to represent,” he said to me himself of the St. 
 
78 
 
 EPILOGUE. 
 
 Gothard, which recalled to him so many earlier visions of 
 the fierce Reuss and Ticino ; and of the Power that poured 
 them from the clouds, and clove the earth with rivers. 
 
 I can’t write any more of them just now. Perhaps 
 during the last fortnight of this exhibition I may get a few 
 further notes and illustrative studies together : but, none 
 will be of real use, unless the spectator both knows, and 
 loves the Alps, in some measure, as Turner knew and loved 
 them, which — for aught I know — there may yet be some 
 who do : — but one cannot say. For assuredly none who 
 love them, ever peril on them either their Love, or Life. 
 
 Brantwood, loth May, 1878. 
 
 Being my Father's birthday , — who — though as aforesaid, 
 he sometimes would not give me this, or that, — yet 
 gave me, not only all these drawings, but Brantwood 
 — and all else. 
 
PART II. 
 
 PREFACE. 
 
 HE presentation to me by friends’ kindness, of the 
 
 long-coveted drawing of the Splugen, has given me 
 
 much to think of, if, just now I were able to think ; 
 — and would urge me to say much, — if I were able to speak. 
 But I am shaken and stunned by this recent illness, — it has 
 left me not a little frightened, and extremely dull. 
 
 I cannot write a circular letter of thanks, of so wide a 
 radius as to include all I feel, or ought to feel — on the 
 matter ; and besides, I do not usually find that anyone 
 worth pleasing is pleased by a circular letter. The re- 
 cipients always, I think, “ speak disrespectfully of the 
 Equator.” A parabolic letter, or even hyperbolic, might be 
 more to the purpose, if it were possible to me ; but on the 
 whole I think it will be the best I can do in this surprised 
 moment to show the importance of this Splugen drawing, in 
 connection with the others in my collection, belonging to its 
 series ; by trusting in public indulgence for the exposition 
 also of so much of my own hand-work in illustration of 
 Turner, as may explain the somewhat secluded, and appa- 
 rently ungrateful, life which I have always been forced to 
 lead in the midst of a group — or as I now thankfully find, 
 a crowd — of most faithful and affectionate friends. 
 
 I have accordingly amused, and humiliated myself, by 
 arranging a little autobiography of drawings, from child- 
 hood until now ; out of which it appeared to me that some 
 
8o 
 
 PREFACE. 
 
 useful points might be made evident respecting the service 
 of particular methods, or the danger of particular errors. 
 What consistency of effort they show, has been noted, as 
 briefly as I could, and the grounds on which I felt it 
 necessary to pursue some lines of study which cost me 
 much labour, and gave little reward, except in enabling 
 me to understand the virtue of better work. 
 
 Of the Splugen drawing, and of the collection which it 
 in a manner consecrates finally to public service, I hope 
 yet to make some practical uses, such as my friends will be 
 glad to have strengthened me in : but recovery from such 
 illness as struck me down last February, must be very 
 slow at the best : and cannot be complete, at the com- 
 pletest. Without abandoning any of my former aims, I 
 must not for many a day — if ever — resume my former 
 activities ; and though I have now gone so long in literary 
 harness that the pole and collar rather support, than 
 encumber me, I shall venture to write in future, only what 
 costs me little pains. 
 
 As all that I have written hitherto has cost me much, 
 my readers will I hope credit me with indolence when they 
 weary of me ; and acquit me, yet for a few years more, of 
 apoplexy, even though they cannot in conscience assure 
 me that I have “jamais compost de meilleure homelie.” 
 
 Brantwood, 
 
 June 5, 1878. 
 
NOTES ON MY OWN DRAWINGS 
 AND ENGRAVINGS. 
 
 Drawing by my father, made in the Edinburgh 
 drawing class under Nasmyth the elder, and show- 
 ing the way in which young people were in those 
 days taught : the first tints being laid in grey ; then 
 the warm colour laid on the lights, and no “ effects ” 
 of light, or of local colours ever thought of. 
 
 The great Hakewill drawings by Turner are 
 nothing more than the perfect development of this 
 method. 
 
 For the influence of this drawing on my own 
 infant mind, by help of my father’s patience at his 
 dressing time, see “ Fors Clavigera,” June, 1875, 
 page 161. 
 
 2. r. Descent from the Splugen on the Italian 
 SIDE. Old Swiss print, coloured by hand. 1 
 
 Showing the adaptation of this cool shadow and 
 warm light system to popular engraving. 
 
 A most lovely piece of quiet work, full of honour- 
 able and right feeling. 
 
 All the prints for sale in the shops of the Swiss 
 towns, at the time of Turner’s early travels, were 
 done in this manner : and he, in his studies on the 
 
 1 I believe so, but cannot be certain the Swiss had not already 
 fallen on some mechanical help, — encouraged with conscien- 
 tiousness and skill. 
 
 I. R. 
 
 ONWAY CASTLE. 
 
 L 
 
82 NOTES ON MY OWN DRAWINGS 
 
 spot, would definitely set himself to beat one of these 
 old prints by supplying the fire, or force, that it 
 wanted. The post-chaise, or diligence, as the means 
 of communication between Northern and Southern 
 Europe over this great wall of eternal ordinance, 
 was profoundly interesting to him : — (the Apotheosis 
 of the Dover mail !) We will look at one or two 
 more of the Swiss prints, — his “ old masters,” — and 
 then see what he made of the Dover mail at last. 
 
 r. The “ Lost Dungeon : ” on the Pass of the Splugen. 
 The French translation “ Trou-Perdu,” entirely 
 loses the grand meaning of the German “ Verlohren 
 Loch,” a place in which one is both locked up, and 
 lost : — wilderness and dungeon in one ! — and an abyss 
 besides. It is the most terrific chasm, on a large 
 scale, in the Alps, — the Latins and early Grisons 
 calling it the “Via Mala .” 1 
 
 Turner was continually combining impressions 
 from this gorge, and that of the Devil’s bridge on 
 the St. Gothard. There is a study of crag and pine 
 
 1 “ The language of the Grisons is divided into two principal 
 dialects, the Rumonsch and the Ladin ; the latter is the dialect 
 of the Engadin. These dialects are each subdivided into upper 
 and lower. The origin of these dialects is certainly Italian, and 
 they are quite distinct from the Teutonic dialects of the sur- 
 rounding cantons of Switzerland. They are believed to be the 
 remains of the ancient Etruscan language, more ancient than 
 the written Latin, or Roman language, but having probably 
 great affinity to the spoken languages of Latium, Umbria, and 
 other parts of Central Italy, before the period of Roman great- 
 ness. The Etruscans were at one time in possession of a great 
 part of the plain of the Po, from whence they were expelled by 
 the Gauls in the second century of Rome, or about 600 years 
 before Christ. They then took refuge in the mountains of 
 Rhaetia, where names still remain which remind us of Etruria 
 and Latium, such as the river Albula, the towns of Lavin, 
 Ardez, Thusis, Rhoezuns, &c.”— VlEUSSEUX’s History of Swit- 
 zerland. 
 
AND ENGRAVINGS. 
 
 83 
 
 among the framed examples in my sliding cabinets 
 at the National Gallery, which I think is done in 
 challenge of this very plate. 
 
 4. R. STURZ (literally, “ Overthrow ,” or “Rubious Fall ”) OF 
 
 THE RHINE and Avers-torrent. 
 
 Another quite admirable study of pines, and true 
 effort to give the forms of water in violent and 
 ponderous fall. Also one of the “Junctions” of 
 less with greater rivers, in which Turner took such 
 delight : the personality of rivers being to him 
 almost as vivid as to a classic poet, or a true Ger- 
 man one. By railway, I wonder how many travellers 
 would know whether this was a Rhein-fall, Reuss- 
 fall, or Rhone-fall ; or would lift their eyes from 
 their newspapers to see it, though it were a fall of 
 all three ! 
 
 5. r. Swiss Life in the Olden Time. 
 
 Not idealized in the least ; but a quite true picture 
 of a well-to-do farmer’s house in Canton Berne. I 
 used to go to Switzerland quite as much to see this 
 life, and the remains of the mediaeval strength that 
 had won it, as to see the Alps themselves. 
 
 The reader will have patience, perhaps, — it maybe, 
 also pleasure, in comparing with the old-fashioned 
 picture, the greatest of Swiss authors’ description of 
 such a scene. I have an especial reason for asking 
 him now to dwell upon it a little and will even 
 hope that my own friends will read the passage 
 introducing it, the opening paragraph of Gotthelf’s 
 “ L’Ame et l’argent,” A to B of the following ex- 
 tract ; the actual description to be compared 
 with the picture is between B and C. The sequel 
 contains some matters of farther interest, readable 
 perhaps at home. 
 
 a. “ Le vrai bonheur est une fleur delicate, autour 
 
84 NOTES ON MY OWN DRAWINGS 
 
 de laquelle bourdonnent des milliers d’insectes mal- 
 faisants, et que tue le moindre souffle impur. 
 L’homme est le jardinier chargd de la cultiver; la 
 beatitude est sa recompense ; mais combien peu 
 savent leur metier ; combien regardent indiflerents 
 comme les insectes s’y posent; combien s’amusent a 
 voir comme ils la d^vorent et comme la fleur 
 s’etiole ! Heureux celui qui ouvre a temps les yeux, 
 qui, d’une main habile, preserve la fleur et tue son 
 ennemi ; car celui-la preserve en meme temps la 
 paix de son coeur, et assure le salut de son S.me ; 
 deux choses qui tiennent l’une a l’autre, comme 
 le corps et lame, comme ce monde terrestre et 
 l’autre monde. 
 
 “ II y a dans le pays de Berne beaucoup de jolies 
 fermes, de riches villages habites par une quantite 
 de dignes couples, reputes pour leur crainte de Dieu 
 et la sagesse avec laquelle ils elevent leurs enfants ; 
 beaucoup de riches villages ou chambres et greniers 
 sont remplis de richesses, que ne soup^onne guere 
 le petit monde a la nouvelle mode, lequel convertit 
 tout en argent, parce que, dans le fait, il depense 
 beaucoup d’argent. Toutes ces provisions entass^es 
 represented, pour les besoins personnels et etrangers, 
 des sommes telles qu’on n’en trouverait certes pas, 
 bon an mal an, chez beaucoup de messieurs. Ces 
 sommes n’ont, a l’ordinaire, aucune place stable. 
 Pareilles a des esprits familiers, mais a de bons 
 esprits, elles courent par le maison, et se trouvent 
 tantot ici, tantot la, tantot partout a la fois, a la 
 cave, au grenier, au cabinet, dans la caisse aux quar- 
 tiers de pommes seches, dans ces quatre lieux a la 
 fois, sans compter une demi-douzaine d’autres encore. 
 Des qu’un morceau de terre est a vendre qui convient 
 a la ferme, on l’achete, argent comptant. La, jamais 
 le pere ni le grand-pere n’ont rien du a personne ; tout 
 ce qu’ils achetaient, ils le payaient, argent sur table, 
 
AND ENGRAVINGS. 
 
 85 
 
 et de leurs propres deniers. Quand, dans la parente 
 parmi les amis ou dans la commune, un brave homme 
 dtait en besoin d’argent, ou voulait faire quelque bon 
 marchd, cet argent dtait toujours a sa disposition, 
 non comme placement, mais comme assistance tem- 
 poraire, pour un temps determine, sans billet ni in- 
 terets, tout bonnement sur la garantie de sa bravoure, 
 et sous la garde du Ciel ; et on agissait ainsi par le 
 motif tout simple que Ton croyait encore au Ciel, 
 comme de juste et de raison. 
 
 “ La, le mari va k l’eglise et a la foire en respect- 
 able habit de droguet ; la femme est toujours, le ma- 
 tin, la premiere a eplucher quelque chose, et le soir, 
 la derniere a eplucher de meme. Pas un mets n’ar- 
 rive sur la table, qu’il n’ait ^td cuit par elle, et pas 
 une seille n'est versee dans I'auge des cochons, quelle 
 tie l' ait au prealable bien remuee jusqu'au fond, avec 
 son bras nu} 
 
 B. “ Pour trouver un ichantillon de cette honor abilite 
 aristocratique, on n’a qu’a aller a Liebiwyl (nous le 
 parlons pas de celui qui est pres de Kcenitz, ne 
 sachant pas si on s’y comporte ainsi). La, une su- 
 perbe ferme resplendit au soleil, avec des fenetres 
 qui scintillent au loin ; une superbe ferme, que tous 
 les ans on lave avec la pompe a incendie ; aussi pa- 
 rait-elle toujours neuve, bien qu’elle ait deja quarante 
 ans ; et quelle bonne chose c’est que le lavage, meme 
 pour les maisons ; on en a la la preuve journaliere. 
 
 “ Une galerie commode et joliment sculptee , 1 2 fait 
 saillie sous les ailes de la toiture ; une terrasse fait 
 ceinture autour de la maison, pavee de petits caillous 
 serres devant les etables et de larges dalles devant 
 
 1 This is a little farther than St. George wishes his “ aristo- 
 cracy ” of the cottage to follow ! 
 
 2 It might be thought that Gotthelf had made his description 
 from the print itself ! But it is from the vivid fact of his own 
 village, “ Herzogenbuch-see.” 
 
86 NOTES ON MY OWN DRAWINGS 
 
 les pieces d’habitation. De magnifiques arbres & fruit 
 entourent les batiments de leur verdure touffue ; une 
 colline la defend des vents du nord, tandis que, des 
 fenetres, on apergoit les Alpes qui opposent une re- 
 sistance sa fiere et si majestueuse a la marche du 
 temps et a la marche des hommes. 
 
 “ Le soir, on voit, pres de la porte, un homme assis 
 sur un banc, en train de fumer sa pipe, et qu’on ne croi- 
 rait guere age de plus de soixante ans. De temps en 
 temps, apparait sur la porte une creature a mine ave- 
 nante et proprette, qui a quelque chose a dire ou a 
 demander a cet homme. C’est sa femme. Dans la 
 remise, un beau gargon, svelte et vigoureux, fait boire 
 deux beaux chevaux bruns, pendant que son frere 
 aine porte de la paille dans l’etable. Par moments, 
 on voit dans le jardin, sortir du milieu des fleurs et 
 des herbages, une joviale figure de jeune fille, qui de- 
 mande a sa mere si elle veut aller lui donner un coup 
 de main, ou qui peste contre les chats qui courent 
 dans la salade, et demande a son pere ce qu’il fau- 
 drait faire contre la maladie qui attaque ses roses. 
 Les domestiques et les journaliers rentrent lentement 
 des champs ; les poules regagnent l’une apres l’autre 
 leur poulailler, tandis que le pigeon fait encore tres 
 chaudement la cour a sa colombe.” 
 
 C. “ Tel est le tableau qu’on aurait eu presque tous 
 les soirs sous les yeux, si on s’dtait arrete devant cette 
 maison de Liebiwyl, il y a cinq ou six ans ; et si on 
 avait interroge les voisins ou telle vieille femme em- 
 portant quelque chose sous son tablier, sur le compte 
 de ceux qui l’habitaient, on n’eut pas manque de 
 vous repondre bri&vement : 
 
 “ — Ce sont des gens extremement bons et terri- 
 blement riches. 
 
 “ A l’epoque de leur mariage, il y a une trentaine 
 d’annees, ils formaient le plus beau couple qu’on eht 
 vu entrer depuis bien longtemps a lYglise. Plus de 
 
AND ENGRAVINGS. 
 
 87 
 
 cent voitures leur faisaient cortege, sans compter tous 
 ceux qui etaient arrives a cheval, ce qui alors dtait 
 beaucoup plus & la mode qu’a present ; car alors les 
 femmes elles-memes montaient a cheval, surtout 
 quand il s’agissait d’aller ^ la noce. Pour ce qui est 
 de la leur, elle avait durd trois jours ; en fait deboire 
 et manger, on n’y avait rien dpargnd, aussi en avait- 
 on beaucoup parld dans tout le pays. Mais alors 
 aussi les cadeaux de noce avaient-ils abondd d’une 
 telle fa^on, qu’ils en avaient eux-memes etd effrayds. 
 Deux journdes entieres ne leur avaient pas suffi pour 
 les recevoir tous, et force leur avait etd de se faire 
 aider par des dtrangers. II est vrai qu’on n’eut pas 
 etd dans le cas de trouver, ni en amont ni en aval, 
 une ferme plus rdputee que celle-ci. 
 
 “ Le fait est qu’une belle ferme pareille, complete- 
 ment payde, sans compter une masse de mille livres, 
 ne se trouve pas partout. Mais ils ne possedaient 
 pas cela pour eux seuls ; ils savaient encore que les 
 riches ne sont que les mandataires de Dieu, et qu’ils 
 auraient a rendre compte de chacun de leurs ecus. 
 Quand on les demandait pour parrain ou marraine, 
 il n’y avait jamais de non, etils ne se figuraient nulle- 
 ment que depuis que le bois est devenu si cher, les 
 pauvres n’en avaient plus besoin. Les domestiques 
 etaient traites la comme il ne le sont pas souvent ; on 
 n’y pretendait pas que la besogne dut etre achevee 
 d’un seul jour, et que le lait qu’on y servait fut tou- 
 jours trop bon pour eux.” 
 
 I said that I had an especial reason for asking the 
 reader to look at this image of old Swiss life. To 
 me personally it was the soul of the Alps, just 
 as much as the life of Giotto and Farinata was the 
 soul of Fesole, and Florence. But from the first, 
 Turner was awe-struck by the “mountain-gloom” 
 of the great passes, and by the distress, and the 
 heroism, of the dwellers in their deeper recesses 
 
88 
 
 NOTES ON MY OWN DRAWINGS 
 
 of Uri and Untervvalden, — not without acknow- 
 ledging the charm of what remained of their old life, 
 after the great ruin of 1798 j 1 see therefore : — 
 
 6. r. The Bay of Uri, from Fluelen : — 
 
 Photograph (I fear much faded) from the great 
 drawing at Farnley, in which his main purpose has 
 been to give the place of incoming, and the happy 
 animation of the shore, when the boats were em- 
 barking for the Lucerne market. I remember a 
 bit of an early rhyming letter to one of my 
 then brightest girl-friends (the niece of my father’s 
 partner, Mr. Telford) describing one of these boats at 
 Lucerne quay, laden with its 
 
 “ Mealy potatoes and marrowfat pease, 
 
 And honey, and butter, and Simmenthal cheese ; 
 
 And a poor little calf, not at all at its ease, 
 
 Tied by the neck to a box at its knees ; — 
 
 Don’t you agree with me, dear Louise, 
 
 It was unjustifiably cruel in 
 
 Them, to have brought it in all that squeeze 
 
 Over the lake from Fluelen ? ” 
 
 Not incognizant of this joyful industry, Turner 
 was yet, as I said, from the first, appalled by the 
 sense of the mountain pestilence and mortal war, 
 that oppressed it, in the close valleys ; and held in 
 constant admiration by the physical terrors of the 
 greater Alps, in the rock masses which impended over 
 human habitation or journeying. The fall of the rocks 
 themselves, — the “ Snowstorm, avalanche, and inun- 
 dation,” — became at once chief subjects of his effort 
 in explaining the relations of this vast and so often 
 cruel, Nature to its children ; to himself, pene- 
 trating and contending with it as a traveller, the 
 roads, and the diligence, were of constantly in- 
 
 See note farther on, to No. 29. R. 
 
AND ENGRAVINGS. 
 
 89 
 
 creasing interest ; and as the idea of the “ Dover 
 Mail ” (No. 1 in my first group, Schooldays) rises 
 gradually into the two studies of the stage-coach 
 crossing Lancaster Sands, not always without peril, — 
 so the post-chaise on the Splugen Pass, in the old 
 Swiss print, remains to his last years the principal 
 object of vital interest, in the Dazio Grande, 
 No. 58, as in the Pass of Faido, 66; while, long 
 before, it had risen into the imperilled diligence on 
 the Cenis, of the Farnley drawing. I place now in 
 succession, 
 
 7. r. Photograph from the Farnley Drawing of 
 
 Lancaster Sands. 
 
 A simple rendering of the daily facts, as he had 
 seen them. 
 
 8. r. The Engraving from the England Lancaster 
 
 Sands. 
 
 The full development of his central conception, 
 quite one of the noblest of the England series, and 
 admirably engraved by Mr. Brandard ; and, lastly, 
 
 9. r. Photograph from the Farnley Pass of the 
 
 Cenis. 
 
 A quite magnificent drawing, though it always 
 fretted me by its confusion in the foreground of the 
 forms of rock with those of ice. But nothing can 
 be finer than its rendering of the effect of a sudden 
 whirlwind, entering with drift of the dry snow, like 
 fire, over the low refuge on the left, and turning the 
 diligence horses at once back in frantic terror, while 
 those of the baggage cart refuse to stir, helpless to 
 extricate it from its danger on the precipice side 
 when the snow has given way. 
 
 Finally, 
 
 M 
 
go 
 
 NOTES ON MY OWN DRAWINGS 
 
 io. R. Source of the Arveron (Farnley Drawing), 
 
 Is his record of a similar storm coming down the 
 Mer de Glace upon the valley of Chamouni, the shep- 
 herd and flock rushing to find shelter beneath the 
 rocks which the pines, their branches torn half away, 
 can give no longer. 
 
 These drawings of the violence of the Alps, con- 
 centrated at last in the picture, now in the National 
 Gallery, of the rock with a couple of pines upon it, 
 falling sheer through the air on a chalet roof, were 
 seldom carried out with his best work. It was only 
 when calm had succeeded the tempest, and its desola- 
 tion was being hidden by new, though sorrowful life, 
 that his entire thought and power was brought to bear 
 on his work. 
 
 And now I must ask the reader’s patience again — 
 but more timidly — in reprinting here the passages 
 in the last volume of “ Modern Painters,” which 
 gives the meaning of the “ Liber Studiorum,” and of 
 those now exhibited Swiss drawings, with the intro- 
 ductory passages (which I am particularly desirous 
 should be re-read at this time) and their sequel in 
 the close of the chapter ; showing as they do, that 
 the truths I have been endeavouring to teach during 
 these last seven years in “ Fors Clavigera ” were as 
 clearly established in my mind, and as strongly ex- 
 pressed, in the close of my first work, as they will 
 be, with God’s help, in whatever He appoints to be 
 my last. 
 
 “ Looking broadly, not at the destiny of England, 
 nor of any country in particular, but of the world, this 
 is certain — that men exclusively occupied either in 
 spiritual reverie, mechanical destruction, or mechani- 
 cal productiveness, fall below the proper standard of 
 their race, and enter into a lower form of being ; and 
 that the true perfection of the race, and, therefore, its 
 power and happiness, are only to be attained by a 
 
AND ENGRAVINGS. 
 
 9 1 
 
 life which is neither speculative nor productive ; 1 — 
 that is to say — but essentially contemplative and 
 protective which, (A), does not lose itself in the 
 monk’s vision or hope, but delights in seeing pre- 
 sent and real things as they truly are ; which (B) 
 does not mortify itself for the sake of obtaining 
 powers of destruction, but seeks the more easily 
 attainable powers of affection, observance, and pro- 
 tection ; which (C) finally, does not mortify itself 
 with a view to productive accumulation, but delights 
 itself in peace, with its appointed portion. So that 
 the things to be desired for a man in a healthy state, 
 are that he should not see dreams but realities, that 
 he should not destroy life, but save it, and that he 
 should be not rich, but content.” 
 
 “ Towards which last state of contentment I do 
 not see the world is at present approximating. There 
 are, indeed, two forms of discontent : one laborious, 
 the other indolent and complaining. We respect the 
 man of laborious desire, but let us not suppose that 
 his restlessness is peace, or his ambition meekness. 
 It is because of the special connection of meekness 
 with contentment that it is promised that the meek 
 shall ‘inherit the earth.’ Neither covetous men nor 
 the Grave can inherit 2 anything , 3 they can but con- 
 sume. Only contentment can possess. 
 
 1 ‘Mechanically’ always to be understood ; the ‘produce’ 
 of the earth for daily bread, being always gleaned and stored 
 to its last grain. 
 
 2 These italics and those henceforward found, are put in this 
 reprint to mark what I now wish especially to be noticed. I 
 would not use them in my first text, which I intended to be read 
 as a whole, with equal attention. But the then supplementary 
 notes are now of so much more importance to the general public 
 than the text, that I print them in the same type. 
 
 3 There are three things that are never satisfied, yea, four 
 things say not It is enough : the grave and the barren womb, 
 
92 
 
 NOTES ON MY OWN DRAWINGS 
 
 “ The most helpful and sacred work, therefore, 
 which can at present be done for humanity, is to 
 teach people (chiefly by example as all best teaching 
 must be done) not how ‘ to better themselves,’ but how 
 ‘ to satisfy themselves.’ It is the curse of every evil 
 nation and evil creature to eat, and not be satisfied. 
 The words of blessing are, that they shall eat and be 
 satisfied. And as there is only one kind of water 
 which quenches all thirst, so there is only one kind of 
 bread which satisfies all hunger, the bread of justice 
 or righteousness : which hungering after, men shall 
 always be filled, that being the bread of Heaven, but 
 hungering after the bread, or wages, of unrighteous- 
 ness, shall not be filled, that being the bread of Sodom. 
 
 “ And in order to teach men how to be satisfied, it 
 is necessary fully to understand the art and joy of 
 humble life — this at present of all arts or sciences 
 being the one most needing study. Humble life, — 
 that is to say, proposing to itself no future exalta- 
 tion, but only a sweet continuance; not excluding the 
 idea of foresight, but wholly of fore-sorrow, and taking 
 no troublous thoughts for coming days : so, also, not 
 excluding the idea of providence, or provision , * 1 but 
 wholly of accumulation ; — the life of domestic affec- 
 tion and domestic peace, full of sensitiveness to all 
 elements of costless and kind pleasure ; — therefore, 
 chiefly to the loveliness of the natural world. 
 
 “ What length and severity of labour may be ulti- 
 mately found necessary for the procuring of the due 
 comforts of life, I do not know; neither what de- 
 gree of refinement it is possible to unite with the 
 so-called servile occupations of life : but this I 
 
 the earth that is not filled with water, and the fire that saith 
 not It is enough. 
 
 1 A bad word being only “ foresight ” again in Latin, but we 
 have no other good English word for the sense into which it has 
 warped. 
 
AND ENGRAVINGS. 
 
 93 
 
 know, that the right economy of labour will, as it is 
 understood, assign to each man as much as will 
 be healthy for him, and no more ; and that no re- 
 finements are desirable which cannot be connected 
 with toil. 
 
 “ I say, first, that due economy of labour will as- 
 sign to each man the share which is right. Let no 
 technical labour be wasted on things useless or un- 
 pleasurable ; and let all physical exertion, as far as 
 possible, be utilized, and it will be found no man 
 need even work more than is good for him. 
 
 “ I cannot repeat too often (for it seems almost 
 impossible to arouse the public mind in the least 
 to a sense of the fact) that the root of all benevolent 
 and helpful action towards the lower classes con- 
 sists in the wise direction of purchase; that is to 
 say, in spending money, as far as possible only for 
 products of healthful and natural labour. All work 
 with fire is more or less harmful and degrading ; 
 so also mine, or machine labour. They at present 
 develope more intelligence than rural labour, but 
 this is only because no education, properly so called, 
 being given to the lower classes, those occupations 
 are best for them which compel them to attain 
 some accurate knowledge, discipline them in pre- 
 sence of mind, and bring them within spheres in 
 which they may raise themselves to positions of 
 command. Properly taught, a ploughman ought 
 to be more intelligent, as well as more healthy, than 
 a miner. 
 
 “ Every nation which desires to ennoble itself should 
 endeavour to maintain as large a number of persons as 
 possible by rural and maritime labour ( including fish- 
 ing). I cannot in this place enter into consideration of 
 the relative advantages of different channels of indus- 
 try. Anyone who sincerely desires to act upon stall 
 knowledge will find no difficidty in obtaining it. I 
 
94 
 
 NOTES ON MY OWN DRAWINGS 
 
 Jiave also several series of experiments and inquiries 
 to undertake before I shall be able to speak with security 
 on certain points connected with education; but I have 
 no doubt that every child in a civilized country should 
 be taught the first principles of natural history, physi- 
 ology, and medicine ; also to sing perfectly, so far as 
 it has capacity, and to draw any definite form accu- 
 rately, to any scale. 
 
 “ These things it should be taught by requiring its 
 attendance at school not more than three hours a 
 day, and less if possible (the best part of children’s 
 education being in helping their parents and families). 
 The other elements of its instruction ought to have 
 respect to the trade by which it is to live. 
 
 “ Modern systems of improvement are too apt to 
 confuse the recreation of the workman with his educa- 
 tion. He should be educated for his work before he 
 is allowed to undertake it ; and refreshed and relieved 
 while he practises it. 
 
 “ Every effort should be made to induce the adop- 
 tion of a national costume. Cleanliness and neatness 
 in dress ought always to be rewarded by some grati- 
 fication of personal pride ; and it is the peculiar vir- 
 tue of a national costume that it fosters and gratifies 
 the wish to look well, without inducing the desire 
 to look better than one’s neighbour — or the hope, 
 peculiarly English, of being mistaken for a person in 
 a higher position of life. A costume may indeed 
 become coquettish, but rarely indecent or vulgar ; 
 and though a French bonne or Swiss farm-girl may 
 dress so as sufficiently to mortify her equals, neither 
 of them ever desires or expects to be mistaken for 
 her mistress. 
 
 “I believe an immense gain in the bodily health and 
 happiness of the upper classes would follow on their 
 steadily endeavouring, however clumsily, to make 
 the physical exertion they now necessarily take 
 
AND ENGRAVINGS. 
 
 95 
 
 in amusements, definitely serviceable. It would be 
 far better, for instance, that a gentleman should 
 mow his own fields, than ride over other people’s. 
 
 “ Again, respecting degrees of possible refinement, 
 I cannot yet speak positively, because no effort has 
 yet been made to teach refined habits to persons of 
 simple life. 
 
 “ The idea of such refinement has been made to 
 appear absurd, partly by the foolish ambition of 
 vulgar persons in low life, but more by the worse 
 than foolish assumption, acted on so often by 
 modern advocates of improvement, that education 
 means teaching Latin, or algebra, or music, or draw- 
 ing, instead of developing or “drawing out” the 
 human soul. 
 
 “ It may not be the least necessary that a peasant 
 should know algebra, or Greek, or drawing. But it 
 may, perhaps, be both possible and expedient that 
 he should be able to arrange his thoughts clearly, to 
 speak his own language intelligibly, to discern be- 
 tween right and wrong, to govern his passions, and 
 to receive such pleasures of ear or sight as his life 
 may render accessible to him. I would not have 
 him taught the science of music ; but most as- 
 suredly I would have him taught to sing. I would 
 not teach him the science of drawing ; but certainly 
 I would teach him to see ; without learning a single 
 term of botany, he should know accurately the 
 habits and uses of every leaf and flower in his fields; 
 and unencumbered by any theories of moral or 
 political philosophy, he should help his neighbour, 
 and disdain a bribe. 
 
 “ Many most valuable conclusions respecting the 
 degree of nobleness and refinement which may be 
 attained in servile or in rural life may be arrived at 
 by a careful study of the noble writings of Blitzius 
 (Jeremias Gotthelf), which contain a record of Swiss 
 
96 NOTES ON MY OWN DRAWINGS 
 
 character, not less valuable in its fine truth than 
 that which Scott has left of the Scottish. I know 
 no ideal characters of women, whatever their station, 
 more majestic than that of Freneli (in ‘ Ulric le Valet 
 de Ferme’ and ‘Ulric le Fermier’) ; or of Elise, in the 
 ‘ Tour de J acob nor any more exquisitely tender and 
 refined than that of Aenneli in the ‘Fromagerie,’ and 
 Aenneli in the'Miroir des Paysans.’ This last book 
 should be read carefully by all persons interested in 
 social questions. It is sufficiently dull as a tale, but 
 is characterized throughout by a restrained tragic 
 power of the highest order ; and it would be worth 
 reading, were it only for the story of Aenneli, and 
 for the last half-page of its close. 
 
 “ How far this simple and useful pride, this delicate 
 innocence, might be adorned, or how far destroyed, 
 by higher intellectual education in letters or the 
 arts, cannot be known without other experience 
 than the charity of men has hitherto enabled us to 
 acquire. 
 
 “ All effort in social improvement is paralyzed, 
 because no one has been bold or clear-sighted 
 enough to put and press home this radical question : 
 ‘What is indeed the noblest tone and reach of life 
 for men ; and how can the possibility of it be ex- 
 tended to the greatest numbers?’ It is answered, 
 broadly and rashly, that wealth is good ; that know- 
 ledge is good ; that art is good ; that luxury is good. 
 Whereas none of them are good in the abstract, but 
 good only if rightly received. Nor have any steps 
 whatever been yet securely taken, — nor, otherwise 
 than in the resultless rhapsody of moralists, — to as- 
 certain what luxuries and what learning it is either 
 kind to bestow, or wise to desire. This, however, at 
 least we know, shown clearly by the history of all 
 time, that the arts and sciences, ministering to the 
 pride of nations, have invariably hastened their ruin ; 
 
AND ENGRAVINGS. 
 
 97 
 
 and this, also, without venturing to say that I know, 
 I nevertheless firmly believe, that the same arts and 
 sciences will tend as distinctly to exalt the strength 
 and quicken the soul of every nation which employs 
 them to increase the comfort of lowly life, and grace 
 with happy intelligence the unambitious courses of 
 honourable toil. 
 
 “Thus far, then, of the Rose. Last, of the Worm. 
 
 “ I said that Turner painted the labour of men, 
 their sorrow, and their death. This he did nearly in 
 the same tones of mind which prompted Byron’s 
 poem of ‘Childe Harold,’ and the loveliest result of 
 his art, in the central period of it, was an effort to 
 express on a single canvas the meaning of that poem. 
 It may be now seen, by strange coincidence, asso- 
 ciated with two others, — Caligula’s Bridge, and the 
 Apollo and Sibyl ; the one illustrative of the vanity 
 of human labour, the other of the vanity of human 
 life. The Cumaean Sibyl, Deiphobe, was, in her 
 youth, beloved by Apollo ; who, promising to grant 
 her whatever she would ask, she took up a handful of 
 earth, and asked that she might live as many years 
 as there were grains of dust in her hand. She 
 obtained her petition. Apollo would have granted 
 her perpetual youth in return for her love, but she 
 denied him, and wasted into the long ages, — known, 
 at last, only by her voice. 
 
 “The Hesperid ./Egle from whom this chapter is 
 named, was the daughter of Alsculapius, by one of 
 the daughters of the Sun. She is the healing power 
 of Evening light. She is thus spoken of, with her 
 three companions, Hesperids in the chapter on Tur- 
 ner’s Garden ! Their names are, AUgle, — Bright- 
 ness; Erytheia, — Blushing; Hestia, — the (spirit of 
 the) Hearth; Arethusa,— the Ministering. O English 
 reader ! hast thou ever heard of these fair and true 
 daughters of Sunset beyond the mighty sea ? 
 
 N 
 
9 8 NOTES ON MY OWN DRAWINGS 
 
 “ He painted these, as I said, in the same tone of 
 mind which formed the ‘ Childe Harold’ poem, 
 but with different capacity : Turner’s sense of beauty 
 was perfect ; deeper, therefore, far than Byron’s ; 
 only that of Keats and Tennyson being comparable 
 with it. And Turner’s love of truth was as stern 
 and patient as Dante’s ; so that when over these 
 great capacities come the shadows of despair, the 
 wreck is infinitely sterner and more sorrowful. 
 With no sweet home for his childhood, — friendless 
 in youth, — loveless in manhood, — and hopeless in 
 death, Turner was what Dante might have been, 
 without the ‘bello ovile,’ without Casella, without 
 Beatrice, and without Him who gave them all, and 
 took them all away. 
 
 “ I will trace this state of his mind farther, in a 
 little while, meantime, I want you to note only the 
 result upon his work ; how, through all the remainder 
 of his life, wherever he looked, he saw ruin. 
 
 “ Ruin, and twilight. What was the distinctive 
 effect of light which he introduced, such as no man 
 painted before ? Brightness, indeed, he gave, as we 
 have seen, because it was true and right ; but in 
 this he only perfected what others had attempted. 
 His own favourite light is not vEgle, but Hesperid 
 v£gle. Fading of the last rays of sunset, faint 
 breathing of the sorrow of night. 
 
 “ And fading of sunset, note, also, on ruin. I cannot 
 but wonder that this difference between Turner’s 
 work and previous art conception has not been more 
 observed. None of the great early painters draw 
 ruins, except compulsorily. The shattered buildings 
 introduced by them are shattered artificially, like 
 models. There is no real sense of decay ; whereas 
 Turner only momentarily dwells on anything else 
 than ruin. Take up the ‘ Liber Studiorum,’ and ob- 
 serve how this feeling of decay and humiliation gives 
 


AND ENGRAVINGS. 
 
 99 
 
 solemnity to all its simplest subjects ; even to his 
 view of daily labour. I have marked its tendency in 
 examining the design of the Mill and Lock, but ob- 
 serve its continuance through the book. There is no 
 exultation in thriving city, or mart, or in happy rural 
 toil, or harvest gathering. Only the grinding at the 
 mill, and patient striving with hard conditions of life. 
 Observe the two disordered and poor farmyards, cart, 
 and ploughshare, and harrow rotting away; note the 
 pastoral by the brook side, with its neglected stream, 
 and haggard trees, and bridge with the broken rail, 
 and decrepid children — fever-struck — one sitting stu- 
 pidly by the stagnant stream ; the other in rags, and 
 with an old man’s hat on, and lame, leaning on a 
 stick. Then the ‘ Hedging and Ditching,’ with its 
 bleak sky and blighted trees, — hacked, and bitten, 
 and starved by the clay soil into something between 
 trees and firewood; its meanly-faced, sickly labourers 
 — pollard labourers, like the willow trunk they hew ; 
 and the slatternly peasant-woman, with worn cloak 
 and battered bonnet, — an English Dryad. Then 
 the ‘ Watermill,’ beyond the fallen steps overgrown 
 with the thistle : itself a ruin, mud-built at first, now 
 propped on both sides ; — the planks torn from its 
 cattle-shed ; a feeble beam, splintered at the end, 
 set against the dwelling-house from the ruined pier of 
 the watercourse ; the old millstone — useless for many 
 a day — half buried in slime, at the bottom of the wall ; 
 the listless children, the listless dog, and the poor 
 gleaner bringing her single sheaf to be ground. Then 
 the ‘Peat Bog,’ with its cold, dark rain, and dangerous 
 labour. And last and chief, the mill in the valley of 
 the Chartreuse. Another than Turner would have 
 painted the convent ; but he had no sympathy with 
 the hope, no mercy for the indolence of the monk. 
 He painted the mill in the valley. Precipice over- 
 hanging it, and wildness of dark forest round ; blind 
 
ioo NOTES ON MY OWN DRAWINGS 
 
 rage and strength of mountain torrent rolled beneath 
 it, — calm sunset above, but fading from the glen, 
 leaving it to its roar of passionate waters and sigh- 
 ing of pine branches in the night. 
 
 “ Such is his view of human labour. Of human 
 pride, see what records. Morpeth tower, roofless and 
 black ; gate of old Winchelsea wall, the flock of sheep 
 driven round it, not through it ; and Rievaulx choir, 
 and Kirkstallcrypt; and Dunstanboro’,wan abovethe 
 sea, and Chepstow, with arrowy light through trace- 
 ried windows ; and Lindisfarne with failing-height of 
 wasted shaft and wall ; and last and sweetest, Raglan, 
 in utter solitude, amidst the wild wood of its own 
 pleasance ; the towers rounded with ivy, and the 
 forest roots choked with undergrowth, and the brook 
 languid amidst lilies and sedges. Legends of grey 
 knights and enchanted ladies keeping the wood- 
 man’s children away at sunset. 
 
 “ These are types of human pride. Of human 
 love : Procris, dying by the arrow ; Hesperie, by the 
 viper’s fang ; and Rizpah, more than dead, beside her 
 children. 
 
 “Such are the lessons of the ‘Liber Studiorum.’ 
 Silent always with a bitter silence, disdaining to tell 
 his meaning, when he saw there was no ear to re- 
 ceive it, Turner only indicated this purpose by slight 
 words of contemptuous anger, when he heard of any 
 one’s trying to obtain this or the other separate subject 
 as more beautiful than the rest. * What is the use 
 of them,’ he said, ‘but together?’ Turner appears 
 never to have desired, from any one, care in favour of 
 his separate works. The only thing he would say 
 sometimes was, ‘keep them together.’ He seemed 
 not to mind how much they were injured, if only the 
 record of the thought were left in them, and they 
 were kept in the series which would give the key to 
 their meaning. I never saw him, at my father’s house, 
 
Hi I 
 
AND ENGRAVINGS. 
 
 IOI 
 
 look for an instant at any of his own drawings : I have 
 watched him sitting at dinner, nearly opposite one of 
 his chief pictures, — his eyes never turned to it. 
 
 “But the want of appreciation, nevertheless, touched 
 him sorely ; chiefly the not understanding his mean- 
 ing. He tried hard one day for a quarter of an hour 
 to make me guess what he was doing in the picture 
 of Napoleon, before it had been exhibited, giving me 
 hint after hint in a rough way ; but I could not guess, 
 and he would not tell me. 
 
 “The meaning of the entire book was symbolized in 
 the frontispiece, which he engraved with his own hand : 
 Tyre at sunset, with the Rape of Europa, indicating 
 the symbolism of the decay of Europe by that of 
 Tyre, its beauty passing away into terror and judg- 
 ment (Europa being the mother of Minos and Rha- 
 damanthus). 
 
 “ I limit myself in this book to mere indication of 
 the tones of his mind, illustration of them at any 
 length being as yet impossible. It will be found on 
 examining the series of drawings made by Turner 
 during the later years of his life, in possession of the 
 nation, that they are nearly all made for the sake of 
 some record of human power, partly victorious, partly 
 conquered. There is hardly a single example of 
 landscape painted for its own abstract beauty. Power 
 and desolation, or soft pensiveness, are the elements 
 sought chiefly in landscape; hence the later sketches 
 are nearly all among mountain scenery, and chiefly 
 of fortresses, villages or bridges and roads among the 
 wildest Alps. The pass of the St. Gothard, especially, 
 from his earliest days, had kept possession of his 
 mind, not as a piece of mountain scenery, but as a 
 marvellous road ; and the great drawing which I 
 have tried to illustrate with some care in this book, 
 the last he made of the Alps with unfailing energy, 
 was wholly made to show the surviving of this tor- 
 
102 
 
 NOTES ON MY OWN DRAWINGS 
 
 mented path through avalanche and storm, from the 
 day when he first drew its two bridges, in the ‘Liber 
 Studiorum.’ Plate 8 1, 1 which is the piece of the tor- 
 rent bed on the left, of the real size, where the stones 
 of it appear just on the point of being swept away, 
 and the ground we stand upon with them, completes 
 the series of illustrations on this subject, for the 
 present, sufficiently; and, if compared with plate 
 80, will be serviceable, also, in showing how 
 various in its grasp and its delight was this strange 
 human mind, capable of all patience and all energy, 
 and perfect in its sympathy, whether with wrath or 
 quietness. Though lingering always with chief af- 
 fection about the St. Gothard pass, he seems to have 
 gleaned the whole of Switzerland for every record he 
 could find of grand human effort of any kind ; I do 
 not believe there is one baronial tower, one shat- 
 tered arch of alpine bridge, one gleaming tower of 
 decayed village or deserted monastery, which he has 
 not drawn ; in many cases, round and round, again 
 and again, on every side. Now that I have done this 
 work, I purpose, if life and strength are spared to me, 
 to trace him through these last journeys, and take 
 such record of his best beloved places as may fully 
 interpret the designs he left. 
 
 “ I need not trace the dark clue farther, the reader 
 may follow it unbroken through all his work and 
 life, this thread of Atropos. I have not followed out, 
 as I ought to have done, had the task been less pain- 
 ful, my assertion that Turner had to paint not only 
 the labour and the sorrows of men, but their death 
 There is no form of violent death which he has not 
 painted. Pre-eminent in many things, he is pre- 
 eminent, also, bitterly, in this. Durer and Holbein 
 drew the skeleton in its questioning ; but Turner, 
 like Salvator, as under some strange fascination or 
 
 Drawing No. 66 in the Ex hibition. 
 
AND ENGRAVINGS. 
 
 103 
 
 captivity, drew it at its work. Flood, and fire, 
 and wreck, and battle, and pestilence ; and solitary 
 death, more fearful still. The noblest of all the 
 plates of the ‘ Liber Studiorum,’ except the Via 
 Mala, is one, 1 engraved with his own hand, of a single 
 sailor, yet living, dashed in the night against a granite 
 coast, — his body and outstretched hands just seen in 
 the trough of a mountain-wave, between it and the 
 overhanging wall of rock, hollow, polished, and pale 
 with dreadful cloud and grasping foam. 
 
 “ And remember, also, that the very sign in heaven 
 itself, which, truly understood, is the type of love, 
 was to Turner the type of death. The scarlet of the 
 clouds was his symbol of destruction. In his mind 
 it was the colour of blood. So he used it in the Fall 
 of Carthage. Note his own written words — 
 
 ‘While o’er the western wave the ensanguined sun, 
 
 In gathering huge a stormy signal spread, 
 
 And set portentous.’ 
 
 “ So he used it in the Slaver, in the Ulysses, in 
 the Napoleon, in the Goldau ; 4 again and again 
 in slighter hints and momentary dreams, of which 
 one of the saddest and most tender is a little sketch 
 of dawn, made in his last years. It is a small space 
 of level sea-shore ; beyond it a fair, soft light in the 
 east; the last storm-clouds melting away, oblique into 
 the morning air ; some little vessel — a collier, pro- 
 bably— has gone down in the night, all hands lost ; 
 a single dog has come ashore. Utterly exhausted, 
 its limbs failing under it, and, sinking into the sand, 
 it stands howling and shivering. The dawn-clouds 
 have the first scarlet upon them, a feeble tinge only, 
 reflected with the same feeble blood-stain on the sand. 
 
 “ The morning light is used with a loftier signi- 
 ficance in a drawing made as a companion to the 
 Goldau, engraved in the fourth volume. The Lake of 
 
 1 No. 72 in the Exhibition. 
 
 2 No. 65 in the Exhibition. 
 
io 4 NOTES ON MY OWN DRAWINGS 
 
 Zug, 1 which ripples beneath the sunset in the Goldau, 
 is lulled in the level azure of early cloud ; and the spire 
 of Aart, which is there a dark point at the edge of the 
 golden lake, is, in the opening light, seen pale against 
 purple mountains. The sketches for these two sub- 
 jects were, I doubt not, made from the actual effects 
 of a stormy evening, and the next following day- 
 break ; but both with earnest meaning. The crimson 
 sunset lights the valley of rock tombs, cast upon it 
 by the fallen Rossberg ; but the sunrise gilds with 
 its level rays the two peaks which protect the village 
 that gives name to Switzerland ; and the orb itself 
 breaks first through the darkness on the very point 
 of the pass to the high Lake of Egeri, where the 
 liberties of the cantons were won by the battle- 
 charge of Morgarten. 
 
 “ I will only point, in conclusion, to the intensity 
 with which his imagination dwelt always on the 
 three great cities of Carthage, Rome, and Venice, — 
 Carthage in connection especially with the thoughts 
 and study which led to the painting of the Hes- 
 perides’ Garden, showing the death which attends 
 the vain pursuit of wealth ; Rome, showing the 
 vain pursuit of power. Venice, the death which 
 attends the vain pursuit of beauty. 
 
 “ How strangely significative, thus understood, 
 those last Venetian dreams of his become, themselves 
 so beautiful and so frail ; wrecks of all that they 
 were once — ‘twilights of twilight!’ 
 
 “ Vain beauty ; yet not all in vain. Unlike in birth, 
 how like in their labour, and their power over the 
 future, these masters of England and Venice — 
 Turner and Giorgione. But ten years ago, I saw 
 the last traces of the greatest works of Giorgione yet 
 glowing, like a scarlet cloud, on the Fondaco de 
 Tedeschi. And though that scarlet cloud (sanguigna 
 1 Drawing No. 64 in the Exhibition. 
 
AND ENGRAVINGS. 
 
 io 5 
 
 e faimmeggiante, per cui le pitture comincuarona 
 con dolce violenza a rapire il cuore delle genti) may, 
 indeed, melt away into paleness of night, and Venice 
 herself waste from her islands as a wreath of wind- 
 driven foam fades from their weedy beach ; — that 
 which she won of faithful light and truth shall never 
 pass away. Deiphobe of the sea, — the Sun God 
 measures her immortality to her by its sand. Flushed 
 above the Avernus of the Adrian lake, her spirit is 
 still seen holding the golden bough ; from the lips of 
 the Sea Sibyl men shall learn for ages yet to come 
 what is most noble and most fair ; and, far away, as 
 the whisper in the coils of the shell, withdrawn 
 through the deep hearts of nations, shall sound for 
 ever the enchanted voice of Venice.” 
 
 Thus far the last chapter but one of “ Modern 
 Painters.” It was written early in i860; the entire 
 volume being sent out to me in June to St. Martin’s, 
 where I was then resting, chiefly for the sake of the 
 gentians, lilies, and wild roses of the Aiguille de 
 Varens (see first chapter of “Proserpina”). I went 
 up thence to Chamouni, and there wrote “ Unto this 
 Last,” reading it, as it was finished, to the friend 
 staying at the old Union Inn with me, Mr. Stillman. 
 
 And so my St. George’s work began, and Turner’s 
 birthday took another significance to me ; and his 
 “Venice” also. I call it his “Venice,” for she was 
 the joy of his heart, no less than his great teacher. 
 The Alps brought him always sadness, but Venice 
 delight. (He died, happily, before he saw what 
 modern Venetians and English would make of her.) 
 
 It is a woful fault in this collection of mine, con- 
 sidered as illustrative of his life, that there are no 
 Venetian sketches in it. I gave all I had to Cam- 
 bridge and Oxford, not generously, but because to 
 think of Venice now is mere misery to me. The 
 sorrow of my work there, last year, was in great part 
 
 O 
 
io6 NOTES ON MY OWN DRAWINGS 
 
 the beginning of the illness which in its culmination 
 has been the cause of too much anxiety to my friends, 
 as of their not easily to be acknowledged kindness. 
 
 The best representation, therefore, that I can here 
 give them of Turner’s Venetian work is (n. R.) the 
 beautiful engraving by Mr. Miller of his picture of 
 the 
 
 1 1 . r. (a.) Grand Canal, 
 
 A picture which was itself a challenge to Canaletto, 
 being nothing else than Turner’s adaptation of the 
 great Louvre picture of the “ Church of the Salute,” 
 taken with entirely false and absurd perspective by 
 Canaletto from its own steps. Turner changed the 
 point of sight to the middle of the canal, corrected 
 the perspective — showing that even at this greater 
 distance the Dome could not possibly be repre- 
 sented on a vertical plane ; and then threw his whole 
 strength into the boats and water, which Canaletto 
 could not paint at all. 
 
 There is no better representation of Turner’s work 
 by line engraving ; the sky especially is exquisite, 
 and was, when Mr. Miller left it, nearly a fac-simile of 
 Turner’s. The publisher of the plate, thinking he 
 knew better than either Turner or Mr. Miller what a 
 sky should be, had it all burnished down to make it 
 “ soft ” and popular. This proof, though early, is yet 
 only an intermediate state between the first perfect 
 one and the final inanity. I have never seen but one 
 proof of the plate in its original beauty. 
 
 II. R. (b.) The best fac-simile of Turner’s work in skies, laid 
 often with the palette-knife and then broken or gra- 
 dated with the brush, is this plate, executed by Mr. 
 Armytage, with consummate skill and patience, from 
 the upper cluster of white clouds in the “Cemetery at 
 Murano,” lent me by its then possessor, Mr. Bick- 
 
AND ENGRAVINGS. 
 
 107 
 
 nell, of Herne Hill, my always kind neighbour. It 
 was the most perfect of all the late Venices. 
 
 I have noticed elsewhere thatTurner’s later Venices, 
 when introducing much architecture, were often 
 spoiled by his leaving the buildings too white. 
 This was a morbid result of his feeling that he 
 never could get them bright enough in their rela- 
 tion to the blue or green of the sea, and black of 
 the gondolas. 
 
 r. The Ducal Palace. 
 
 My own study, made in 1874, of the colour of the 
 Ducal Palace in morning sunlight, comes as near, I 
 believe, to the actual facts of the relation between 
 dark and light in the architecture alone, as attentive 
 care can reach ; and it is wholly impossible to get the 
 drawing of the finer details, unless in this delicate and 
 literally true tone, for all the local darks, such as those 
 of the nearer prison-pillars in this sketch, lose their re- 
 lative power if the lights are put in deeper tone. But 
 the moment sky is added to such a study as this, all its 
 detail becomes ghostly and useless ; the eye then re- 
 quires the relation between the nearer buildings and 
 the light at the horizon, or between their shadows 
 and the light of the blue above ; and all one’s delicate 
 work is lost. 
 
 But, besides, Turner had been grievously injured 
 by his education in the principles of Eighteenth- 
 century Classicism, and never had drawn Gothic 
 architecture since his youth ; hence while the detail 
 of the Salute porch is given with perfect intelligence, 
 he does not represent the Gothic palaces on the left 
 with the least accuracy. To represent them with 
 completion would have been impossible, unless he 
 had taken a year to the picture instead of a fort- 
 night, which was, I doubt not, all he gave to it. 
 
io8 NOTES ON MY OWN DRAWINGS 
 
 13. r. Casa Contarini Fasan (Oxford 1 ); 
 
 A sketch of my own in 1841, shows the main de- 
 tail of a little piece in this group of houses in some 
 completeness; but it would take a month to draw 
 even this small group rightly ; and it is totally 
 beyond any man’s power, unless on terms of work 
 like Albert Durer’s, to express adequately the mere 
 “ contents ” of architectural beauty in any general 
 view on the Grand Canal. 
 
 14. r. View from the Fish Market to the Ca’ 
 
 Foscari. (1872.) (Oxford.) 
 
 15. r. View from Ca’ Bernardo to Ca’ Grimani. 
 
 (1876.) (Oxford.) 
 
 16. r. View of the Upper Reach of the Grand Canal, 
 
 looking north and, — (given up in despair). (Oxford.) 
 
 17. R., 18. R., and 19. R., various beginnings on distant views 
 
 of the city, may serve to give the reader some idea of 
 the mere quantity which must be put into any faithful 
 view of Venice. 
 
 And here I will venture to say a few words re- 
 specting the labour I have had to go through in 
 order to make sure of my facts, in any statements I 
 have made respecting either Architecture or Painting. 
 
 No judgment of art is possible to any person who 
 does not love it, and only great and good art can 
 be truly loved ; nor that, without time and the most 
 devoted attention. 
 
 Foolish and ambitious persons think they can 
 form their judgment by seeing much art of all kinds. 
 They see all the pictures in Italy ; — all the architec- 
 ture in the world — and merely make themselves as 
 incapable of judgment as a worn-out Dictionary. 
 
 1 Wherever the word “ Oxford ” is appended it signifies that 
 the exhibit has been given by me to the University schools at 
 Oxford. 
 
AND ENGRAVINGS. 
 
 109 
 
 But from my youth, I was protected against this 
 fatal error by intense love for particular places ; re- 
 turning to them again and again, until I had ex- 
 hausted what was exhaustible (and therefore bad) 
 and thoroughly fastened on the inexhaustible good. 
 To have well studied one picture by Tintoret, one 
 by Luini, one by Angelico, and a couple of Turner’s 
 drawings, will teach a man more than to have cata- 
 logued all the galleries of Europe ; while to have 
 drawn with attention a porch of Amiens, an arch at 
 Verona, and a vault at Venice, will teach him more 
 of architecture than to have made plans and sections 
 of every big heap of brick or stone between St. 
 Paul’s and the Pyramids. Farther, it is absolutely 
 necessary that fine architecture should be drawn 
 separately both in colour and in light and shade ; — 
 with occasional efforts to combine the two, but al- 
 ways with utmost possible delicacy ; — the best work 
 depending always on the subtlest lines. For in- 
 stance in 
 
 r. Studies of Inlaid Marble Work at Lucca. 
 
 The sketch on the left is the spring of two arches of 
 an early thirteenth-century palace. The refinement 
 of the little rose-moulding in the inlaid brickwork 
 (compare rose-moulding in 20 R., porch of Amiens) 
 and of the gradated spaces of radiation in the stones 
 and curves of the Saracenic arch, require as much 
 care in delineation as the petals of a living flower ; 
 the border of the shield above (porphyry and black 
 marble, inlaid in white), was too fine to be drawn at 
 all, in the time I had; and the curves of the hair and 
 veil-border in the bas-relief below (from Santa Maria 
 della Spina at Pisa) are as subtle as is an Etruscan 
 statue. Now these qualities of a building can only 
 be known by drawing it ; and it has become time for 
 me now seriously to represent to my friends who 
 
1 10 
 
 NOTES ON MY OWN DRAWINGS 
 
 suppose over-work to have been the cause of my 
 recent illness, that it is not the work, but the sorrow- 
 ful interruptions of it, that overthrow me ; — and that 
 they will now do me more grace by leaving me in 
 quiet, to use in some consummation of purpose the 
 materials collected during these last forty years, than 
 by the most affectionate solicitude which requires 
 me to answer letters, and divert my mind from the 
 things it has hold of. With me, it is not grasping a 
 thing, but letting it go, that does my brains mischief, 
 and above all, I find it needful that henceforward I 
 should decline endeavours to teach or advise, except 
 through my books. The sense of responsibility 
 involved in giving personal advice, and the time 
 required to give it rightly, are entirely incompatible 
 with any possibility for me of prolonged future work 
 and life. 
 
 But having been compelled to speak thus much 
 concerning myself, I think it may be well, in relation 
 to the principal work I have now in hand, the found- 
 ing of a school of drawing in Oxford, to show con- 
 cisely the methods of work I have tried in vain, or 
 used, with more or less advantage, from the time 
 when I first began to care for colours and lines, up 
 to the date when I painted the study of Amiens, — 
 at which time I had made myself, so far as I can 
 judge, up to a sufficient point, master both of the 
 theory and practice of my business. 
 
 I began to learn drawing by carefully copying 
 the maps in a small quarto Atlas, of excellent old- 
 fashioned type, the mountains well marked (but not 
 blackened all over like those in the modern Geo- 
 logical Survey), the names clear, not crowded — above 
 all, not run across each other, nor to be gleaned, a 
 letter at a time, when one can pick them up. 
 
 21 . r. Map of France, and, 
 
AND ENGRAVINGS. 
 
 1 1 1 
 
 22. r. Map of Africa, 
 
 Are examples of many done by the time I was 
 ten years old. These maps were a great delight to 
 me ; the colouring round the edges being a reward 
 for all the tediousness of the printed names ; the 
 painting, an excellent discipline of hand and eye ; 
 and the lines drawn for the mountains and sea 
 a most wholesome imitation of steady engraver’s 
 work. And it will be found that in the forthcoming 
 number of Fesole, I place map-making first among 
 the elementary exercises which include subsequent 
 colour ; with certain geographical modifications in 
 their construction, of which I may say in forestalment 
 now, that every chief exercise map is to be a square 
 of ten, fifteen, or thirty degrees — European countries 
 mostly coming in squares of ten degrees, India and 
 Arabia in squares of thirty — and the degree is to be 
 divided always into sixty (so called) miles, of which 
 great measure of longitude and latitude I hope my 
 young students will form a sure practical estimate 
 by often walking it. 
 
 23. R. (A.) Copies in pen and ink (common, both, not crow- 
 
 quill nor Indian), from Cruikshank’s vignettes to 
 Grimm’s German stories. Done to amuse myself. 
 About the date of the map of France. They show 
 curious accuracy of eye, and self-confidence, not 
 having the slightest fear of being unable to carry 
 out my full complement of subjects without making 
 a mess. I place two proofs of the etchings them- 
 selves by them for comparison. I could not have 
 had better teachers of line work. 
 
 23. r. (b.) Cruikshank’s Etchings. 
 
 Nothing in modern line work approaches these in 
 pure, straightforward, unaffected rightness of method, 
 utterly disclaiming all accident, burr, scrawl, or tricks 
 of biting. 
 
X 12 
 
 NOTES ON MY OWN DRAWINGS 
 
 23. r. (c.) Old-fashioned Engraving. 
 
 From drawing by Richard Gastineau of the old 
 water-colour ; and beneath it 
 
 My first attempt at “ composition from Nature,” 
 Mr. Gastineau’s sky with my own “ Dover Castle ! ” 
 the latter done out of my head ! All dark side and 
 no shadow. 
 
 This was literally my first attempt at picture- 
 making, at twelve years old. Infinitely stupid, but 
 showing steady power and will to work. 
 
 23. r. (d.) Battle Abbey. (Same date.) 
 
 My first study of Architecture from Nature, after 
 much examination of what engravers call “ texture.” 
 
 23. r. (e.) Eton. 
 
 Some feeling beginning to show itself in the ig- 
 norant work, when I was between thirteen and 
 fourteen. 
 
 23. r. (f.) Church at Dijon. (Foundation poetically 
 omitted !) 
 
 Example of architectural sketching on my first 
 continental journey, when I was fourteen. 
 
 Always supremely stupid, but no shirking of 
 work, till I got near the bottom ; of the sorrowful 
 absence of figures I will explain the reason presently. 
 
 23. R. (g.) A day’s sketching, finished out of my head ; 
 between Arona and Domo d’Ossola on the same 
 journey. Interesting to me now, in their proper 
 economy of paper, their weak enthusiasm, and the 
 fastening so early on the “ rock at Arona,” after- 
 wards drawn for “Modern Painters.” 
 
 23. r. (h.) Hotel de Ville, Brussels. (Oxford.) 
 
 Copy from Prout’s wonderful drawing, in his 
 sketches in Flanders and Germany. Made at home 
 
AND ENGRAVINGS. 
 
 ”3 
 
 (Herne Hill), with other such, to “ illustrate ” my 
 diary of that first Continental Travel. Most whole- 
 some discipline ; — the grey wash being now intro- 
 duced when the pencil shade was impossible, but 
 not carelessly or licentiously. 
 
 And better things should have come of such 
 practice, but I got over-praised for the mechanical 
 industry, and led away besides into other work, not 
 fit for me. Had I been permitted at this time to 
 put my whole strength into drawing and geology, 
 my life, so far as I can judge, would have been an 
 entirely harmonious and serviceable one. But I was 
 too foolish and sapless myself to persist in the 
 healthy bent ; and my friends mistook me for a 
 “genius,” and were minded to make me a poet — or a 
 Bishop, or a member of Parliament. Had I done 
 heartily and honestly what they wished, it had also 
 been well. But I sulked, or idled, between their 
 way and my own, and went all to pieces, just in the 
 years when I ought to have been nailing myself well 
 together. And the drawing especially came nearly 
 to nothing : farther on in the series, will be found 
 an example of it when I was sixteen : — the Oxford 
 vacation sketches, made two years later, among the 
 Yorkshire and Scottish Abbeys, contain some de- 
 tails which are even now of interest in illustrating 
 the Turner outlines of the same subjects. I put them 
 all together, under the head of 24. R., distinguishing 
 them by letters only. 
 
 24. r. (a.) Peterborough (1837). 
 
 24. r. (b.) Litchfield (1837). 
 
 Both these are accurate in the angles of the 
 pinnacles and spires ; and express at least whole- 
 some enjoyment in the richness of decorated English 
 Gothic. 
 
 P 
 
1 1 4 NOTES ON MY OWN DRAWINGS 
 
 24. r. (c.) Bolton (1837). 
 
 24. r. (d.) Newark (1838). 
 
 The year’s progress is very clearly manifest ; some 
 sense of light and shade now coming into the line 
 work, and the masonry markings very good. 
 
 24. R. (e.) Roslyn. Entrance porch (1838). 
 
 Trying to be very fine, and failing, of course ; but 
 the shadows creditably even for point work. 
 
 24. R. (f.) ROSLYN. Interior — The Prentice Pillar — (1838). 
 
 Very much out of drawing, but I imagine the roof 
 itself may have been warped a little. It is a rude 
 provincial building, and has had many a rough wind 
 to stand since those that sang the dirge for Rosa- 
 belle. 
 
 24. r. (g.) Edinburgh. Lady Glenorchy’s Chapel, looking 
 to the Old Town and the Craigs (1838). 
 
 24. r. (h.) Stirling (1838). 
 
 24. r. (1.) Stirling (1838). 
 
 It might easily be thought, that I was partly 
 imitating Turner’s sketches in the foregoing series. 
 But I never saw a Turner sketch till 1842 : and 
 what correspondence there is in manner, results 
 from what really was common to us both, — intense 
 love of form, as the basis of all subject. I have 
 never been able in the least to make either artists, or 
 a fortiori the public, understand this in Turner: — 
 and the engraving from him only increased the 
 difficulty, for they continually gave reduced repre- 
 sentations of his work, in which the drawing was 
 necessarily missed. For instant example, look at 
 the narrow dark side of the church tower in this 
 
AND ENGRAVINGS. 
 
 ”5 
 
 Splugen drawing with a magnifying glass. You 
 will find the flanking pilasters of the Lombardic 
 tower indicated all the way down, with a subtlety of 
 drawing which explains at once its age and its 
 style. But suppose the whole drawing reduced to 
 the size of an octavo page, or less ; and where would 
 these markings be ? The wonderful fac-simile by 
 Mr. Ward of one of Turner’s average sketches in his 
 central time (32. R.), will show still better what I 
 mean : — at present I pursue the course of my own — 
 at this time very slow and broken progress. 
 
 The exhibition of David Roberts’ Syrian sketches 
 put me into a phase of grey washed work with lights 
 of lemon yellow, which lasted till the winter of 1841 : 
 enabling me from the clear and simple system of it, 
 to get some useful sketches in Italy in the winter of 
 that year. 
 
 24. r. (k.) Marketplace at Verona, (Oxford) and 13. r., 
 already given, are examples of satisfactory memo- 
 randa made at this time, and finally, 
 
 24. r. (l.) Calais Town -Hall, Belfry, and Light- 
 house (1842). 
 
 Shows the point I had got to when the first volume 
 of “ Modern Painters ” was taken in hand ; a credi- 
 table knowledge, namely, of what drawing and chiar- 
 oscuro meant ; and a resolute determination to have 
 ever so small a bit of my work right, rather than any 
 quantity wrong. 
 
 Serious botanical work began that same year in the 
 Valley of Chamouni, and a few careful studies of 
 grass blades and Alpine-rose bells ended my Prout- 
 ism and my trust in drawing things out of my head, 
 for ever. 
 
 But the power of delineation natural to me, only 
 became more accurate, and I carried on at the same 
 
1 1 6 NOTES ON MY OWN DRAWINGS 
 
 time separate outline and chiaroscuro studies, which 
 few persons I believe, would imagine were by the 
 same hand ; — and still less, that they were done 
 contemporaneously. 
 
 25. r. (a.) Outline from the Fresco of the Sacri- 
 fice of Job, in the Campo Santo of Pisa; and, 
 
 25. r. (b.) Study outside the South Gate of Flo- 
 
 rence, done within ten days of each other, show these 
 two directions of study with definiteness, — and, had 
 I but been able to keep myself clear of literature, 
 and gone on doing what I then saw my way to, — 
 well, perhaps I should have died of fever in an old 
 cloister — or of sorrow for the loss of one before now : 
 — and must make the best of what I am, crazy 
 or compos mentis, as it may be. 
 
 But from this time forward, my drawing was all 
 done that I might learn the qualities of things, and 
 my sketches were left miserably unfinished, not in 
 idleness, — but because I had to learn something else. 
 The Venetian ones, for instance (14. R., &c.), ought 
 all to have been full of boats. But to draw a Vene- 
 tian boat ! (whether the “ Sun of Venice ” is going to 
 sea, or occupying its place in a solar-system, or fixed 
 stellar-system, in the Canal) is to begin another 
 picture, and if of a market boat, generally with an 
 elaborate fruit-piece on her deck, besides, — e. g., 
 
 26. R. (A.) Upper subject, melons; lower, mats and fish-bas- 
 
 kets. Notes of colour merely (1845), to be corrected 
 always by notes of curvature, such as 
 
 26. R. (b.) More hurried than the two last, but attending 
 to quite other matters, — the angles of mast and 
 rudder, and infinitely subtle curve of oar. If once 
 one got into boat study, in fact, it was all over with 
 
AND ENGRAVINGS. 
 
 117 
 
 the architecture ; and Turner loving the sea and 
 ships of Venice more than her buildings — and 
 wisely (for she, like Athens, had true wall and 
 weapon, both, of wood) could not get time to draw 
 his palaces. But he is the only painter who ever drew 
 a gondola, or a sail, of Venice, with their motion in 
 them. 
 
 It is curious (and what our modern school of 
 gymnastic tourists will think of it I know not), that 
 among the Alps, he shunned the upper snows, as at 
 Venice the bright palace-walls ; and drew only the 
 great troubled and surging sea of the pastoral rocky 
 mountains. But he felt always that every power of 
 art was vain among the upper snows. He might as 
 well have set himself to paint opals, or rubies. The 
 Alps are meant to be seen, as the stars and light- 
 nings are, not painted. All proper subjects for a 
 painter are easily paintable ; if only you can paint ! 
 Carpaccio and Sir Joshua can paint a lovely lady’s 
 cheek with no expense in strange colours ; but none 
 can paint the Snows of the Rosa at dawn. 
 
 But, besides, even the lower Swiss hills were a 
 good deal more than his match, and that he well 
 knew. Elsewhere, I have noticed his prudence in 
 “counting their pines,” 1 or at least estimating their 
 uncountableness ! I did not understand his warning, 
 and went insanely at them, at first, thinking to give 
 some notion of them by sheer labour. 
 
 27. R. Pass of the Cenis, above St. Michel (1854 or 
 1856), (Oxford) was one trial of the matter. 
 
 The place itself, a glorious piece of Alpine wilder- 
 ness, radiant with cascades and flowers among the 
 forest glades — the modern traveller passes beneath it 
 after some eighteen hours’ night and morning travel, 
 
 See “ Mornings in Florence,” the Strait Gate, p. 141. 
 
1 18 NOTES ON MY OWN DRAWINGS 
 
 in wearied looking out for the custom-house at Mo- 
 dane, and derives much benefit, doubtless, from the 
 dews of morning on those wild-wood glens. But one 
 couldn’t draw them with pen and sepia, I found ; 
 nor even with one’s best pains, in softer grey. 
 
 28 . R. A PIECE OF THE MOUNTAIN-SIDE OF CHAMOUNI ; 
 
 and, 
 
 29. r. Cliff of the Bay of Uri, 
 
 Are examples of the best I could do, but still use- 
 less to express the pine beauty ; this last, however, is 
 of some value as a study of what one used to see in 
 the old boating days, when one could dabble about 
 like a wild duck at the lake shores. These cliffs are 
 passed by the beatified and steam-borne modern 
 tourist, about half a mile off, the whole range in some 
 three minutes, and long before he has got his trunks 
 seen after; and that important one found which he 
 thought he had left at Fluelen. 
 
 I have endeavoured partly to describe the Bay 
 of Uri, seen from this spot, in the chapter on the 
 Pine in the last volume of “ Modern Painters.” 
 What recent Historical associations are connected 
 with the range of rocks themselves, the reader may 
 see in the following passages, — alas ! not fabulous 
 these, (whatever modern sagacity may have made of 
 the legend of Tell and of Grutli). (29. R. (B.) is a 
 rapid note of the field of Grutli, seen under the 
 Rothstok.) 
 
 “ In the month of July the French commissioners 
 and general ordered that the people should assemble 
 in every canton in order to take the oath to the new 
 constitution of the Helvetic republic one and indi- 
 visible, which had been proclaimed at Aarau. The 
 small mountain cantons refused : they had sent de- 
 puties to Aarau, and had submitted to the new con- 
 
AND ENGRAVINGS. 
 
 119 
 
 stitution by force, after the capitulation of Schwyz, 
 but they would not perjure themselves by swearing 
 perpetual fidelity to an institution which they dis- 
 liked. Schauenburg threatened to treat them as 
 rebels. The forest cantons replied that ‘ they would 
 willingly promise never to take up arms against the 
 French republic, nor join its enemies. But our liberty 
 is our only blessing, and the only thing for which we 
 can ever be induced to grasp our arms.’ Schauen- 
 burg repaired to Luzern with 15, OCX) men ready to 
 invade the forest cantons. Schwyz and Uri wavered 
 in their resolution, and the small canton of Unter- 
 walden was left alone in the struggle. But even in 
 Unterwalden (which is divided into two diminutive 
 republics) the Oberwalden, or upper one, taken by 
 surprise by the entrance of a French column, did not 
 oppose any resistance, and the Nidwalden alone , or 
 lower division of the canton, which stretches along the 
 banks of the W aldstdtten lake, stood in arms to repel 
 the aggressors. The whole population of Nidwalden 
 did not much exceed 10,000, of whom about 2,000 
 were able to bear arms. That such a district should 
 attempt to resist the might of France appears mad- 
 ness : it was, however, a determination produced by 
 a feeling of right and justice among men secluded 
 from the rest of the world, who knew nothing of 
 politics and its overbearing dictates. They had not 
 injured anyone, why should others come to injure 
 them ? On the 9th September, 1798, the attack 
 took place. Schauenburg had sent a column round 
 by the Obwalden to attack the Nidwalders in the 
 rear, while he embarked with another division at 
 Luzern, and landed at Stanzstadt. The dispatch of 
 Schauenburg, written on the evening of that day, 
 furnishes a pithy account of the catastrophe. ‘After 
 a combat which has lasted from five of the morning 
 till now, we have taken possession of the district of 
 
120 NOTES ON MY OWN DRAWINGS 
 
 Stanz. I grieve at the consequences of so severe a 
 conflict : it has cost much bloodshed. But they 
 were rebels, whom we must subdue.’ And the fol- 
 lowing day, loth September, he wrote again: ‘I 
 could succeed only by sending a column round by 
 the Oberwald, while I attacked them at the same 
 time by the lake. At six in the evening we were 
 masters of this unhappy country, which has been 
 pillaged. The fury of the soldiers could not be re- 
 strained ; all that bore arms, including priests, and 
 unfortunately many women also, were put to the 
 sword. Our enemies fought desperately ; it was the 
 warmest engagement I ever was in. We have had 
 about 350 wounded ; we have lost several officers ; 
 but victory has remained with the republicans. All 
 Unterwalden is now subdued.’ The unfortunate 
 Nidwalders who perished on that day were reckoned 
 at 1500, the rest took refuge in the recesses of the 
 higher Alps. All the cattle were carried off by the 
 French — the houses and cottages were set on fire — 
 fruit trees cut down ; the pretty town of Stanz was 
 burnt, Stanzstadt and Buochs shared the same fate. 
 That district, a few days before so peaceful and 
 happy, now exhibited a scene of horrible desolation. 
 In the churchyard of Stanz a chapel has been built, 
 consecrated to the memory of 414 inhabitants of 
 that town, including 102 women and twenty-five 
 children, murdered on the dreadful 9th September. 
 The priest was saying mass in the church when the 
 French rushed in : a shot struck him dead, and fixed 
 itself in the altar, where the mark is still seen. On 
 the road from Stanz to Sarnen is the chapel of St. 
 Jacob, outside of which eighteen women, armed with 
 scythes, leaning against the walls, defended them- 
 selves against a party of French soldiers until they 
 were all killed.” 
 
 Followed, as students of Christian war may remem- 
 
AND ENGRAVINGS. 
 
 I 2 I 
 
 ber, by the campaigns of Massena, the Archduke 
 Charles, and Suwarrow. 
 
 “ The details of this mountain warfare among the 
 high Alps, in which Generals Lecourbe, Soult, and 
 Molitor among the French, and Suwarrow and 
 Hotze among the Russians and Austrians, distin- 
 guished themselves, are full of strategic interest. 
 But the unfortunate mountain cantons were utterly 
 ruined by this strange immigration of numerous 
 armies of Russians, Austrians, and French, all living 
 at free quarters upon the inhabitants, and committing 
 many acts of violence. At the end of that campaign, 
 one-fourth of the population of the canton of Schwyz 
 was depending on public charity for support. In the 
 valley of Muotta alone between 600 and 700 persons 
 were reduced to a state of utter destitution. In the 
 still poorer canton of Uri the same distress prevailed, 
 in addition to which a fire broke out at Altorf, which 
 destroyed the greater part of that, the chief town of 
 the canton. The canton of Unterwalden had been 
 already devastated the year before. In the valleys 
 of the Grisons similar scenes took place ; in that of 
 the Vorder Rhein the inhabitants rose against the 
 French on the 1st of May, 1799, killed a great many 
 of them, and drove the rest as far as Coire. But 
 the French soon received reinforcements, and over- 
 powered that handful of mountaineers, upon whom 
 they broke their vengeance, killing above 3,000 of 
 them, and setting on fire the venerable abbey of 
 Disentis. The inhabitants of the remote valley of 
 Tavetsch, at the foot of the great Alps, were all 
 butchered ; the women were hunted down by the 
 soldiers ; four of them, being overtaken, threw them- 
 selves into the half-frozen lake of Toma, with their 
 infants in their arms, and were shot at in that situa- 
 tion. This was on the 20th of May. The spot where 
 their bodies were buried is still pointed out by the 
 
 Q 
 
122 
 
 NOTES ON MY OWN DRAWINGS 
 
 guides. 1 During the winter of 1799 — 1800, the two 
 hostile armies in Switzerland remained inactive ; the 
 Austrians occupying the Grisons and the banks of the 
 lake of Constance, and the French, under Lecourbe, 
 having their head-quarters at Zurich, and being in 
 possession of almost the whole of Switzerland.” 
 
 With detail of this kind Turner saw at once it was 
 hopeless to contend, in complete pictures. His draw- 
 ing of Farnley shows what he saw in one pine ; — the 
 etching of the valley of Chamouni shows also that 
 he had no hope of ever representing their multitudes. 
 He did not even etch this subject himself ; the pines 
 are mere conventional zigzags. Turner left them all 
 veiled under the mezzotint, and put his strength into 
 'the stones, upper crags, and clouds. 
 
 In the Pass of the Splugen, just presented to me, 
 the spectator must at once understand these two 
 great and unconditional surrenders of his power in 
 the Alpine presence. Upper snows, hopeless — pines, 
 hopeless. What is there yet left to be done ? or 
 shown ? 
 
 Well, one thing had to be shown, in which the 
 majesty of the Alps was more concerned than in 
 their pines or snows. That they had in some sort 
 purified such human soul as had chanced to be 
 shed from heaven upon them and strengthened such 
 human will as had grown up among them from the 
 ground. 
 
 And here I must leave my Splugen Pass again for a 
 minute or two, and go back to his earlier Alpine work. 
 
 30 . R. (A.) Is my FAC-SIMILE OF THE VIGNETTE OF THE 
 Dead House of St. Bernard (now in America), 
 for Rogers’s “ Italy.” (Oxford.) 
 
 1 Dandolo, Lett ere suit a Svizzera , Can tone du Grigioni. 
 Milan, 1829. 
 
AND ENGRAVINGS. 
 
 123 
 
 30. R. (B.) A traced outline from the original vignette, with 
 the dogs added by Landseer. (Oxford.) 
 
 30. R. (C.) Mr. Ward’s fac-simile of the vignette of the 
 Monastery of the great St. Bernard, now in the 
 National Gallery. 
 
 I am very glad to be able to show these studies, 
 in order to correct the impression which has gone 
 abroad that the figures in this vignette were not 
 Turner’s. Some one had found fault with the dogs, 
 and Landseer sketched his “ improvement ” on the 
 margin. But Mr. Rogers had the good sense to 
 refuse the improvement. For Landseer had forgotten 
 — what it was not in Turner’s nature to forget — that 
 the dogs, after they had dug down to the body and 
 run back to the convent for help, would be tired, 
 and would lie down as flat and close to the snow 
 as possible. Look at the utter exhaustion of the 
 couchant one by Turner, and the complacent, draw- 
 ing-room-rug, pose of Landseer’s. 
 
 This vignette of Mr. Ward’s, by the way, 30. R. (C.), 
 is a quite marvellous achievement in representing 
 Turner’s dashed blots of light water-colour, in fac- 
 simile, by sheer labour. In my own copy, 30. R. 
 (a), the stippling by which the forms are got is 
 visible enough, but I think few eyes would be keen 
 enough to know this of Mr. Ward’s from the real 
 drawing. And no lessons in water-colour what- 
 soever, now attainable by the British public for love 
 or money, are comparable to one of these copies of 
 the Italy vignettes — the pupil, of course, practising 
 from them in the way they were originally done — 
 outlining first with extreme care, and then, with 
 brown and grey wash, coming as near Turner’s total 
 result as he can in half an hour ; — for assuredly, 
 from twenty minutes to half an hour was all the 
 time that Turner gave to this drawing ; — 
 
124 notes on my own drawings 
 
 But, mind you, — the twenty minutes to half an 
 hour, by such a master, are better in result than ten 
 years’ labour would be — only after the ten years' 
 labour has been given first : and while the pupil 
 should copy these vignettes, that he may know what 
 entirely first-rate work in water-colour is, he can 
 only obtain a similar power in the proportion at- 
 tainable by his own natural genius, if he rises 
 towards it by Turner’s own path — pure pencil draw- 
 ing, of which more presently ; meantime I must get 
 back to the meaning of these two St. Bernard 
 subjects. 
 
 You see how Turner leans in both of them on the 
 Disconsolateness — loneliness — tragic horror of the 
 place. I don’t know if he ever passed it in winter 
 himself : — whenever I have myself passed it the 
 delight of spring or summer has been on the moun- 
 tain ridge, and bossy tufts of Silene acaulis or 
 dazzling blue of Gentiana verna shone round the 
 sable and silver of the lake and its snows. 
 
 But Turner saw only the Monastery , in his heart, 
 if not with his bodily eyes ; the fact being that, — 
 landscape painter though he was, exclusively, and 
 “ridiculous as Turner’s figures always are,” if you 
 please, — he nevertheless did care for his landscape 
 only for its inhabitants’ sake ; — living or dead. 
 And the main emotion with him through all his 
 life, is sympathy with the heroism and the sorrow 
 of the living, and w r onder and pity concerning the 
 dead. 
 
 Of which passion in him this Splugen Pass, with 
 its solitary tower on the rock, is a most notable, and 
 in a sort conclusive expression, the chief of the four 
 in which he “ showed his hand,” and, if people could 
 read it, his heart, about the Alps, when he went 
 back to them in his old age. Look back to the list 
 of the four, page 72 in the Epilogue to my first 
 
AND ENGRAVINGS. 
 
 125 
 
 notes. Three, you see, on Lake Lucerne ; Dawn 
 on the Righi ; Morning on the bay of Uri ; Sunset 
 on the Righi (. Regina Montium in old times) — and 
 this ! the one nobody would buy, at first, — too grey 
 and colourless to please, I suppose, — being indeed 
 the expression not of Swiss Alps, but of the Grey 
 Kingdom, “GRISONS,” where, in May time, 1424, 
 “the abbot and all the lords of Upper Rhaetia 
 joined the deputies of the various valleys, and of 
 the towns of Ilantz and Tusis, in an open field 
 outside of the village of Trons, and there forming a 
 circle round a gigantic maple tree, all of them 
 standing, nobles, magistrates, deputies, and elders, 
 swore, in the name of the holy Trinity, a perpetual 
 alliance for the maintenance of justice, and the 
 security of every one, without, however, infringing 
 on the rights of any. The articles of the league 
 which, to this day, rules that country, were then 
 stipulated. This was called the Grey league , from the 
 colour of the smocks which the deputies wore. By 
 degrees it gave its name to the whole country, which 
 was called Grisons, Graubundten , and that of Rhsetia 
 became obliterated. Such was the glorious covenant 
 of Trons, one of the few events of its kind which can 
 be recorded with unmixed satisfaction.” 1 
 
 And that is the meaning of the tall church tower 
 upon the Rock of the valley, and of the fading 
 light on the solitary Baron’s tower on the far-off 
 crag; just as in the Dudley, and Raglan, (32 and 71), 
 his mind is set on the passing away of the baronial 
 power in England. 
 
 1 The venerable maple tree of Trons was still in existence 
 at the close of the last century ; the diet of the Grey league 
 was held every year under its shading branches until the epoch 
 of the French invasion, when it was cut down and burnt amidst 
 the general devastation of the country. 
 
126 NOTES ON MY OWN DRAWINGS 
 
 Not quite fallen yet, though ; thank Heaven! — I 
 look upon the arrest of the Manchester Thirlmere 
 plan by the House of Lords as the most hopeful 
 political sign of the last ten years, — showing at last 
 some perception by the English Lords of the Land 
 and its Waters, what their power is, and their duty. 
 On their full perception of which, and an iron-hearted 
 (not \r on-clad, still less iron-selling) maintenance 
 and fulfilment of both, against the commercial mob, 
 the country’s safety at this crisis utterly depends ; 
 as Carlyle told them, foreseeing it ten years ago 1 — 
 “ This is the question of questions, on which all 
 turns, — how many of our titular aristocracy will 
 prove real gold, when thrown into the crucible”). 
 
 I must get back to my Splugen Pass ; — in which, 
 you see, this question of direct water-supply from 
 the Rock is also considered : not less of water supply 
 from heaven, whether with gentle rain or condemning 
 storm, in the Salisbury, 38 of first series, and two Paes- 
 TUMS, 31 R. (A.), and 31 R. (B.) (Oxford) of this series. 
 (See note on 64. R.) But chiefly, Turner’s mind was 
 set, in this drawing, on the sympathy even of the 
 Rocks themselves with the decline of all human 
 power, in their own dissolution ; the fragments at 
 the foot of this strong rock being only cloven pieces 
 of its ancient mass, fallen, and for the most part, 
 swept away, — and the dark plain being itself only the 
 diffused wreck of the purple mountains that rise from 
 it, rounded like thunder-clouds. 
 
 For the snowy-range in the distance, I can say 
 little. The real contrast between rock and snow is 
 given approximately in my sketch 32. R. (a.), Mont 
 Blanc from St. Martin’s ; but this contrast would 
 have entirely destroyed all his power of expressing 
 
 1 “ Shooting Niagara,” p. 25 of first edition, of 1867. 
 
AND ENGRAVINGS. 
 
 127 
 
 the middle distances. This following note on the 
 deficiencies of all Turner’s Alpine work, written 
 yesterday in deprecation not merely of criticism by 
 the Alpine Club, but by the less ambitious lovers of 
 Switzerland, who care for her meadows more than for 
 her glaciers, had like to have led me on into subjects 
 of which I must keep clear for the present. 
 
 Brantwood, 30th May. 
 
 Neither snows, — nor pines, — in Turner’s Switzer- 
 land ! No — nor are these all that he refuses us. I 
 have heard of other artists who avoided pines, and 
 have known few who drew them affectionately. But 
 there are no other trees, here on our Splugen Pass, of 
 any kind. Not even an avalanche-torn trunk. Of 
 wild chestnut glade among the rocks, of domestic 
 walnut and cherry by the cottage, — nothing. The 
 felicity of their abiding shade at its door, — the 
 wealth of the wandering vine about its balconies, — 
 unheeded by him ; only these scratches in the shadow, 
 scarcely intelligible, stand for the trimmed vine- 
 yard-necessary absolutely for indication of heat in 
 the plains, and its lowest hills ; see, however, fore- 
 ground in photograph 
 
 32. R. (COIRE), showing how true his scratchy symbolism is. 
 
 No trees! — well, with our English prejudice, that 
 there are none but in England, we might forgive him 
 these ; and the rather, considering what we are now 
 making of our own greenwood, only a little north of 
 Robin Hood’s country. 
 
 33. r. Photograph of the vegetable types of modern 
 
 English piety and prosperity — by Tyne -side. 
 “His leaf also shall not wither, and look, — what- 
 soever he doeth it shall prosper.” But if we ask no 
 trees of him, are our concessions ended ? 
 
128 NOTES ON MY OWN DRAWINGS 
 
 Alas, — no. Switzerland without snows, and with- 
 out trees, is not yet desolate enough. She must 
 even lose her flowers. 
 
 In the left-hand lowest corner of this Splugen 
 drawing, there is a little blue circle, and a blue spot 
 beside it, construable into the indication of two 
 convolvulus blossoms. 
 
 Over the pedestal on the right, in the Isola Bella 
 (16), is thrown a tendril of the same flower. 
 
 In the great Geneva (70), a few whitish spots may 
 stand for hemlock, or the like. In the Arona, and 
 the Italy, no vestige of flowers — and the trees black 
 or brown against the sky ! 
 
 Had he never seen Alpine roses — nor pinks, nor 
 gentians, nor crocuses nor primulas ? Had he never 
 seen oleander, pomegranates, or orange ? Instead of 
 white orange blossom, he gives us black foliage, 
 blossomless and fruitless, and a white — Bridge of 
 Sighs! Instead of Alpine rose in morning light — 
 only the purple of sunset on river mist, or its scarlet 
 on clouds of storm. 
 
 Whose fault is it, I wonder, — his, or ours, good 
 British public ? 
 
 It can’t possibly be ours, you think. “ Don’t we 
 love flowers to that degree, that we can’t so much as 
 eat our mutton, but we must mix up the smell of 
 roses with the smell of gravy and fat ? And what 
 sums do not we spend on our hot-houses ! and has 
 not the Horticultural Society built itself beautiful 
 arcades ; and has it not always the Guards and the 
 Rifles to play beautiful tunes in honour of Horti- 
 culture ? And don’t we always see the dew of 
 May in the morning, after dancing in time all 
 night ? 
 
 Well, if it be not our fault, is it poor Peggy’s fault, 
 who hates the smell of roses ! or is it — you will think 
 I am going crazy again, if I tell you it is — in any 
 
AND ENGRAVINGS. 
 
 1 29 
 
 wise the fault of Mephistopheles and his company, 
 who detest it more than Peggy, and have introduced 
 the preferable perfumes of tobacco, sulphur, and gun- 
 powder, for European delectation. 1 
 
 The truth of the matter lies deep and long ago. 
 For this essential dislike of trees and flowers began 
 precisely when Art was culminating, and Titian, and 
 Veronese, and Vandyck, and Velasquez, care as little 
 for flowers as Turner. My own impression is that 
 the English Wars of the Roses did indeed end the 
 power of the Rose, for us; that the wars of the Red and 
 White Lilies ended the power of the Lily, for Italy ; — 
 and the death, this day, 30th May, four hundred and 
 forty-seven years ago, of her own wild wood-flower 
 of Dom-remy,— -that of the Fleur-de-Lys for France. 
 And since you have had your artists — Italian, French, 
 and English — studious of anatomies, and putrescent 
 substances of all kinds — but of leaves or flowers — 
 no more. 
 
 But as for Turner — I can positively tell you, there 
 was no possibility of his drawing flowers or trees, 
 rightly, after he had once left Yorkshire for Rome. 
 Michael Angelo’s sprawling prophets, and Bernini’s 
 labyrinthine arcades wholly bewildered him, and 
 dragged him into their false and fantastic world ; out 
 of which he broke at last, only in the strength of 
 sympathy with human suffering ; not again capable 
 of understanding human simplicity and peace. 
 
 There was some indolence of age telling in the 
 matter also, and whatever of disease or evil was in 
 him, bodily or mental. All his failures and errors 
 are chronicled, no less than his advanced knowledge 
 and passion, in the Swiss drawings, and whatever 
 the powers of this evil world had done upon him, is 
 
 1 Compare the stanza of “ Miss Kilmansegg,” with the close 
 of the second part of “ Faust,” and Palgrave’s “Arabia.” 
 
1 3 o NOTES ON MY OWN DRAWINGS 
 
 enough shown in the transitions from the beautiful 
 flock of goats with their skipping kids in the Nemi, 
 to the black and white spots which do service for 
 goats and sheep on this dusty road. The piece of 
 foliage on the right hand in the “ Arona ” is almost 
 the last he ever did with care, but even the conven- 
 tional crumbling work of the tree stems in that 
 drawing is infinitely beautiful. I tried to translate it 
 into pencil in the study 34. R., hoping thus to make 
 it publishable in photograph for my pupils ; but in 
 vain, this and other such efforts manifold ; for I find 
 the photograph refuses totranslate pencil drawing, and 
 I cannot work in chalk or sepia up to the required 
 fineness. And now once more — and for the last 
 time, as the most important thing for the reader to 
 notice — I beg him to convince himself of this quality 
 of fineness in Turner’s work. Unless his own eyes 
 are fine indeed, he simply cannot see a Turner draw- 
 ing at all ; my own are already too much injured by 
 age and sickness to see the effect of the lines in the 
 dark side of the tower (above-mentioned), or of the 
 dark stippling in the distant plain ; nor can I see now 
 without a lens even the detail of the drawings I made 
 from the year 1854 onwards, to illustrate the towns 
 of Switzerland. I spent the summers of some half- 
 dozen years in collecting materials for etchings of 
 Fribourg, Lucerne, and Geneva, but had to give all 
 up, — the modern mob’s madness destroying all these 
 towns before I could get them drawn, by the inser- 
 tion of hotels and gambling-houses exactly in the 
 places where they would kill the effect of the whole. 
 
 Look at the photograph of Coire, for instance. 
 You can scarcely see its tall Grison tower though 
 white against the plain ; it is a mere appendage now 
 of the hotel (“ Stein-bock ” — is it ? — I can’t quite 
 make out the letters on the right of its balcony) — 
 haggard yet in newness of erection ; and of what 
 
AND ENGRAVINGS. 
 
 131 
 
 avail is the glittering of the feeble snow among those 
 upper pines, against the glare of the new lodging- 
 house ? — I can’t make drawings of towns thus dis- 
 figured, any more than I could of a beautiful face 
 with a false carnival nose : and my six years’ work 
 has gone pretty nearly for nothing. 
 
 It may amuse the reader, I hope it will also make 
 him a little sorrowful for me, to compare my boy’s 
 drawing of the Swiss Baden, 35. r., made when I was 
 sixteen, with the hard effort to get it right, in 36. R. 
 — coloured only in a quarter of it before the autumn 
 leaves fell — then given up — cut into four — now pasted 
 together again to show how it was meant to be ; — or 
 my boy’s drawing of FRIBOURG, 37. R. (Oxford), with 
 my pen and ink, beginning on the hill chapel in its 
 distance, thirty years afterwards, 38. R. The old- 
 fashioned engraving beneath, of the same place, is 
 not without its lesson. 
 
 39. R. (a.) Spire and angle window at Zug is an ex- 
 emplary little bit of pencil study (1854 or 1856), with 
 careful note of the foliation and bottom of the bracket 
 of the window. It will bear a lens, though the coronet 
 over the two shields in the front panel should have 
 been clearer. 
 
 39. R. (b.) Upper subject, TWISTED SPIRE, VILLAGE NEAR 
 
 Brieg, (Valais) 1 876 ; middle, towers AT Baden — 
 1863; lower, at Verona, 1876, show what I have 
 finally adopted in manner of pencil drawing ; and I 
 believe my pupils will find it a satisfactory one, for 
 rendering the essential qualities of form. 
 
 40. R. Lucerne, is one of the outlines of general view, such 
 
 as I meant to join these studies into. All little better 
 than waste paper, now. Compare 44. R. for method of 
 outline. 
 
1 3 2 NOTES ON MY OWN DRAWINGS 
 
 41. r. Fra Giocondo’s bridge at Verona, with Albert 
 
 della Scala’s tower at the end of it, — enlarged 
 studies of the weeds on the nearer buttress, and 
 the water under the nearer arch, below. 
 
 42. R. COLOUR study of the other side of the same bridge 
 
 (beginning only). The two together may perhaps 
 give some idea of what bridges used to be before they 
 were changed by modern art into brittle gridirons, 
 with blinkers at the sides to keep you from seeing the 
 river, unless you are dropped into it and burnt to 
 prevent you being drowned. 
 
 43. R. Narni, with its two bridges, the fragment of the 
 
 Roman one, Turner’s subject, seen between the tree 
 stems on the right. The nearer, fourteenth century 
 carried away partly by a flood of the Nar, and re- 
 paired, but long ago, with wholesome and safe wood- 
 work. 
 
 44. R. Bridge of Lauffenbourg. Woodwork here ori- 
 
 ginal, — grand old Swiss carpentry. I got into a great 
 mess with my rocks in this drawing ; but it is a valu- 
 able one in bare detail. For the gneiss, and its 
 curious weeds, they were hopeless, unless I had gone 
 at them as in the next subject. 
 
 45. R. (a.) Gneiss, with its weeds, above the stream of Glen- 
 
 Finlas (Oxford). Old drawing of “ Modern Painters’ ” 
 time (1853), which really had a chance of being 
 finished, but the weather broke ; and the stems in 
 the upper right-hand corner had to be rudely struck 
 in with body colour. But all the mass of this rock 
 is carefully studied with good method. 
 
 45. r. (b.) Wild strawberry blossom ; — one of the weeds 
 of such a rock, painted as it grew. (Recent lesson for 
 my Oxford schools.) 
 
AND ENGRAVINGS. 
 
 *33 
 
 4 6. R. Old sketch of gneiss with its weeds, in colour. 
 
 (Chamouni). I have been promising myself these 
 last thirty years to do one bit of rock foreground 
 completely, with its moss and lichen inlaying ; but 
 the golden brown of the moss always beat me. I 
 may yet do it, I think, in a measure, if I can only 
 get some peace. 
 
 47. R. Gneiss cleavages. Study at the Montanvert. 
 
 48. r. Granite cleavages. Aiguille Blaiti^re. The centre 
 
 of this drawing was engraved for “ Modern Painters 
 and I was led at that time into a quantity of anato- 
 mical work on mountains, of which the service, if 
 any, is yet to come, for I don’t think the public ever 
 read the geological chapters in “Modern Painters.” 
 But now, with the three drawings before them, 58, 
 66, and the Splugen, they may be interested a little 
 in seeing how important the lines of diagonal cleav- 
 age had become in Turner’s mind, as the origin of 
 the most noble precipice forms. See the parallel 
 lines in the foreground of 58 ; the sloping chasm in 
 the distance of 66 ; and the precipice under the 
 church in the Splugen, with its lines carried forward, 
 by the rocks in dissolution below. 
 
 But I lost much artistic power through the neces- 
 sity of making these geological studies wholly accu- 
 rate, without allowing aerial or colour effect to dis- 
 turb them ; and indeed it was not until the year 1858 
 that hard work under Veronese and Titian forced 
 me to observe the true relations between line and 
 colour. But, to my amazement, the conclusive lessons 
 on these matters were given me, not by Venetians, 
 but by the three Florentines, Botticelli, Giotto, and 
 — name despised of Artists ! — Angelico. So that I 
 have been forced to call the lesson-book on which 
 I am now working The laws of Fesold. The genius 
 
i 3 4 NOTES ON MY OWN DRAWINGS 
 
 of Carpaccio in Venice was a distinct one, and never 
 formed a school. But the studies I made last year 
 from his pictures of the life of St. Ursula, and two 
 fragments from Assisi, will serve to show the final 
 manner of work in which I am endeavouring to lead 
 my Oxford pupils. 
 
 49. r. Study of furniture and general effect in 
 
 Carpaccio’s picture of St. Ursula’s Dream. 
 
 The original picture is, I think, a quite faultless 
 example of the unison of right delineation with right 
 colour. On this small scale I could not attempt 
 more than the indication of the details, but good 
 photographs of the picture itself are now published 
 by Messrs. Naya at Venice, and I think these 
 coloured here at Coniston. by my patient friend Mr. 
 Gould, from this drawing, very desirable possessions 
 at their moderate price. 
 
 50. r. Fragment studied from Carpaccio’s picture 
 
 OF THE FUNERAL PROCESSION OF ST. URSULA. 
 
 I broke down here over the canopy and Bishop’s 
 robes, quite inimitable pieces of decorative work. 
 What Carpaccio puts into his decoration may be seen 
 in Mr. Murray’s drawing, next following. 
 
 51. r. Lowest compartment of the border of the 
 
 high-priest’s robe, in Carpaccio’s picture of 
 the Presentation. Size of original. Study by 
 Mr. Fairfax Murray. 
 
 52. r. Martyrdom of St. Ursula. 
 
 Old engraving from Carpaccio’s picture. Good 
 and legitimate old-fashioned work as engraving ; 
 without the slightest power of expression, or endea- 
 vour to represent chiaroscuro. (On which point, see 
 my Ariadne Florentina, pp. 72, 73, and 91.) 
 
AND ENGRAVINGS. 
 
 I 35 
 
 53. r. Martyrdom of St. Ursula. 
 
 Study from the central portion of this picture, 
 and a most admirable one ; by Mr. Fairfax Murray. 
 I hold this drawing among the most valuable I have 
 been enabled to present to my Oxford school. 
 
 54. R. Old engraving from Carpaccio’s picture of St. 
 
 Ursula and her Bridegroom before the Pope. 
 
 55. R. Part of the distant procession, in this picture, 
 
 sketched by Mr. F. Murray. Showing its true 
 harmonies of chiaroscuro and colour. (For some 
 description of the picture itself, see my first supple- 
 ment to St. Mark’s Rest.) 
 
 56. r. Blind Love, Death, and Anger, driven from the 
 
 presence of Chastity. Lowest corner of the northern 
 fresco by Giotto, over the tomb of St. Francis at 
 Assisi. Sketch by myself, in 1874, to show Giotto’s 
 power in colour ; unrivalled when he chooses to 
 use it. 
 
 57. r. Part of the cluster of roses round the 
 
 head of Giotto’s Poverty. Real size from the 
 eastern fresco of the same quadripartite vault. Study 
 by myself in 1874. 
 
 58. r. Porch of Amiens, sketched in 1856, showing the 
 
 original rose-moulding, replaced now by a mo- 
 dern one, improved according to modern French 
 notions of what thirteenth-century design ought 
 to have been : as also the paintings in the Sainte 
 Chapelle. (Oxford.) 
 
 59. r. Part of the front of the Cathedral, Lucca ; 
 
 (1874). (Oxford.) 
 
 60. r. Part of the Apse of Cathedral of Pisa (1872). 
 
 (Oxford.) 
 
 This sketch has been before exhibited ; but with- 
 
136 NOTES ON MY OWN DRAWINGS. 
 
 out my having directed attention to the subtlety of 
 the arch curves, intersections of the horizontal curve 
 of the circular apse with stilted Saracenic curves 
 widening the voussoirs as they spring ; compare the 
 spring of the arch in 20. R. 
 
 These drawings will be enough to give my friends, 
 known and unknown, a clear idea of the various 
 efforts which, especially of late, have been necessary 
 to form the foundations of my literary work. I do not 
 find that my recent illness has seriously impaired 
 my powers of quietly using these materials as I in- 
 tended : but it has made me, at all events, incapable 
 of turning my mind to any matters involving diffi- 
 culty of deliberation, or painful excitement. Unable 
 therefore now to carry forward my political work, I 
 yet pray my friends to understand that I do not 
 quit it as doubting anything that I have said, or 
 willingly ceasing from anything that I proposed : 
 but because the warning I have received amounts to 
 a direct message from the Fates that the time has 
 come for me to think no more of any Masterhood ; 
 but only of the Second Childhood which has to 
 learn its way towards the other world. 
 
NOTES RESPECTING FUTURE USES OF 
 
 ENGRAVINGS. 
 
 T HIS catalogue has already reached length far more cumbrous 
 than I intended ; but I must yet find room for a few para- 
 graphs in small print, taken from the Appendix to Ariadne 
 Florentina, respecting the possible future uses of engraving. 
 
 “ I will not lose more time in asserting or lamenting the mischief 
 arising out of the existing system : but will rapidly state what the 
 public should now ask for. ' 
 
 “ i. Exquisitely careful engraved outlines of all remaining frescoes of 
 the thirteenth, fourteenth, and fifteenth centuries in Italy, with so 
 much pale tinting as may be explanatory of their main masses ; and 
 with the local darks and local lights brilliantly relieved. The Arundel 
 Society have published some meritorious plates of this kind from 
 Angelico — not, however, paying respect enough to the local colours, 
 but conventionalizing the whole too much into outline. 
 
 “2. Finished small plates for book illustration. The cheap wood- 
 cutting and etching of popular illustrated books have been endlessly 
 mischievous to public taste : they first obtained their power in a ge- 
 neral reaction of the public mind from the insipidity of the lower school 
 of line engraving, brought on it by servile persistence in hack work 
 for ignorant publishers. The last dregs of it may still be seen in the 
 sentimental landscapes engraved for cheap ladies’ pocket-books. But 
 the woodcut can never, educationally, take the place of serene and ac- 
 complished line engraving ; and the training of young artists in whom 
 the gift of delineation prevails over their sense of colour, to the pro- 
 duction of scholarly, but small plates, with their utmost honour of skill, 
 would give a hitherto unconceived dignity to the character and range 
 of our popular literature. 
 
 “ 3. Vigorous mezzotints from pictures of the great masters, which 
 originally present noble contrasts of light and shade. Many Venetian 
 works are magnificent in this character. 
 
 “ 4. Original design by painters themselves, decisively engraved in 
 few lines — (not etched) ; and with such insistance by dotted work on 
 the main contours as we have seen in the examples given from 
 Italian engraving. 
 
 S 
 
NOTES RESPECTING FUTURE 
 
 138 
 
 “ 5. On the other hand, the men whose quiet patience and exquisite 
 manual dexterity are at present employed in producing large and costly 
 plates, should be entirely released from their servile toil, and employed 
 exclusively in producing coloured copies, or light drawings, from the 
 original work. The same number of hours of labour, applied with the 
 like conscientious skill, would multiply precious likenesses of the real 
 picture, full of subtle veracities which no steel line could approach, 
 and conveying, to thousands, true knowledge and unaffected enjoyment 
 of painting ; while the finished plate lies uncared for in the portfolio 
 of the virtuoso, serving only, so far as it is seen in the printseller’s 
 window by the people, to make them think that sacred painting must 
 always be dull, and unnatural.” 
 
 Under the second head, in the above statement, I ought more 
 specially to have mentioned flower and animal engraving in perfection. 
 The two plates, 61. R., and 62. R., from the Flora Danica, published a 
 hundred years ago, will show at once what loving and tender engraving 
 can do in plant-illustration. But that of birds and animals has yet to 
 begin ; and I hope that a public demand for careful picture of them, 
 will arise out of the increasing public desire for their more kindly 
 treatment. 
 
 And under the first head, of engraved outlines, I ought to have ex- 
 pressed my strong conviction that for educational purposes, (and not 
 less for the most refined pleasure to advanced students) engraving, 
 from Turner outlines, with pale tints for his greys, and afterwards 
 coloured by hand, would be worth far more to the purchaser than the 
 most finished plates. 
 
 63. R. and 64. R. will sufficiently show what I mean. I do not remem- 
 ber if these are Mr. Ward’s copies or Miss Jay’s : (both have 
 executed work for me which has been a delightful possession), 
 but see how much may be learned from each of these, of 
 essential Turner composition. 
 
 63. R. is the market-place at Louviers ; and has of course interested 
 Turner chiefly for the elephantine mass of Gothic rising above 
 it. This, however, was painful and defective by the meagreness 
 of its square tower, — so Turner hangs out the signboard on the 
 left to out-square it, and a wriggling bit of iron above to con- 
 trast with it. He trebles this sign, downwards, in harmony with 
 the horizontal divisions of the church : then he puts his black 
 vertical figures to carry down the richness of its apse — hide them, 
 and see how the apse also seems to disappear ! Then with his 
 pair of horses and postilion, he repeats the too isolated form of 
 the whole church and its spire, and with his scattered black 
 dots on the right overpowers the formalism of the shop doors 
 and windows beyond. 
 
 Carefully engraved from the original, printed on grey paper, 
 
m 
 
USES OF ENGRAVINGS. 
 
 I 39 
 
 and touched with white by hand, this entire sketch might be, to 
 all intents and purposes, multiplied indefinitely. 
 
 64. R. (Study for the large drawing of Saumur, copied, I think, by 
 Miss Jay). Infinitely more instructive to me than the large 
 drawing itself. The grand masses of the buildings given in 
 fearless implicity : their formalism taken up, reflected, and con- 
 quered by the flat top of the huge pier in front : the massy 
 stones of the near wall on the right by their perspective lines 
 completing the distance of all ; and the stripes of the boat in 
 the centre taking up and conquering their formality. 
 
 Of course, neither these, nor, a fortiori, the more delicate 
 pencil outlines which are still more valuable as elementary les- 
 sons, could be rendered without the recovery of the old Italian 
 method of work, of which I myself possess only one example — 
 and that a singularly unattractive one, 65. R. But it shows 
 sufficiently how the most delicate pencilling may be rendered on 
 metal. 
 
 On the other hand, Turner’s finished colour work can only be 
 represented by coloured copies, faithfully executed by hand. 
 All the aid which it has been thought he gave to the engraver 
 in translating colour was merely changing his own picture into 
 a chiaroscuro study instead ; and too often, scratching it all into 
 white spots to make it “ sparkling.” The best engravings are 
 those which pretend least to effect, and dwell on what they can 
 efficiently render, delineation. The four I have chosen, — 66. R. 
 to 69. R., this last an exquisite proof with Turner’s added bram- 
 ble-leaves in the foreground, in his own lovely pencil-touching, — 
 show what has been nobly and beautifully done by modern 
 engraving of this kind. For light and shade, mezzotint only 
 should be used. The two states of Turner’s unpublished plate of 
 Paestum, 31. R., A. and B., show better than the finished plates 
 of the Liber, how much artists themselves might accomplish, by 
 the use of this certain method instead of the laborious accidents 
 of etching. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
APPENDIX. 
 
 NOTES BY THE REV. W. KINGSLEY ON 
 THE TURNER DRAWINGS. 
 
 H AVING for very many years enjoyed the intimate friend- 
 ship of Mr. Ruskin, and being familiar with the col- 
 lection of drawings exhibited, I venture to add a few 
 words to his descriptions which have been so sadly cut short by 
 his illness. I know how much good this exhibition of Turner’s 
 drawings with Mr. Ruskin’s notes in the hands of those who look 
 at them may do, and therefore I consider it a duty to add what I 
 feel assured Mr. Ruskin himself would have accepted as materials 
 for further notes, and the mention of my name by him in what he 
 has written tends to remove the scruples that naturally arise in 
 adding to his work at a time when his permission cannot be asked. 
 
 Magnificent as this collection is, it is far from what it would 
 have been had Mr. Ruskin not been magnificently generous. 
 His gifts to Oxford and Cambridge contain some of the very best 
 drawings he ever possessed, and the generosity must be measured 
 not by the money value which is in itself very large, but by the 
 admiration and love in which he held them . 1 
 
 1 Able now to thank , and very earnestly , my old friend for these 
 added notes, of extreme value to myself no less than to the present 
 students of Turner. I should yet scarcely have passed this paragraph, 
 unless it had given me pleasant occasion to note that the “ Mossdale 
 Fall ” at Cambridge, and the Lowther sketches at Oxford were origin- 
 ally Mr. Kingsley’s own gifts to me, parted with as, indeed, the best 
 educational drawings in my collection. 
 
i 4 2 NOTES BY THE REV. W. KINGSLEY 
 
 NOTES ADDED. 
 
 No. 6. Boat Building. I copied this drawing carefully 
 nineteen times and by that labour learned it well. Examine the 
 rings round the inside of the boat and the cleats for the oars, each 
 is a separate study. The tools in the carpenter’s hands and on 
 the bench are portraits. See also the footprints the men have left 
 on their way from the boat. In the vessel on the right the block 
 on the yard has the halyard through it. The colours used are 
 only Prussian blue, light -red, raw umber, and black. Turner took 
 care to learn how much could be got out of such simple colours 
 before he ventured on using more ; and in his most brilliant effects 
 there is no difficulty in matching the colours used : the colour box 
 exhibited contains only the old-fashioned paints manufactured by 
 Sherborn. 
 
 No. 14. The National Gallery Fort Rock was found after 
 Turner’s death, blocking up a window in an outhouse, placed there 
 no doubt to save window tax. 
 
 No. 25. See “ Elements of Drawing.” 
 
 No. 28. This drawing was one of two given to a nephew of 
 Mr. Fawkes to take with him to Eton ; one he cut in two, and 
 this, having got dirty, he washed, which accounts for the stains 
 and want of light in the distance and sky. Miss Charlotte Fawkes 
 copied the drawing when fresh, and her copy now proves how 
 serious is the damage done. 
 
 No. 29. Yes, it is at Farnley as is also the No. 30. Mr. Fawkes 
 lost his wife about this time, and the black dress is probably due 
 to this cause, the tone of the drawing being due to this rather than 
 the colour of the dress being suited to that of the drawing. 
 
 No. 40. Yellow comes forward and I believe it is not possible 
 to get the colour of such a sky true and at the same time preserve 
 the transparency and distance. But in the series of the England 
 and Wales Turner painted many skies with thorough transparency, 
 
ON THE TURNER DRAWINGS. 
 
 M3 
 
 and he could afford to sacrifice an effect in any individual drawing, 
 realizing that effect in another. 
 
 No. 50. Turner told me that he and Callcott had a certain 
 number of the Bible sketches to realize between them : they agreed 
 to pick them alternately, drawing lots for first choice. Callcott 
 won the choice and selected at once a sketch of Ararat ; the 
 sketch of the Pools of Solomon was left to the last, and Turner 
 said he kept it on his breakfast table for a month before he could 
 make up his mind how to treat it. 
 
 Look at the pennon wrapped round the mast of the boat, at the 
 top you see the inside of the whorl and the sunlight coming through 
 the cloth ) such little bits of truth prove both the amount of study 
 and his intense memory and imagination in making use of such 
 details. 
 
 No. 51. The depth, transparency, and luminousness of the sky 
 against sunlighted buildings are wonderful. 
 
 No. 56. I have no doubt of chalk being the base of the body 
 colour of this drawing. 
 
 No. 62. See “ Elements of Drawing.” 
 
 No. 64. Look quietly at this drawing for a little time and I 
 think you will feel that it is not too blue, but does most truly give 
 the effect of the instant before the sun appears over a mountain. 
 Before you venture to criticise it be sure that you have watched 
 one hundredth of the sunrises Turner studied. 1 
 
 No. 105. Look at the execution of the edges of the feathers, 
 the filaments are expressed by the same stroke of the brush that 
 defines the form, and gives the gradation. This is easily seen on 
 the tail, but the same thing is done over and over again through- 
 out the drawing, with absolute certainty of touch. 
 
 1 ( Quite right , my dear old friend ; — just what I wanted to say 
 of it, but hadn't time. — f. R.) 
 
144 
 
 NOTES BY THE REV. W. KINGSLEY 
 
 No. 122. Compare the engraving of the England drawing of 
 the Malmesbury ; he must have remembered this early sketch 
 through all the intervening years. 
 
 Page 76, No. 4. The Lucerne is now in the possession of Mr. 
 Newall of Ferndene, Gateshead-on-Tyne. Turner’s work may 
 be broadly divided into three periods : the first that of wonder 
 and delight in the beauty of natural scenery as first seen ; the 
 second that of looking at nature for the purpose of making 
 pictures; and the last the “recording” as far as he could what 
 he saw after nearly fifty years of observation. His worst work is 
 to be found in the second period ; he tried to please the public, 
 and false and cruel criticism made him at times low-spirited and 
 at others defiant, and it was only very late in his life that he put 
 forth his full strength to depict nature as he saw it with all his 
 knowledge and experience. He himself told me that he did not 
 like looking at his own work “ because the realization was always 
 immeasurably below the conception,” and again to use his own 
 words “ he considered it his duty to record ” certain things he 
 had seen ; and so in these late Swiss drawings he felt that he 
 could only “ record ” imperfectly the effects of nature, but he did 
 his best with all his acquired knowledge and power to tell what 
 he had seen. There is so much in these drawings that each 
 requires many pages to describe the ideas expressed. One 
 quality, that of colour, must surely be felt by every one whose 
 colour-sense is not dead ; for purity, intensity, and harmony they 
 cannot be surpassed; nothing short of opal can go beyond the 
 Fluelen. But for the rendering of natural facts and for the 
 poetry it is hopeless for any one to criticise them who has not in 
 some degree the mental penetration and grasp of Turner, and an 
 imagination almost as vivid. No greater nonsense can be uttered 
 than the story of Turner’s saying that Mr. Ruskin saw things in 
 his pictures that he himself had not thought of. 1 By anything like 
 
 1 I 'm so glad of this bit. Nothing ever puts me more * beside 
 myself ’ — though a good ?nany things have produced that effect lately 
 — than this vulgar assertion. 
 
ON THE TURNER DRAWINGS. 
 
 145 
 
 a full rendering of a natural scene ideas will be caused in the 
 spectator like those the actual scene would have excited, and so 
 thoughts may arise in the mind of any one in looking at a good 
 picture which really belong to the picture but which had not been 
 dwelt on definitely by the painter. Had anything like this been 
 the burden of the story it might have been credible ; but it must 
 have been invented for the purpose of disparaging both Turner 
 and Ruskin by some one who knew neither. 
 
 Now Turner’s work differs from that of all other Landscape 
 painters especially in this : — that his knowledge and imagination 
 enabled him to grasp at once with the leading subject a vast 
 amount of details all in keeping and all perfectly clear and 
 defined in his own mind ; the apparent vagueness of his late work 
 is due to his effort to represent as far as possible the infinite 
 delicacy of gradation and endless detail of nature, and not to 
 any want of clearness in idea or want of power. The Landscape 
 painters of the present school are quite right in painting only 
 what they see, and with definite purpose of detail, but they fail 
 through representing nature as if it contained no more detail or 
 gradation than they express ; the very clearness of the work 
 showing at once the want of keen observation and of real imagi- 
 nation; and although Turner did not sacrifice truth to mere 
 beauty, he always saw beauty in nature ; terrible his works may 
 be at times, but never ugly. It is well also to observe that Turner 
 in his figures takes care to express clearly their action, but is well 
 aware of the danger of allowing a figure to draw away the atten- 
 tion from the subject of the Landscape. 
 
 These late Swiss Drawings bear about the same relation to his 
 early work that Beethoven’s Choral Symphony does to one of 
 the simple movements of his early Piano Forte Sonatas, and 
 should be looked at with the respect and reverence due to one 
 who was doing his best to tell what he had seen and loved, at the 
 end of a long life spent in the most industrious study of nature : 
 the early drawings in this collection are enough to prove the 
 power and refinement of hand and eye, and the nineteen thousand 
 and odd sheets of paper covered with studies in the National 
 Gallery speak for his industry. 
 
 I will end what I have added to these notes by repeating what 
 he once said to me, because I have found his words to be 
 
 T 
 
146 NOTES BY THE REV. W. KINGSLEY. 
 
 amongst the soundest and truest I have ever heard, and also 
 because they apply but too sadly at the present moment to one 
 to whom we all owe much. I had made the remark that the 
 want of power in a certain painter to depict what was not before 
 him showed a want of genius, Turner said vehemently, “I know 
 of no genius but the genius of hard work.” 
 
 W. Kingsley. 
 
 South Kilverton. 
 
A LIST OF THE ENGRAVED WORKS OF THE LATE 
 J. M. W. TURNER, R.A., EXHIBITED AT THE 
 FINE ART SOCIETY’S GALLERIES, 
 
 WITH MR. RUSKIN’S DRAW- 
 INGS BY THE SAME 
 
 MASTER. 
 
B Y a coincidence which may in truth be termed little 
 short of miraculous, Turner and the English school 
 of line engravers were contemporaneous. Had 
 Turner appeared on the scene a score of years earlier, 
 he would have passed the prime of life before he could have 
 found an engraver capable of reproducing his work j 1 had 
 he been born a quarter of a century later he would have 
 found the school of engravers paralyzed and in decadence, 
 under the ban of photography. The following extracts 
 sufficiently evidence this. Strutt in his “ Dictionary of 
 Engravers,” 1785, says: — “Engraving was never more en- 
 couraged than at the present day, especially in England, 
 where almost every man of taste is in some degree a col- 
 lector of prints.” In Redgrave’s “ Century of Painters,” 
 1865, we read: “While the love of art has undoubtedly 
 spread, and artists have multiplied and prospered, the en- 
 graver’s art is alone without encouragement.” 
 
 It is perhaps difficult for us to estimate to-day the true value 
 of this coincidence. Surrounded with the original works 
 of the Artist, their reproductions are apt to be thought but 
 lightly of. But two facts must not be forgotten. First, — With 
 hardly an exception, the original works of Turner, by their 
 very delicacy, are more susceptible of injury and decay than 
 those of any other master. A century hence many may 
 be known only by their engravings. Second, — It is not 
 given to everyone to possess a purse sufficiently ample to 
 
 1 Proved by his remark to Mr. Pye in 1811 on his plate of Pope’s 
 Villa (see No. 47): — “This will do, you can see the lights; had I 
 known there was a man living could have done that, I would have 
 had it done before.” He was then thirty-seven years of age. 
 
APPENDIX. 
 
 1 5 o 
 
 enable its owner to become the possessor of even one 
 original. Under the circumstances is not our meed of 
 thanks due to those engravers who enable us to follow Mr. 
 Ruskin’s advice ? “ You ought if it is at all in your power 
 to possess yourself of a certain number of good examples 
 of Turner’s engraved works .” 1 
 
 One who has had many opportunities of watching and 
 estimating engravers’ work, does justice to it in the follow- 
 ing passage : — “ I should like to say one word for en- 
 graving and its difficulties ; that is, in rendering colour 
 into black and white. Take a picture or drawing by 
 Turner in his later time. First, a reduction has to be 
 made to a scale. The original may be full of the most 
 delicate architectural work, crowded perhaps with figures, 
 all, at first glance, a shapeless mass, but all requiring, 
 for the engraver’s purpose, to be put into order, and to 
 be submitted to Turner’s critical eye. When the plate 
 gets well into progress then comes the question of colour ; 
 a bit of bright orange, or scarlet, or blue— how shall it be 
 rendered, in black, or white, or grey ? Turner knows, but 
 the engraver dare not ask him until the plate is in such 
 a condition as to require touching. I have seen engravers 
 perfectly bewildered as to what they should do in such 
 cases. All who have studied Turner’s work will feel the 
 immense difficulty in translating them into black and 
 white, remembering that during the painter’s life each 
 plate had to go through the ordeal of his examination, his 
 criticism, and his alterations . 2 Compare an engraving 
 after Claude with one after Turner, the former conven- 
 tional and done according to mechanical rule, the latter 
 teeming with light and life, full of difficult drawing, 
 suffused with poetry of the sublimest kind ; — the former 
 indeed requiring a labourer to engrave it ; the latter, for 
 
 1 “ Elements of Drawing,” p. 91. 
 
 2 What these were can be seen from Nos. 115, 153, 173, and many 
 others in the collection. 
 
APPENDIX. 
 
 151 
 
 its adequate expression demanding the hand, the eye, and 
 the mind of an accomplished artist. And yet with such 
 qualities necessary to their Art, few men have more 
 lacked the sympathy and appreciation of the public 
 than engravers, few men have been less known, few have 
 lived more solitary or more laborious lives. Bending 
 double all through the bright sunny day, in an attic 
 or close work-room, over a large steel plate, with a power- 
 ful magnifying glass in constant use ; carefully picking 
 and cutting out bits of metal from the plate, and giving 
 the painfully formed lines the ultimate form of some of 
 Turner’s most brilliant conceptions, working for twelve 
 or fourteen hours daily, taking exercise rarely, in early 
 morning or late at night, proving a plate only to find 
 that days of labour have been mistaken, and have to 
 be effaced and done over again ; criticised and corrected 
 by painters who often look upon engravers, to whom they 
 owe so much, as inferior to themselves ; and treated with 
 indifference by the public — such is too commonly the life 
 of an engraver ; and the men who, under such conditions, 
 have produced the works here shown, deserve to be regarded 
 not only as artists of a high class, but as examples of skill, 
 perseverance, and endurance almost heroic.” 
 
 The engravings now exhibited have (with the excep- 
 tion of the Libers, the large plates, and the Rogers’s) 
 been collected within the last few years, and are only 
 a sample of what could even now be obtained at no great 
 cost, and with a trouble that should only be a pleasure. 
 As they appear on the walls they are necessarily “ repre- 
 sentative ” only, of the engraved work of Turner ; for, want 
 of space has forbidden more than a few specimens being 
 taken out of such numbers as the 96 in the “ England and 
 Wales,” or the 71 in the “ Liber Studiorum,” or the 61 in 
 “ The Annual Tour.” They are also confined with rare 
 exceptions to engravings executed under Turner’s super- 
 intendence, for the reason that such alone properly trans- 
 late his work. 
 
J 52 
 
 APPENDIX. 
 
 Special thanks are due for the following loans to com- 
 plete the collection. 
 
 To the Rev. Stopford Brooke for valuable states from 
 his fine set of the “ Liber Studiorum.” 
 
 To Messrs. H. Graves and Co. for a set of proofs of 
 the large plates. 
 
 To Mr. Halstead for proofs of Rogers’s “Italy,” “ Poems,” 
 and “ The Annual Tour,” mine being bound up. 
 
 And last and above all to Mr. Ruskin ; for it was in 
 obedience to his dictum laid down in “ The Two Paths ” : — 
 “You can act for the good of Art in no better way 
 than in using whatever influence you may have in any 
 direction, to urge the reverent preservation of the works 
 of Turner,” that I first came to study and find out the 
 riches and the pleasure stored up in the works of the 
 greatest of English Landscape Painters. 
 
 Marcus B. Huish. 
 
PORTRAITS OF TURNER. 
 
 (On the centre of the 7iorth wall.) 
 
 A. 
 
 E NGRAVED by W. Holl. The original painting is No. 458 
 in the National Gallery, and bears date 1802. 
 
 B. By George Dance. 
 
 C. A Sketch from Life. By Sir John Gilbert. 
 
 D. Unknown. 
 
 LOCALITIES CONNECTED WITH TURNER. 
 
 E. The House in Maiden Lane, where he was bom. 
 
 F. Sandycombe Lodge, Twickenham, purchased by him in 
 1808, and where he resided from that date to 1827. (See 
 under Mr. Ruskin’s Notes, 33 and 101.) 
 
 G. The Bedroom in Chelsea, where he died. 
 
 Early Engravings of which the Dates 
 of Production are Unknown. 
 
 1. 
 
 j^VENING in Italy. Engraved by Smith. 
 
 2. The Chedder Cliffs. Engraved by Molyneux. 
 
 U 
 
THE ENGRAVED WORKS OF THE 
 
 *54 
 
 3. Swansea. Engraved by Rothwell. 
 
 4. Mont Blanc. Engraved by Davies. 
 
 5. Colebrook Dale. Engraved by F. C. Lewis. Pub. by I 
 
 and F. Harwood. 
 
 1794. 
 
 6 . 
 
 R OCHESTER. Engraved by Walker and Storer. Pub. May 1 
 as No. 55 of “ The Copper-Plate Magazine,” by J. Walker, 
 16, Rosoman Street, Clerkenwell. Subsequently issued 
 in the “ Itinerant.” 
 
 7. Chepstow. Engraved by Storer. Pub. Nov. 1 as No. 67 of 
 the above. 
 
 1 795 - 
 8 . 
 
 N OTTINGHAM. Engraved by J. Walker. Pub. Feb. 28 as 
 No. 75 of the above. Republished in “ Gentleman’s Maga- 
 zine,” 1821. (See No. 174, and Rusk. “ Mod. P.,” vol. 4, 
 p. 28.) 
 
 9. Bridgenorth. Engraved by J. Walker. Pub. Aug. 1 as 
 No. 88 of the above. 
 
 10. Matlock. Engraved by J. Widnell. Pub. Oct. 1 as No. 90 
 of the above. 
 
 11. Birmingham. Engraved by Storer. Pub. Nov. 2 as No. 91 
 of the above. 
 
 1796. 
 
 12. 
 
 C HESTER. Engraved by J. Walker. Pub. Jan. 1 as No. 9 
 of the above. 
 
 13. Peterborough. Engraved by J. Walker. Pub. May 1 as 
 No. 103 of the above. 
 
LATE J. M. W. TURNER, R.A. 
 
 *55 
 
 1797. 
 
 14. 
 
 E LY. Engraved by J. Walker. Pub. Mar. 1 as No. 123 of the 
 above. 
 
 15. Westminster Bridge. Engraved by J. Walker. Pub. Aug. 
 1 as No. 133 of the above. 
 
 16. Flint, from Park Gate. Engraved by J. Walker. Pub. 
 Aug. r as No. 134 of the above. 
 
 17. Hampton Court, Herefordshire. Engraved by J. Walker. 
 Pub. Sept. 1 as No. 135 of the above. 
 
 18. Carlisle. Engraved by J. Walker. Pub. Oct. 2 as No. 137 
 of the above. 
 
 1798. 
 
 19. 
 
 W AKEFIELD. Engraved by J. Walker. Pub. June 1 as 
 No. 153 of the above. 
 
 20. Sheffield. Engraved by J. Walker. Pub. Aug. 1 as No. 
 157 of the above. 
 
 1799. 
 
 21. 
 
 S OUTH View of Christ Church, &c., from the Meadows. 
 Engraved by Jas. Basire. This and Nos. 27, 28, 30, 35, 
 36, 37, 39, and 44 form part of nine head-pieces to Oxford 
 almanacs between the years 1799 and 1811. (See Rusk. 
 “Lect. on Architecture,” 173.) 
 
 1800. 
 
 22. 
 
 V IEW of Townley House. Engraved by Jas. Basire. Pub. 
 Aug. 1 by J. Hatchard, Piccadilly, and subsequently in 
 1818 by Nichols, Son, and Bentley in “The History of 
 the Original Parish of Whalley,” where it is plate 5, 
 p. 340. 
 
i 5 6 THE ENGRAVED WORKS OF THE 
 
 23. Clitheroe, from Eadsford Bridge. Engraved by Jas. 
 
 Basire. Plate 11 in “Hist. ofWhalley.” (See No. 22.) 
 
 24. Locus Benedictus de Whalley. Engraved by Jas. Basire. 
 
 Plate 6 in “Hist. ofWhalley.” (See No. 22.) 
 
 25. Browsholme. Engraved by Jas. Basire. Plate 12 in “Hist. 
 
 ofWhalley.” (See No. 22.) 
 
 26. Dunster Castle, Somersetshire. South-west view. En- 
 
 graved by S. Rawle. Pub. May x with a north-east view 
 of the same by the engraver, 3, Tottenham Street. 
 
 1801. 
 
 27. 
 
 A VIEW of the Chapel and Hall of Oriel College. 
 Engraved by Jas. Basire. (See No. 21.) 
 
 1802. 
 
 28. 
 
 I NSIDE View of the East End of Merton College Chapel. 
 Engraved by Jas. Basire. (See No. 21.) 
 
 1803. 
 
 29. 
 
 W ICKHAM, from the Marlow Road. Engraved by W. 
 Byrne, and pub. in “ Britannia Depicta” with Nos. 34, 43, 
 and four others. 
 
 1804. 
 
 3 °- 
 
 A VIEW of Worcester College. Engraved by Jas. Basire. 
 (See No. 21.) 
 
LATE J. M. W. TURNER, R.A. 
 
 *57 
 
 1805. 
 
 3 *- 
 
 I NVERARY. (See No. 33.) Comp, with “Liber Stud.,” 
 No. 35. 
 
 32. Loch Lomond. (See No. 33.) 
 
 33. Patterdale. This and Nos. 31 and 32 form the illustrations 
 to “An Excursion to the Highlands of Scotland,” pub. 
 May 1 by T. Mawman, Poultry. They were engraved 
 by J. Heath. 
 
 34. Newbury, from Speen Hill. Engraved by W. Byrne. (See 
 No. 29.) 
 
 35. A View from the Inside of Brasenose College Quad- 
 rangle. Engraved by James Basire. (See No. 21.) 
 
 1806. 
 
 3 6 - 
 
 V IEW of Exeter College, All Saints’ Church, &c., from 
 the Jail. Engraved by James Basire. (See No. 21.) 
 
 1807. 
 
 37 - 
 
 I NSIDE View of the Hall of Christ Church. Engraved 
 by J. Basire. (See No. 21.) 
 
 38. A Composition (Smugglers, Flint Castle). Drawn and 
 etched by J. M. W. Turner, R.A. ; engraved by C. Turner. 
 This plate is from the renowned “ Liber Studiorum,” 
 a work published by Turner under the title, “ Liber 
 Studiorum, illustrative of Landscape Compositions, viz., 
 Historical, Mountainous, Pastoral, Marine, and Archi- 
 tectural.” It was originally issued in parts, each consisting 
 of 4 plates in a blue cover, at the following price : Proofs, 
 2 2 s., Prints, is. Each cover contained Turner’s 
 
158 THE ENGRAVED WORKS OF THE 
 
 monogram in his own handwriting. The first number was 
 issued on the 20th of January, 1807, and subsequent ones 
 at intervals until the year 1819, when fourteen numbers, 
 containing 71 plates, had been published, of which Nos. 
 40, 41, 42, 45, 46, 47 a , 48, 49 , 5 °> 5 1 , 5 6 > 57 , 5 8 , 6l , 62, 
 and 63, and Nos. 71 to 76 in Mr. Ruskin’s collection 
 are examples. Impressions of 21 more plates are known 
 to exist ; several will be found in this collection under the 
 heading of unpublished plates. A fine set of “ Libers” is 
 now a possession of great value, that belonging to the 
 late J. Pye, the engraver, and which consists of rare 
 proofs, having been purchased by the nation for the sum 
 of ,£3,000. The “ Libers” are hung on central screen. 
 
 1808. 
 
 39 - 
 
 V IEW of Oxford from the South Side of Heddington 
 Hill. Engraved by James Basire. (See No. 21.) 
 
 40. Holy Island Cathedral. Drawn and etched by J. M. W. 
 Turner. Engraved by C. Turner. No. n in the “Lib. 
 Stud.” (See No. 38.) 
 
 40A. Lake of Thun — Swiss. Drawn and etched by Turner. 
 Engraved by C. Turner. No. 15 in the “Lib. Stud.” 
 (See No. 38.) 
 
 1809. 
 
 41. 
 
 D RAWING of the Clyde. Drawn and etched by J. M. W. 
 Turner. Engraved by C. Turner. No. 17 in the “Lib. 
 Stud.” (See No. 38.) 
 
 42. Little Devil’s Bridge over the Russ, above Altdorf 
 — Swiss. Drawn and etched by J. M. W. Turner. En- 
 graved by C. Turner. No. 19 in the “Lib. Stud.” (See 
 No. 38, and “Mod. P.,” vol. 1, p. 125.) This proof 
 belongs to Mr. Ruskin, and is included in his collection, 
 where it is No. 73. 
 
LATE J. M. W. TURNER, R.A. 
 
 *59 
 
 1810. 
 
 43 - 
 
 D ISTANT View of Chester. Engraved by W. Byrne. (See 
 No. 29.) 
 
 l8ll. 
 
 44. 
 
 V IEW of the Cathedral of Christ Church and part of 
 Corpus Christi College. Engraved by James Basire. 
 (See No. 21.) 
 
 44A. Juvenile Tricks. Drawn and etched by Turner. En- 
 graved by W. Say. No. 22 in the “Lib. Stud.” (See 
 No. 38.) 
 
 45. Hind Head Hill on the Portsmouth Road. Drawn and 
 etched by J. M. W. Turner. Engraved by Dunkarton. 
 No. 25 in the “ Lib. Stud.” (See No. 38.) 
 
 45A. From a Picture in the Possession of J. M. W. Turner, 
 R. A., Windmill and Lock. Drawn and etched by 
 J. M. W. Turner. Engraved by W. Say. No. 27 in the 
 “Lib. Stud.” (See No. 38.) 
 
 46. Near Blair Athol, Scotland. Drawn and etched by 
 J. M. W. Turner. Engraved by W. Say. No. 30 in the 
 “ Lib. Stud.” (See No. 38.) 
 
 47. Pope’s Villa. Engraved by John Pye. Figures by C. 
 Heath. Pub. for “The Fine Arts of the English School.” 
 
 1812. 
 
 47 A - 
 
 P ROCRIS and Cephalus. Drawn and etched by J. M. W. 
 Turner. Engraved by G. Clint. No. 41 in the “ Lib. 
 Stud.” (See No. 38.) 
 
 47B. Calm. Picture in the Possession of J. M. W. Turner. 
 Drawn, etched, and engraved by J. M. W. Turner. No. 
 44 in the “Lib. Stud.” (See No. 38.) 
 
i6o 
 
 THE ENGRAVED WORKS OF THE 
 
 48. River Wye. No. 48 in the “ Lib. Stud.” (See No. 38.) 
 
 49. Chain of Alps from Grenoble to Chamberi. Drawn and 
 
 etched by J. M. W. Turner. Engraved by W. Say. No. 
 49 in the “ Lib. Stud.” (See No. 38.) 
 
 50. Mer de Glace, Valley of Chamouni, Savoy. Drawn, 
 
 etched, and engraved by J. M. W. Turner. No. 50 in 
 the “ Lib. Stud.” (See No. 38.) 
 
 51. The Frontispiece. Drawn, etched, and the centre engraved 
 
 by J. M. W. Turner. Engraved by I. C. Easling. No. 
 14 in the “Lib. Stud.” (See No. 38.) 
 
 1813. 
 
 5 »- 
 
 A UTUMN — Sowing of Grain. An aquatint, pub. June 1, by 
 Hassell and Co., 1 1, Clement’s Inn. 
 
 1814. 
 
 S3- 
 
 P OOLE. Engraved by Geo. Cooke. Pub. in “ Picturesque 
 Views on the Southern Coast of England,” from drawings 
 made principally by J. M. W. Turner, and engraved by 
 W. B. Cooke, Geo. Cooke, and other eminent engravers.” 
 London : J. and A. Arch, Cornhill. 
 
 First published in sixteen parts between the years 
 1814 and 1827 as follows: — 
 
 £ j . d. 
 
 Largest India proof, folio .... 24 o o 
 
 Large paper proof, imp. quarto . . 14 14 o 
 
 Ordinary 10100 
 
 And afterwards as a whole in 1826 in 2 vols. 4to. 
 
 54. Plymouth Sound, from Hamoaze, with Part of Mount 
 Edgecumbe. Engraved by W. B. Cooke, 1814, and pub- 
 lished in the “ Rivers of Devon,” 1815, also published in 
 1821 and 1823. 
 
LATE J. M. W. TURNER, R.A. 161 
 
 1815. 
 
 55 - 
 
 L YME Regis. Engraved by W. B. Cooke, in the “ Southern 
 Coast.” (See No. 53.) 
 
 1816. 
 
 55A. 
 
 S OLWAY Moss. Drawn and etched by J. M. W. Turner. 
 Engraved by T. Lupton. No. 52 in the “Lib. Stud.” 
 (See No. 38.) 
 
 56. Dumblain Abbey, Scotland. Drawn and etched by J. M. 
 W. Turner. Engraved by T. Lupton. No. 56 in the 
 “ Lib. Stud.” (See No. 38.) 
 
 5 6a. Norham Castle on the Tweed. Drawn and engraved by 
 J. M. W. Turner. Engraved by C. Turner. No. 57 in 
 the “Lib. Stud.” (See Nos. 38,98, and 176.) This plate 
 is also engraved by W. Chapman in the “Art Journal,” 
 and in the “ Turner Gallery,” last edition ; also in Burnet’s 
 “ Turner and his Works,” p. 60, under title “ Naworth 
 Castle.” 
 
 57. A Composition (commonly called Raglan Castle). 
 Drawn and etched by J. M. W. Turner. No. 58 in 
 the “ Lib. Stud.” (See No. 38.) This and the following 
 proofs belong to Mr. Ruskin, and are included in his 
 collection, where they are Nos. 71 and 74. 
 
 58. The Source of the Arveron in the Valley of Chamouni, 
 Savoy. Drawn and etched by J. M. W. Turner. No. 60 
 in the “ Lib. Stud.” (See No. 38, and “Mod. P.,” vol. 4, 
 Plate 49.) 
 
 1817. 
 
 59 - 
 
 r J' , EIGNMOUTH. An aquatint. 
 
 X 
 
162 
 
 THE ENGRAVED WORKS OF THE 
 
 1818. 
 
 60. 
 
 V IEW of Oxford from the Abingdon Road. Engraved 
 by John Pye. Pub. Feb. 13, by James Wyatt, Oxford. 
 
 1819. 
 
 6oa. 
 
 B ONNEVILLE, Savoy. Drawn by J. M. W. Turner. En- 
 graved by H. Dawe. No. 64 in the “ Lib. Stud.” (See 
 No. 38.) 
 
 61. East Gate, Winchelsea, Sussex. Drawn and etched by 
 J. M. W. Turner. Engraved by S. W. Reynolds. No. 66 
 in the “ Lib. Stud.” (See No. 38.) 
 
 62. 2Esacus and Hesperie. Drawn, etched, and engraved by 
 J. M. W. Turner. No. 67 in the “Lib. Stud.” (See 
 No. 38, and “ El. of Drawing,” p. 173.) This proof also 
 belongs to Mr. Ruskin, and is included in his collection, 
 where it is No. 75. 
 
 63. Ben Arthur. Drawn and etched by J. M. W. Turner. 
 Engraved by T. Lupton. No. 69 in the “ Lib. Stud.” 
 (See No. 38.) 
 
 63A. Interior of a Church. Drawn and engraved by J. M. W. 
 Turner. No. 70 in the “ Lib. Stud.” (See No. 38.) 
 
 64. Borthwick Castle. Engraved by H. Le Keux. This, 
 together with Nos. 67, 95A, and 108, were published in 
 “ Provincial Antiquities and Picturesque Scenery of Scot- 
 land, with descriptive illustrations by Sir Walter Scott.” 
 2 vols. J. and A. Arch, Cornhill, and W. Black, Edin- 
 burgh, 1826. The work contains 12 engravings after 
 Turner. 
 
LATE J. M. W. TURNER, R.A. 
 
 163 
 
 65. Battle Abbey, the Spot where Harold fell. Engraved 
 
 by W. B. Cooke for “ Views in Sussex,” London, John- 
 Murray. Part I. (the only one published) contains en- 
 graved title-page with vignette by Turner, a map of the 
 Rape of Sussex, and 5 plates by Turner, and was issued 
 at the following prices. 
 
 Proofs, Royal folio, on India . ^5 10 o 
 
 Proofs 3 3 0 
 
 66. Pevensey Bay, from Crowhurst Park. Engraved by 
 
 W. B. Cooke. (See No. 65.) 
 
 1820. 
 
 67. 
 
 E DINBURGH, from the Calton Hill. Engraved by G. 
 Cooke. (See No. 64.) 
 
 68. Richmond Castle and Town. Engraved by J. Archer in 
 “An History of Richmondshire, in the North Riding of 
 the County of York,” by Thomas Durham Whitaker. 2 
 vols. London : Longman, Hurst, Rees, Orme, and Brown, 
 1823. Folio. This engraving and Nos. 69, 89, 90, 91, 93, 
 94, and 95, form part of twenty by Turner in this work. 
 
 69. Aysgarth Force. Engraved by J. Scott. (See No. 68.) 
 
 70. Cascade of Terni. Engraved by J. Landseer for “A 
 Picturesque Tour of Italy, from Drawings made in 
 1816-17 by James Hakewill, architect,” London, J. 
 Murray. 
 
 Imp. 4to. proofs, ^10 ioj. 
 
 India proofs, ^15 15.L This and Nos. 72, 78, 81, 85, 
 86, and 87 are exhibited in the ground floor gallery, with 
 the original drawings. Rusk. “Mod. P.,” vol. 1, p. 125. 
 
 72. Narni — Bridge of Augustus. Engraved by S. Middiman. 
 (See No. 70.) 
 
 78. Rome, from the Monte Mario. Engraved by J. Byrne. 
 (See No. 70.) 
 
1 64 THE ENGRAVED WORKS OF THE 
 
 80. La Riccia. Engraved by John Pye. (See No. 70.) 
 
 81. Lake of Nemi. Engraved by Middiman and Pye. (See 
 
 No. 70.) 
 
 85. Florence, from Fiesoli. Engraved by W. R. Smith. 
 
 (See No. 70.) 
 
 86. Isola Bella, Lago Maggiore. Engraved by Jas. Fittler. 
 
 (See No. 70.) 
 
 87. Turin, from the Superga. Engraved by Jas. Mitan. (See 
 
 No. 70.) 
 
 1821. 
 
 89. 
 
 y~^RIGNALL Church. Engraved byS. Rawle. (See No. 68.) 
 
 90. Kirby Lonsdale Churchyard. Engraved by C. Heath. 
 
 (See No. 68.) 
 
 91. Weathercote Cave. Engraved by G. Middiman. (See 
 
 No. 68.) 
 
 92. Ivy Bridge, Devonshire. Engraved by J. C. Allen. Pub. 
 
 June 30, by W. B. Cooke. 
 
 1822. 
 
 93 - 
 
 E GGLESTON Abbey. Engraved by T. Higham. The original 
 drawing and this engraving will be found in Mr. Ruskin’s 
 collection. (See No. 68.) 
 
 94. Hornby Castle, from Tatham Church. Engraved by 
 W. Radclyffe. (See No. 68.) The original drawing is in 
 the South Kensington Museum. 
 
LATE J. M. W. TURNER, R.A. 165 
 
 95. Merrick Abbey, Swaledale. Engraved by J. C. Varrall. 
 (See No. 68.) 
 
 95A. Roslin Castle. Engraved by W. R. Smith. (See No. 
 64.) 
 
 1823. 
 
 96. 
 
 M OUTH of the Humber. Engraved by Phillips. One of 
 Turner’s fifteen selected copies. This and Nos. 97, 98, 
 and 99, were originally published between the years 1823 
 and 1827 by W. B. Cooke in a portfolio form, and subse- 
 quently in the latter year under the title of “River Scenery 
 by Turner and Girtin,” in one vol. 4to. Of the twenty- 
 one plates fifteen were by Turner. The original drawing 
 of this plate is in the National Gallery. 
 
 1824. 
 
 97 - 
 
 R OCHESTER. Engraved by T. Lupton. (See No. 96.) 
 One of Turner’s fifteen selected copies. The original 
 drawing is in the National Gallery. 
 
 98. Norham Castle. Engraved by C. Turner. (See No. 96, 
 and compare with Nos. 5 6a and 176.) One of Turner’s 
 fifteen selected copies. 
 
 99. More Park. Engraved by T. Lupton. (See No. 96.) An 
 engraver’s proof, with Turner’s notes and alterations. 
 The original drawing is in the National Gallery. 
 
 100. Margate. Engraved by Geo. Cooke. (See No. 53.) 
 
 101. Ramsgate. Engraved by R. Wallis. (See No. 53.) 
 
 1 o 1 a. Cologne. Engraved by E. Goodall. Pub. by Hurst, 
 Robinson, and Co. 
 
i66 
 
 THE ENGRAVED WORKS OF THE 
 
 102. Ehrenbreitstein during the Demolition of the For- 
 
 tress in 1819, from the Quay at Coblenz. Engraved 
 by J. C. Allen. Pub. May 1, by the engraver. (See No. 
 160.) 
 
 103. The Eddystone Lighthouse. Engraved by T. Lupton. 
 
 Pub. March 1, by W. B. Cooke. 
 
 104. The Edystone (sic) Lighthouse. Engraved by T. Lupton. 
 
 A small replica of 103, forming Plate 6 of “Cabinet 
 Engravings,” pub. by I. and F. Harwood. 
 
 1825. 
 
 105. 
 
 S UNRISE — Whiting Fishing off Margate. Engraved by 
 T. Lupton. Pub. June 1, by W. B. Cooke. 
 
 106. Portsmouth. Engraved by W. Miller. (See No. 53.) 
 
 1826. 
 
 107. 
 
 pOLKESTONE. Engraved by R. Wallis. (See No. 53.) 
 
 108. The Bass Rock. Engraved by W. Miller. (See No. 64.) 
 
 1827. 
 
 109. 
 
 T HE Custom House. Engraved by J. C. Allen, and published 
 by the same and W. B. Cooke, June 1. 
 
 no. Old London Bridge. Engraved by E. Goodall, and pub- 
 lished by Moon, Boys, and Graves, June 1. 
 
 iioa. Scarborough. Engraved by T. Lupton, together with 
 Nos. 1x9, 120, and others. 
 
 in. Bolton Abbey. Engraved by R. Wallis in “ Picturesque 
 Views in England and Wales. From drawings by 
 J. M. W. Turner, Esq., R.A. Engraved under the 
 
LATE J. M. W. TURNER, R.A. 167 
 
 superintendence of Mr. C. Heath, with Descriptive 
 and Historic Illustrations by H. E. Lloyd, Esq.” 
 
 This magnificent work, containing the finest speci- 
 mens of engraving that have ever been produced, was 
 to have consisted of 30 parts or more, but stopped 
 short at the 24th for want of sufficient encouragement. 
 The prospectus stated that it would be printed uniformly 
 with “The Southern Coast of England,” just completed 
 (see No. 53), each part containing four highly finished 
 engravings, to be published punctually at intervals of 
 three months at the following prices : — Colombier folio, 
 India Proofs, with the etchings, limited to 30 copies, 
 £3 3-f. The same without the etchings, £ 2 12s. 6 d. 
 Imp. 4to., India Proofs, £ 1 11s. 6 d. Imp. 4to., proofs, 
 £ 1 is. Royal 4to., prints, 14.L a part. 
 
 The completed portion was published in 1838 in 
 two volumes containing 96 plates. It soon rose in 
 value, and, in 1870, the ordinary copies realized about 
 ^30, whilst the proofs ranged as high as £200. On the 
 sale of the remainder of the work by Turner’s executors 
 in 1874, some 300 copies were disposed of, upon 
 which the price dropped considerably, but it is now 
 steadily rising again as that number are being absorbed. 
 
 The engraving of Bolton Abbey will be found with 
 the original drawing, which forms part of Mr. Ruskin’s 
 collection. (See also “ Mod. P.,” vol. 4, p. 257.) 
 
 1 1 2. Colchester. Engraved by R. Wallis. An engraver’s 
 
 proof, with Turner’s remarks and alterations. (See 
 No. hi.) 
 
 1 1 3. The same. Engraver’s finished proof. 
 
 1 14. Falls of the Tees. Engraved by E. Goodall. An 
 
 engraver’s proof. (See No. in.) 
 
 1 15. 1 16. Richmond, from the Moors. Engraved by J. T. 
 
 Willmore. Two engraver’s proofs. (See No. in.) The 
 original drawing was presented by Mr. Ruskin to the 
 Fitzwilliam Museum, Cambridge. 
 
i68 
 
 THE ENGRAVED WORKS OF THE 
 
 1 1 7, 118. Bernard Castle. Engraved by R. Wallis. An 
 etching and an engraver’s proof. (See No. in.) 
 
 1 19. Dover. Engraved by T. W. Lupton. (See No. iioa.) 
 119A. Tivoli. Engraved by E. Goodall. Pub. by Colnaghi. 
 
 120. Ramsgate. Engraved by T. Lupton. (See No. 1 ioa.) 
 120A. The Medway. (See No. 96.) 
 
 1828. 
 
 121. 
 
 ^HEERNESS. Engraved by T. Lupton. (See No. 1 ioa.) 
 
 122. Buckfastleigh Abbey. Engraved by R. Wallis. (See 
 
 No. 1 1 6.) The original drawing is in the possession of 
 Mr. A. Severn. 
 
 123. Okehampton. Engraved by J. T. Willmore. (See No. 
 
 in.) This engraving is exhibited with the original 
 drawing in Mr. Ruskin’s collection. 
 
 123A. The Deluge. Engraved by Quilley. In portfolio. 
 
 124. Florence. Engraved by E. Goodall in “The Keepsake.” 
 
 125. The Temple of Jupiter. Engraved by J. Pye. Pub. 
 
 by Graves and Co. 
 
 1829. 
 
 126. 
 
 Y ARMOUTH, Norfolk. Engraved by W. Miller. (See 
 No. hi.) 
 
 127. Lake of Albano. Engraved by W. Wallis in “The 
 Keepsake.” 
 
 1830. 
 
 128. 
 
 D EVONPORT and Dockyard. Engraved by T. Jeavons. 
 (See No. hi.) This engraving is exhibited with the 
 original drawing in Mr. Ruskin’s collection. 
 
LATE J. M. W. TURNER, R.A. 
 
 169 
 
 129. Stamford. Engraved by W. Miller. An engraver’s proof, 
 
 with Turner’s remarks and alterations. (See No. hi.) 
 
 130. Fishing Boats. Engraved by W. Davison. Pub. by 
 
 J. M. W. Turner. 
 
 131. Virginia Water. Engraved by W. Wallis in “The 
 
 Keepsake.” 
 
 132. The same. Another view. 
 
 133. The Lake of Geneva. Engraved by E. Goodall in “Italy, 
 
 A Poem, by S. Rogers,” with 56 illustrations after designs 
 by Stothard and Turner (twenty-five are Turner’s). 
 London, Cadell, 1830. 
 
 Rogers’ “ Italy ” and “Poems” (see No. 139) are usually 
 met with together ; for this purpose they were supplied 
 with the volumes dated 1838. 
 
 The marvellous engravings of Turner’s exquisite draw- 
 ings, and Stothard’s simple and pure designs, have 
 probably done much to perpetuate the Poems which 
 they illustrate. The work has run through a vast number 
 of editions, the principal in 1831, 1834, 1838, 1842 
 1850, 1859. The early copies of the first edition 
 may be identified by the head and tail pieces to the 
 “ Poem on a Tomb ” being worked off in wrong positions. 
 
 Turner received from fifteen to twenty guineas for each 
 of the drawings, which, with the exception of the second 
 vignette, Hospice of St. Bernard, are in the National 
 Gallery. The engravers received sixty guineas a plate. 
 
 Sets of the Italy entitled “ Fifty-six engravings, illus- 
 trative of Italy, a Poem by Samuel Rogers, Esq.” were 
 published as follows : — Proofs before letters, Colombier 
 4to., jQ 4 4r. India Proofs, with letters, Colombier 4to. 
 £$ I 3 ' f - Proofs, Imperial 4to.,^2 12 s. 6 d. 
 
 When met with, these states are worth at least double 
 their published prices. 
 
 Mr. Ruskin, in his “ Elements of Drawing,” says at 
 p. 91 : “Possess yourself first of the illustrated edition, 
 either of Rogers’s ‘ Italy ’ or Rogers’s * Poems.’ ” 
 
 As to this engraving, see “ Mod. P.,” vol. p. 1, 234. 
 
 Y 
 
170 
 
 THE ENGRAVED WORKS OF THE 
 
 134. The Great St. Bernard. Engraved by W. R. Smith. 
 
 (See No. 133.) 
 
 135. Mount St. Bernard. Engraved by W. R. Smith. The 
 
 figures by Stothard, the dogs by Landseer. (See 
 No. 133.) 
 
 136. The Battle of Marengo. (See No. 133.) 
 
 137. Hannibal Crossing the Alps. Engraved by W. R. 
 
 Smith. (See No. 133.) 
 
 138. The Castle of St. Angelo. Engraved by R. Wallis. 
 
 (See No. 133.) 
 
 139. The Native Village. Engraved by E. Goodall in “ Poems 
 
 by Samuel Rogers,” with 72 illustrations engraved on steel 
 after designs by Stothard and Turner (32 are Turner’s). 
 Published with the “ Italy,” which see under No. 133. 
 
 140. Valombre Falls. Engraved by E. Goodall. (See No. 
 
 I 39-) 
 
 141. The Boy of Egremond. Engraved by E. Goodall. 
 
 (See No. 139.) 
 
 142. Bolton Abbey, Wharfdale. Engraved by W. Wallis. 
 
 (See No. 139.) 
 
 143. The Alps at Daybreak. Engraved by E. Goodall. (See 
 
 No. 139, and “Mod. P.,” vol. 1, pp. 210, 220, 271.) 
 
 144. Loch Lomond. Engraved by W. Miller. (See No. 139.) 
 
 145. The Embarkation of Columbus. Engraved by E. Good- 
 
 all. (See No. 139.) 
 
 146. The Spectral Procession. Engraved by E. Goodall. 
 
 (See No. 139.) 
 
 147. Datur Hora Quieti. Engraved by E. Goodall. (See 
 
 No. 139, and Rusk. “El. of Drawing,” 323, and “Mod. 
 P.,” vol. 1, p. 143.) 
 

 

LATE J. M. W. TURNER, R.A. I7I 
 
 148. The Bird-Cage, from Boccaccio. Engraved by Quilley. 
 
 (In portfolio.) 
 
 149. The Field of Waterloo. Engraved by F. C. Lewis. (In 
 
 portfolio.) 
 
 150. The Pas de Calais, or Fishing-Boats off Calais. En- 
 
 graved by Davison. An engraver’s proof with Turner’s 
 remarks and alterations. 
 
 1831. 
 
 151. 
 
 G OSPORT. Engraved by R. Brandard. (See No. hi.) 
 This engraving is exhibited with the original drawing in 
 Mr. Ruskin’s collection. 
 
 152, r 53 - Bedford. Engraved by J. T. Willmore. (See 
 No. in.) Two engraver’s proofs with Turner’s notes 
 and alterations. 
 
 1832. 
 
 I 54 - 
 
 T HE Plain of Troy. Engraved in vol. 7 of “The Works of 
 Byron,” with his letters and journals, and his life by 
 Thomas Moore. 8vo. Lond. J. Murray. The original 
 drawing is No. 49 in Mr. Ruskin’s collection. 
 
 155. Parnassus and Castalian Spring. Engraved by E. Fin- 
 den in vol. 14 of “ The Works of Byron.” (See No. 
 I 54 -) 
 
 156. The Bridge of Sighs, Venice. Engraved by E. Finden 
 in vol. 11 of “The Works of Byron.” (See No. 154.) 
 
 157. The Bernese Alps. Engraved in vol. 11 of “The Works 
 of Byron.” (See No. 154.) 
 
 158. Marly. Engraved by W. Miller in “The Keepsake,” and 
 in Heath’s “ Gallery of British Engravings,” 1836. 
 
172 
 
 THE ENGRAVED WORKS OF THE 
 
 1 5 8a. Brinkburn Priory, Northumberland. Engraved by 
 J. C. Varrall. (See No. in.) This engraving is ex- 
 hibited with an original sketch in Mr. Ruskin’s collection. 
 
 1833. 
 
 I S9- 
 
 L AUGH ARNE Castle. Engraved by T. Horsburgh. (See 
 No. in, and “Mod. P.,”vol. i,p. 249.) This engraving 
 is exhibited with the original drawing in Mr. Ruskin’s col- 
 lection. 
 
 160. Ehrenbreitstein. Engraved by W. Wallis. A small 
 replica of No. 102, published in “ The Keepsake,” and 
 subsequently in 1836, in Heath’s “Gallery of British En- 
 gravings.” 
 
 161. Beaugency. Engraved by R. Brandard, in “Turner’s Annual 
 Tour.” This wonderful series of views, which ranks with 
 the England and Wales, the Rogers, and the Scott’s 
 Poems, as one of the finest memorials of English engrav- 
 ing, was first published under the titles of : 
 
 “ Wanderings by the Loire, by Leitch Ritchie, Esq. 
 
 1833-” 
 
 “ Wanderings by the Seine, 1834.” 
 
 “ Wanderings by the Seine, from Rouen to the 
 Source, 1835.” Lond. Longmans. 
 
 Each volume had in addition a title-page with vignette 
 and the words “Turner’s Annual Tour,” and date. It 
 was afterwards published (the plates in a much-worn 
 state) under the title “Turner’s Liber Fluviorum.” (See 
 Mr. Ruskin’s remarks on same under heading “52, Pont 
 de Basel,” and “ Mod. P.,” vol. 1, p. 180.) 
 
 162. Amboise. Engraved by W. R. Smith. (See No. 161.) 
 
 163. Tours. Engraved by R. Brandard. (See No. 161.) 
 
 164. Saumur. Engraved by J. T. Willmore. (See No. 161.) 
 
 165. Chateau of Amboise. Engraved by J. B. Allen. (See 
 No. 161.) 
 
LATE J. M. W. TURNER, R.A. 
 
 173 
 
 1834. 
 
 166. 
 
 L IGHT Towers of the Heve. Engraved by J. Cousen. 
 (See No. 161.) 
 
 167. Havre. Engraved by J. B. Allen. (See No. 161.) 
 
 168. Graville. Engraved by R. Brandard. (See No. 161.) 
 
 169. Quillebceuf. Engraved by R. Brandard. (See No. 161, 
 and “ Mod. P.,” vol. 1, p. 167.) 
 
 170. Jumieges. Engraved by J. C. Armytage. (See No. 161.) 
 
 171. Rouen Cathedral. Engraved by T. Higham. (See No. 
 161.) 
 
 172. Rouen. Engraved by W. Miller. (See No. x6i.) 
 
 172A. The same. Engraved by W. Miller. (See No. 161.) 
 The original drawing is No. 56 in Mr. Ruskin’s col- 
 lection. 
 
 172B. The same, looking up the river. Engraved by R. 
 Brandard. (See No. 161.) 
 
 173, 174. Nottingham. Engraved by W. J. Cooke. (See 
 No. 1 1 1, No. 8, and “ Mod. Paint.,” vol. 4, p. 28.) Two 
 engraver’s proofs with Turner’s notes and alterations. 
 
 175. Leicester Abbey. Engraved by W. R. Smith. This en- 
 graving is exhibited with the original drawing in Mr. 
 Ruskin’s collection. (See No. hi.) 
 
 176. Norham Castle. Engraved by W. Miller in vol. 7 of 
 “The Prose Works of Sir Walter Scott,” Cadell, Edin- 
 burgh. (Compare with No. 98.) 
 
 177. Malmaison. Engraved by W. Miller in vol. 14 of above. 
 
 178. Glencoe. Engraved by W. Miller in vol. 25 of above. 
 
 179. Rouen. Engraved by W. Richardson in vol. 27 of above. 
 
174 
 
 THE ENGRAVED WORKS OF THE 
 
 180. Fort Augustus. Engraved by W. Miller in vol. 26 of 
 
 above. 
 
 181. The Simplon. Engraved by W. Miller in vol. 13 of above. 
 
 182. Stirling. Engraved by W. Miller in vol. 23 of above. 
 
 183. Field of Waterloo. Engraved by W. Miller in vol. 16 
 
 of above. 
 
 184. Rhymer’s Glen. Engraved by W. Miller in vol. 21 of 
 
 above. 
 
 185. Chiefswood Cottage. Engraved by W. Miller in vol. 18 
 
 of above. 
 
 186. Brienne, Engraved by W. Miller in vol. 9 of above. 
 
 187. Dunstaffnage. Engraved by W. Miller in vol. 24 of 
 
 above. 
 
 188. Linlithgow. Engraved by W. Miller in vol. 24 of above. 
 
 189. Killiecrankie. Engraved by W. Miller in vol. 25 of 
 
 above. 
 
 190. New Abbey. Engraved by W. Miller in vol. 7 of above. 
 
 1 9 1. Hermitage Castle. Engraved by R. Wallis in vol. 4 of 
 
 “ The Poetical Works of Sir Walter Scott,” Cadell, Edin- 
 burgh. 
 
 192. Smailholme Tower. Engraved by E. Goodall in vol. 1 of 
 
 above. 
 
 193. Johnny Armstrong’s Tower. Engraved by E. Goodall 
 
 in vol. 2 of above. 
 
 194. Dryburgh Abbey. Engraved by W. Miller in vol. 5 of 
 
 above. 
 
 195. Newark Castle. Engraved by W. J. Cooke in vol. 6 of 
 
 above. 
 
 196. Staffa. Engraved by E. Goodall in vol. 10 of above. 
 
 Exhibited with the original drawing in Mr. Ruskin’s col- 
 lection. 
 
176 
 
 THE ENGRAVED WORKS OF THE 
 
 1835. 
 
 2 1 1. 
 
 C AERNARVON Castle. Engraved by W. Radclyffe. (See 
 No. 1 1 1.) This and the following engraving are exhibited 
 with the original drawings in Mr. Ruskin’s collection. 
 
 212. Dudley. Engraved by W. Wallis. (See Nos. 1 1 1 and 
 201.) 
 
 213. Bridge of St. Cloud. Engraved by S. Fisher. (See 
 No. 161.) 
 
 214. Boulevards. Engraved by T. Higham. (See No. 161.) 
 
 215. Confluence of the Seine and Marne. Engraved by J. 
 C. Armytage. (See No. 161.) 
 
 216. Melun. Engraved by W. Miller. (See No. 161.) 
 
 217. The Temptation on the Pinnacle. Engraved by F. 
 Bacon, together with Nos. 218 and 219 and 4 others, in 
 “ The Works of Milton,” 7 vols., John Macrone. 
 
 218. St. Michael’s Mount — Wreck of Lycidas. Engraved by 
 W. Miller. (See No. 207.) 
 
 219. Ludlow Castle — Rising of the Water Nymphs. En- 
 graved by E. Goodall. (See No. 207.) 
 
 1836. 
 
 220. 
 
 B EVIS Castle, otherwise Powis Castle. Engraved by J. T. 
 Willmore. (See No. 111.) An engraver’s proof, touched 
 and altered by Turner. 
 
 221. Llanthony Abbey. Engraved by J. T. Willmore. (See No. 
 hi, and “Mod. P.,” vol. 1, pp. 169, 248.) The original 
 drawing for this engraving is now exhibiting in the 
 Grosvenor Gallery. 
 
LATE J. M. W. TURNER, R.A. 
 
 177 
 
 222. Flint Castle. Engraved by J. H. Kernot. This engraving 
 
 is exhibited with the original drawing in Mr. Ruskin’s 
 collection. 
 
 223. Fire at Sea. Engraved by Williamson, and published in 
 
 “The Keepsake,” and in “The Book of the Sea.” 
 
 224. Part of the Ghaut during the Fair at Hurdwar. 
 
 Engraved by T. Higham, and published together with 
 Nos. 225, 226, and 227, and three others in “Views in 
 India, chiefly among the Himalaya Mountains,” Fisher 
 and Co. 
 
 225. Mussores from Landour. Engraved by J. B. Allen. 
 
 (See No. 224.) 
 
 226. Snowy Range, from Tyne or Marma. Engraved by 
 
 E. Goodall. (See No. 224.) 
 
 227. Falls near the Source of the Jumna. Engraved by 
 
 J. Cousins. (See No. 224.) 
 
 1837. 
 
 228. 
 
 T HE Pleasures of Hope. Engraved by E. Goodall. This 
 and the following eight engravings, together with eleven 
 others, appeared in Campbell’s “Poems,” published by 
 Moxon. 
 
 229. The Andes. Engraved by E. Goodall. (See No. 228.) 
 230. Sinai. Engraved by W. Wallis. (See No. 228.) 
 
 231. Theodoric. (See No. 228.) 
 
 232. Hohenlinden. Engraved by W. Wallis. (See No. 228.) 
 
 233. The Last Man. Engraved by E. GoodalL (See No. 228.) 
 
 -234. Gertrude of Wyoming. Engraved by E. Goodall. (See 
 No. 228 .) 
 
 z 
 
THE ENGRAVED WORKS OF THE 
 
 235. The Death Boat of Heligoland. Engraved by E. 
 
 Goodall. (See No. 228.) 
 
 236. Ehrenbreitstein. Engraved by E. Goodall. (See No. 
 
 228.) 
 
 1838. 
 
 237 - 
 
 C HAIN Bridge over the Tees. Engraved by W. R. Smith. 
 (See No. 111.) 
 
 238. Grand Canal, Venice. Engraved by W. Miller. Pub. by 
 Graves. 
 
 1839. 
 
 2 39 - 
 
 M ERCURY and Argus. Engraved by J. T. Willmore. Pub. 
 by Moon. 
 
 1840. 
 
 240. 
 
 j^ILCHURN Castle, Loch Awe. Engraved by W. Miller. 
 
 1841. 
 
 241. 
 
 ^^XFORD. Engraved by E. Goodall. Pub. by Ryman. 
 
 1842. 
 
 242. 
 
 C ROSSING the Brook. Engraved by R. Brandard. Pub. 
 by T. Griffith. 
 
 243. Venice — Bellini’s Picture. Engraved by Hollis. 
 
LATE J. M. W. TURNER, R.A. 
 
 179 
 
 244. Mercury and Hersee. Engraved by J. Cousen. Pub. by 
 
 Griffith. 
 
 245. Dido and ASneas. Engraved by W. R. Smith. Pub. by 
 
 Griffith. 
 
 246. Caligula’s Bridge. Engraved by Goodall. Pub. by 
 
 Griffith. 
 
 247. Ancient Carthage. Engraved by D. Wilson. Pub. by 
 
 Boys. 
 
 1845. 
 
 248. 
 
 j^HRENBREITSTEIN. Engraved by J. Pye. 
 
 249, 250. The Old Temeraire. Engraved by J. T. Willmore. 
 Pub. by T. Hogarth. Etching and artist’s proof. 
 
 1851. 
 
 251. 
 
 j-y VER. Engraved by J. T. Willmore. Pub. by Gambart. 
 252. Hastings. Engraved by R. Wallis. Pub. by Gambart. 
 
 Unpublished Works, Without Date. 
 
 253- 
 
 T HE Premium Landscape. A variation of Apuleia in search 
 of Apuleius. Engraved by W. Say. 
 
 254. Stork and Aqueduct. (See Ruskin’s “ Elements of 
 Drawing,” p. 133.) 
 
 255. Stonehenge at Daybreak. These three plates are 
 Nos. 72, 81 and 83 of the “ Liber Studiorum,” but were 
 never published. The plates were however purchased of 
 Turner’s executors in 1872, and fifty impressions having 
 been struck off, the plates were destroyed. 
 
i8o 
 
 THE ENGRAVED WORKS OF THE 
 
 256. Sheep-washing, also unpublished. No. 74 of the “Liber 
 
 Studiorum.” Engraved by C. Turner. (See Ruskin’s 
 “Elements of Drawing,” p. 126.) 
 
 257. Storm over the Lizard. No. 84 of the “Liber Studi- 
 
 orum.” 
 
 258. Moonlight at Sea. 
 
 259. Moonlight at Sea — the Needles. No. 85 of the “ Liber 
 
 Studiorum.” 
 
 260. The Felucca. No. 82 of the “Liber Studiorum.” 
 
 261. The Hare. Nothing is known of this beautiful plate. 
 
 262. The Deluge. No. 88 of the “Liber Studiorum.” 
 
 263. The Peat Bog, Scotland. 
 
 264. Solway Moss. This and the foregoing, together with seven 
 
 others, were engraved by Mr. Lupton after the original 
 plates Nos. 45 and 52 in the “ Liber Studiorum,” but were 
 never published. 
 
 265. Folkestone. Engraved by T. Lupton. The plate, sold at 
 
 his sale, was subsequently published by the Fine Art 
 Society. 
 
 266. Lowestoffe Lighthouse. 
 
 267. Harborough Sands. 
 
 268. Aldborough. 
 
 269. Orfordness. 
 
 270. Dymchurch. This and the four preceding plates, although 
 
 engraved by J. B. Allen in the lifetime and under the 
 superintendence of Turner, were never published until re- 
 cently, when thirty impressions were issued by the Fine 
 Art Society. The two vignettes were originally intended 
 to form frontispieces to the “ England and Wales,” but 
 by a mistake of the publisher were omitted. 
 
LATE J. M. W. TURNER, R.A. 
 
 181 
 
 271. Blois. 
 
 272. Tours. 
 
 273. Fall of the Reichenbach. This and the following 
 
 woodcuts of drawings from the Farnley Hall Collection 
 appeared in the “Illustrated London News.” 
 
 274. Teu felsbruck e . 
 
 275. A First-Rate Taking in Stores. 
 
 276. Snowstorm on Mont Cenis. 
 
 277. Fish-Market, Rotterdam. Engraved by W. Floyd. 
 
 278. Rievaulx Abbey, Yorkshire. Engraved by J. C. Bentley. 
 
 284. Lake Nemi. Engraved by R. Wallis. 
 
 285. Oberwesel. Engraved by J. T. Willmore. 
 
 290. Tivoli. Engraved by E. Goodall. 
 
 291. Modern Italy. Engraved by W. Miller. Pub. by Graves, 
 
 1856. 
 
 296. Heidelburg. Engraved by T. A. Pryor. Pub. by H. 
 Payne. 
 
 298. Ancient Italy. Engraved by J. T. Willmore. Pub. by 
 Graves, 1856. 
 
182 
 
 THE ENGRAVED WORKS OF THE 
 
 The Following Plates were Engraved subse- 
 quently to Turner’s death by Engravers 
 
 WHO HAD WORKED UNDER HIM. 
 
 EUWEID. Engraved by Brandard. Pub. by T. D. White, 
 
 280. Osterspey. Engraved by Miller. Pub. by T. D. 'White. 
 
 281. The Lake of Lucerne. Engraved by R. Wallis. Pub. 
 
 by Graves, 1854. 
 
 282. Zurich. Engraved by T. A. Pryor. Pub. by Graves, 1854. 
 
 283. The Bell Rock. Engraved by W. Miller. Pub. by 
 
 Graves, 1864. 
 
 286. St. Michael’s Mount. Engraved by W. Miller. Pub. by 
 
 Mrs. Noseda. 
 
 287. Dutch Boats. 
 
 2 87 a. An early engraving of the same. 
 
 288. The Wreck. 
 
 289. Nelson’s Ship. 
 
 292. Venice. Engraved by J. T. Willmore. Pub. by the Art 
 
 Union of London, 1858. 
 
 293. The Golden Bough. Engraved by J. T. Willmore. Pub. 
 
 by Graves, 1856. 
 
 294. The Approach to Venice. Engraved by B. Wallis. 
 
 Pub. by Graves, 1859. (See Mr. Ruskin’s Introduction, 
 p. 10.) 
 
 295. Dido Building Carthage. Engraved by T. A. Pryor. 
 
 Pub. by Graves, 1863. 
 
 279. 
 

 
LATE J. M. W. TURNER, R.A. 183 
 
 297. Apollo and the Sibyl. Engraved by T. A. Pryor. 
 Pub. by Graves, 1873. ' 
 
 299. Sun Rising in a Mist. Engraved by T. A. Pryor. Pub. 
 
 by Graves, 1874. 
 
 300. Straits of Dover. Engraved by W. Chapman. Pub. by 
 
 Graves, 1863. 
 
 301. Regulus Leaving Carthage. Engraved by Wilson. 
 
 Pub. by Boys and Graves, 1853. 
 
 302. The Piazza, Venice. Engraved by W. Miller. Pub. by 
 
 T. D. White, 1854. 
 
 303. The Sun Rising in the Mist. This and the five follow- 
 
 ing plates belong to the “Turner Gallery. A Series of 
 Sixty Engravings from 'the Principal Works of J. M. W. 
 Turner,” pub. by Virtue, i860. An edition of this work 
 has recently (1874) been issued by Chatto and Windus. 
 
 304. The Decline of the Carthaginian Empire. 
 
 305. Stranded Vessel, off Yarmouth. 
 
 306. The Approach to Venice. 
 
 307. Ancient Rome. 
 
 308. Snowstorm. 
 
 309. The Wreck of the Minotaur. Engraved by T. O. 
 
 Barlow, and presented by the Earl of Egremont to the 
 Artists’ Benevolent Institution. 
 
 310. Calais Pier. An etching by Seymour Haden. 
 
 31 1. Lake of Thun. (See Mr. Ruskin’s notes on his drawing, 
 
 No. 7, p. 17.) 
 

 
 
 
 
 
 
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 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
NOTE 
 
 ON THE MAP SHOWING TURNER’S HAUNTS 
 
 T the turning-point of four several excursions which 
 
 the writer has undertaken during the present year, he 
 encountered the spirit of Turner. 
 
 In the spring, in Switzerland, it forced its presence upon 
 him at every turn of the Lake of Geneva. 
 
 In the summer, in a ramble through Yorkshire, at Whitby, 
 at Scarborough, and at Rievaulx it crossed his path. 
 
 In the autumn, even in Paris it faintly showed itself, 
 whilst later on in the Weald of Sussex, at Pevensey, and at 
 Hurstmonceaux it was clearly visible. 
 
 It was but natural then, that on returning home an Atlas 
 was opened, and the Map, not only of England but of Europe, 
 was scanned with feelings of wonderment, when in town 
 after town, and country after country, a multitude of names 
 were read, all made familiar by associations with drawings 
 or engravings from that master-hand. 
 
 And on shutting the book an inevitable comparison be- 
 tween Turner and our landscape painters of to-day forced 
 itself upon one ; the artist of the past was imagined, often 
 afoot, 1 at the best in a coach, a day’s journey transporting 
 him no further than the home counties, and fain to be 
 content with the roughest accommodation at the day’s end 
 — the artist of to-day was seen, one moment in his studio 
 
 1 Amongst other pedestrian tours he made two, one through the 
 southern counties, and one to Oxford. 
 
 IN ENGLAND. 
 
£ K 
 
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 I4^|l4ge§ 
 
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Tlie Liz; 
 
i88 
 
 TURNERS HAUNTS IN ENGLAND. 
 
 in town, and almost the next, whirled away to comfortable 
 quarters hundreds of miles away. 
 
 And yet, with all this disparity of circumstances, we find, 
 on the one hand, three hundred haunts in England insuffi- 
 cient to satisfy the master’s appetite, and the Seine, the 
 Loire, the Rhine, Switzerland, and Italy ransacked from 
 end to end for fresh subjects for his brush ; on the other 
 hand, the majority of our landscape painters of to-day, 
 journeying, as it were in a groove, to the same places, and 
 depicting the same scenes, with, as a natural result, a man- 
 nered style, and a loss of freshness, vitality, and power. 
 
 The accompanying Map has therefore been compiled, 
 and, with Mr. Ruskin’s permission, added to this volume, 
 partly in the hope that it may show to landscape artists the 
 spots which their great predecessor thought most worthy of 
 perpetuation, partly as additional evidence of Mr. Ruskin’s 
 assertion at page 40 of these Notes, that Turner’s first object 
 in selecting a subject was to do honour to those buildings 
 of which it is England’s present boast that she needs them 
 no more, 1 and also in the hope that a study of it may add 
 even an increased admiration for the man, by showing the 
 indefatigable industry which was one of the most con- 
 spicuous traits of his character. 
 
 ' The Map shows that Turner drew 14 of our Cathedrals, 27 of our 
 Abbeys, and 66 of our Castles. 
 
CHISWICK PRESS : 
 
 C. WHITTINGHAM, TOOKS COURT, 
 CHANCERY LANE. 
 

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