m 
 
 r 
 
 
 
 
■ • 
 
THE 
 
 URNER 
 
 ALLERY 
 
 A SERIES OF 
 
 ONE HUNDRED AND TWENTY ENGRAVINGS 
 
 FROM THE WORKS OF THE LATE 
 
 J. M. W. TURNER, R. A. 
 
 THE DESCRIPTIVE 
 
 TEXT BY W. COSMO MONKHOUSE 
 
 IN TWO VOLUMES.—VOL. II 
 
 NEW YORK 
 
 D. APPLETON AND COMPANY 
 
 549 AND 551 
 
 BROADWAY 
 

 
LIST 
 
 OF STEEL ENGRAVINGS. 
 
 VOLUME TWO. 
 
 THE BIRDCAGE. A SCENE FROM BOCCACCIO. 
 
 THE GODDESS OF DISCORD. 
 
 FALMOUTH HARBOUR. 
 
 PHRYNE GOING TO THE BATH AS VENUS. 
 
 CALAIS PIER. 
 
 BRIDPORT. 
 
 DECLINE OF CARTHAGE. 
 
 SCARBOROUGH. 
 
 ST. AGATHA’S ABBEY, EASBY. 
 
 JUNCTION OF THE GRETA AND TEES AT ROKEBY. 
 THE GOLDEN BOUGH. 
 
 DEAL. 
 
 THE BAY OF BALE. 
 
 THE BATTLE OF TRAFALGAR. 
 
 TEIGNMOUTII. 
 
 A COUNTRY BLACKSMITH. 
 
 TEMPLE OF JUPITER PANHELLENIUS. 
 
 CLOVELLY BAY. 
 
 FOLKESTONE. 
 
 POOLE. 
 
 MARGATE. 
 
 A FIRE AT SEA. 
 
 KIRKBY-LONSDALE CHURCHYARD. 
 
 ILFRACOMBE. 
 
 HEYSHAM AND CUMBERLAND MOUNTAINS. 
 BRIGHTON CHAIN PIER. 
 
 DEVONPORT. 
 
 DUTCH BOATS IN A GALE. 
 
 ST. MICHAEL’S MOUNT, CORNWALL. 
 
 BRIGIITLING OBSERVATORY. 
 
 ANCIENT ROME. 
 
 THE SUN RISING IN A MIST. 
 
 MLNEHEAD, AND DUNSTER CASTLE. 
 
 VENICE—THE DOGANA. 
 
 ABINGDON, BERKSHIRE. 
 
 WATCHET. 
 
 THE PRINCE OF ORANGE LANDING AT TORBAY. 
 HORNBY CASTLE, YORKSHIRE. 
 
 BRIGHTHELMSTONE. 
 
 ULYSSES DERIDING POLYPHEMUS. 
 
 INGLEBOROUGH, FROM HORNBY CASTLE TERRACE 
 LYME REGIS. 
 
 LAKE OF LUCERNE. 
 
 MERRICK ABBEY, SWALEDALE. 
 
 DARTMOUTH. 
 
 CALIGULA’S PALACE AND BRIDGE—BAY OF BALE 
 IIARDRAAV FALL. 
 
 MOUNT EDGECOMB. 
 
 CHILDE HAROLD’S PILGRIMAGE—ITALY. 
 EGGLESTONE ABBEY, NEAR BARNARD CASTLE. 
 ENTRANCE OF FOWEY HARBOUR. 
 
 BLIGH SAND. 
 
 EHREN BREITSTEIN. 
 
 HYTHE. 
 
 VENICE—THE GRAND CANAL. 
 
 WYOLIFFE, NEAR ROKEBY. 
 
 RYE. 
 
 ORANGE MERCHANTMAN GOING TO PIECES. 
 
 THE PARTING OF HERO AND LEANDER. 
 
 TORBAY, FROM BIIIXHAM. 
 
THE BIRDCAGE. 
 
 A SCENE FROM BOCCACCIO. 
 
 HE birdcage is visible enough—but why a scene from Boccaccio? No 
 doubt it is intended to represent that gay and noble party, full of 
 wit but deficient in all noble feeling, whom Boccaccio represents as 
 withdrawing to a castle to enjoy themselves and tell questionable 
 stories, while their less fortunate fellow-creatures were obliged to stay in the 
 city and die of the plague. But if this be allowed we must ask, “Why the 
 Birdcage ?” as no story of the many stories in the Decameron is known by that 
 title. But Turner was not particular where mere facts were concerned, and he 
 has not been particular enough in this picture about such facts as the way 
 in which human members are joined together, or the general proportion borne by 
 one to the other, to make this picture interesting, except as a specimen of what 
 an exceedingly bad picture he could paint if he tried. In style it is more like 
 Watteau than any other painter. There is a general air of festivity about the 
 scene, and the castle and its glades would make the place a very appropriate 
 one for an al fresco entertainment, but there is not much more to be said for the 
 picture. 
 
THE GODDESS OF DISCORD. 
 
 URNER has here, with the imaginative force of a great poet, represented 
 the beautiful Garden of the Hesperides, guarded by a frontier of rugged 
 mountains. On the summit of one of the lower crags the sleepless 
 dragon Ladon watches, breathing out fire and smoke. This classical 
 paradise, whose fruit, like that of Eden, produced so much pain and dis¬ 
 cord, was the fabled residence of the three daughters of Hesperus, iEgle, Hespere, 
 and Erythe'is. On the marriage of Jupiter and Juno, Earth presented to Juno a 
 tree which bore golden apples, and the charge of it was entrusted to the Hesperides. 
 Here, however, the Goddess of Discord found her way, and procured the golden 
 apple which she threw among the assembled gods, inscribed with the legend—“ To 
 be taken up by the most beautiful.” Hence, as we all know, rose the contention 
 between Minerva, Juno, and Yenus, the ultimate reference to Paris, the desertion of 
 CEnone, the rape of Helen, the siege of Troy, the wanderings of iEneas, the founda¬ 
 tion of Rome, and many other things which it would take a long time to describe. 
 
 Few of the results of this ancient transaction have been so free from imperfec¬ 
 tion as this picture, in which even the figures are remarkable for their grace and 
 happy grouping. It is not easy to tire of looking at the lovely scene, nor to help 
 wishing that the garden yet existed, and that it was still one of the possible romances 
 of travel that, witli or without shipwreck, we might one day find ourselves within 
 the charmed solitude of this beautiful grove, and see the graceful Hesperides, and 
 the golden fruit hanging from the bough. The dragon would, perhaps, have been 
 a difficulty, but we have at least the satisfaction of knowing that, whatever may 
 have become of the garden and its fair custodians, no future traveller need fear the 
 dragon, for Hercules killed him many years ago. 
 

 
FALMOUTH HARBOUR. 
 
 HIS ancient port, which was for a century the port of departure for 
 the Government mail-packets, is defended by two castles built by 
 Henry VIII. That on the western side, Pendennis Castle, is repre¬ 
 sented in our engraving, and is very extensive. It stands on a hill 
 which is joined to the mainland by a strip of land. Falmouth is now a principal 
 port of call for vessels of all nations. The town is a mile in length and is 
 principally composed of one street. Both Pendennis Castle and St. Mawes (the 
 castle on the eastern side of the bay), contain capacious barracks and magazines, 
 and were garrisoned during the Russian war by the Royal Cornwall and Devon 
 Miners’ Artillery Militia. The figures introduced by Turner into the foreground 
 of his drawings are generally occupied in a manner characteristic of the manners 
 and customs of the inhabitants of the place; but we hope that on this occasion he 
 
 has departed from his usual rule, for these ladies and gentlemen appear to be bent 
 upon getting intoxicated at the earliest possible moment, and scarcely need a 
 fiddler to keep up their spirits. 
 
---—- 
 
PHRYNE GOING 70 THE BATH AS VENUS. 
 
 picture is almost equally remarkable for the splendid beauty of 
 landscape and the splendid badness of the figures. We call the 
 Iness splendid because, in spite of the almost insane inaccuracy of 
 ir drawing, and the palpable extravagance of their colouring, the 
 figures are so full of the spirit of abandoned luxury, and introduced with such 
 exact artistic purpose as regards their general composition and the flow of line in 
 figure and drapery, that without them the picture would lose half its beauty; 
 we would even go further than this, and say that if they were replaced by others 
 of perfect accuracy from any other hand the picture would be spoilt. 
 
 The chief glory, however, of this picture lies in its beautiful stone-pines and 
 its distance, perhaps the most lovely which was ever painted by the hand of man. 
 It would be difficult to tell how many miles of country are included in this 
 comparatively small area, but there is space enough for the mind to travel hour 
 after hour, passing from one slope to another, every inch containing a view worthy 
 of long and separate study. Its very richness is, perhaps, a defect—making it 
 impossible for' the eye to enjoy without fatigue. Husk in says that this picture 
 is painted as an expression of the triumph of guilt, and calls special attention to 
 the two dogs playing with the crystal ball. “They mean,” he says, “the lower 
 or sensual part of human nature playing with the world,” as Phryne played with 
 her world of courts and palaces and dancing-girls. And he points out that in 
 the Academy Catalogue the title runs thus: “Phryne going to the Bath as Venus. 
 Demosthenes taunted by iEscliines.” “Note that,” writes Mr. Buskin: “the man 
 who could have saved Greece taunted by the son of the harlot.” 
 

CALAIS PIER. 
 
 fine picture, still in excellent preservation in our National Collec- 
 >u, is characterised not only by great power in the painting of 
 aud and sea, but also by much humour in the figures, which are 
 „,awn and painted with unusual spirit and care. It represents the old 
 Calais Pier with its weatherworn timbers, and the harbour, with its boats and the 
 English packet of the period—a small cutter—crowded with passengers. To those 
 to whom the present short passage in a steamboat seems an eternity of suffering, 
 this picture should be a comfort and a sermon on patience. The packet, though 
 she has had a rough and tedious passage, has probably just arrived in time to 
 escape a still worse experience, if we may judge of the approaching weather by 
 the huge inky cloud that is quickly shutting up the sky. Notwithstanding this evil 
 prospect the Calais fishermen are preparing to put to sea, and their wives are 
 ministering to their wants. One of them is having an altercation with her husband 
 about the amount of wine or brandy in the bottle she has given him, which he is 
 holding up to the light with an angry face, showing it half empty, while another 
 bottle in her own hand proves where the rest has gone. 
 

B RID PORT 
 
 this sketch had not probably been taken before either the mortar 
 or the rocket apparatus was invented, we should have been inclined 
 to think that this vessel was in distress and had just had a line 
 thrown over her from the shore. Some such operation appears to 
 have been performed, but we confess ourselves unable to understand the action 
 of the men on the shore, who seem to be tugging at another rope which is seen 
 coming from amidships. The sky is stormy and finely broken into masses, which 
 sympathize grandly with the curious formation of the clifts which stretch into the 
 distance towards the town of Bridport. The harbour here is made by the junction 
 of the Brit and the Asher, and has been improved, by expensive dredging, into a 
 safe and commodious port for vessels of small tonnage : the entrance to it and 
 the harbour itself is indicated by the breakwater and the masts of shipping 
 which appear between the cliffs. Bridport was formerly noted for the building ot 
 small vessels, and some shipbuilding is still carried on there. It is a town 
 of great antiquity, having been of importance before the Norman Conquest; and 
 it possesses one of the finest churches in Dorsetshire. 
 
..... ---• - - 
 
IDKCMPTK OF CARTHAGE 
 

 
 * 
 
 
 
 
 
 
 
DECLINE OF CARTHAGE. 
 
 HE full title of this picture given in the Catalogue of the Royal 
 Academy for 1817 was, “ The Decline of the Carthaginian Empire. 
 Rome being determined on the overthrow of her hated rival, demanded 
 from her such terms as might either force her into war or ruin her 
 by compliance; the enervated Carthaginians, in their anxiety for peace, consented 
 to give up even their arms and their children— 
 
 At Hope’s delusive smile, 
 
 The chieftain’s safety and the mother’s pride 
 Were to th’ insidious conqueror's grasp resigned ; 
 While o’er the western wave th’ ensanguined sun 
 In gathering haze a stormy signal spread, 
 
 And set portentous.’ ” 
 
 This is the companion-picture to the “Rise of Carthage,” and was one of the 
 pictures which Turner kept as long as he lived. Its condition now is such that 
 any criticism founded on it would do injustice to the artist, but the sky is yet 
 fine. It could not, however, at any time have borne a comparison with the “ Rise 
 of Carthage,” for the colour is unpleasant and the figures uninteresting; and 
 Mr. Ruskin, usually so enthusiastic in praise of Turner, declares it to he one of the 
 deepest humiliations which Turner’s art ever sustained. “It is, in fact,” lie adds, 
 “ little more than an accumulation of Academy students’ outlines coloured brown.” 
 

SCARBOROUGH. 
 
 CARBOROUGH as it was at the encl of the last century; a beautiful 
 view, showing the ruins of the ancient castle to the greatest advan¬ 
 tage, with the bay in front rich in reflections of the hill, the town, 
 and the shipping ; with sands wet and glistening with the recently- 
 receded tide, and figures of women shrimping. In the foreground is a dog, which 
 seems to be watching the basket and part of the attire of the young woman with 
 the shrimping-net, who has divested herself of her longer garments, her shoes, and 
 stockings, in order to wade into the water after the little mailed crustaceans. 
 High and nearly dry upon the sands a brig is discharging her cargo into a cart. 
 Altogether this drawing, with its beautifully-limpid water, its shining sands, its 
 interesting figures, its fine background of hill and town and castle, and its distance 
 of faint cliff and down shining in the sun, is one of the most finely-conceived and 
 executed of Turner’s drawings of this period. Scarborough has now become a 
 very fashionable watering-place, but it may be interesting to quote an authority 
 as to its popularity, written some years after Turner visited the place, which 
 informs us that—“ The sons of pleasure fly to more genial climes, and court the 
 breezes of the south; and, except those who are allured by connections and swayed 
 by local considerations, Scarborough contains among its visitors more votaries of 
 health than of dissipation.” 
 
ST. AGATHA'S ABBEY, EASBY. 
 
 PHIS beautiful Abbe}', of which the ruins that remain are still extensive, 
 was founded for Premonstratensian Canons about the middle of the 
 twelfth century. The church, which stands at a considerable distance 
 from the village of Easly, is also dedicated to St. Agatha. It is 
 
 situated in the North Hiding of Yorkshire, about one mile east of Richmond, on the 
 river Swale. Turner and his friend Girtin loved old ruins, and drew them with a 
 tender care that makes them precious even now. Had Girtin lived he might have 
 been Turner’s rival; for Turner himself, in whom there was no feeling of jealousy 
 of his friend, owned that he could not equal him in the glorious golden tone ot 
 his drawings. This is just such a place as they would have enjoyed sketching 
 together, with its lovely ruins full of remains ot the beautiful Early English work, 
 with its quiet river gliding by far away from the bustle and dust of towns, 
 with its simple villagers leading their horses down to drink, and its homely 
 maidens milking their cows—a place where any one who has a grain ot poetry in 
 his composition would like to stretch himself upon the grass and watch the 
 beams slant less and less against the old walls, until the sky was red with sunset 
 

JUNCTION OF THE GRETA AND TEES. 
 
 following lines are part of the wonderful description of the course 
 f the Greta in the second canto of “Rokeby”: — 
 
 “ A stern and lone, yet lovely road 
 As e’er the foot of Minstrel trode ! 
 
 Broad shadows o’er their passage fell, 
 
 Deeper and narrower grew the dell; 
 
 It seemed some mountain rent and riven 
 A channel for the stream had given, 
 
 So high the cliffs of limestone gray 
 Hung beetling o’er the torrent’s way, 
 
 Yielding, along their narrow base, 
 
 A flinty footpath’s niggard space, 
 
 Where he who winds ’twixt rock and wave 
 May hear the headlong torrent rave, 
 
 And like a steed in frantic fit, 
 
 That flings the froth from curb and bit, 
 
 May view her chafe her waves to spray 
 O’er every rock that bars her way, 
 
 Till foam-globes on her eddy ride, 
 
 Thick as the schemes of human pride 
 That down life’s current drive amain, 
 
 As frail, as frolhy, and as vain.” 
 
 The little village of Rokeby, near which the beautiful little Greta runs into 
 the Tees, has many poetical associations. It was a favourite retreat of the poet 
 Mason, and gave the name to the celebrated poem by Scott, which was illustrated 
 by Turner with another view of the same spot taken from a different point, so 
 as to show Greta Bridge, which crosses the Greta a little before the end of its 
 
 separate course. 
 
THE GOLDEN BOUGH. 
 
 HIS picture is one of the Vernon Collection now in the National 
 Gallery; it was exhibited at the Royal Academy in 1834. As a 
 specimen of Turner’s ideal-landscape painting it is, perhaps, unrivalled 
 for its size. Its richness of colour, aerial perspective, and the almost 
 
 infinite fulness of every inch of the canvas appear miraculous. In the Catalogue 
 of the National Gallery it is called “Lake Avernus—The Fates and the Golden 
 Bough.” The golden bough, as described by Virgil in the sixth book of the 
 Hihieid, grew on a tree in a grove near Lake Avernus, and was the passport to 
 the Infernal Regions. ./Eneas, wishing to visit his father Anchises in the nether 
 world, was directed by the Cumsean Sibyl to seek for and pluck this golden 
 bough, which with the aid of the doves of his mother, Venus, he succeeded in 
 doing. What Turner precisely meant by the figures in this picture it is difficult 
 to say; but, speaking of this picture and that of “ The Bay of Baise,’ Ruskin 
 remarks that “in both these pictures there is a snake in the foreground among 
 the fairest leafage, a type of the terror, or temptation, which is associated with the 
 lovely landscapes; and it is curious that Turner seems to have exerted all his 
 strength to give the most alluring loveliness to the soft descents ot the Avernus 
 
 Lake.” 
 
DEAI 
 
DEAL. 
 
 EAL has, perhaps, suffered less change since this drawing was made, 
 than any place of its size on the coast of Kent. Crowded to the 
 beach with its queer tumbledown houses and huts intersected by 
 narrow alleys, and bearing about it an “old and fishlike smell,” it 
 has defied all efforts to make it into a fashionable watering-place. We visited 
 it a few years ago, and, if we are not mistaken, had lodgings in that identical 
 corner house, with its many-paned windows, which stands so picturesquely on the 
 left of the picture. Opposite the Downs and near the fatal Goodwins the place 
 has an unenviable notoriety for wrecks, and its inhabitants an equally unenviable 
 notoriety for wrecking, happily mitigated by numberless instances of bravery m 
 saving life. The approaching storm, the savage streak of lightning, the wreck in 
 the distance, and the crowd on shore busy in launching their boats (with doubt¬ 
 less a mingled hope of usefulness and “salvage”), show that the thought which 
 predominated in Turner’s mind was, as usual, the one most characteristic ot the 
 place. 
 
THE BAY OF BAIYE. 
 
 “ Nihil in orbe sinus Baiis pnelucet amenis." 
 
 Horace. 
 
 HE story of the Cumsean sibyl is like that of Tithonus, changing the 
 sexes of the mortal and immortal. The name of this unfortunately- 
 gifted sibyl was Deiphobe, and in her youth she was beloved by 
 Apollo, who, at her request, granted her a life of as many years 
 
 as she held grains of sand in her hand. Unhappily, she did not ask for perpetual 
 
 youth, and she wasted away until only her voice was left, which one is profanely 
 tempted to think a vanishing power only equalled by the famous Cheshire cat 
 in “Alice in Wonderland,” that vanishes till nothing but the grin is left. The 
 beauty of the scene in which she lived was, we trust, an alleviation to her very 
 lifelong misery. Certainly Turner seldom if ever painted a more lovely view 
 than this, which is lovely still, despite some sad ravages of time. The excessive 
 and almost confusing richness of detail in this picture is, according to Ruskin, the 
 main fault of the composition. “There is,” he says, “a surfeit of material. No 
 composition whatever could render such a quantity digestible ; nay, the very good¬ 
 ness of the composition is harmful, for everything so leads into everything else 
 
 that we are dragged through arch after arch and round tower after tower, never 
 
 getting leave to breathe until we are jaded.” We confess we wish that a few 
 more of our living artists erred in the same fashion. 
 

THE BATTLE OF TRAFALGAR. 
 
 -4- 
 
 IS picture, now in the Hall of Greenwich Hospital, is very inferior 
 both as a battle-scene and in pictorial effect to that of the “Death 
 of Nelson,” previously given. It was painted for George IV. and 
 given by him to the Hospital. The Redoutable is represented, con¬ 
 trary to fact, as sinking under the bows of the J ictonj , and several incidents which 
 occurred at different times are represented as happening at the same moment. 
 The part taken by the Victory in the struggle is thus told by Mr. Wornum:— 
 “Nelson ordered the Victory to be steered to the bow of the Santissima Trinidad , 
 distinguishable by her four decks, and a little after twelve she had her maintop- 
 mast shot away, before she returned a single gun herself; and Nelson having 
 found that it was impossible to break the enemy’s line, without running on board 
 one of their ships, closed with the Redoutable, which received her with a broadside, 
 and then instantly let down her lower-deck ports for fear of being boarded 
 through them. Captain Harvey, in the Temertt'ire , fell on board the Redoutable 
 on the other side, and the Fougueux in like manner fell on board the Temeraire, 
 so that these four ships appeared to be moored together. I he position of the 
 Victory in this picture is therefore clearly inaccurate, but it is interesting as an 
 attempt to represent the great naval victory of the 21st of October, 1805. 
 

TEIGNMOUTH 
 
 EIGNMOUTH, like most other watering-places on the coast of England, 
 has altered much since this sketch was taken. It is, as its name 
 implies, situated at the mouth of the river Teign, one of the loveliest 
 rivers in England. Turner’s point of view is evidently not taken with 
 a view to showing the principal topographical features of the place, which is 
 remarkable for the huge sandbank called the Don or Dune which runs for a 
 mile in front of the town, and is now covered with grass and turned into a fine 
 promenade, and also for almost the longest bridge in the world, which connects 
 it with Shaldon, a suburb on the south side of the river. It appears from this 
 view to be a quiet village at the mouth of a river not remarkable for its beautv, 
 and the employment of its inhabitants would appear to be the breaking up of old 
 ships. A few logs of timber in the foreground note one of the principal articles 
 of export. Artistically, however, there is little to be found fault with in this 
 charming drawing; the effect of light and shade, the beauty of the aerial perspec¬ 
 tive, remind one of his later manner. 
 

 

THE BLACKSMITHS SHOP. 
 
 HIS picture is an extraordinary instance of the versatility of Turner’s 
 powers. It was painted in emulation (good-natured emulation we 
 believe) of Wilkie, who had in the preceding year (1806) achieved 
 his reputation by his celebrated picture of the “Village Politicians.” 
 “ The Blacksmith’s Shop ” is very carefully finished in the style of the old Dutch 
 artists, and shows that had he so chosen he could have excelled in genre pictures, 
 but it lacks the life and humour so characteristic of his Scotch rival. The title 
 given by Turner in the Catalogue of the Royal Academy was “ A Country Black¬ 
 smith disputing with a Butcher upon the Price of Iron, and the Charge made for 
 shoeing a Pony.” It is certain that the -whole of the artist’s meaning would never 
 have been discovered, unless he had thus supplemented his brush by his pen. 
 When we think of what Wilkie would have made of such a subject, how fully he 
 would have made the faces and actions of his characters tell the tale without the 
 aid of a title, we can see how useless it would have been for Turner to have 
 continued the rivalry, even if he had been so minded. In other respects, light, 
 shade, composition, colour, drawing, &c., the little picture leaves nothing to be 
 
 desired. 
 

TEMPLE OF JUPITER PANHELLENIUS. 
 
 HIS is one of the pictures painted from a sketch by Gaily Knight, 
 and, like all pictures painted from sketches by other artists, is 
 somewhat wanting in spirit and reality. It is, however, a gorgeous 
 panorama, and contains passages of subtle beauty which could not 
 have been painted by any other hand than that of Turner. It was till lately in 
 the possession of Wynn Ellis, Esq., and the public had recently an opportunity 
 of viewing it at the sale-rooms of Christie and Manson. The scenery of the 
 background is broken in the middle by the Temple, which has been restored by 
 Turner’s imagination to its original glory; on both sides there is a beautiful 
 distance, and the shady hollow on the right is very rich in its transparent depth 
 of warm, wine-like brown. The figures are introduced with Turner’s usual skill, 
 especially that in the foreground, and they are designed and drawn with greater 
 care than is usual in his pictures of a later period. The whole picture has, 
 however, a somewhat theatrical appearance, more suggestive of the drop-scene at 
 a theatre than the usual treatment by Turner of classical landscape. The full title 
 of the picture, as given in the Royal Academy Catalogue for 1816, is, “ View of the 
 Temple of Jupiter Panhellenius, in the island iEgina, with the Greek National 
 Dance of the Romaika; the Acropolis of Athens in the distance. Painted from 
 a sketch taken by H. Gaily Knight, Esq., in 1810.” 
 
CLOVELLY BAY. 
 
 HE curious and picturesque little village of Clovelly is seen upon the 
 opposite side of the bay, climbing up the cliff like one large terraced 
 building; seen close it is one steep street, of which the roadway is 
 composed of steps and two small brooks, with cottages on each side; 
 but the trees grow so luxuriantly that it is difficult to see much of it from the 
 distance from which this view is taken. The pier is very ancient, having been 
 built in the time of Richard II., but it was much enlarged about sixty years ago. 
 Beyond stretches out Hartland Point, with its dangerous rocks, and to the right 
 may be seen Lundy Island, with its white cliffs and dark top, looking something 
 like a huge mushroom without a stalk. Owing to the precipitous nature of the 
 clift upon which Clovelly is built, there is no regular road down to the beach 
 nearer than the point from which Turner has taken his view; even here the road 
 is difficult, and more fit for the pack-donkeys that we see than for carts, two of 
 which are seen beyond, near the mouth of the lime-kiln. The principal employ¬ 
 ment of the inhabitants of Clovelly is the herring fishery. It is now becoming 
 a favourite spot for tourists to visit, but owing to its isolated position and the 
 difficulty of building on the clifi, it will probably retain its peculiar appearance 
 for many generations. 
 

FOLKESTONE. 
 
 OUGH we see here but little of the town of Folkestone, Turner could 
 scarcely have chosen a point of view which showed more distinctly 
 the natural and artificial peculiarities of the place. Wo see the bold 
 line of chalk cliffs to the east falling back as they approach Folke¬ 
 stone, and forming a natural recess suitable for the building of a town ; we see the 
 harbour and its breakwater, and the effect they have in altering the shore-line of 
 the sea ; we see the Cliff and the Undercliff, with one of the results of this curious 
 accident of nature, viz. the provision of places secure from observation for the 
 concealment of smuggled goods. We don’t know why smugglers always used 
 to wear conical nightcaps and very broad braces, but it would be impossible to 
 recognise a smuggler without them. It is difficult to say whether the shepherd 
 on the donkey is intended to convey the notion that the smugglers are in danger 
 of detection, or to show how secure they may be even with persons passing on 
 the cliff above. Perhaps he is going to drive his sheep by accident into their 
 vicinit}', and to leave one or more behind in return for a barrel or so. Smuggling 
 at Folkestone was one of the customs of the “good old times” which have passed 
 away ; and this group in the foreground is by itself enough to show that the 
 picture was taken in the time of our fathers. 
 
 mm 
 

 
POOLE. 
 
 HIS drawing gives a very forcible and accurate idea of the peculiar 
 situation of the town of Poole, which is built on what is almost a 
 peninsula on the north side of Poole harbour. The immense popu¬ 
 larity of the neighbouring watering-place of Bournemouth has of late 
 years made the ancient city much better known than formerly. In the harbour 
 are two large oblong islands, one of which, Branksea, was of late years brought 
 into some notoriety, and now belongs to, or is rented by, Mr. Cavendish Bentinck, 
 M.P. The harbour is a quarter of a mile wide, and a channel from two to six 
 fathoms deep leads up to the town. In its vicinity is the famous ruin of Corfe. 
 Castle. There are extensive potteries here, and one hundred and fifty thousand 
 tons of Purbeck clay for the Staffordshire potteries are shipped from the port 
 annually. The most remarkable feature of our engraving, besides the beautifully 
 evanescent distance, is the skill with which Turner has introduced the timber- 
 waggon in the foreground, which, with its team of four horses and long trunks, 
 extends more than half across the picture, and greatly relieves the flatness of the 
 view. 
 
 


MARGA TE. 
 
 the time when our sketch was taken railways were not, and persons 
 who could not afford the expenses of posting, or who preferred a 
 short sea-voyage, used to go to Margate in a vessel called a hoy. 
 Never having to our knowledge seen a “hoy,” we cannot state 
 whether Turner has introduced one into his drawing, but we are told by a guide¬ 
 book, published in 1815, that, “ Post-chaises and stage-coaches present nothing 
 particular, being the same in most parts of the kingdom, except that on this road 
 —the road to Margate—the drivers of such vehicles, as well as their masters, have 
 been accused as impertinent and imposing; but, by a proper competition, the 
 offence is now generally done away. The passage in the Margate hoy, which, like 
 the grave, levels all distinctions, is frequently so replete with whim, incident, and 
 character, that it may be considered as a dramatic entertainment on the stage of 
 the ocean.” We presume this is addressed to the good sailors. The fare was 
 nine shillings for the common cabin, eleven shillings for the second, and thirteen 
 shillings for the state cabin. The guidebook, however, cannot recommend the hoy 
 to persons of delicacy; and adds, “From Peter Pindar’s ode to this vehicle, take 
 the following lines ; the whole is a just picture of such a voyage:— 
 
 “‘Go, beauteous hoy, in safety every inch; 
 
 That storms should wreck thee gracious Heaven forbid, 
 
 Whether commanded by brave Captain Fincb, 
 
 Or equally tremendous Captain Kidd ! 
 
 Go with thy cargo Margate town amuse, 
 
 And God preserve thy Christians and thy Jews! 
 
 Soon as thou gett’st within the pier 
 All Margate will be out I trow, 
 
 And people rush from far and near, 
 
 As if thou kadst wild beasts to show.’ ” 
 

 

 
 
A FIRE AT SEA. 
 
 OHNSON once described life on board ship as imprisonment with the 
 chance of being drowned; but even this is preferable to the chance 
 of being burnt, which, alas! occasionally happens to those surrounded 
 on all sides by water. The alternatives of being drowned or burnt are 
 almost equally dreadful; and to be placed between two deaths one or other of which 
 is inevitable, is about the hardest trial that man’s fortitude can undergo. Yet men 
 have gone through it and borne it well; have faced death and died, after having 
 provided as well as possible for the safety of the few whom the boats could carry. 
 Sometimes, alas! there has been a different picture—a picture of confusion, of 
 disregard of the helplessness of the weak, a fight for life in which the strongest 
 would not one whit forego their natural advantages. And who shall wonder that 
 it is so ? None who looks on our engraving surely, by -which, unfinished as it is, 
 the appalling catastrophe of a fire at sea is brought vividly before our eyes. 
 There appears a cruel irony in the quiet, cold light of the little moon rising 
 calmly beyond the seething mass of agonised human beings flushed with the 
 glare of the fire. 
 
KIRKBY-L ONSDALE CHURCH YA RD. 
 
 E have already written something of the Lune (or Lon),* and have 
 mentioned that one of the places by which it passes is Kirkby- 
 Lonsdale, in Westmoreland. Here we have another view of its 
 waters, this time nearer its source, and running through a loftier and 
 not less beautiful part of its panorama. As in the former drawing, we fancy that 
 Turner’s aerial perspective or that of our engraving is somewhat at fault, for the 
 distance between the trees in the foreground and those on the opposite side of 
 the Lune does not appear to be great enough to account for the difference in their 
 respective sizes. It is remarkable, however, in such an early drawing as this, with 
 how much character the boughs of the nearest trees are drawn, and with what 
 lightness the leaves are hung against the sky. The small piece which Turner 
 shows us of the church is enough to make us reconciled to the loss of the remainder. 
 In the churchyard some boys are engaged in the somewhat irreverent pastime of 
 a “cock-shy;” nor are they, apparently, more respectful to learning than to the 
 associations of the place, for the object of their missiles appears to be a temporary 
 erection of books upon a tombstone, and, if we are not mistaken, one of the missiles 
 about to be hurled is a book also. Shocking creatures, boys ! Yet we have heard 
 of a grown-up and respectable man bearing with him in his holidays a packet of 
 official correspondence, merely for the pleasure of kicking it about the room after 
 breakfast. 
 
 * See “ Crook of Lune, looking towards Hornby Castle.” 
 
! •' 
 
ILFRACOMBE. 
 
 ^ERE is scarcely any place on the shores of Great Britain which should 
 be more carefully avoided by ships than that on which this unfortunate 
 vessel has struck. The whole coast is here set with jagged and 
 pointed slabs of rock set like rows of teetli slightly sloping towards 
 the sea, on which if a vessel once touches all hope of saving her is over. And 
 not only her but her crew, for above rise the precipitous sides of the great hill 
 called Hillsborough, which it is almost impossible to descend or ascend to or from 
 the sea. Nothing can be finer or truer than the manner in which Turner has 
 drawn this dangerous coast and cruel sea. In the distance we see the entrance 
 to Ilfracombe Harbour, with the Lantern Hill, on the top of which is an old 
 chapel dedicated to St. Nicholas, and now used as a lighthouse. Beyond rises 
 the famous Capstone Hill, with the Seven Tors in the distance. Ilfracombe has 
 increased and altered much of late years, but there is little difference perceptible 
 from the point of view taken by Turner. 
 
HEYSHAM AND CUMBERLAND MOUNTAINS. 
 
 costumes of the peasantry in this drawing take us back to the end 
 f the last century or the beginning of this, about which time this 
 rawing was probably made. Bom in 1775 and dying in 1851, Turner 
 rew almost incessantly for over sixty years—for lie exhibited his first 
 drawing in 1790, when fifteen years of age, and his last picture in 1850, when 
 seventy-five. In 1797 he visited the North of England, and it was probably in 
 this year or before that he made this clever drawing of Heysham, which, like 
 so many of these early efforts, is full of life, both animal and human. Turner 
 has given us all the peculiar features of this little place, which is situated on the 
 coast between Lancaster and Morecambe bays. We see the curious open church- 
 tower, and the ruins of the small chapel near it, the farmhouse near the sea, 
 the milkmaid, and the girl tending tire cows. We cannot quite make out the 
 crop which is being reaped by the woman on the right, or what the good woman 
 in the foreground lias in the basket; but it is altogether a very interesting scene, 
 and the dog and the cows are drawn with much care and spirit. 
 
BRIGHTON CHAIN PIER. 
 
 HIS pier, an engineering wonder in its day, appears old-fashioned now, 
 and as out of keeping with the splendours of new Brighton as a 
 hackney carriage. No one now painting Brighton would choose 
 to insist so much upon the long ugliness of the Chain Pier, but it 
 would he difficult to find a more picturesque point of view for this singularly un- 
 picturesque town. London-super-Mare—the queen of watering-places, retreat so 
 
 dear to the fashionable world, who love to take their rural holiday with as large 
 as possible a mixture of townlike gaiety; who view the seaside as a place of 
 promenade, and the sea breezes as a pleasant form of medicine—has little charm 
 for the artist or the poet. But, wherever there is sea or sky there is beauty, and 
 here there are both, and at this distance from the shore, despite that ugly con¬ 
 necting link of a pier, there is some sense of natural peace—or at least there 
 was when Turner drew it. Then there was no Aquarium, with its strange medley 
 of science and flirtation, of music and mullets. Now we fear that we could not 
 listen to the washing of the waves without the interruption of a brass band, nor 
 watch the flight of a sea-gull without catching a glimpse of the latest thing in 
 skirts or streamers fluttering along the esplanade. Brass bands are good, some¬ 
 times, and so are fish, and so are latest fashions, and so are the sea and fishing- 
 boats, but they don’t mix well. 
 
DEVONPORT. 
 
 is, as is well known, one of the most important of our naval 
 pots. This view is taken from the beautiful height of Mount 
 gecumbe, on which is the noble mansion of the earl of that name, 
 d shows us the Hamoaze, the splendid estuary of the Tamar, which 
 is four miles long and half-a-mile wide, with a depth varying from fifteen to twenty 
 fathoms. It has moorings for nearly a hundred line-of-battle ships. On the left 
 in the middle distance is the famous dockyard, which has a shore-line of three 
 thousand five hundred feet, five docks, and a graving slip. It is now enclosed by 
 a wall of slate and limestone eighty feet in height, and covers ninety-six acres. 
 Turner was always fond of everything connected witli the sea and shipping and 
 sailors, and thoroughly sympathized with the free and jovial character of the 
 latter. Some of these he has represented in the foreground in a high state of 
 exhilaration, dancing along the road with their lasses and waving their arms; 
 one of them, and not the least active or merry, has a wooden leg. The beautiful 
 view is one which it is difficult to look at without a flush of national pride both on 
 account of the loveliness of the scene and the testimony it bears to the naval 
 greatness of Britain. Devonport is also famous for its fine naval and military 
 hospitals, the former of which covers twenty-four acres and contains one thousand 
 two hundred beds. 
 
 

 
DUTCH BOATS IN A GALE. 
 
 is one of the finest of Turner’s pictures in his early style, when 
 was still following in the track of the old masters, but revivifying 
 nr style with new observation and his individual genius. This 
 ture was exhibited at the Royal Academy in 1801, when Turner 
 was but twenty-six years old, but even then not only the finest landscape painter 
 in England, but perhaps already producing work of its kind unequalled by any 
 artist who ever lived. Simple as the subject is, the composition and execution 
 are so masterly as to strike the spectator at once with a sense of perfect harmony 
 and truth. The gale is springing up suddenly and freshly, and the boats, 
 surprised at their moorings, are hurrying to get everything secured and to set 
 sail. With what suddenness and fury the great black masses of clouds are rolling 
 over the blue sky! With what elasticity the sea is commencing to plunge and 
 rise in innumerable foam-fringed waves! How buoyantly the broad-beamed boats 
 ride upon them, and how finely are their sturdy hulls brought out against the 
 foam that dashes against their bows! One has already hoisted sail, with its 
 great white canvas boldly filled out against the dark cloud beyond; and others 
 are hastening to do the same, and they will soon be all ready and snug to face 
 the gale. 
 

: Hfr * 
 
ST. MICHAELS MOUNT CORNWALL. 
 
 HE subject of this beautiful picture, now in the Sheepshanks Collection 
 at South Kensington, is a remarkable granite rock, about a mile in 
 circumference and two hundred and fifty feet high, in Mounts Bay, 
 Cornwall. It has been famous from the very early times in which 
 the Phoenician merchants used to come to Cornwall for tin; it was a favourite 
 resort for worship of the Ancient Britons, and, soon after the introduction of 
 Christianity, became a place of pilgrimage. Here a hermitage was founded in the 
 fifth century by St. Ivelna, and afterwards a Benedictine Priory was built here, 
 the refectory of which is now the dining-room of the present proprietor, Sir 
 J. St. Aubyn, Bart. Around its base and covered with sand there are the remains 
 of a forest. This rock and the building on its summit also played a part in the 
 civil war, when it was fortified by Charles I. and taken by Colonel Plammond. 
 Turner, by a clever management of clouds and light, has made the curious rock 
 with its picturesque castle stand out in all its peculiar beauty, and any one can 
 discern, even in the engraving, the marvellous power with which the wet shining 
 sand and its reflections are painted by the artist 
 
BRIGHTLING OBSERVATORY. 
 

 
ANCIENT ROME. 
 
 are told, on doubtful authority we think, that Turner in his youth 
 was given up as hopeless by Mr. Thomas Malton, his master in 
 perspective. It is just possible that it may be true, for Turner’s 
 earliest work shows no sign of quickness, and it was only by the 
 hardest unremitting plodding for years that he attained the technical mastery which 
 enabled him to give full rein to his genius. He was also apprenticed to an 
 architect, and whether or no he gave up this branch of art as hopeless, his pictures 
 give proof that had he continued to work at that branch of art he might have 
 attained as distinguished a position as he did as a master of perspective. Nothing 
 is more remarkable in his ideal pictures than their architectural suggestive¬ 
 ness, which is manifest even in his latest, such as this, when his hand was no 
 longer able to depict with full power the visions that crossed his still vigorous 
 fancy. Despite its vagueness and want of finish there is a grandeur of conception 
 in this dream of “Ancient Rome” sufficient to make the reputation of a painter; 
 and a wealth of imagination in the visionary buildings and their grouping which 
 would set up half-a-dozen architects in business. 
 

THE SUN RISING IN A MIST. 
 
 HIS is one of the pictures which Turner left to the nation on the 
 condition that it should be hung next to one of the great Claudes. 
 Turner rightly appreciated this picture as one of his masterpieces; 
 and it would be difficult to find one even of his pictures of a similar 
 subject which would bear its rivalry. To detail its many beauties would be 
 tedious as it is unnecessary, for to many of our readers they are well known, and 
 to the rest more than we have space to detail are sufficiently obvious in our 
 engraving; to them we will only say that the colour and execution are equal to 
 the composition. It is not, however, quite easy to define why Turner should have 
 wished this picture to have been hung near Claude’s. As to the other picture 
 which he left to the nation on the same terms, there is no difficulty, for both 
 artists were on the same ground, and “ The Building of Carthage ” was well 
 suited in subject and treatment to rival Claude’s “ Embarkation of the Queen 
 of Sheba.” But what has an English coast-scene with a sun rising in a mist to 
 do with a sunny ideal landscape of Claude ? Perhaps his intention was to show 
 that here he was on ground where Claude never attempted or could attempt to 
 follow him—the ground of pure nature. If this was his intention he has succeeded. 
 
MINEHEAD. 
 
 of the most curious and picturesque bays and the safest harbours 
 the Bristol Channel. The town was once of great importance, 
 tli a large trade, and is divided into three parts—the Higher, the 
 wer, and the Quay Town. In the neighbourhood is the ancient 
 mansion of Bralton Court. The church is situated in the Higher Town, on the 
 hill called Greenaleigli, seen in the distance stretching out to sea. Here on the 
 shore submarine trees are found, showing that the level of the land has been 
 depressed. Turner has drawn the place at some distance, in order to give a full 
 view of the bay and the curious towered and embattled hills in the neighbour¬ 
 hood. On the right are his favourite trees, the fir and the aspen. The pedestrian 
 in the foreground, smoking his long clay and with his bundle on a stick, may 
 have been intended the artist for himself, as this was the way in which he 
 
 used to travel in those days. Until the passing of the Reform Act, in the reign 
 of William IV., Minehead used to return two members to Parliament; but it has 
 been disfranchised, and its glory and trade have departed. Luckily it still 
 preserves its natural beauty, and it seems to be admirably adapted for a fashionable 
 watering-place. 
 
VENICE—THE DOGANA. 
 
 presume, from the position in which we see the Dogana, that the 
 view is supposed to be taken from the Grand Canal, looking across 
 the Giudecca to the Island of S. Giorgio Maggiore with its church ; 
 but, if so, we do not understand how the Campanile has got into 
 the position assigned to it. But the topography of Venice is difficult, and after 
 looking at two or three of Turner’s pictures of this his favourite city, it becomes 
 more puzzling than ever, for not only does he alter the size and shape of the 
 buildings to suit the convenience of his composition, but lie roots them up from 
 one place and plants them in another. But there is one advantage of Turner’s 
 Venice or Venices not enjoyed by the real city, and that is that it is unvaryingly 
 beautiful from whatever point of view he chooses to paint it—a rule to which this 
 charming picture is no exception. The wide expanse of the water at the meeting 
 of the different canals is finely broken up with boats, and it would be a pity to 
 pass by this engraving without noting the pretty little dogs introduced on the 
 steps on the right in the foreground. 
 

 
 
 
ABINGDON, BERKSHIRE. 
 
 of the quietest and at the same time the most beautiful of 
 'urner’s misty English scenes. The objects represented are few 
 nd ordinary, but the picture is thoroughly satisfying. It has the 
 eculiar fascination belonging to beauty shrouded in mystery; and 
 as we stand before and slowly become accustomed to its peculiar atmosphere, it 
 is with it as with Nature, that it becomes clear, and objects appear through the 
 mist whose existence was not suspected at first sight. This is one of the pictures 
 of which, like “Rain, Steam, and Speed”—so different a picture—it is hopeless 
 to expect thorough interpretation in an engraving; but to those who do not know 
 how much more there is iu the picture than in the engraving, it will be satisfactory, 
 while to all it will be pleasant. Abingdon is a corruption of Abbandune, “the city 
 of the abbey,” and was so called from a Benedictine monastery once at Bagley 
 Wood. To the practised eye of Mr. Wornum this picture is more like a Callcott 
 than a Turner; “ but,” he adds, “ it has his (Turner’s) admirable gradation of 
 colour, by which he so skilfully puts everything in its right place, far or near.” 
 
WAT CHET. 
 
 railway has altered much the quaint appearance of this little sea- 
 de place since Turner drew it and its small solid breakwater. As 
 
 le terminus of the North Somerset Railway and the starting-point 
 
 the famous coach-ride to Lynton and Ilfracombe, it is now well 
 known to tourists. It has the appearance of a port in miniature, with its small 
 harbours and fishing stakes, its dwarf cliffs and little cottages. Turner has taken 
 unusual pains to illustrate the pursuits of the people of the locality. It would be 
 difficult to state precisely the occupation of the three figures in the foreground. 
 The woman appears to have a bundle of nets, and the men to be lying at their 
 ease with surroundings suggestive of lunch or conviviality; but they are introduced 
 with a most happy pictorial effect. On the sands beyond a fisherman is laying 
 
 out his long net to dry; on the cliffs women are performing a similar operation 
 
 with linen ; while in the harbour a smack is being unloaded into a cart which had 
 been dragged into the water for the purpose ; two women are also seen wading 
 in the water, apparently returning from a visit to the vessel. The masts to the 
 smacks seem to us to be of unusual height. 
 
“HAH 
 
THE PRINCE OF ORANGE LANDING AT TORBAY. 
 
 picture is thus described in the Royal Academy Catalogue for 
 12:—“ Tlie Prince of Orange, William III., embarked from Holland 
 [ landed at Torbay, November 4th, 1688, after a stormy passage, 
 e yacht in which his Majesty sailed was, after many changes and 
 services, finally wrecked on Hamburg Sands, while employed in the Hull trade ” 
 (“History of England”). We cannot say from what History of England Turner 
 culled this interesting piece of information, but the scene itself is thus described 
 by Macaulay:—“A soft breeze sprung up from the south, the mist dispersed, the 
 sun shone forth, and under the mild light of an autumnal noon the fleet turned 
 back, passed round the lofty cape of' Berry Head, and rode safe in the harbour 
 of Torbay. The disembarkation immediately commenced. Sixty boats conveyed 
 the troops to the coast. The Prince soon followed. He landed where the 
 quay of Brixham now stands—a fragment of the rock on which the deliverer 
 stepped from his boat has been carefully preserved, and is set up as an object of 
 public veneration in the centre of that busy wharf.” 
 
 < 063 ) 
 
HORNBY CASTLE, YORKSHIRE. 
 
 KKSHIRE, be it understood, not Lancashire, where there is another 
 Hornby Castle, the seat of Pudsey Dawson, Esq. This Hornby 
 Castle is the old seat of the St. Quintins, by whom it was built, and 
 is now the residence, or one of the residences, of the Duke of Leeds. 
 
 It is situated in the North Riding of Yorkshire, about three miles from Catterick, 
 
 contains a valuable collection of paintings, and is surrounded by extensive grounds 
 and a park. The church, though singularly uninteresting in appearance according 
 to our engraving, contains a carved oak screen and some very old monuments and 
 brasses. The Castle is situated in a delightful position, surrounded with lofty 
 green hills and commanding a valley watered by a beautiful tributary of the 
 river Swale, which is seen in our view, passing like a cord of silver through a 
 grove of trees. In this drawing Turner has bestowed great pains upon the fore¬ 
 ground, which is rich in figures. The milking of cows by the roadside is a local 
 feature probably considered worthy of record by the artist, who has also given us 
 
 a boy firing off a cannon, and a little girl in a bat of curious shape, together 
 
 with other figures talking to a man or youth upon a donkey. Farther on in the 
 lane is a cart and two figures, opposite a cottage with a ladder set up against 
 it, and two men in the front garden. 
 
BRIGHTHELMSTONE. 
 
 BIGHTHELMSTONE, as it is still called on our print and also on the 
 Ordnance Map, but more commonly called Brighton nowadays, is 
 too well known to need much description. This is Brighton in the 
 palmy days of George IV., when his dainty pleasure-house, the Pavilion, 
 was new and beautiful with paint and gilding. Brighton has seen many changes 
 since then, but no reverses; it has swollen into a mighty city, the largest watering- 
 place in the world, and, with the exception of London, the most favourite place for 
 primary education, there being between three and four hundred private schools. 
 At the time this sketch was taken the number of “ academies,” as they were 
 called, did not exceed sixteen. It seems, however, then to have possessed Turkish 
 baths, called Mahommed’s Baths, near the New Steyne, of which we read that 
 “ these baths are kept by a native of Turkey, and combine all the luxuries of the 
 baths of the East.” At that time it only contained one church, but it had a 
 theatre, several libraries, and a fashionable club of two hundred members, “ all 
 peers, members of Parliament, or members of clubs in London.” 
 
ULYSSES DERIDING POLYPHEMUS. 
 
 URNER seems to have had more pleasure in painting after his return 
 from Italy in 1819. Daring before, his confidence now appears to 
 have known no bounds—he seemed to paint by inspiration, scorning 
 all models; and, after many brilliant successes and some failures, his 
 daring and his success culminated in this, the most magnificent of all his works. 
 Mr. Ruskin calls it the central picture in his career. 
 
 Ulj r sses and his companions, according to Homer, in order to escape from the 
 Cyclops, heated his great staff' and put out his one eye. The fire of the Greeks 
 is seen under the cliff on the left hand. In front is the gorgeous galley of 
 Ulysses, with its masts crowded with Greeks glorying in the discomfiture of the 
 giant who, a grand misty shape of suffering, is seen on the top of the hill, 
 raising his hand in anguish or rage. Nothing can exceed the magnificence of 
 the morning sky, with the sun rising behind bars of crimson and leaden blue. 
 Mr. Ruskin says of tins picture that “ the burnished glow upon the sea, and the 
 breezy stir in the blue darkness about the base of the cliffs, and the noble space 
 of receding sky, vaulted with its lines of cloudy gold, and the upper peaks of the 
 snowy Sicilian promontory, are all as perfect and as great as human work can be.” 
 
INGLE BORO UGH, FROM HORNBY CASTLE. 
 
 HIS fine Yorkshire mountain rises to the height of two thousand three 
 hundred and sixty-one feet, and is clothed with grass up to the very 
 top, which is generally, as in this drawing, covered with mist. At its 
 foot extends a fine, broad, flat pasture-land, the full beauty of which 
 has been given by Turner, together with that of the grand range of green moun¬ 
 tains which stretch from Hornby Castle to Ingleborough, and the beautiful stream 
 running at their feet. Hornby Castle, from the terrace of which this view is 
 taken, is the old seat of the Marsdens, and is now the residence of Pudsey 
 Dawson, Esq. In the fields beyond cattle and sheep are seen grazing, the 
 former being unusually well drawn, especially the pretty little group down by 
 the water’s edge. We regret we cannot pay the same compliment to the peacock 
 on the terrace-wall nor the fluttering cluster of pigeons on the left. The latter 
 strike us as being too small. Near them the artist has introduced some watering- 
 pots and what appears to be a garden-syringe on wheels. Only just enough of 
 the terrace is given to show the height from which the sketch is taken. 
 
LYME REGIS. 
 
 jlHIS beautifully-situated, town, which has now become a fashionable 
 watering-place, was at the time at which Turner drew this drawing 
 just emerging from the insignificance into which it had sunk for some 
 centuries. At this time (the year 1815) it was thus described by the 
 writer of “The Guide to the Watering and Sea-bathing Places:”—“Lyme has 
 neither creek nor bay, road nor river; yet it has a harbour of the most singular 
 construction, called the Cobb, where ships ride in perfect safety. The materials 
 of a rude pier consists (sic) of vast stones, weighed out of the sea, and arranged in 
 such a manner as to break the violence of the tide, which has made great encroach¬ 
 ments, the cliffs being composed of a kind of marl and blue clay incorporated with 
 lime, that easily gives way. Even the church is said to be in danger ; yet no attempts 
 are made to secure it from the levelling principles of the waves; though Lyme is 
 neither deficient in religion or loyalty.” 
 
 Fashion has now come to the aid of religion and loyalty. The Cobb is now a 
 work of regular masonry, consisting of two massive piers; the waves have not been 
 allowed to swallow up the church, which has been restored and redecorated, and 
 Lyme Regis lias become famous for the geological treasures found in the blue 
 lias—ichthyosaurus, plesiosaurus, pterodactyle, dinosaurus, fish and zoophytes. 
 
 

THE 
 
LAKE OF LUCERNE. 
 
 UENER visited France and Switzerland in 1802, and his art may 
 be said to have received its second great impulse from this tour. 
 His first great accession of force was gained in his wanderings on 
 the wolds and by the lakes in Cumberland and Yorkshire, where the 
 sublimity of the scenery seems to have entered into his soul and taught him to 
 draw with reverence and accuracy. But until he went abroad his ideas of colour 
 were limited, and it needed the wider experience of foreign scenery, the brighter 
 sun and gayer hues of warmer latitudes, to develop in him that passion for colour 
 to which we owe the greatest masterpieces of landscape painting. But it was a 
 still later tour, viz. that of 1819, when he visited the Rhine and Italy, which had 
 the greatest effect upon his scale of colour; after this time he scarcely ever painted 
 a picture in which yellow was not the prevailing colour. This picture belongs, 
 we think, to the middle period, when he had progressed midway between the 
 sombre greys and browns of his earlier pictures and the sunny glory of his latest. 
 There is nothing specially remarkable about this picture except its beauty; but 
 the steamboat on the lake and the beehives in the foreground on the right are 
 points to note: the first as being a novelty at the time the picture was painted, 
 and the second as illustrating Turner’s habit of introducing some specific token of 
 the local occupations of the people. 
 
 .‘nr. 
 

DARTMOUTH. 
 
 HIS is one of the old Devonshire towns more famous in the past than 
 in the present, hut one which embraces such great natural advantages 
 in the capacity of its harbour and the beauty of its scenery that it 
 may yet liaye not only a useful, but a brilliant future. It is said 
 that Dartmouth Bay will shelter five hundred ships, and that the largest ship of the 
 Royal Navy could anchor four miles up the Dart—a river which has been called 
 the English Rhine, on account of the beauty of the lofty wooded hills which slope 
 down to its banks on either side. 
 
 When Turner drew it no railway had disturbed its old-fashioned quiet, and it 
 contained none of the spick-and-span modern erections which have since replaced 
 a number of the picturesque and quaint Elizabethan houses, with their carved gables, 
 in which so many generations of the brave Dartmouth mariners and merchants lived 
 and died. It is the mouth of the Dart rather than the town of Dartmouth, how¬ 
 ever, that Turner has drawn for us—the beauty of the view out to sea, with the 
 green hills on either side, and Dartmouth Castle and St. Petrock’s Church in the 
 distance. In the foreground, men are engaged in shipping cider, one of the chief 
 exports of the place. Among its many historical claims to our attention may be 
 mentioned the success with which a fleet of Dartmouth vessels engaged in 1403 
 forty-one French ships and captured or destroyed them, and also its sturdy 
 resistance to Prince Maurice in 1643 ; but its pleasantest association is perhaps 
 with the name of John Davis, the celebrated navigator, who was born at Dart¬ 
 mouth, and sailed thence on his famous voyages. 
 
CALIGULA'S PALACE AND BRIDGE. 
 
 What now remains of all the mighty bridge 
 Which made the Lucrine lake an inner pool, 
 
 Caligula, but mossy fragments left 
 As monuments of doubt and ruined hopes, 
 
 Yet gleaming in the morning’s ray, that tell 
 How Baia’s shore was loved in days gone by?" 
 
 Fallacies of Hope. 
 
 HE famous bridge of Caligula was built by that emperor in defiance 
 of a prophecy of Thrasyllus “that it was as impossible for him to be 
 emperor as to drive his horses round tire Bay of Baise.” He con¬ 
 structed a bridge of boats from Puteoli to Baise, a distance of more 
 than three Roman miles, and both rode and drove over it. At Puteoli there 
 existed an ancient mole, a permanent structure on arches, of which many of the 
 piers are still visible above the water. Turner has apparently fallen into the 
 error of supposing that these were the remains of the bridge of Caligula, and has 
 continued the arches across the bay. This magnificent picture is a wreck of what 
 it once was, but still the effect of the sun rising, with its light breaking through 
 the ruined arches of the palace, show the hand of a consummate artist. The 
 figures of the children playing with goats, and the horses on the bank, are 
 introduced with good effect. 
 
HARDRAW FALL. 
 
 NCLOSED in a wild amphitheatre of rocks which descend in a sheer 
 precipice, Hardraw Fall has a strange beauty of its own. The glen 
 into which it falls, though crowned with verdure, is, in the neighbour¬ 
 hood of the fall, bare and desolate—encumbered with rocks and 
 boulders, high and narrow and with precipitous sides; giving, however, pasturage 
 to sheep and cows. The small hut impetuous torrent pours over the craggy ledge 
 with a bound, and falls in a gradually-widening stream into a cup-like pool below, 
 having a wide space between itself and the wall of rock at its base. Turner has 
 shown with great distinctness the curious formation of the rocks and fall, with 
 a grand glimpse of the mountains behind. The sun is on the right and casts one 
 side of the valley into shadow, lighting up the picturesquely-wooded heights on 
 the left. The painter has enlivened the desolate scene with numerous figures, by 
 means of which we can trace the narrow path which runs along the side of the 
 glen on the right. Seated on the stone wall to the right is a young woman, 
 who seems to have come for the purpose of milking her cows; but, unless they 
 will come to her call, she will have some difficulty in reaching them; at present 
 she is resting, and has left her can and pail to take care of themselves. 
 



MOUNT EDGECOMB. 
 
 HIS is a fine breezy view of the sea off the beautiful hill called Mount 
 Edgecomb, or Edgecumbe, the seat of the earl of that name, 
 remarkable for its pleasure-grounds, which, according to the guide¬ 
 book, “are arranged in three distinct gardens—the English, French, 
 and Italian—and absolutely glow with fountains, vases, busts, and statues, the 
 lucent marble shining with exquisite relief against its background of glossy 
 foliage.” The same authority also informs us that “it is undoubtedly the loveliest 
 spot in the immediate vicinity of Plymouth. As Garrick exclaimed— 
 
 ‘ This mount all the mounts of Great Britain surpasses— 
 ’Tis the mount of the Muses, this mount of Parnassus; ’ 
 
 and, as it rises gently from the sea—a mass of living verdure, a sloping hill 
 embowered in arbutus, myrtle, and laurestinus, crowned with pine and chestnut, 
 laced round with pleasant paths and dappled with soft, swift shadows—it assuredly 
 exhibits a grace, a beauty, and even a majesty of its own.” If Turner’s drawing 
 does not quite realise this choice description, the difference may be accounted 
 for by the fact that all the trees were cut down in 1779, when a French invasion 
 was expected, and had not had time to grow again before Turner took his sketch. 
 

hujk hab-Om’s piegikemlage 
 
CHILDE HAROLD'S PILGRIMAGE. 
 
 “ And now, fair Italy ! 
 
 Thou art the garden of the world, the home 
 Of all Art yields and Nature can decree. 
 
 Even in thy desert, what is like to thee ? 
 
 Thy very weeds are beautiful, thy waste 
 More rich than other climes’ fertility; 
 
 Thy wreck a glory, and thy ruin graced 
 With an immaculate charm which cannot be defaced.” 
 
 Byron : Chilcle Harold, Canto IV., xxvi. 
 
 NFORTUNATELY these words are now applicable to this painting in 
 a double sense. It is a glorious wreck—more beautiful even in its 
 
 present sad state than the perfect work of other artists. “ Neverthe¬ 
 
 less,” writes Mr. Ruskin in 1857, “even in its present state, all the 
 landscape on this right-hand portion of the picture is exquisitely beautiful—founded 
 on faithful reminiscences of the defiles of Narni, and the roots of the Apennines, 
 seen under purple evening light. The tenderness of the mere painting by which 
 this light is expressed is so great that the eye can hardly follow the gradations 
 of hue ; it can feel but it cannot trace them.” The landscape contains one of 
 Turner’s most beautiful stone-pines, and the effect of the sunbeams striking 
 athwart the ruined arches on the left was at one time magical. In the fore¬ 
 ground are a festive party with a youth and girl dancing. On the left a figure 
 
 is lurking in the shade, but whether this is the contemplative poet or an 
 
 assassin is not apparent. 
 
• • 
 

EGGLESTONE ABBEY, 
 
 NEAR BARNARD CASTLE. 
 
 HIS is an interesting drawing, evidently representing the actual features 
 of the place with scrupulous fidelity. We need scarcely, after this 
 statement, say that it was an early drawing. It is impossible to 
 tell what modifications Turner would have made in the drawing had 
 it been finished at a later period of his life, but it is probable that he would 
 not have made the shoring-up of the window of the abbey so painfully apparent, 
 and that the uninteresting river-house would have been idealised or improved off 
 the face of the scene; or more probably he would have chosen a point of view 
 from which the beauty of the view would have been more apparent than its 
 singularity. But we would not have it altered, for its natural beauties are so 
 great as to bear the introduction of a few peculiarities; and the bit of building 
 going on, the curious position of the tree on the hill, the countrywoman feeding 
 her poultry, and the light through the tileless top of the house, are touches of 
 reality which give a more humane pleasure than mere picturesqueness. 
 
 Egglestone Abbey is in the parish of Startforth, in Yorkshire, about a mile 
 from Barnard Castle. It is situated on the bank of the river Tees, and was 
 founded iii the twelfth century, by Ralph de Multon, for Premonstratensian 
 
 canons. 
 
ENTRANCE OF FOWEY HARBOUR. 
 
 HIS harbour, as is plain from the engraving, has a very narrow entrance 
 flanked by square towers, which are said to have been erected for its 
 protection in the reign of Henry IV. Their walls are six feet in thick¬ 
 ness, and formerly a chain was extended between them to guard the 
 entrance. The ruin on the right bank seen in the distance is that of an old church 
 dedicated to St. Saviour. In former days Fowey was a port of great importance, 
 and in the reign of Edward III. sent a larger number of vessels (forty-seven) to the 
 siege of Calais than any other port in the kingdom; but its trade has decayed 
 sadly, and its pilchard trade, once very prosperous, is extinct. It does not even 
 appear to have become a fashionable watering-place; and although Dr. John 
 Wolcot (Peter Pindar) has celebrated its praises in rhyme, we fear that the 
 burden of the quaint lament of a guidebook of 1813 may even now be echoed:— 
 “The little town of Fowey is pleasantly situated. It possesses a beautiful and 
 spacious harbour, decently fortified, calculated by its safety and depth of water, as 
 well as facility of entrance, for commerce on the most extended scale ; and with 
 such advantages, why it is not the residence of the mercantile classes of mankind 
 must excite our astonishment.” 
 

BLIGH SAND. 
 
 jjHIS picture, like the drawing of “ Whitstable,” is a good instance of 
 Turner’s purely artistic power of making a beautiful picture out of 
 the simplest materials. This scene is taken from near Sheerness, and 
 represents a fleet of fishing-boats engaged in trawling. The effect 
 of light produced is one which we must all have seen—the sun striking down on 
 the horizon of the water, and casting the foreground into dim shade. This shade 
 Turner has forcibly darkened by the black hull of the nearest fishing-boat, whose 
 shadowy sails stand out in marked contrast to the bright white canvas of her 
 companions rejoicing in the sunlight beyond. But it is in the beautiful accidental 
 twilight of the foreground that the eye rests most lovingly and delightedly in 
 this picture. How soft and mysterious it makes those gently plashing waves! 
 What grave importance it gives to that ordinary buoy, with its deep shadow 
 spreading into the wet sand like a blot! How doubly soft it makes the sand 
 itself! How ghostlike the white gulls with their luminous reflections! When we 
 think that this picture was exhibited in the same year as his “Dido building 
 Carthage,” we gain at once a fair notion of the wonderful range of his genius. 
 
EHRENBREITS TEIN. 
 
 piS picture was described in the Catalogue of the Royal Academy as 
 “ The Broad Stone of Honour (Ehrenbreitstein) and Tomb of Marceau, 
 from Byron’s ‘ Childe Harold,”’ and to this description was appended 
 the following quotation :— 
 
 By Coblentz, on a rise of gentle ground, 
 
 There is a small and simple pyramid 
 Crowning the summit of the verdant mound ; 
 Beneath its base are heroes’ ashes hid, 
 
 Our enemy’s—but let not that forbid 
 Honour to Marceau. * # # 
 
 * * * He was Freedom’s champion. 
 
 Here Ehrenbreitstein, with her shatter’d wall, 
 
 Yet shows of what she was.” 
 
 Byron’s note to bis own lines will serve still further to illustrate the picture: 
 “ One of the strongest fortresses in Europe was dismantled and blown up by 
 the French at the truce of Leoben. It had been, and could only be, reduced by 
 famine and treachery. It yielded to the former, aided by surprise. After having 
 seen the fortresses of Gibraltar and Malta, it did not much strike by comparison, 
 but the situation is commanding. General Marceau besieged it in vain for some 
 time ; and I slept in a room where I was shown a window at which he is said 
 to have been standing, observing the progress of the siege by moonlight, when a 
 ball struck immediately below it.” 
 
 In this beautiful picture Turner modified considerably the facts of the scene, 
 making, we believe, the mountain higher in appearance than it actually is, and 
 arranging the trees and other features of the view so as to make a more impressive 
 and poetical composition. 
 
HYTHt 
 
• —— _ " _ ——— 
 
HYTHE. 
 
 of the Cinque Ports, whose name signifies a haven, but which is 
 w neither a haven nor a port, for the haven has silted up, and the 
 ach is nearly three quarters of a mile from the town. In 1807, 
 rracks were erected for three hundred men, and there is now a 
 celebrated school for riflemen at Hythe, much resorted to by volunteers ; so that 
 what Hythe has lost from a maritime, has in some measure been made up from a 
 military point of view. Some feeling of this kind was, possibly, in Turner’s mind 
 when he drew this cliff and town, descending to what was once a beach and is 
 now a plain ; when he sketched-in that martial row of barracks in the middle 
 distance, and placed those soldiers and that gun in the foreground. The soldiers 
 and the gun seem to us almost as antiquated as the maritime celebrity of the 
 place. Do soldiers in England ever wear white ducks now ? They certainly no 
 longer carry that good old Brown Bess, nor do they exercise guns like that. 
 Hythe has seen many changes, but none more sudden and startling than the 
 revolution in artillery. It seems almost strange that, having changed so much, it 
 should have changed so little. After all, the sandy flat is not so much unlike the 
 sea, the cliffs remain as they were, even the trees are still blown back from the 
 sea till they stiffen into forms like those we see in the drawing. 
 
SHAWB CAWAJL 
 
VENICE—THE GRAND CANAL. 
 
 is another picture of Venice, giving much the same view as that 
 titled “Venice, from Canal Giudecea.” It gives, however, a nearer 
 :w of the Square of St. Mark with its two ancient columns, the 
 ige’s Palace, and the Campanile. It will be seen, on comparison, 
 that the two pictures do not entirely agree in details: that the Campanile is 
 represented as much loftier in the one previously given, and that the Palace is 
 not built at the same angle. This picture is an earlier one, which the artist may 
 possibly have painted on the spot, or when he was more careful of local correct¬ 
 ness. But much, however, as it may be superior to the other in topographical 
 accuracy, it is inferior in mystic charm, in the picturesque grouping of the boats, 
 and in aerial magic. The point of view is also not so happily chosen, as it does 
 not take in the domes and minarets which are introduced so effectively on the 
 left of tiie other picture. Turner had two Venices—Venice as it was, and the Venice 
 of his imagination : Venice, the busy and gay city of Italy; aud Venice, the daughter 
 or the sea, the paradise of Art. He has left enough specimens of each, equally 
 good of their kind, to satisfy the most realistic and the most poetical of his 
 admirers; but to those, and there are many, who can at will indulge in either 
 mood, it is difficult to find fault with any of liis Venetian pictures. 
 
WYCLIFFE, NEAR ROKEBY 
 
 CLIFFE is saicl to have been the birthplace, in 1324, of the great 
 Reformer, John Wycliffe. It is situated on the Tees, in one of the 
 most beautiful parts of Yorkshire. But it is scarcely necessary for us 
 to assure the reader of the beauty of this part of the country with a 
 view like this before him, which contains rugged cliff's, well-wooded hills, and 
 a romantic stream. We often wonder why this lovely part of our island is not 
 more often visited; but of the thousands of tourists who scour these Islands and 
 the Continent for fine scenery or sport, how comparatively few have ever seen the 
 vale of the Tees or the Loon ? Turner has very happily chosen a point of view 
 from which the full beauty of tree-clothed hill can be seen in contrast with the 
 bare and rugged cliff and the piles of boulders in the foreground. In the middle 
 distance is an open carriage, drawn by three horses with postillions, from which a 
 gentleman is assisting a lady to alight. In the foreground are two other ladies, 
 probably part of the same party of excursionists, one of whom is clapping her 
 hands to frighten away some geese; other geese on the left seem to be wondering 
 whether their turn will come next. 
 

 
 
 
RYE. 
 
 HERE are few places which strike the modern visitor as belonging so 
 completely to a past age as Rye. Passing under the old gateway, 
 which dates from the reign of Edward III., into its quiet narrow 
 streets with its church in its midst, and looking down on the plain 
 that stretches to the sea, one feels cut off from the world—almost from the century 
 —and to realise what it was to enter a fortified town in past ages. The natural 
 strength of the place, from a military point of view, is well given in Turner’s 
 drawing, who has made the most of the remains of the old castle, which was 
 erected early in the twelfth century by William de Ypres, Earl of Kent. 
 
 Rye and Winchelsea were added to the Cinque Ports by Henry III., when an 
 inundation of the sea diverted the river Rother and greatly improved the natural 
 harbour. Whatever importance it may have once had as a port has long been 
 one of the things of the past. The old harbour was choked with sand and shingle, 
 and though a new tidal harbour has been made at the mouth of the Rother, it 
 suffers in the same way, and is very shallow. Rye boasts, however, many compara¬ 
 tively modern improvements in the way of embankment, pier, and draining, and is 
 well worth a visit on account of its church and other interesting antiquities. 
 
ORANGE MERCHANTMAN GOING TO PIECES. 
 
 is scarcely any part of the coast of any country in -which 
 king is looked upon as a crime by the inhabitants. There is 
 thing so fortuitous about the presence of valuable property -with¬ 
 in owner, that it looks like a godsend to ignorant people. In 
 some places, poor people whose supply of fuel is gained mainly from the stray 
 spars and timbers that are washed ashore think that it is a kind dispensation of 
 Providence, and that it is very hard indeed upon them when no wrecks happen. 
 In the Bahamas, a wrecker being asked why, after having taken all the valuable 
 property out of the ship, he had set fire to her, replied in all sincerity, “ that he 
 and others believed that unless they burnt the hull there would be no more ship¬ 
 wrecks on that part of the coast.” Unfortunately such perverted morality is not 
 unknown even upon the coasts of England, and there are many places in England 
 where the picking of a fine wreck like this Orange Merchantman would be looked 
 upon as fair plunder by the fishermen, if they could escape the authorities. The 
 poor ship lies helplessly on her side, and is swarming with wreckers; the storm 
 has passed, her crew are either saved or drowned by this time, and the business 
 of all is to save as much as they can of the property from going to the bottom 
 of the sea. In the front is a fisherman’s boat with two men and a woman on 
 board ; they have caught some fish and have picked up a few oranges. 
 
THE PARTING OF HERO AND LEANDER. 
 
 HE beautiful old story of the loves of Hero and Leander, of the bold 
 swimmer who crossed the Hellespont to meet his love, will live as 
 long as language lasts; and the feat, as a beautiful image of the 
 power and endurance of love, will never be surpassed. Physically 
 it was thought to be unsurpassable. Byron himself essayed it and almost lost 
 his life; but in our days Captain Webb has swum the English Channel, a feat, 
 athletically considered, besides which Hero’s achievement becomes almost insig¬ 
 nificant. Turner’s picture does not, however, deal with the athletic, but the poetical 
 view of the old story. It is one of his later pictures, exhibited in 1838, and 
 bears some traces, we think, of failing powers both of mind and body. It is 
 full of sad meaning, and the conception is poetical to the last degree. Hero and 
 Leander are seen taking their last farewell, the sea-nymphs are waiting to bear 
 away his body to the depths below, the clouds are blood-red with the setting sun, 
 the moon is surrounded with a halo to betoken the approaching storm. The title 
 of the picture in the Royal Academy Catalogue was accompanied by the following 
 halting lines, “From the Greek of Musaeus:”— 
 
 The morning came too soon, with crimson’d blush 
 Chiding the tardy night, and Cynthia’s warning beam; 
 
 But Love yet lingers on the terraced steep, 
 
 Upheld young Hymen’s torch and failing lamp, 
 
 The token of departure, never to return. 
 
 Wild dashed the Hellespont its ’stracted surge, 
 
 And on the raised spray appeared Leander’s fall.” 
 

TORBAY, FROM BRIXHAM. 
 
 Norman times,” we are told, “the town belonged to the Novants, 
 and from them it passed in succession through several other noble 
 hands. The present lords of Brixham are Brixham fishermen. The 
 manor was purchased some time back by twelve fishermen; these 
 twelve shares were afterwards subdivided, and these again have been divided. 
 Each holder of a share, or portion of a share, however small, is styled ‘a quay 
 lord.’ If you see a thick-bearded, many-jacketed personage, wdio carries himself 
 with a little extra confidence in the market-place, you may be sure he is a Brixham 
 lord.” The lower town of Brixham, of which we see a part, is described as 
 “a sort of Devonshire Wapping with a Billingsgate smell.” We presume that 
 those are Brixham “lords” who are seated so comfortably on the cliff while their 
 “ ladies ” are hanging out the clothes. Brixham is one of the wealthiest fishing- 
 towns in England, and employs two hundred vessels, manned by nearly one 
 thousand six hundred men. The fish are all sent up to London, and we dare say 
 it is as difficult to get a fresh herring in Brixham as in the Desert of Sahara.