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THE EXHIBITED WORKS OF
TURNER

Of this volume 350 copies only have been printed.

A LIST
OF THE
WORKS CONTRIBUTED TO
PUBLIC EXHIBITIONS BY
J. M. W. TURNER, R.A.
WITH NOTES BY
C. F. BELL,
HON. M.A. OXFORD

LONDON
GEORGE BELL AND SONS
1901

"This man must be loved for his works, for his person is
not striking, nor his conversation brilliant." — Edward Daves,
Professional Sketches of Modern Artists, 1805.

CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

PREFACE
THE events of the life of Turner, his strange
personal appearance, the eccentricities of his
character, and the whimsical manner in which they
reacted upon himself and his acquaintances, have
already occupied the talents of several biographers.
Yet, like Perugino, Turner must " always remain
a problem to the psychologist who believes in
physiognomy," and a striking illustration of the
theory that "the artist and moral being are
separate and may not be used to interpret each
other." 1 It is in vain in his case that we invoke
the personality of the man to aid us in elucidating
the work of the artist, but some light may visit
us if we consider his works in their relation to
each other, and to the currents of thought which
moved the artistic atmosphere in his life-time.
The subject is large and complex ; in a long career
of incessant industry Turner produced a body of
work which was estimated by Mr. Wornum2 to
consist of not less than twenty thousand pieces.
1 Symonds, Renaissance in Italy, the Fine Arts, 1897
p. 217.
2 Turner Gallery, 1861, p. xxi.

vi PREFACE
In this vast field Mr. Rawlinson ploughed the
first furrow, and it is to be regretted that its
cultivation has never been carried further by the
publication of the systematic catalogue of Turner's
works which Mr. Algernon Graves proposed to
produce as a companion to his admirable books
upon the works of Sir Edwin Landseer and Sir
Joshua Reynolds. The following notes relate only
to a" portion of those works by which the painter
made his appeal to the public during his life-time.
Having been made public through one of two
channels, the exhibitions and the engravers, the
greater number of his deliberately completed
pictures passed into the collections of his patrons,
but a certain quantity remained in the possession
of their author, and became at last the inheritance
of his countrymen. Another portion consists of
those of his works which, without having been
publicly exhibited or engraved, passed directly
from his painting-room to the galleries of his
patrons. The number of these is difficult to
estimate, but it probably does not exceed fifty
considerable oil paintings, and twice that number
of elaborated water-colour drawings.1 In the first
class his two most famous shipwrecks, and half a
dozen well-known pictures in the Petworth Gallery
are the most conspicuous instances. Of the second,
twenty drawings which decorate one room, the
1 Cunningham's estimate {Turner and his Works, 1852,
p. 29), includes drawings engraved, although never exhibited.

PREFACE

vn

saloon at Farnley Hall, and the series of Swiss
subjects painted towards the end of the artist's
life, are probably the most important examples.
His sketches and studies were jealously preserved
by Turner, the majority, amounting to above nine
teen thousand, are consequently in the National
Gallery; a certain number have been arranged
and catalogued by Mr. Ruskin, and a classification
of the methods used by the artist in his sketches
is given in Mr. Hamerton's Life of Turner, pp.
181-188. But by these labours the fringe alone
has been touched of this vast mass of material,
"l'un des monuments les plus extraordinaires de
l'industrie humaine " as it has been called by Mr.
Hamerton ; * and these studies await the industry
of a Fischel to explain their relationship to the
pictures for which they served as preparations.
The compiler of the present volume, in limiting
himself to an attempt to make certain which of the
vast body of pictures and drawings now ascribed
to Turner are those which he actually exhibited
in the Academy, the British Institution, and one
or two provincial galleries, has, he believes, been
able to avoid advancing opinions unsupported by
solid facts, or critical information from published
sources.2 In cases where several repetitions of a
1 Les Artistes cilebres, Turner, p. 16.
2 Mr. Graves, in his Dictionary of Artists who have exhibited
in London Exhibitions, 1895, states that Turner exhibited
seven pictures in the Suffolk Street Galleries. Long-continued

viii PREFACE
subject seemed to hold nicely balanced claims to
originality, the descriptions and pedigrees of all
have been given. The titles of the exhibited
works are copied literatim from the original
catalogues, but it seemed better not to consume
space by reprinting the long quotations from well-
known poems, or even the excerpts from Turner's
unpublished Fallacies of Hope. The descriptions
of pictures in the National Gallery have mostly
been made on purpose for this book, those of
works which have appeared in the Old Masters
or other loan exhibitions are taken from the
catalogues, but where the writer has been able to
revise them in front of the pictures themselves he
has done so. No little difficulty has been found
in deciding whether some of the earlier works,
all traces of whose present existence seem to be
lost, were painted in oil or water colours. In the
attempt to settle this question the positions of
these pictures as they hung in the Academy have
been considered in relation to those occupied by
search amongst all available sources has, however, failed to
reveal their titles. They will, it is to be hoped, make their
appearance with other valuable new material in Mr. Graves's
promised work. The list of works contributed by Turner to
provincial exhibitions is, there is every reason to fear, extremely
incomplete. The catalogues of such exhibitions are rarely to
be found ; the British Museum only possesses incomplete sets
of them, and in many cases the societies which issued them
have passed through changes during which their archives have
disappeared.

PREFACE

ix

such of their companions by other artists as are
still extant. The evidence obtained in this way
is given in the accounts of doubtful pictures, so
that each reader may form his own conclusions.
The foundation of the book was the Appendix to
Thornbury's Life of Turner, which, cleared from
innumerable inaccuracies, repetitions and misprints,
with which in the last edition it is disfigured, formed
a valuable ground- work for the accretion of further
materials. The histories of the pictures have been
pieced together from many sources, among which
Redford's^?^ Sales, the Athentzum and the Year's
Art have been most frequently consulted. The
auction prices, a bye-product of these inquiries,
have been given because they afforded, in one or
two instances, clues for the identification of pictures,
and not because they are upon occasion found to
possess something more than a merely historic
value. The story told by Mr. Richard Redgrave 1
of a fine picture by Turner which; having been
purchased directly from the artist and consequently
possessing no brilliant auction-room pedigree, was
extorted from its owner by a dealer for a fraction
of its value is only too characteristic of a phase
of English business life which most Englishmen
would gladly see disappear. In the introduction
to the first section the compiler has made con
siderable use of Mr. Roget's History of the Old
1 Richard Redgrave, a Memoir, by F. M. Redgrave, 1891,
P- 325-

x PREFACE
Water-Colour Society ; independent inquiries into
the early history of water-colour painting, extend
ing over some years, have revealed to him scarcely
any facts of importance that have escaped the
author of that wonderful book. For the notes
relating to the drawings for the Oxford Almanacs,
the writer has to thank the Delegates of the
Clarendon Press and their Secretary, who cour
teously gave him every facility for searching their
old account books. Besides acknowledging his obli
gation to three successive members of the Fawkes
family for allowing him to study upon several occa
sions the treasures of the Farnley Hall gallery,
he must particularly record his indebtedness
to Lord Wantage, Mrs. John Naylor and Mrs.
Williams, for kind permission to examine pictures
in their collections. To the Director of the
National Gallery of Ireland and the Curators of
the Corporation Galleries, Glasgow, of the Whit-
worth Institute, Manchester, and of the Public
Museum, Rotherham, for courteously supplying
information about pictures under their charge.
To Mr. George Allen for the use of several
photographs taken for his forthcoming work upon
Turner and Ruskin. To Mr. William Stanfield
for references to the old catalogues of the Royal
Manchester Institution, to Mr. Jonathan Pratt for
similar help in connection with those of the Royal
Birmingham Society of Artists, and to Mr. Frank
Kidson for the notices of exhibitions in Leeds.

PREFACE xi
He must also express his gratitude to a relation
in America for information concerning those pic
tures which have crossed the Atlantic, more
complete, he believes, than has ever before been
collected in one volume, and his even greater in
debtedness to another relation, in London, who
has verified all references to and transcribed
countless passages from works inaccessible in Ox
ford. Without this assistance the work could
never have been carried out even in its present
imperfect form.

CONTENTS PAGE
Note  xv
Section I. — Paintings in water colours.
Introduction. Turner as an exhibitor of stained drawings
— first appearance in his drawings of a more effective
use of water colours — summary of his career as a
painter in this medium — description of the stained
manner — the causes which led to its original develop
ment — characteristics of Turner's drawings in this
manner — general decline of its employment — due to
improvements in the manufacture of paper and pig
ments — abolition of under-painting and adoption of
direct method of laying in shadows — the course of the
revolution in Turner's own practice — old processes for
expressing high-lights — instability of white pigments —
discovery of a new method of treating high-lights due
probably to Turner — attempts made to imitate its effect
by other means — Nicholson's stopping-out process —
Turner's variations on the original idea — the order of
their appearance in his works — artistic influences affect
ing Turner's early career as a water-colour painter —
the influence of Malton — of Rooker — of Hearne — of
Girtin — the subjects of his exhibited works in water
colours  3
List of paintings in water colours  25
Section II. — Oil paintings.
Introduction. Turner's position as a painter in oil from
the technical point of view— decayed condition of
many of his oil pictures — especially those of which he
retained possession during his life — due to neglect
rather than to defective workmanship — his method of
painting in early life — closely modelled upon that
generally practised by academic students at that time

xiv CONTENTS page
— his imitation of the Old Masters — experimental use
of unprimed canvas — adoption of white ground —
probable cause of this choice — followed by a striking
development in his style — brilliant key of colour
first introduced by him — its use made possible by
advances in the manufacture of pigments — attributed
by contemporaries to his employment of water colours
in oil pictures — probable baselessness of this idea —
his methods of work in later life  57
List of oil paintings  71
Appendix. Pictures by Turner of which the method of
execution is undetermined — drawings made in the
first instance for engraving; but exhibited in the
artist's lifetime — Cooke's exhibitions — pictures by
Turner publicly exhibited for the first time in loan
collections before his death  161
Index  173

NOTE
In the descriptions of pictures in the following list right and
left refer to the right and left of the spectator ; in the measure
ments, which are given in inches, the height is always placed
before the width.
Matter inclosed in square brackets and followed by a query
is only conjecturally connected with the picture to the title of
which it is appended. Names inclosed in parentheses are those
of the purchasers of the pictures in question, as given in the
reports of sales.
The following abbreviations are used :
R.A., Exhibition of the Royal Academy of Arts.
B.I., Exhibition of the British Institution.
O.M., Exhibition of the Works of Old Masters and Deceased
Masters of the British school at the Royal Academy.
A.T.M., Exhibition of Art Treasures, Manchester, 1857.
J.M., Royal Jubilee Exhibition, Manchester, 1887.
N.G., National Gallery.
V.A.M., Victoria and Albert Museum, South Kensington.
The letter R. followed by a numeral denotes the number of
the plate in question in Mr. Rawlinson's Liber Studiorum, a
Description and a Catalogue, 1878. The edition of the Turner
Gallery referred to is the latest and most complete, published
under Mr. Monkhouse's editorship in 1878; it may be mentioned
that besides the numerous earlier editions of the books, most of
the plates are to be found in the volumes of the " Art Journal "
for 1861, '62, '63, '64 and '65.
The edition of Thornbury's Life off. M. W. Turner, R.A.,
quoted throughout is that of 1897 in one volume : the edition
of Hamerton's Life off. M. W. Turner, R.A., that of 1895.

Section I
PAINTINGS IN WATER COLOURS

Section I
PAINTINGS IN WATER COLOURS
BEFORE the year 1797, in which Turner first
contributed an oil-picture to the exhibition of
the Academy, he had appeared before the public as
an exhibitor whose modest pretensions were con
fined to drawings in the stained manner. But it
was about this same year that Girtin and he began
to attract notice as the leaders of a movement
which was evolving from the stained manner the
modern art of painting in water colours. And
ever as this evolution proceeded, each year pro
ducing drawings of increasing splendour of colour
and depth of tone, a large proportion of Turner's
contributions to the exhibitions continued to be
works in water colours, until he succeeded in
triumphantly proving to his contemporaries that
paintings could be produced in the new medium
which held their own beside the most powerful
works in oils. But by the time that he had
achieved this the direction of his ambitions had
become changed ; a desire to surpass the ancient
masters of landscape in their own method had

4 PAINTINGS IN WATER COLOURS
developed itself in him. In 1 807, for the first time,
his contributions were exclusively oil-pictures.
Four years later, however, he reappeared as an
exhibitor of works in water colours with the
Chryses and Scarborough ; and these were followed
in 1 8 1 5 by the great drawings of the Reichenbach
and Devil's Bridge, now at Farnley Hall, together
with the Fluelen and Battle of Fort Rock, formerly
in the same collection.
With these works, executed upon a scale never
before that time approached, nor often since sur
passed in water colours, Turner practically took his
leave of the Academy as a painter in the method
of which he had been the foremost pioneer, for he
exhibited only four more drawings ; they appeared
at intervals, the last in 1830. But it must not be
supposed that he abandoned the art ; it may be
said, in fact, that the second part of his life was
even more zealously devoted to demonstrating the
delicacy of the medium than the first had been to
displaying its strength, and that the scores of
drawings he produced each year for the service
of engravers, form in some ways a more important
section of his works than the oil-pictures by which
he was annually represented in the Academy. It
may be added that in many of these very oil-
pictures the contemporaries of Turner believed
that they discerned the constant influence of the
style, and occasional use of the materials of his
practice in water colours.

INTRODUCTION 5
A drawing in the stained or tinted manner may
be not inaccurately described as the combination
of a finished work in monochrome, and a slight
sketch in colour ; the subject was first drawn and
shaded with full details in black and white, and
afterwards coloured with washes of transparent
tints. The effect of a drawing completed in the
first stage alone is shown in the Landscape, with a
Tower on a Rock, by Turner, in the Victoria and
Albert Museum (1685-71), while the process of
applying the colour is seen in the Llangollen
Bridge, by Gresse, in the same collection
(173 1-7 1), where it has been arrested some way
short of completion. The causes which led to
the development of this artificial, complicated
method are difficult to discover ; they may per
haps be found in the practice of underpainting in
monochrome, that has prevailed among painters
in oils since the time of the old masters, or they
may be traced to the defective materials which
the early water-colour painters were forced to
use. Great as was Turner's industry at all periods of
his life, it is incredible that he should have pro
duced before the age of twenty-three, at which he
had entirely emancipated himself from its trammels,
all the drawings in the stained manner which are
now attributed to his hand in public and private
collections; especially when it is considered that
several of his early works, of which the names are

6 PAINTINGS IN WATER COLOURS
recorded in the Academy catalogues, can no longer
be identified. Of the drawings that are indisput
ably by him, the earliest are marked by a timidity
of execution which gives a certain Chinese air to
some passages, particularly the trees. This is ex
tremely pronounced in the views of places near
Bristol, drawn by the artist in the course of his visits
to the Narraways about 1790, and in the Malmes
bury Abbey, exhibited in 1792. In a drawing of
Oxford Cathedral, dated 1794 (collection of the
Rev. E. S. Dewick, Guildhall, 1899, No. 2.), great
breadth in the handling of foliage is attempted.
This appears to have been experimental; the
elaborate convention adopted in the Magdalen
Bridge, Oxf ord (Whitworth. Institute, Manchester),
and Tintern Abbey (Victoria and Albert Museum,
1683-71), executed in this same year is more
characteristic of his general practice at this time.
Not less marked are peculiarities in the treatment
of architectural details ; the accentuation of joints
in masonry, as in the Bridlington Priory (Victoria
and Albert Museum), and the expression of mould
ings by broad, short strokes, due in all probability
to the use of a reed pen, as in the Saint Albans
(Victoria and Albert Museum, 1684-71), are very
conspicuous. It will, perhaps, always remain doubtful whether
ill-sized paper and feebly-toned pigments were
among the causes which contributed originally to
the rise of the stained manner, but it is unquestion-

INTRODUCTION 7
able that without the great improvements, made
towards the close of the eighteenth century, in
the manufacture of artists' materials, no such revo
lution as that which gave birth to modern water-
colour art could have been carried through.
These improvements were in part due to the
demands of a large body of draughtsmen which the
interest in topography, at that time making itself
generally felt, had called into activity, and in part
to the universal industrial activity of the period,
guided as it was by the Society of Arts. As early
as 1 760 the Society had, as we learn from a letter
of the poet Gray to William Mason (June 7th,
1760),1 turned its attention to the manufacture of
paper, and had succeeded in producing a material
made from silk rags " and intended for the uses of
drawing," which was doubtless greatly superior in
surface to the wire-wove paper before that time in
use. It was, moreover, made in large sheets, so
that the necessity of joining the paper for large
drawings, from which Paul Sandby 2 and his con
temporaries had suffered, was no longer felt ; there
exist in the Print Room of the British Museum
two drawings made by Hearne in 1 780 upon single
sheets of paper above two feet in length. This
material would appear to be the " improved cartridge
paper, introduced towards the close of the last
century," alluded to by Mr. Samuel Redgrave in
1 Works of Thomas Gray, edited by Gosse, 1884, iii., 40.
2 Thomas and Paul Sandby, by W. Sandby, 1892, p. 114.

8 PAINTINGS IN WATER COLOURS
the introduction to his catalogue of the Historical
Collection of Water-colour Drawings in the South
Kensington Museum.1 Many drawings in that
collection are executed upon such paper, the
earliest bearing a date (i 772) being a landscape by
Devis (1734-71)- The existence of some defects
even in this material may be inferred from the
evidences of patching in the View of the North
Parade, Bath, 1777, by Thomas Malton in the same
collection (1723-71). In the course of tinting the
sky in this drawing some serious accident must
have occurred, since the artist was compelled to
cut off the landscape at the skyline and repaint the
upper part of the picture upon a fresh sheet of
paper. Such paper as this could not in any case
have borne repeated washings, nor would sponging
and scraping have produced upon it the effects to
which Turner had recourse for the most original
passages in his drawings. But in the smooth
paper called vellum paper by Messrs. Whatman,
who introduced it about 1 790, he found a perfect
groundwork for these processes, and he adhered
to its use during the rest of his life.
The improvement in the manufacture of paper
had its parallel in that of pigments. Mr. Redgrave8
declares that about the year 1783 the palette of
the water-colour painter, John Robert Cozens, was
1 S. Redgrave, Descriptive Catalogue of Water-Colour Draw
ings in the South Kensington Museum, 1876, p. 18.
2 P. 17.

INTRODUCTION 9
limited to six colours, yellow ochre, Indian red,
lake, indigo, burnt sienna and black. But Girtin,
who died in 1802, had been able to increase the
number to fourteen, by adding to the last five of
the above list, light red, Roman ochre, brown pink,
gamboge, yellow lake, ultramarine, Prussian blue,
madder brown and Cologne earth. His biographer
adds that " his palette was covered with a greater
variety of tints than that of almost any of his con
temporaries." It is doubtful if Turner ever pos
sessed such an array of sad colours, but he adopted
several bright hues as they became available
for painters in water colours in the early part of
the century. Some of these brilliant pigments
had been at the service of the illuminators of the
middle ages, and were indeed employed by
painters in body colours throughout the eighteenth
century, but, on account of their opacity perhaps,
had fallen out of use among the practitioners of
the stained manner. It is not improbable that
amongst the blue pigments upon Turner's palette
was to be found one or other of the mixed shades
of ultramarine prepared at that time for the use of
miniature painters; his remark to the effect that
cobalt was good enough for him, cannot be con
strued into a denial of his employment of the
more costly pigment, for without it many passages
in his works could never have been accomplished.
The advances in the manufacture of colours, as in
that of paper, were largely due to the encourage-

10 PAINTINGS IN WATER COLOURS
ment given by the Society of Arts ; the firm of
Reeves holds one of the earliest prizes conferred
(1781), by the Society for improvements in this
industry. Turner usually obtained his colours
from Messrs. Newman, whose books, had they
been preserved,1 might have furnished some
curious particulars to supplement the meagre
description of his colour-box given by Mr.
Trimmer.2 It is not easy at this distance of time to decide
to whom is due the honour of having been the
earliest to take advantage of the improved
technical conditions, and shake off the bonds of
the stained manner. Girtin is generally accepted
as the first painter, who consistently gave up the
use of the preparatory painting in monochrome,
and laid in whole drawings from the beginning in
their proper colours. It is true that before his day
the practice had been adopted in isolated instances,
and that the principle had been half accepted by
John Robert Cozens and John Smith (called
"Warwick" Smith), who underpainted different
parts of their drawings with appropriate shades
of grey. Nothing but a miscalculation of the
amount of the improvement effected by Girtin
can twist the statement of Bryan,3 that some
drawings by Cozens were "executed in a style
1 Richard Cosway, R.A., by G. C. Williamson, 1897, p. 91.
a Thornbury, Life of Turner, edit. 1897, p. 364.
3 Dictionary of Painters and Engravers, 18 16.

INTRODUCTION u
afterwards adopted and improved by the in
genious Mr. Girtin," into an assertion that Cozens
abandoned underpainting of any sort. The
question is involved by the difficulty of affixing
dates to the majority of Girtin's drawings ; and
the vast mass of evidence collected by Messrs.
Redgrave in their Dictionary of Artists of the
English School, Century of Painters and Cata
logue, and by Mr. Roget in his History of the Old
Water-colour Society, does not conclusively lead
to the identification of the pioneer in this matter.
Whoever the leader, there can be no doubt that
in this direction Turner's part was that of a fol
lower, although an infantile production of his was
among the isolated precursors of the general
movement. In this work, a view of Nuneham
Courtenay, dated 1787 (National Gallery), the
features of the landscape are depicted in heavy
masses of colour without a trace of monochromatic
foundation. And strong indeed must have been
the influence that could compel an artist who had
once hit upon this natural, simple method of tint
ing a drawing into fettering himself with the com
plicated routine of the stained manner.
The exact stages of Turner's emancipation
cannot be traced in his surviving works, but we
may presume that it was gradual and that there
was a period, whose existence is the most difficult
to determine, during which he made use of the
method of polychromatic underpainting. Two

12 PAINTINGS IN WATER COLOURS
drawings of the interior of Ely Cathedral (Nos.
31 and 35 of the following list) are of the greatest
interest in this respect, being in all probability the
two drawings exhibited in 1796 and 1797, and
illustrating his treatment of the very same subject
in two consecutive years, the most critical of the
whole period of his development. The first draw
ing (No. 31) is dominated by the blue-grey hue
which was unquestionably used by Turner for the
foundation of stained drawings before this time ;
the colour, warmer and less monotonous, of the
second (No. 35) appears to point to the employ
ment of modified greys in the preparatory stage.
The same may be said of the Norham Castle,
1798, while in other drawings of these years,
such as the Choir of Salisbury Cathedral, 1 797,
the use of even warmer tones for the purpose may
be traced. The brief duration of this transitional
period must be inferred from the appearance in
the same exhibition (1798) as the Norham Castle
of the famous Kirkstall Abbey beside which it
looks colourless and flat. In the Kirkstall and in
the Warkworth Castle of the following year, the
modern style of painting in water colours is seen
in its earliest perfection ; it is highly improbable
that the strong foregrounds of these pictures
are due to the employment of preliminary shad
ing in any way resembling that of the old
manner. The devices for enriching the shadows of a

INTRODUCTION 13
picture which thus in the hands of Girtin and
his followers precipitated the fall of the stained
manner, find their parallel in the methods in
vented by Turner, which, by endowing it with
surpassing faculties for rendering light, contributed
with not less force to the rise of the new art. It
is in sympathy with the genius of each painter
that this new art in its inception should have
received from Girtin its power in the expression
of shade and darkness, from Turner its super-
eminence in the representation of light and colour.
The innovations wrought by Turner, although
made possible by them, can scarcely be considered
among the direct results of the improvements in
the manufacture of artists' materials. They were
in fact designed to obviate a difficulty at that time
still unconquered by colour makers. Up to the
time when Turner first applied himself to the
question there were known only two modes of
rendering white objects or high-lights in a work in
water colours : either spaces of clear paper could
be reserved amid the spaces of tint, or touches of
opaque paint must be added over them. The
tendency of lead white, the only white pigment at
that time to be had, to blacken under certain
ordinary conditions formed a grave objection to
the use of the second process, yet, such was the
difficulty of obtaining a sparkling effect by the
first, that Pars, Cozens, and even upon occasion
Girtin, gave in to the employment of this

14 PAINTINGS IN WATER COLOURS
treacherous material. Turner, however, by con
triving various methods of removing, by washing
and scraping, the colour from the surface of the
paper, avoided this choice of evils.
A tradition recorded by Mr. Roget,1 whose
summary of the whole question is very complete,
ascribes to Girtin the discovery of the processes
in their simplest form ; it relates that he produced
the first wiped-out light by brushing away a drop
of water which had accidentally fallen upon his
drawing. No one, however, who possesses a fairly
wide acquaintance with Girtin's works can call for
ward many instances of his use of wiped-out lights,
although a few may be found in which, as in the
Star Cross, Devon (British Museum), he has had
recourse to opaque white pigment. While the
coarse texture and stone-coloured hue of the paper
he affected must, had the idea occurred to him,
have proved insuperable barriers to its develop
ment. An instance of wiping-out in its most primitive
form, which carries the actual origin of the idea
back to the generation before Girtin or Turner,
has recently been discovered by Mr. Lawrence
Binyon.2 It occurs in a drawing, in the British
Museum, of Mount Etna from the Grotta del
Capro, executed in 1777 by John Robert Cozens,
where the smoke of a fire has been expressed by
1 History, vol. i. p. 93.
2 Life and Works of Thomas Girtin, 1900, p. 22.

INTRODUCTION iS
the removal of the colour from the background by
violently rubbing it with a damp cloth. No other
case of the employment of any similar process has
been detected amongst the works of Cozens, and
this single instance had no more effect upon the
general progress of water-colour art than the
drawing oiNuneham by Turner, to which allusion
has already been made.
The appearance of the first drawings in which
Turner had taken advantage of the new processes
excited the admiration of the art world,1 and the
importance of the principle was at once recognized.
It is probable that he was at first able to keep
his methods secret, but various experiments were
made by other painters with the intent of obtain
ing the same effects if not by the same means.
Most of these experiments seem to have been
based upon an idea that they had been obtained
with the aid of a stopping-out varnish of some
description. By means of this, the forms of the
lights would have to be laid in upon the white
paper at an early stage of the work ; protected by
such a varnish the ground would be prevented
from absorbing any tinge of the water colours laid
over it, and, at the end, the hidden lights would
be revealed by a wash of the spirit-solvent with
which the stopping-mixture had been prepared.
This process, possibly suggested by the directly
analogous practice of aquatint engraving, at that
1 Somerset House Gazette, 193-4-

16 PAINTINGS IN WATER COLOURS
time reaching its high tide of fashion was even,
it has sometimes been maintained, in use before
any form of wiping-out. A dialogue between
Lord Warwick and An Amateur, dramatically
narrated by Pyne,1 supports this view by ascribing
the first discovery of a method for expressing
bright touches of light, without employing opaque
paint, to Francis Nicholson. It is certain that
this artist was amongst the first to perfect a
stopping-out process, but his invention cannot be
traced further back than 1 799, when he sold it to
the Society of Arts.2 The fact is, that the results
obtained by the two methods are essentially differ
ent, so that, even if the earlier discovery of the
stopping-out process could be proved, the honour
due to the originator of the wiping-out method
would in no degree be lessened. It is possible
without distorting facts to go yet further, and,
supposing it to be certain that Turner was not
the actual originator, to maintain that he was the
first to perceive the full capabilities of the principle
and to develop the various modes of carrying it
into execution. The essential superiority of the
wiping-out system is due to the fact that all lights
produced by its aid retain in a faint tincture the local
colour of the surface from which they are picked
out, whereas by stopping-out, unless the process
be indefinitely repeated, blank masses of white
1 Somerset House Gazette, i. 30.
2 Transactions of the Society of Arts, 1799, p. 295.

INTRODUCTION 17
alone are preserved. By taking advantage of this
characteristic Turner was able to obtain many
subtle effects of colour without the use of glazings,
and his drawings, especially those of the Eng
land and Wales series, contain passages where
form, modelling, and tone have all, by dexterous
wiping and scraping, been extracted from a simple
wash of colour. To this same peculiarity in their
execution is probably due the comparatively good
preservation of the tone in those of Turner's draw
ings whose colours have partially faded. While in
those of Barret, and some other painters who failed
to observe this technical refinement, the disappear
ance of the glazings that veiled the vigorously
scraped lights, has been accompanied by a certain
disturbance in the balance of light and shade.
The devices, ranging from gentle sponging to
forcible cutting away of the surface, used by Turner
to give effect to his newly discovered principle,
make their appearance one after another in his
drawings between 1796 and 1804. And the order
in which they occurred to him may be traced not
only through single dated works, but through two
series of drawings executed during this period.
Each set consists of eight drawings, views in one
case of Oxford, in the other of Salisbury Cathedral.
The first, designed for headings to the University
Almanacs, is now in the Gallery at Oxford ; the
second, made for Sir Richard Colt Hoare, Bart.,
hung formerly at Stourhead, but has now been
c

18 PAINTINGS IN WATER COLOURS
dispersed. The dates of the Oxford drawings
are fixed by the entries of payment for them in
the accounts of the University Press, those of the
Salisbury drawings in some cases by inscriptions
upon them, in others by their appearance in the
catalogues of the Academy exhibitions.
The date of the very earliest drawing in either
series, the Oriel College, is alone difficult to de
termine. It was paid for in 1799, but upon in
ternal evidence may well have been executed as
much as three years earlier ; the handling is, indeed,
in Turner's earliest manner excepting in the tran
soms of the windows where there are lights that
have been obtained by damping and wiping out
with rag or bread-crumb. It is doubtless possible
that these touches may have been added when the
drawing was about to pass into the possession of
the University, but convincing testimony that the
first idea of wiping out lights occurred to Turner
about the year 1 796 is to be derived from the two
drawings of Ely Cathedral mentioned not long
since. The earlier of these was exhibited in that
year, and all the lights in it appear to have been
left from the beginning in the old manner ; the
second, exhibited in 1797, is in respect to com
position a duplicate of the first, but among other
technical advances shows, upon the ribs of the
vaulting, some touches that have been wiped out.
More extensive use of the same process is discern
ible in the Choir of Salisbury Cathedral {No. 34 in

INTRODUCTION 19
the following list), belonging to the Stourhead set,
exhibited at the same time. The simpler device
of dry scraping with a knife is to be detected in
the Lincoln Cathedral, exhibited in 1 795 (British
Museum), where, however, it is used in two places
in the foreground only. It is used with great
freedom and complete comprehension of its effect
in the Kirkstall Abbey, exhibited in 1798, and now
in Sir John Soane's Museum. The effects of
sponging are visible in the Warkworth Castle
(Victoria and Albert Museum, 547), which ap
peared at the Academy in the following year.
The furthest development of" the system is
found in the use of a blunt point to mould, as it
were, a heavy wash of colour in its wet state.
With the discovery of this, the number of simple
processes for obtaining lights in a work in pure
water colours became incapable of extension.
Even in its simplest form this device is not to be
detected in any drawings earlier than those made
by Turner after his first Swiss journey in 1802.
The fruits of this journey show in the direction of
technique, as in others, a vastly increased range of
genius ; amongst them the great Swiss landscapes
of the Farnley Hall collection hold the first place.
It is true that most of them were not exhibited
until 181 5, but there is good authority for suppos
ing that many of them were painted above ten
years earlier. And while the readings of the
dates upon some are matters of dispute, it cannot

20 PAINTINGS IN WATER COLOURS
be said that any show advances in workmanship
beyond that of drawings incontestably belonging
to the year 1803. The technical peculiarities
which they possess have been learnedlycommented
upon by Mr. Samuel Redgrave in describing a
replica of one of them, the Battle of Fort Rock, in
the National Gallery.1 "It combines," he says,
" lights wiped out of the local colour in the sky,
and sharply and decisively on the trees in the
foreground ; others scraped out with a blunt instru
ment whilst the full lay of local colour is in a wet
state, as in the moss on the wall, and part of the
fir trees on the bank on the right ; lights scratched
out, as in one of the waterfalls ; others cut sharp
and clear with a knife from the white paper, as in
the housings of the mules on the mountain road ;
together with a large amount of surface washing,
to give texture and air." The same remarks are
equally applicable to the workmanship of the
Tivoli (exhibited 1818), and the Stourhead (1825),
but a much slighter treatment is noticeable in the
two last drawings sent (1829 and 1830) by Turner
to the Academy exhibition. In several respects
these pictures stand alone ; the subjects of both
are moments of dramatic interest in the painter's
own life; in both the foreground lies buried in
deep snow; and in both Turner's characteristic
method is displayed upon a scale larger than he
1 Catalogue of the Water-Colour Paintings in the Victoria
and Albert Museum. Introduction, p. 16.

INTRODUCTION 21
had for some years adopted for any but pictures
in oil.
Having thus described the technical equipment
inherited by Turner as a water-colour painter,
and the amplification it received at his hands up
to the time when he ceased to exhibit works in
this medium, it is now not inopportune to recall
briefly the artistic forces that influenced him during
these the first forty years of his life. The taste
and judgment of Dr. Munro doubtless, as Ruskin
pointed out, contributed more than any other force
to the formation of Turner's style, and it is un
fortunate that we are not able in his case, as
we are in that of Girtin, to tell whose works he
was encouraged by his early patron to study.1
The formal instruction he received from Thomas
Malton also left its mark upon Turner's method
of work ; the study of the master's bold style with
its echoes of Canaletto and Guardi, as displayed
in the Views of London (1792), is indeed con
stantly reflected in the architectural drawings that
built up the reputation of the pupil. Side by side
with it is seen the influence of Michael Rooker,
its force due to the fact that Turner was called
upon while still young and unknown to carry on
the tradition of this artist in designs for the
Oxford Almanac. When it is considered that
Rooker and his father had, largely upon the
strength of these very Almanacs, achieved as
1 Thornbury, p. 58.

22 PAINTINGS IN WATER COLOURS
draughtsmen and engravers of architectural sub
jects, fame only equalled by that of the two
Piranesi, it is not to be wondered at that Turner
should have moulded his style upon such distin
guished predecessors.
Yet another draughtsman, the study of whose
style left a strong impression upon Turner, was
Thomas Hearne, whose great series of views of
the Antiquities of Great Britain attracted public
attention for some years, the first of the drawings
having been made in 1771, while the last of the
engravings from them, by John Byrne, did not
appear until 1806. At some time during the
progress of the work, exactly when seems to be
uncertain, fifty-two of the drawings were exhibited
in the Gallery in Spring Gardens, where Turner
may well have seen them. Considerable interest
is attached to them in that they are the earliest
English landscapes, showing an attempt to add
interest to topography by laying stress upon
effects of weather. The storm in the Saint
Mary's Abbey, York, the rolling clouds in the
Peel Castle, and the delicate breaking sunlight in
the Stonekenge are striking instances of this. The
series also displays, here and there, original ideas
in composition, such as the use of tree tops for a
foreground in the Gloucester, an artifice adopted
by Turner upon more than one occasion.
Perhaps the influence whose force with Turner
is most difficult to estimate is that of Girtin. It

INTRODUCTION 23
was not of long duration, but it bore both upon
the artistic and technical aspects of Turner's work
and that at a most critical period of its growth.
Girtin's share in the founding of modern water-
colour art has already been noticed, and it is only
necessary to recall that, while Turner eagerly
took advantage of his friend's inventions, no cor
responding appreciation of Turner's artifices is
shown in the work of Girtin. The characters of
their styles, differed more widely with each year
up to the time of Girtin's death, and it is not,
perhaps, too hazardous to conjecture that his later
manner, had he lived to develop it, would have
run in lines more nearly parallel to those of De
Wint than to those of Turner. That Turner
always cherished a great admiration for his early
friend is curiously shown by his occasional adop
tion of Girtin's point of view for a subject ; the
Totnes, in the Rivers of England, and the Richmond
from the Swale, in the England and Wales series,
for instance, are taken directly from Girtin's views
of the same places in the Copper-Plate Magazine.
Turner was doubtless conscious that he had
occupied the foremost place amongst the origin
ators of painting in water colours, and far out
stripped any competitors in its practice. For this
reason he did not devote himself, as he did in oil-
painting, to challenging his forerunners and con
temporaries in a series of imitative pictures. To
this the Flounde-rfisMng and the Chickens, in the

24 PAINTINGS IN WATER COLOURS
Farnley Hall collection, are exceptions ; they
appear to have been painted in emulation of
Cristall, Heaphy, and some other artists whose
fish-markets and rustic subjects had attracted the
attention of fashion about 1809. In other respects
the subjects of the drawings exhibited by Turner
in the Academy, show considerable independence
of precedent, and display his genius in certain
classes of subjects to whose illustration he rarely
turned during the same years as a painter in oils,
or in after life in either medium. In them alone
can he be appreciated as an architectural painter — a
field where he has only been excelled by Canaletto
and Guardi at their best. In them alone is re
vealed his first impression of the Alps, an impres
sion which (as the spectator standing in the
saloon at Farnley Hall realizes), must have been
the deepest emotion of his life. And, although
he never exhibited a picture of still-life, his pre
eminence in this branch of art is made manifest
in his earlier water-colour paintings alone. The
drawings in the Farnley Hall Book of Birds, as
well as other scattered examples, have only been
surpassed by Diirer and Rembrandt in such re
nowned masterpieces as the Hare at Vienna or
the Bittern at Dresden.

1790-1791 2g

i View of the Archbishop's palace, Lambeth.
The Palace with Westminster Bridge beyond ;
in front is an inn, over its roof is seen the Lollard's
Tower, on the extreme left low buildings and a
tree ; several figures, one a man in a red coat
walking along the middle of the street ; blue sky
with clouds. 10 X 144.
R.A. 1790, No. 644. Collection: Mrs.
Gourtauld, O.M. 1887, No. 3.
Rodd's catalogue of Turner's works (published
by Boone, 1857), describes drawings of Dover
and Wanstead exhibited in 1787 as the earliest
sent by J. M. W. Turner to the Academy. This
error has been supported by Hamerton (p. 28)
and others, but Thornbury's opinion that the
Lambeth was really the first work exhibited by
J. M. W. Turner is now generally accepted as
correct. He states (p. 23) that the present
drawing belonged in his day to Miss Dart of
Bristol.
2 King John's palace, Eltham.
R.A. 1791, No. 494. Collection: Sir
William Drake; sale 1891, £\o 10s.
(Hooper).
3 s weakley near uxbridge, the seat of the
Rev". Mr. Clarke.
R.A. 1791, No. 560.
4 Malmsbury Abbey.
Interior of the ruins of the nave ; in the middle
a man and a dog ; pigs in the foreground. Signed,
W. Turner, del t. 21x14!;.

26 PAINTINGS IN WATER COLOURS
R.A. 1792, No. 436. Collections : [Mrs.
Cooper, A. T. M. 1857, No. 269 (?),]
possession of Messrs. Agnew, 1899.
5 The Pantheon — the morning after the fire.
Ruins of a brick building ; part of a wall with
a window above and an arched doorway below ;
in the foreground two figures. 1 1| x g\.
R.A. 1792, No. 472. Collection: P. C.
Hardwick, Esq., O.M. 1887, No. 7.
Thornbury, p. 534.

6 View on the'river Avon, near St. Vincent's
rock, Bristol.
R.A. 1793, No. 263. [Collection: Hus-
kisson; sale 1864, £$1 iay. (?).]
This, with Nos. 30 and Sgpost, sold at the same
time, appears among "pictures," in distinction to
" drawings " in the sale catalogue. It was hung
in the ante-room at the Academy with the " Young
Artists" and other well-known pastel pictures by
John Russell, R.A., and a work by M. A. Rooker,
which was presumably in water colours. There
is good reason to suppose that the Millbank of
1797 was Turner's first exhibited oil picture.
It would be rash to identify this drawing, or
No. 8 post, with either of those of the same
neighbourhood now in the National Gallery.
Turner doubtless executed many of the same
class about this time, during the visits he is said
to have paid to Mr. Narraway, an old friend of
his father, who lived at Bristol. (Thornbury,
pp. 23, 24.)

1792- i 794 27
7 Gate of St. Augustine's monastery, Can
terbury. 20 J x 16.
R.A. 1793, No. 316. Collections: Sir
William Tite, O.M. 1873, No. 384;
sale 1874, ^"158 1 1^. (Durlacher). Mrs.
Berthon; sale 1891, £19 19$. (Nathan).
8 The rising squall — hot wells from St.
Vincent's rock, Bristol.
R.A. 1793, No. 323.
Messrs. Redgrave, in their Dictionary of Artists
of the English School describe this as an oil-
picture ; they correct the statement in their Cen
tury of Painters of the English School.
9 Second fall of the river Monach, Devil's
Bridge, Cardiganshire.
R.A. 1794, No. 333.
10 Porch of Great Malvern Abbey, Wor
cestershire. R.A. 1794, No. 336. Collections: [R.
Chambers, Esq.; sale 1859, ^21 (Gam-
bart). J. Smith, Esq. ; sale 1870, ^"56
145. (Agnew). Sale, July 2nd, 1888
(Lord Beauchamp) (?).]
The drawing sold in 1888 was one of a pair of
views of Malvern, upon one of which the follow
ing note, copied in the catalogue, was written :
" I purchased this and another, of a carver and
gilder in London about the year 1794, who told
me he had them of a young artist in payment of
some picture frames. T. Norris, Hughenden
Manor, Bucks."

28 PAINTINGS IN WATER COLOURS
n Christchurch Gate, Canterbury.
[View of the south side of the gate seen directly
in front; houses at either side, iof-X lOf (?).]
R.A. 1794, No. 388. Collections : [John
Ruskin, Esq., Fitzwilliam Museum,
Cambridge, 1861 (?).]
12 Inside of Tintern Abbey, Monmouthshire.
In the middle of the picture the great arches
of the crossing, the choir seen in perspective
beyond with the East window in the distance to
right ; to left, the transept ; the foreground en
cumbered with masses of fallen stone, two men
to left. Signed, Turner. 1 %\ x o\.
R.A. 1 794, No. 402. Collections : William
Smith, Esq.; V.A.M. 1871, No. 1683-71.
13 St. Anselm's chapel with part of Thomas
A Becket's crown — Canterbury Cathe
dral. South-eastern angle of the Cathedral ; in the
foreground a cart drawn by two horses, a man
seated on the leading horse, two other figures and
dogs ; blue sky with clouds. Signed and dated,
Turner, 1793. 2C£xi4f.
R.A. 1794, No. 408. Collections: Dr.
Monro; sale 1833,^12 \2s. (J. M. W.
Turner?) J. E. Taylor, Esq., O.M. 1887,
No. 19.
14 St. Hugh's, the Burgundian's porch at
Lincoln Cathedral.
R.A. 1795, No. 411. Collection: R.
Clutterbuck, Esq. Cooke's Exhibition

i 794-1 795 29
(see Appendix), 1824, No. 136. A.T.M.
1857, No. 303.
15 Marford mill, Wrexham, Denbighshire.
[View of the mill with the mill-stream in the
foreground and trees on the right ; at an open
window to left is seen a man letting down a
bucket ; blue sky with clouds. Signed, Turner.
9iX7(?>] R.A. 1795, No. 581. Collections: [J. E.
Taylor, Esq., O.M. 1887, No. 15. Whit-
worth Institute, Manchester, Guildhall,
1899, No. 101 (?).]
16 West entrance of Peterborough cathedral.
R.A. 1795, No. 585.
17 Transept of Tintern Abbey, Monmouth
shire. View looking down the transept ; in the dis
tance a group of four figures ; in the foreground
a wheelbarrow. 13-trX 10.
R.A. 1795, No. 589. Collections: [Miss
Miller, A.T.M. 1857, No. 297 (?).] J.
E. Taylor, Esq., O.M. 1887, No. 26.
18 Welsh Bridge, at Shrewsbury.
R.A. 1795, No. 593. Collection : [J. T.
Gibson-Craig, Esq.; sale 1887, £$\ \os.
(Watson) (?).]
19 View near the Devil's bridge, with the
river Ryddol, Cardiganshire.
R.A. 1795, No. 609.

30 PAINTINGS IN WATER COLOURS
20 Choir in King's College Chapel, Cambridge.
R.A. 1795, No. 616.
A drawing of this chapel is mentioned in
Turner's catalogue of his own gallery, 1809,
No. 1 8. This catalogue, which enumerates eighteen
pictures, has been printed by Wornum in the In
troduction to the Turner Gallery (p. xi).
21 Cathedral church at Lincoln.
View from the West looking across Bailgate,
with houses on either side, towards the Exchequer
Gateway, which stretches across the picture in the
middle distance ; above it rise the towers of the
cathedral, the western ones crowned with their
ancient spires ; a stage coach is passing under
the great arch of the gateway ; carts and numer
ous figures in the street ; blue sky with clouds.
l7\ * r3i- Signed and dated, W. Turner, 1795.
R.A. 1795, No. 621. Collection : British
Museum.
Engraved in the English Illustrated Magazine,
vol. v. p. 420.
22 Fishermen at sea.
R.A. 1796, No. 305.
The Companion to* the Exhibition, 1796 (quoted
by Cunningham, Turner and his Works, 1852,
p. 21), gives the following account of this picture :
" As a sea-piece this picture is effective. But
the light on the sea is too far extended. The
colouring is however natural and masterly ; and
the figures, by not being more distinct and de
termined, give the obscure perception of objects,
dimly seen through the gloom of night, partially
illumed."

I795-I796" 3i
23 Close Gate, Salisbury.
R.A. 1796, No. 369.
24 St. Erasmus in Bishop Islip's Chapel,
Westminster Abbey.
R.A. 1796, No. 395. Collections: Edward
first Earl of Harewood ; sale 1858, ,£109
(Colonel Pennant). John Dillon, Esq. ;
sale 1869, ^178 iay. (Agnew). John
Heugh, Esq.; sale 1874,^488 55-. (bt. in);
sale 1877, ^231 (Vokins).
It is in this drawing that the date of Turner's
birth is inscribed upon a gravestone in the fore
ground (Thornbury, p. 2).
25 Woolverhampton, Staffordshire.
R.A. 1796, No. 651.
26 Landilo Bridge and Dinevor Castle.
R.A. 1796, No. 656.
27 Internal of a cottage, a study at Ely.
R.A. 1796, No. 686.
28 Chale Farm, Isle of Wight.
R.A. 1796, No. 699.
29 Landaff Cathedral, South Wales.
R.A. 1796, No. 701.
30 Remains of Waltham Abbey, Essex.
R.A. 1796, No. 702. Collection: Hus-
kisson ; sale 1864, ^141 15s. (bt. in).
Redford describes this as an oil-picture, and the

32 PAINTINGS IN WATER COLOURS
price, a large one under the circumstances, goes
to support this opinion. See No. 6 ante.
31 Trancept and Choir of Ely Minster.
View of the interior of the Octagon looking to
wards the North-east; in front of the organ-screen,
pews filled with figures listening to a preacher who
is seen on the right. 26 x 20.
R.A. 1796, No. 711. Collections: [R.
Chambers, Esq.; sale 1859, £\\ \\s.
(Warburg) (?).] R. Durning Holt, Esq.,
Birmingham 1899, No. 29.
See No. impost.
32 West front of Bath Abbey.
View of the West front of the Abbey, with
houses against the North side of it ; in front of
the door two porters with a sedan chair, four
women in the street, one of them talking to a
child in the window of a house on the right ; blue
sky. Signed, " W. Turner." 91 x 1 1.
R.A. 1796, No. 715. Collection: Rev.
C. F. Mayo, O.M. 1887, No. 30; sale
1893, .£69 6s. (Hurrell). Sale 1894,
^57 1 5 j. (Mash).
An oil picture of this subject in the collection
of Mr. R. Hall McCormick, of Chicago, is en
graved in Wedmore's Turner and Ruskin.
33 Trancept of Ewenny Priory, Glamorgan
shire.
Interior of the building ; a rood-screen crosses
the principal arch on the left ; to right is a tomb
with a recumbent effigy ; a woman standing near

i 796- i 797 33
an open door through which the sunlight enters ;
pigs and poultry feeding on the floor; in the
foreground a coop, i Si X 22.
R.A. 1797, No. 427. Collections: John
Dillon, Esq.; sale 1869, .£106 is.
(Agnew). Dr. John Percy, O. M. 1887,
No. 32; sale 1890, .£22. James Pyke
Thompson, Esq. Corporation Art
Gallery, Cardiff.
34 Choir of Salisbury Cathedral.
Interior, looking Eastward ; the chantry of
Bishop Audley conspicuous on the left ; Com
munion Service being celebrated at the altar.
Signed and dated, Turner 1797. 254. x 19I-.
R.A. 1797, No. 450. Collections: Sir
Richard Colt Hoare, Bart., and his de
scendants; sale 1883,^136 \os. (Gibbs).
Watson Fothergill, Esq., O. M. 1887,
No. 37, Guildhall, 1899, No. 109.
Engraved in Wedmore's Turner and Ruskin.
This appears to be the first of the five drawings
belonging to the series of views of Salisbury
Cathedral, commissioned by Sir R. Colt Hoare,
which Turner exhibited in the Academy, the
others are Nos. 36, 45, 46, and 59 post. The
complete series, consisting of eight drawings,
hung at Stourhead until dispersed at Christie's in
1883.
35 Ely Cathedral, South Trancept.
Interior of the Octagon looking towards the
North-east ; in front of the organ-screen pews
filled with figures listening to a preacher who is
seen on the right. 25 x 19^.
D

34 PAINTINGS IN WATER COLOURS
R.A. 1797, No. 464. Collections: James
Yorke, D.D., Bishop of Ely and his
heirs; sale 1875, j£252 (Agnew). Mrs.
Stephen Winkworth, O.M., 1887, No. 36.
See No. 31 ante.
36 North porch of Salisbury Cathedral.
View of the porch with a funeral procession.
R.A. 1797, No. 517. Collection: Sir
Richard Colt Hoare, Bart., and his
descendants; sale 1883, ^136 10s.
37 Refectory of Kirkstall Abbey, Yorkshire.
Interior of the ruin of a Norman building ; the
vaulted roof is supported by two pillars, the nearer
one rises from a pool of water, around the further
one are grouped some cattle ; river and landscape
seen through two openings in the further wall.
Signed, J. M. W. Turner. 17^ X 254.
R.A. 1798, No. 346. Collection: Sir
John Soane's Museum.
Engraved by John Scott for Britton's Archi
tectural Antiquities, published May 1, 1814.
Also with variations in Liber Studiorum, R. 39.
38 Norham Castle on the Tweed, Summer's
morn.
{Quotation from Thomson!)
View, looking along the river towards the
ruined castle which stands on a height in the
middle distance ; rocky banks on either side ; a
boat sailing near the castle; in the foreground
three cows in the water, others on the bank to
right, on the left a mill and a boat drawn up on

i 797- i 798 35
the bank, with figures near it ; sun rising behind
the castle. Signed, Turner. i9^X2y^.
R.A. 1798, No. 353. Collections: Ed
ward, first Earl of Harewood; sale 1858,
^109 (Colnaghi). John Dillon, Esq.; sale
1 869, ;£ 5 2 5 ( Agnew). Daniel Thwaites,
Esq., O.M. 1887, No. 38. Laundy
Walters, Esq., Guildhall, 1899, No. 118.
Engraved, with variations, in Liber Studiorum
(R. 57), the point of view in the print being
in the middle of the river, while in this drawing
it is on the bank to the right.
This, the first of several drawings of Norham
by Turner, is connected with the anecdote given
by Thornbury (p. 139). Hamerton (p. 198) is
mistaken in attaching the story to the drawing
belonging to the Rivers of England series. See
also Roget, History of the Old Water-Colour
Society, i. 121.
39 Holy Island cathedral, Northumberland.
R.A. 1798, No. 404. Collection: [Mrs.
Moss; sale, 1873,^79 16s. (Hughes)(?).]
[Interior of the ruins, the Romanesque arcades
stretch right across the picture in three ranks
one behind the other, and beyond the furthest the
aisle wall is seen ; in the foreground to right a
hovel built against a massive wall ; a man
amongst the pillars in the middle distance,
another approaching through a door in the
further wall.
Engraved in Liber Studiorum, R. 1 1 (?).] f
This, together with the two following works,
hung in the Council Room of the Academy
which seems to have been devoted at this time
to the exhibition of water-colour drawings. See
Roget, i. 130-13 1, note.

36 PAINTINGS IN WATER COLOURS
40 Ambleside mill, Westmoreland.
R.A. 1798, No. 408.
41 The dormitory and trancept of Fountains
Abbey ; Evening.
{Quotation from Thomson.)
The south end of the great cloister, where it is
carried on arches across the river Skell, seen
against the sunset sky ; other portions of the
ruins to right and left ; in the foreground, plants
growing in the stream. 18 X 24.
R.A. 1798, No. 435. Collection: W.
Ward, Esq., Guildhall, 1899, No. 87.
Engraved by J. Basire in Whitaker's History
and Antiquities of Craven published 1805.
This drawing has been varnished.
42 A study in September of the fern-
house, Mr. Lock's Park, Mickleham,
Surry. R.A. 1798, No. 640.
This work was hung in the Antique Academy.
It is not specified as a drawing in the catalogue,
as are several other works in the same room.
43 Sunny Morning — the cattle by S. Gilpin,
R.A.
R.A. 1799, No. 325.
This work, with the six following, was hung
in the Council Room. See No. 39 ante.

i 798- i 799 37
44 Abergavenny bridge, Monmouthshire,
clearing up after a showery day.
View looking along the river Usk towards the
bridge which crosses it in a long level line in the
middle of the picture ; beyond is seen the smoke
of a town lying in the valley ; in the distance
and at either side are mountains ; in the fore
ground three cows standing in the river, others
upon the bank to left. Afternoon sky with heavy
cumulus clouds at either side, rays of sunlight
from above illuminating the distance. 16x25.
R.A., 1799, No. 326. Collections: R.
Chambers, Esq. ; sale 1859, .£25 (Gam-
bart). J. Burnett, Esq.; sale 1876,
^52 10s. (Heugh). Henry Vaughan,
Esq., O.M. 1887, No. 40. V.A.M. 1900.
Thornbury (p. 611) appears to identify this
drawing with one in the collection of Mr. John
Allnutt, A.T.M. 1857, No. 308; sale 1863,
£402 $s. (Lord Ashburton).
45 Inside of the chapter house of Salisbury
cathedral. View across the Chapter House, the entrance
seen on the further side, the central pillar a little
to its left ; a group of boys lying on the floor
at its base ; the cloisters seen in the distance
through the open door. 25 X 20.
R.A. 1799, No. 327. Collections: Sir
Richard Colt Hoare, Bart., and his
descendants; sale 1883, .£252 (Agnew).
Whitworth Institute, Manchester, Guild
hall, 1899, No. 105.
See No. 34 ante.

38 PAINTINGS IN WATER COLOURS
46 West Front of Salisbury Cathedral.
R.A. 1799, No. 335. Collections: Sir
Richard Colt Hoare, Bart., and his
descendants; sale 1883, ^168 (Gibbs).
See No. 34 ante.
47 Caernarvon Castle.
{Quotation from Mallet!)
[View across the Menai Straits towards the
Isle of Anglesea ; on the right the Castle rising
from thewater's edge with numerous boats moored
beneath thewalls ; two largervessels nearthe oppo
site bank and two barges in the left foreground ;
sunset sky. Signed, Turner. 224- x 32-^ (?).]
R.A. 1799, No. 340. [Collection : Daniel
Thwaites, Esq., O.M. 1887, No. 39 (?).]
It is uncertain whether the drawing described
above is, as the O.M. catalogue makes out, that
exhibited in 1799, or the drawing of the same
subject exhibited in 1800 (No. 52 post). The
quotation makes it clear that the present work
represented a sunset effect.
48 Morning, from Dr. Langhorne's " Visions of
Fancy."
{Quotation)
R.A. 1799, No. 356.
See No. 43 ante.
49 Warkworth Castle, Northumberland —
thunder storm approaching at sun-set.
{Quotation from Thomson.)
On the left the river Coquet flowing towards

I799-i8oo 39
the spectator at the foot of a steep bank which
rising on the right is crowned by the Castle
and some houses ; to left the church spire stands
out against blue undulating distance ; in the fore
ground two boats with men drawing nets ; evening
sky with masses of rolling clouds behind the Castle.
15^x29.
R.A. 1799, No. 434. Collections: J. Elli
son, Esq. V.A.M. i860, No. 547.
Engraved by T. Lupton in the Rivers of Eng
land. Replica (?) 144. x 20. Collection of John Dillon
Esq. ; sale 1869, £110 (Agnew).
One of these drawings, then in the possession
of Hurst, Robinson and Co., was exhibited in
Cooke's Exhibition, 1824, No. I04(see Appendix).
50 View of the Gothic Abbey (afternoon)
now building at fonthill, the seat of
William Beckford, Esq.
View across a lake towards wooded hills on
the summit of which is seen the tower of the
Abbey ; in the foreground cottages, men and
women harvesting, and on the right cattle near
a ford ; sunny afternoon. 2j\y.^\\.
R.A. 1800, No. 328. Collection: Sir
Charles Tennant, Bart, O.M. 1887,
No. 42.
This drawing and the four others of Fonthill
at different times of the day, Nos. 51, 53, 54 and
5 5 post, are said to have been made for Mr.
Beckford. The set was long ago broken up and
individual drawings have occasionally come into
the market, but it is almost impossible to identify
them from sale catalogues. An attempt, however,

40 PAINTINGS IN WATER COLOURS
has here been made to do so in certain instances,
but the following three records are too vague to
fit into the pedigrees of any particular drawings.
View of Fonthill, collection of John Heugh, Esq. ;
sale 1874, £735 (Agnew). Another (28x42),
collection of C. J. Pooley, Esq. ; sale 1 880,
£525 (Agnew). Another (28x41), collection of
H. W. F. Bolckow, Esq. ; sale 1891, £299. One
of the series (23 x 33) is in the collection of Ralph
Brocklebank, Esq.
51 South-west view of a Gothic Abbey (Morn
ing) now building at Fonthill, the seat
of W. Beckford Esq.
R.A. 1800, No. 341. Collection: John
Allnutt, Esq. ; sale 1863, ^273 (Webb).
52 Caernarvon castle, North Wales.
{Quotation!)
R.A. 1800, No. 351.
See No. 47 ante.
53 South view of the Gothic Abbey (Evening)
now building at Fonthill, the seat of
W. Beckford Esq.
R.A. 1800, No. 566. Collection: John
Allnutt, Esq. ; sale 1863, ,£105 (Cox).
54 East view of the Gothic Abbey (Noon) now
building at Fonthill, the seat of W.
Beckford, Esq.
R.A. 1800, No. 663.

1800-1801 41
55 North East view of the Gothic Abbey
(sun-set) now building at Fonthill, the
seat of W. Beckford, Esq.
R.A. 1800, No. 680.
56 London, Autumnal morning.
View from the top of a wooded mount ; a clump
of trees to left, and cattle in the foreground ; in
the middle distance meadows through which the
river flows right across the picture ; in the dis
tance the city, St. Paul's and Westminster Abbey
near together in the middle of the composition ;
hazy grey sky. 23! x 39.
R.A. 1801, No. 329. [Cooke's Exhibi
tion, 1824, No. 9 (?) (see Appendix).]
Collections : W. Wilson, Esq., A.T.M.
1857, No. 308A. G. R. Burnett, Esq. ;
sale, i860, ^315. C. F. Huth, Esq.;
sale 1895, ^367 10s. (Agnew). Miss
James ; sale 1891,^168. Ralph Brockle-
bank, Esq., Guildhall, 1899, No. 97.
Engraved in Wedmore's Turner and Ruskin.
57 Pembroke castle, South Wales : thunder
storm approaching.
View across an inlet of Milford Haven, rough
water with strong breeze blowing from the right ;
in the middle distance, to left, some vessels, three
under sail, one flying a white flag, off the point
upon which the castle stands, in the middle of
the picture the gatehouse of the castle, to right
the keep and two boats ; in the foreground a
stretch of wet sand, to left some timber, an
anchor, and some gulls, in the middle two men
kneeling sorting fish, to right the stern of a boat,
drawn up on the sand with fish and nets ; stormy

42 PAINTINGS IN WATER COLOURS
sky, to right a straight beam of sunlight illumi
nating the distance. 26f: x 41 .
R.A. 1801, No. 343. Collection: Ralph
Brocklebank, Esq.
Engraved in Wedmore's Turner and Ruskin.
58 St. Donat's castle, South Wales. Summer
evening. R.A. 1801, N0.358. Collection: Thomas
Ashton, Esq., A.T.M. 1857, No. 306.
59 Chapter-house, Salisbury.
Interior of the Chapter House seen from the
vestibule, the great doorway appearing in the
foreground ; figures at the foot of the central
pillar.
R.A. 1801, No. 415. Collections: Sir
Richard Colt Hoare, Bart., and his de
scendants ; sale 1883, ^"no 5s. V.A.M.,
No. 503-83.
60 The fall of the Clyde, Lanarkshire. Noon
— vide Akenside's Hymn to the Naiads.
In the centre of the picture the falls in two
divisions ; the water plunges into a basin out of
which it issues in a rapid stream flowing among
rocks towards the right-hand corner ; to left are
five figures undressing ; to right of the upper fall
is a ruin ; trees cover the surrounding rocks ; even
ing sky. 281x41.
R.A. 1802, No. 366. Collections: in that
of the painter in 1809. John Heugh, Esq.
Henry Vaughan, Esq., International Ex-

1801-1802 43
hibition, 1862, No. 1014. William Leech,
Esq.; sale 1887, ^1,470. (Agnew). R.
Durning Holt, Esq., O.M. 1889, No. 12,
Guildhall, 1899, No. 125.
Engraved with variations in Liber Studiorum,
R. 18.
An oil-picture of this subject is mentioned by
Redford as having been sold at the Prater sale,
1 87 1, for £375, to Sir H. Campbell, and at his sale,
1874, for £364 1 or. to Messrs. Agnew. Another
(35*47) m the painter's later style, passed
through the collections of Mrs. Booth ; sale 1 864
(Vokins), William Houldsworth, Esq. ; sale 1891,
£304 \os. (Agnew), Joseph Ruston, Esq. ; sale,
1898, £924 (Wallis), into that of H. C. Frick,
Esq., of Pittsburg, Pennsylvania.
61 Kilchern castle, with the Cruchan Ben
mountains, Scotland, Noon.
View across Loch Awe with the Castle on a
promontory in the middle distance; Ben Cruachan
to right, its summit covered with snow ; a rain
bow spans the landscape ; in the foreground two
women lying down and some goats ; mountains
in the distance. 2 1 x 30^.
R.A. 1802, No. 377. Collections: G. R.
Burnett, Esq. ; sale i860, ^367 iay.
(Flatou). Abel Buckley, Esq., O.M.
1887, No. 44.
62 Edinburgh New Town, castle, etc., from
the Water of Leith.
A. In the foreground a stream with cattle com
ing to drink to left, to right some men, and a
woman washing clothing ; trees on the bank at
either side ; in the middle at some distance is the

44 PAINTINGS IN WATER COLOURS
Castle rising beyond the houses of the New
Town; Calton Hill in the extreme distance to
left. 26 x 39.
B. View from the West ; a stream in which
cattle are wading, in the foreground, is overhung
by large trees occupying the left of the picture ;
in the middle distance above the woods, are seen
the Castle and part of the town with steeples, etc. ;
beyond are Calton Hill and Arthur's Seat ; in the
distance the plain extending along the Forth ;
white clouds lit by the afternoon sun. 25^ x 38^.
A. R.A. 1802, No. 424 (?). Collections :
.... sale (by order of the Court of
Chancery — Evans &. Heath), 1852,^2 10.
(bt. in.) John Heugh, Esq. ; sale 1874,
,£1,155 (Agnew). H. W. F. Bolckow,
Esq., O.M. 1887, No. 43; sale 1891,
,£913 10*.
B. R.A. 1802, No. 424 (?). Collections :
Sir John Fowler, Bart, O.M. 1889,
No. 14 ; sale 1899, £"1,050 (Agnew).
Besides these two, and No. 66 post, yet an
other large drawing of Edinburgh (24^ x 37-i)
exists. It was in the collection of Mr. William
Houldsworth; sale 1891,^73 ioj. (Duncan); sale
1896, .£84 (Colnaghi).
63 Ben Lomond Mountains, Scotland : the
Traveller. — Vide Ossian's "War of
Caros."
R.A. 1802, No. 862. .
This work was exhibited in the Library of the
Academy along with oil pictures, engravings,
miniatures, enamels and even a model of a ship

1802-1803 45
in ivory. It is difficult, therefore, upon these
grounds to conjecture in which medium it was
executed, but it does not seem probable that an
oil picture by an Academician would have found
itself in such mixed company.
A contemporary critic, quoted by Burnet
and Cunningham (p. 23), notices " the wild
Ossianic effect so suitable to such a subject."
64 Saint Huges denouncing vengeance on the
shepherd of Cormayer, in the valley
of d'Aoust.
A mountain valley with snowy peaks rising on
all sides ; thunderstorm breaking on the heights
to right ; in the middle distance a town ; in the
foreground to left a Calvary, and a pool near
which is a flock of sheep, in the middle of the
picture the saint, in a monk's habit, with his back
towards the spectator, before him kneels the
shepherd, on the right a woman washing clothes
at a tank. Signed, J. M. W. Turner. 26^ x 39-^.
R.A. 1803, No. 384. Collection: Sir
John Soane's Museum.
65 Glacier and source of the Arveron, going
up to the Mer de Glace.
View from a height overlooking the Valley of
Chamonix which is seen on the left ; in the middle
distance the Glacier running down towards the
left ; upon the heights above a storm is breaking ;
in the foreground to left the shattered stems of
three pine trees at the foot of which are two goats
and a man, two other goats to right. 27 x 40.
R.A. 1803, No. 396. Collection: Walter
Fawkes, of Farnley Hall, Esq., and his
descendants, Leeds Exhibition, 1839,
No. 61 (see Appendix).

46 PAINTINGS .IN WATER COLOURS
66 Edinburgh from Caulton Hill.
View from a height ; in the middle distance to
left, over the roofs of houses, is seen the bridge and
above it the Castle, to right on a rocky height
dancing figures and pipers ; in the foreground to
right a pool from which cattle are drinking, to
left a woman milking a cow, a Highlandman
with a cart, and other figures ; stormy sky, the
sun among clouds at the top of the picture.
25x381.
R.A. 1804, No. 373. Collection: The
Artist, N.G.
Redford mentions an oil picture of this subject,
sold in 1853 for £31 ioj. by E. S. Ellis, bought
by Gambart.
67 Pembroke castle ; Clearing up of a thunder
storm.
View across an inlet of Milford Haven, rough
water, strong breeze blowing from the right ; in
the middle to left four vessels under sail off the
point upon which the castle stands, in the middle
of the picture the keep of the castle seen above
the gatehouse, to right an abrupt wooded height,
in front of it a single fishing boat ; in the fore
ground a stretch of wet sand, to left some timber
and an anchor, in the middle fish lying on the
ground, to right four figures sorting fish under
the lee of two fishing boats drawn up on the
shore ; stormy sky, through a break in the clouds
in the middle of the picture sunlight falls on the
castle.
R.A. 1 806, No. 394. Collections: Edward
first Earl of Harewood, and his descend
ants ; sale 1858, ,£210 (Mr. Miller, of
Preston). William Pitt Miller, Esq.,
O.M. 1889, N0.4, Guildhall 1899, No. 1 14.

1804-1811 47
68 Windsor Park; with horses by the late
Sawrey Gilpin, Esqre. R.A.
R.A. 181 1, No. 295.
This is marked as a drawing in the catalogue.
69 November ; Flounder-fishing.
In the middle of the picture a boat in which
are two men facing the spectator, the nearer,
standing, is drawing the net, the further man is
sculling, a basket of fish is between them ; a
barge with large sails and other boats beyond ;
in the background a wooden bridge. 24^ x i8i.
R.A. 181 1, No. 312. Collection : Walter
Fawkes, of Farnley Hall, Esq., and his
descendants, Leeds Exhibition, 1839,
No. 84 (see Appendix).
Sometimes known as Flounder-fishing, Putney
Bridge.
70 Chryses.
{Quotation from Pope's Homer!)
View on the shore, the sea to left ; ships in the
distance and mountains beyond ; in the middle
distance to right an arch of rock overgrown with
trees ; in the foreground Chryses on the sand
with a wreath, staff, and serpent in his left hand ;
evening sky, sun on the horizon in the middle of
the picture. 26 x 39^.
R.A. 181 1, No. 332. Collections: R.
C. L. Bevan, Esq., International Ex
hibition, 1862, No. 1044, O.M. 1886,
No. 4; sale 1891, £"1,491 (Agnew).
Thomas Ashton, Esq., Guildhall, 1896,
No. 8, 1899, No. 138.

48 PAINTINGS IN WATER COLOURS
71 May, Chickens.
In the middle of the picture a girl and a boy
seated on some steps leading up to a cottage on
the right ; in the foreground poultry feeding ; in
the background a garden, and tubs hanging on a
paling. Signed, J. M. W. Turner, R.A. 24^ x 1 8i.
R.A. 181 1, No. 351. Collection : Walter
Fawkes, of Farnley Hall, Esq., and his
descendants, Leeds Exhibition, 1839,
No. 50 (see Appendix).
This drawing appears in Turner's catalogue of
his own gallery, 1809, No. 3, as Cottage steps,
children feeding Chickens. (See No. 20 ante!)
72 Scarborough, Town and Castle : Morning,
Boys collecting crabs.
A. View looking across the bay towards the
Castle and Town which occupy the middle of the
picture ; at the foot of the cliffs many small vessels
lying at anchor, and, nearer to the spectator, bath
ing machines being drawn across the sands ; in
the foreground, to left, the ruins of a jetty with x
two women drying clothes, in the middle five boys
partly undressed, one with a hoop, the others
collecting crabs, to right a two-masted vessel
drawn up on the sand, near it carts, horses, and
figures ; cloudless morning sky. 27 x 40.
B. View from the sands looking across the
bay to the East cliff, with ruins of the castle on
the top of it ; in the foreground are two boys, one
with a hoop ; on a bank to left is a woman drying
clothes ; shipping in the bay. Signed and dated,
J. M. W. Turner, R.A. 1809. 11 X i5|.
A. R.A. 181 1, No. 392 (?). Collection:
Walter Fawkes, of Farnley Hall, Esq.,
and his descendants, Leeds Exhibition,
1839, No. 17 (see Appendix).
Engraved in Wedmore's Turner and Ruskin.

1811-1815 49
B. R.A. 1811, No. 392 (?). Collections :
Sir John Pilkington. Elhanan Bicknell,
Esq.; sale 1863,^546 (Lord Hertford).
Sir Richard Wallace, Bart., O.M. 1887,
No. 48. Wallace Collection, Hertford
House.
Thornbury's notes "on the history of B are very
confused.
73 The Battle of Fort Rock, Val d'Aouste,
Piedmont, 1796.
{Quotation from " Fallacies of Hope.")
View looking down into a mountain gorge
surrounded by snowy peaks ; the battle raging
on a road and a wooden bridge to left ; beyond
is seen the Fort, lit up by an explosion ; on a
ledge of rock in the left foreground a woman
with a child in her arms stooping over a dead
soldier ; stormy sky. Signed, J. M. W. Turner,
R.A. 26^x39.
R.A. 1815, No. 192 (?). Collection:
The Painter, N. G.
Engraved in the Portfolio, 1885.
Replica, R.A. 1815, No. 192 (?). Col
lections : Walter Fawkes, of Farnley
Hall, Esq., and his descendants, Leeds
Exhibition, 1839, No. 75 (see Ap
pendix); sale 1890, £ 1,050.
74 The eruption of the Souffrier Moun
tains, IN THE ISLAND OF St. VlNCENT ; AT
midnight, on the 30TH of April, 181 2,
E

50 PAINTINGS IN WATER COLOURS
from a sketch taken at the time, by
Hugh P. Keane, Esqre.
{Quotation!)
An inlet of the sea among mountains ; in the
middle distance, slightly to right, a lofty volcano
rises against the sky, it is in violent eruption,
masses of fire filling the sky and falling through
the air ; on a promontory to right, palm trees,
and in front of it a boat full of figures.
R.A. 1815, No. 258.
A large plate in mezzotint, 23^ x 32, was en
graved from this work by Charles Turner, and
published by him November 6, 1815. An im
pression, tinted in water colours, in the British
Museum, has the following note written on the
margin : " Charles Turner says that he engraved
this for a gentleman who took it — copper plate,
impressions and all, abroad with him— they have
not since been heard of. Only three impressions
were left in England, of which this is one — and
one of the other two is much damaged." This
note is signed J. D. (?), and dated Sept. 1852.
75 The passage of Mount St. Gothard ; taken
from the centre of the Teufels Broch
(Devil's Bridge), Switzerland.
View looking up a narrow gorge ; on the
right an abyss filled with blue mist ; on the left,
a hanging road halfway up the precipice, upon
it, in the foreground, two pack-mules, further off,
a man bowing before a large cross ; above, peaks
rising into the clouded sky. 40A X 27.
R.A. 1815, No. 281. Collection: Walter
Fawkes, of Farnley Hall, Esq., and his
descendants, Leeds Exhibition, 1839,
No. 68 (see Appendix).
Engraved in Wedmore's Turner and Ruskin.

1815 51
The late Mr. Ayscough Fawkes, in a letter to
the Times, April 14, 1886, stated that he had
found upon this picture a date he read as 1 804.
An oil picture of this subject (31x24) was
lent to O.M. 1885, No. 18.
76 The great fall of the Riechenbach; in
the Valley of Hasle, Switzerland.
_ View in a rocky amphitheatre ; in the middle
distance the falls facing the spectator ; in the
foreground a wooded, rocky gorge through which
the river rushes ; on the slope to right a shep
herd and goats ; upon that to left, figures round
a fire. Signed and dated, J. M. W. Turner, R.A.
1804. 40x27.
R.A. 1815, No. 292. Collection: Walter
Fawkes, of Farnley Hall, Esq., and his
descendants, Leeds Exhibition, 1839,
No. 23 or No. 29 (see Appendix), O.M.
1886, No. 34.
Engraved in Wedmore's Turner and Ruskin.
j j Lake of Lucerne, from the landing place
at flaelen, looking towards bauen, and
Tell's chapel, Switzerland.
Market people landing from boats in the fore
ground ; extensive view across the lake beyond
withmountains in the distance. Signed, J. M. W.T.
26iX39f R.A. 1815, No. 316. Collection: Walter
Fawkes, of Farnley Hall, Esq., and his
descendants, Leeds Exhibition, 1839,
No. 25 (see Appendix), O.M. 1886,
No. 35 ; sale 1890, ^"2,310.

52 PAINTINGS IN WATER COLOURS
78 Landscape : Composition of Tivoli.
View looking down the gorge from above the
Falls ; on the right the Temple of theSibyl,beyond
it the town, with the Campagna and mountains
in the distance ; to left a large group of trees ; in
the foreground, on the brink of the river, women
and goats. Afternoon sky, the sun in the middle
of the picture. Signed and dated, 1 8 1 7. 26 x 40.
R.A. 1818, No. 474. Collections: John
Allnutt, Esq. Lent to an Exhibition in
the Rooms of the Society of Painters in
Water Colours, 1823, No. 88, Interna
tional Exhibition, 1862, No. 1033 ; sale
1863, ;£ 1,890 (Lord Ashburton). Sir
John Fowler, Bart., O.M. 1873, No. 376,
Guildhall, 1896, No. 20; sale 1899,
^1,785 (Agnew).
Engraved by E. Goodall for Mr. Allnutt, at
whose sale, 1863, the plate with 465 impressions
was sold to Messrs. Agnew for ^420 ; and in
Burnet and Cunningham's Turner and his Works.
79 Rise of the River Stour at Stourhead.
{Quotation!)
A large sheet of water surrounded by woods ;
on the left, a wooded height, with classical build
ings overlooking the water ; near a landing place
in the foreground, from which a path leads across
a bridge to one of the buildings, is a swan's nest ;
two swans on the right, under a large tree ; blue
sky, the sun, seen through a mist, reflected in the
water. 26-L X 40^.
R.A. 1825, No. 465. Collection : Charles
Morrison, Esq., O.M. 1887, No. 52,
Guildhall, 1899, No. 124.

1818-1830 53
80 Messieurs les voyageurs, on their return
from Italy (par la diligence), in a snow
drift UPON MOUNT TARRAR. 2 2ND OF
January, 1829.
In the middle of the picture slightly to left, is
the diligence, sunk in a snow-drift from which
men are trying to extricate it with ropes ; to right
is a fire, round it numerous figures ; in the fore
ground spades lying in the snow ; stormy sky
with moon to left. 2ii x 294..
R.A. 1829, No. 520. (In the possession
of Messrs. Agnew, 1899.)
81 Funeral of Sir Thomas Lawrence, a sketch
from memory.
In the background, the portico of Saint Paul's
Cathedral with the funeral procession moving up
the steps ; in the foreground to right, the statue
of Queen Anne, carriages and figures all in deep
snow. Inscribed, "Funeral of Sir Thos. Lawrence
P.R.A. Jan. 21, 1830. Sketch from memory
J. M. W. T." 22 x 30.
R.A. 1830, No. 493. Collection: The
Painter, N.G.
Thornbury, pp. 126 and 332.

Section II
OIL PAINTINGS

Section II
OIL PAINTINGS
IT is a dogma unquestioningly received by many
that works in water colours shall be con
sidered on a lower plane than pictures in oil, and
accomplished masters of what is sometimes called
the weaker medium assigned a place little above
that of amateurs who experiment with oil paints.
This axiom, occasionally remarked and even repre
hended, though not as yet exploded, never receives
a ruder shock than when it is brought face to face
with the work of an artist who, using both methods,
possesses a mastery of water-colour incomparably
greater than his power over oil painting. Among
such artists, Turner holds a foremost place, and it
so happens in his case that frail paper and water
colours have more frequently preserved to us the
original effect of his work than stout canvas and
oil paint. Yet so firmly seated is the superstitious
respect for the precedence of oil painting that it is
pre-eminently as a painter in that medium that
Turner is applauded by the general public.
But, on the other hand, in admitting that to
their more critical eyes it appears that in the pro-

58 OIL PAINTINGS
cesses of water-colour painting devised by himself
Turner found the means of expression more per
fectly suited to his genius, some writers have
allowed themselves to depreciate him unduly as a
painter in oils, particularly in regard to the tech
nical part of the art. Imperfect-^irregular — un
safe — and unsound, qualified as they are by won
derful — strong — and delicate, are the terms in
which Mr. Hamerton 1 sums up his conclusions upon
this point; while Mr. Ruskin, with the greatest
injustice, holds the Royal Academy, in neglecting
to teach Turner in his youth a sound method of
work, to blame for the ruinous state in which so
many of his canvases now find themselves. It
cannot, indeed, be denied that, in their present
condition, very many of Turner's most famous pic
tures display all the symptoms usually due to de
fective workmanship, and in this respect compare
unfavourably with his drawings. But a glance of
comparison from the brilliant colour and firm tex
ture of the Venice, Canaletti painting, to the faded
hues and tarnished surface of the Childe Harold 's
Pilgrimage, as they hang together in the National
Gallery, shows that neglect of preservation, and
not unsoundness of constitution, is the real cause of
decay. These two pictures were executed within
a year of each other, but the Venice, like most of
the water colours, passed soon after its completion
into careful keeping, while the Childe Harold,
1 Life, p. 355.

INTRODUCTION 59
along with most of its present companions in the
same gallery, hung for years, perishing with damp
and dirt, in the painter's house in Queen Anne
Street. If ill treatment of this sort is mainly
responsible for the dilapidated condition of the
works of Turner's middle and later life, such as
the two quoted above, it is infinitely more so in
the case of his earlier pictures. For these, suffer
ing for a longer space the rigours of Queen Anne
Street, must have possessed in the first instance
constitutions of extraordinary vigour to have es
caped perishing completely.
As a fact Turner, although in later life he prac
tised painting in oils in a manner differing certainly
from academic methods, in his youth in no way
broke away from the general body of students
which was receiving its training in the schools of
the Royal Academy during the second half of the
eighteenth century. The sound technical standard
maintained in the Academy Schools at this time
is, perhaps, a little surprising. For during the
same years the brilliant, fugitive triumphs of the
President, together with the hazardous attempts
of several Academicians to emulate the colour of
the ancient Venetians at any cost, were making
their appearance in the Exhibitions, and must have
constantly tempted younger painters to forsake the
old, safe processes. To this temptation Turner
especially would seem to have been exposed, as
he worked, if only for a short time, in the studio

60 OIL PAINTINGS
of Reynolds itself ; it may be, however, that the
President, who had lived to see the ruin of so
many of his own pictures, sought to impress upon
Turner, as he is said to have done upon the
young Lawrence, the importance of simple, solid
workmanship. The series of great pictures painted by Turner
in emulation of the more renowned of his prede
cessors, the most conspicuous result of his labours
between 1798 and 181 5, displays imitation to a
certain extent of their technical as well as of their
artistic characteristics. The influence of De
Loutherbourg, sometimes supposed to have been
powerfully felt by Turner in his youth, would seem,
as far as handling is concerned, to have been
eclipsed by that of Wilson, of which in this respect
it could indeed have been no more than a reflec
tion, while Wilson's procedure, as recorded by
Redgrave,1 differs scarcely at all from that of Paul
Sandby, so minutely described by his biographer,2
or in fact from the ordinary academic method, as
described in a hundred text-books of the time.
The picture, begun upon a light-toned canvas, was
dead-coloured in neutral grey or brown. In pro
ceeding with the work Turner, in Mr. Trimmer's
opinion,3 used a mixture of wax in the medium, and
by this he accounted for the darkening from which
1 Century of Painters, 2nd edition, p. 39.
2 Thomas and Paul Sandby, by W. Sandby, 1892, p. 124.
* Quoted by Thornbury, Life, p. 364.

INTRODUCTION 61
almost all Turner's early oil pictures had even at
that time suffered. The comparison of the two
duplicates of the Kilgarran Castle when they hung
side by side at the Guildhall (1899) seemed, how
ever, to point to discoloration of the varnish as
the cause, the colour in the example that had had
its varnish renewed being quite as bright as could
be expected from a work of that age. Both of
these pictures, one of which was exhibited in 1 799,
as well as the Dolbadern of the same, and Butter-
mere of the previous year, are reminiscent of
Wilson. The Fifth Plague (1800) was the first of
Turner's pasticci in the style of the school led by
Nicholas Poussin, whose method of work — also re
called by the Tenth Plague (1802), The Garden of
the Hesperides (1806), and Mercury and Herse
(181 1) — probably differed also but little from that
generally practised in the Academy of Turner's
day. Neither in the Jason (1802), nor the Apollo
and the Python (181 1), whose artistic inspiration
is, perhaps, more directly due to Salvator Rosa, is
any striking advance in technique to be discovered.
Again, being perfectly acquainted with the pro
cesses employed by the President, he succeeded
in the Holy Family (1803) in copying the manner
of Sir Joshua Reynolds with striking fidelity.
When, however, as in the Dutch Boats in a Gale
(1801), painted as a companion to a picture by
Van de Velde, and in avowed imitation of that
master, Turner at first attempted to produce effects

62 OIL PAINTINGS
whose technical causes lay outside the field of his
training, he failed.
The Mdcon ( 1 803) was Turner's first attempt to
rival Claude, and the method employed in paint
ing it was also in a great degree experimental.
It was begun, so Seguier told Burnet,1 in size
colours upon an unprimed canvas, a process that
must render the work particularly susceptible to
damage from the back, however satisfactory it
may appear upon the surface of the picture. That
the painter realized this and foresaw the ruin that
would overtake the picture if exposed to drastic
restoration is shown by his having written upon
it express directions that it must not be taken off
the canvas. Having thus recognized the danger
of the proceeding it is improbable that Turner
repeated the experiment of painting upon un
primed canvas ; he went in fact to the other
extreme, and ultimately adopted a white priming
of great thickness. Upon this ground, in his
middle life, he began the underpainting of his
work in black, mainly applied with the palette-
knife. Crossing the Brook (18 15), and the Build
ing of Carthage (18 15), both of them to a great
extent Claudesque in style, appear to have been
painted upon this plan. It may be that the use of
the white ground contributed to the extraordinary
success of the distance in Crossing the Brook,
1 Burnet and Cunningham, Turner and his Works, 1852,
p. 79.

INTRODUCTION 63
which created a great stir at the time, and has
ever since been held as one of the most perfect
passages in all Turner's works.
It is difficult to determine in which of his
pictures Turner first made experimental use of
the white ground, nor is it easier to ascertain when
he had become invariably fixed in its employ
ment. Amongst the earliest certainly, are the
Whalley Bridge (181 1) and the High Street, Oxford
(1812), although the views of Tabley, Petworth,
and Lowther exhibited in 1809 and 18 10 may
possibly belong to the same class. It is in the
English landscapes such as these and the Somer
Hill (181 1) and Frosty Morning (18 13), rather
than in the classical compositions and sea-pieces
exhibited concurrently with them, that the striking
development in the painter's style which followed
his adoption of the white ground is most clearly
to be traced. This development, a change in
the main " from dulness of tone to brightness of
colour" * culminated, according to the Messrs. Red
grave,2 in 1820. Its cause is not far to seek, and
the key of the situation is thus discovered by
Burnet : " The light unglazed pictures of Law
rence," he says, "gave a bias to the surrounding
works on the walls of Somerset House, and to
Turner's with the rest."3 For Lawrence, in com-
1 Turner and his Works, p. 56.
2 Century of Painters, 2nd edition, p. 239.
3 Turner and his Works, p. 98.

64 OIL PAINTINGS
mon with other portrait painters, without abandon
ing the safe, old-fashioned manipulation of a few
simple pigments, had been able, by extending the
compass from light to dark and exaggerating the
sheen of lustrous surfaces, to obtain extreme
brilliance of tone without widely departing from
monochrome in the matter of colour. But the use
of this method in raising the pitch of pictures de
pending for their effect upon less limited schemes
of colour, was, for that very reason, denied to
the painters of landscape, who, in an age deeply
moved by the advancing wave of naturalistic taste,
felt the want of it the more strongly. Amongst
several who attempted to grapple with this prob
lem Constable was, perhaps, the only painter to
succeed with no more than the ancient processes
of painting to help him. But his conceptions were
limited in scope, nor can it be denied that the
abundant sparkling lights occasionally destroy
the breadth of effect in his pictures. Turner
perceived that to match in landscape, the lively,
brilliant appearance of contemporary portraiture,
it was useless to heighten the tone without
intensifying the colour. Emboldened by his
triumphant success in leading the revolution that
created water-colour painting, he proceeded to
remodel his system of oil painting upon the same
lines. On this occasion the progress of industrial
chemistry was again called to his aid, as Burnet
observes: "The extreme vividness of his colours,

INTRODUCTION 65
especially when his pictures were fresh from the
easel, arose from the chemical changes that took
place in the manufacture of the pigments during
his career, such as chrome yellow, emerald green,
cobalt blue, etc., which none had the courage
to venture on but Turner."1 At first — he should
have added, for Turner's example soon called forth
chromatic schemes of the utmost daring from most
contemporary painters of genre and landscape.
Not many years ago (1889) the walls of the first
room of the Winter Exhibition at Burlington
House recalled for a brief space the appearance of
the Academy towards the latter part of Turner's
career ; it was easy to believe that amidst such
surroundings the copy from Rembrandt, intro
duced half-jestingly by Wilkie, would be denounced
as looking like a hole in the wall.2 It is interest
ing to find Burnet, a contemporary critic of the
highest authority, describing Turner as the origin
ator of this effulgent colour scheme which in the
end raised the pitch in oil painting to a point im
perilling the safety of the instrument, and reacted
perniciously upon the public taste. Since more
than one writer has advanced the opinion that this
taste itself dictated the use of a high key, and that
Turner introduced gorgeous colouring into his
pictures and glittering lights into the engravings
from them in obedience to it. Such critics, in
1 Turner and his Works, p. 70.
2 Ibid. p. 61. F

66 OIL PAINTINGS
admitting their own preferences for his early pic
tures and unfinished proofs, have, however, scarcely
demonstrated that Turner shared these tastes,
while on the other side a hundred of the painter's
acts and speeches show that he disregarded, if he
did not despise, public opinion upon his works.
In effecting this great change of manner the
technical means employed by Turner were as in
dependent of precedent as the artistic ends he had
in view. Upon this point no one speaks with
greater authority than the Messrs. Redgrave, and
no excuse is needed for quoting their account in
their own words : " In order to obtain luminous
brilliance Turner was led to adopt the use of
scumbling, that is to say, of driving very thin films
of white, or of colour mixed with white, over a
properly prepared ground. By this means he not
only obtained infinitely delicate gradations, but he
successfully imitated the effects of air and mist ;
the brighter tints beneath being rendered greyer
and more distant at the same time by the film of
white. This enabled him to make the points of
the composition — his figures or other coloured
objects in the foreground — stand out in extreme
brilliancy, owing to the employment of transparent
colour boldly and purely laid over the white. By
these means Turner obtained the whole range of
the scale, from white— to him the intensest repre
sentation of light — to the purest reds, oranges,
blues, purples, etc., that the use of transparent

INTRODUCTION 67
pigments in oil permitted. Or by a black object,
such as a black hat, a dog, or a cow, the extreme
range of his palette, from light to dark."1
In this otherwise complete description it is re
markable that the authors, while dwelling upon
the use of transparent oil colour, make no allusion
to the employment of water colours in his oil pic
tures with which Turner has been very generally
charged. It may be that they had no faith in the
tradition which has, to be sure, a very slender basis,
resting merely upon the testimony, recorded by
Mr. Hamerton,2 of a nameless artist, who, while
visiting Turner's gallery, removed some touches
from one of the pictures with a wetted finger. The
anecdote narrated by Mr. Thornbury,3 of Chantrey
drawing, in the same way, a cross upon the sky of
the Cologne, is deprived of all force in this connec
tion by the story told by him earlier in his book,4
of Turner expressly glazing that picture with water
colour, in order to assist the effect of two portraits
by Lawrence that hung near it. Yet the impres
sion that Turner made, as Mr. Hamerton puts it,
" indiscriminate use of oil and water colour in the
same work " was, as these anecdotes demonstrate,
strongly prevalent in thepainter's lifetime. Burnet
evidently believed it to be probable, if he was not
convinced that it was a fact; and his statement
1 Century of Painters, p. 238.
2 Life of Turner, ed. 1895, p. 135.
' Life, p. 347. * Ibid., p. 274.

68 OIL PAINTINGS
that " the mixture of oil and water colour gives a
character to Turner's pictures unlike any others
when brought in contact with them,"1 sufficiently
explicit in itself, is only slightly modified by some
passages in the context which may be taken to
imply doubt as to the possibility of proving the
assertion, rather than its essential truth. He pro
ceeds to point out that " the great liability pictures
have to crack when painted upon the principle of
combining oil and water colour together makes
the greatest circumspection necessary in the ma
nipulation." It may be added that the destructive
action upon many water-colour pigments of the
strong light essential to preserve the brilliancy of
the white-lead ground upon which they must de
pend for their effect is an even stronger argument
against the employment of this mixed method.2
To what extent Turner did make use of it must
for ever remain uncertain, since, as Burnet sensibly
concludes,3 " the secret of preparing and carrying
on his work in the first instance, perished with
him." While for our knowledge of the devices
he employed in completing it we are dependent
upon observations of his proceedings upon
varnishing days and other vague memoranda.
In contrast to the jealous care he exercised in
1 Turner and his Works, p. 86.
2 A. H. Church, Chemistry of Paints and Painting, 1892, pp.
120, 272.
3 Turner and his Works, p. 88.

INTRODUCTION 69
his youth to keep secret his improvements in the
use of water colours, Turner developed in later
life the habit of painting his pictures in the
exhibition room during the three days allowed
for completing and varnishing works. This cus
tom might be explained as arising either from a
belief in his mind that his procedure differed in
no way from that of his contemporaries, or from
a proud consciousness that his fame soared far
above the success achieved by mere mechanical
dexterities. About 1835 his canvases were, it is said,1 sent
in for exhibition covered only with incomprehen
sible designs, dead-coloured in grey, which, on
varnishing days, he would convert with amazing
rapidity into brilliant finished pictures. Later in
life he appears to have adopted a polychromatic
scheme in underpainting, when his canvases
were, according to Burnet,2 "divided into large
masses of blue, where the water or sky was to
come, and the other portions laid out in broad
orange yellow, falling into delicate brown, where
the trees and landscapes were to be placed." The
testimony of the servant who generally set his
palette,3 shows that, as a rule, he used ordinary
powder colours, freshly ground each day in simple
linseed oil, but in the pictures thus hastily pro-
1 Unnamed authority, quoted by Thornbury, Life, p. 313.
2 Turner and his Works, p. 100.
* Mr. Trimmer, quoted by Thornbury, Life, p. 364.

70 OIL PAINTINGS
duced upon the walls of the exhibition, he was
naturally compelled to temper them with some
more rapidly-drying medium, and he is believed
to have made use of copal varnish.1 Many well-
known anecdotes describe capricious changes in
his pictures made by him on varnishing days to
neutralize the effect of neighbouring canvases,
and such changes, occasionally carried out in pig
ments snatched from the palettes of acquaintances,
are held accountable by the Messrs. Redgrave 2 for
the decay of the works in which they were effected.
This may sometimes bet he case, but amongst
the pictures well-known to have been repainted
in this manner 3 is the Venice, Canaletti painting,
already noticed on account of its perfect preserva
tion. From this it must be concluded that the
proceeding, like many others practised by Turner
when painting in oils, was neither so ill-considered
nor so hazardous as the critics who condemn them
would have us suppose.
1 Thornbury, Life, p. 304.
2 Century of Painters, p. 233.
3 Thornbury, Life, p. 336.

1797-1798 n

82 Moonlight, a study at Millbank.
View looking along the Thames ; in the fore
ground to left the shore, to right a barge ; in the
middle of the picture the full moon just above
the horizon, above it one bright star in the
cloudless sky. Panel n^x 15^.
R.A. 1797, No. 136. Collection: The
Artist, N.G., No. 459.
Messrs. Redgrave in their Century of Painters,
p. 229, notice this work as the painter's first ex
hibited oil picture, and thereby correct the error
into which they had fallen in their Dictionary
of Artists of the English School, by describing
the Rising Squall, No. 8 ante, as such.
83 Fishermen coming a shore at sun set,
previous to a gale.
R.A. 1797, No. 279.
This was hung at the Academy in the first
room, which appears at this time to have been
devoted to works in oil. The Millbank hung
in this same room ; also Lawrence's picture
of Satan summoning his Legions, and two of
Beechey's portraits of the Princesses.

84 Winesdale, Yorkshire, an autumnal morn
ing. R.A. 1798, No. 118.
This also hung in the first room along with
the works already mentioned, and well-known
oil pictures by Russell and Cosway.

72 OIL PAINTINGS
85 Morning amongst the Coniston Fells,
Cumberland.
{Quotation from Milton!)
View looking up a mountain valley through
which a stream, falling in cascades, approaches
the spectator ; wooded slopes rise on either side ;
rolling clouds lit up by the rising sun. Canvas
47*35-
R.A. 1798, No. 196. Collection: The
Artist, N.G., No. 461.
86 Dunstanborough Castle, N.E. coast of
Northumberland. Sun-rise after a
squally night.
{Quotation from Thomson!)
In the foreground, the sea breaking at the
foot of a rocky slope which is crowned by the
Castle seen against the sky ; at the foot of the
rocks a cottage ; cattle grazing on the slope.
Canvas 36 x 48.
R.A. 1798, No. 322. Collections: W.
Penn, Esq. T. Birchall, Esq., A.T.M.
1857, No. 198, International Exhibition,
1862, No. 350. John Heugh, Esq.,
O.M. 1873, No. 16; sale 1874, £"4,305
(Mayne). Hugh, first Duke of West
minster, Grosvenor Gallery, 1888, No.
69. City Art Gallery, Melbourne, pre
sented by the Duke of Westminster.
Engraved in Liber Studiorum. R. 14.
87 Fishermen becalmed previous to a storm,
twilight. R.A. 1799, No. 55.

i 798- i 799 73
This picture was hung in the first room at the
Academy. See note to No. 83 ante.
88 Harlech Castle, from Twgwyn ferry,
summer's evening twilight.
{Quotation from Milton!)
R.A. 1799, No. 192.
This hung in the same room as the preceding
picture.
89 Battle of the Nile at 10 o'clock, when
the l'Orient blew up, from the station
of the gun-boats, between the battery
and castle of aboukir.
{Quotation from Milton!)
R.A. 1799, No. 275. Collection: Hus-
kisson ; sale 1864, ,£10 io.r. (bought in).
Exhibited by the XIX Century Art
Society, July, 1886.
90 Buttermere Lake, with part of Cromack-
water, Cumberland, a shower.
{Quotation from Thomson.)
In the foreground Buttermere, upon which is
a single boat, occupies the centre and right of
the picture ; beyond it the shore flat towards
the left, and rising in low hills to right, is seen
lit by a gleam of sunlight ; in the distance the
valley, in which lies Crummock Water, stretches
away, surrounded by mountains, partly hidden
in clouds ; dark sky with rainbow to right.
Canvas 35><47i-
R.A. 1799, No. 527. Collection: The
Artist, N.G., No. 460.

74 OIL PAINTINGS
91 Kilgarran castle on the Twyvey, hazy
sunrise previous to a sultry day.
View along a rocky gorge, closed in by wooded
declivities, through which the river flows towards
the spectator ; .the Castle on a height to the
right ; in the foreground bathers in the water.
Canvas 36 x 48.
R.A. 1799, No. 305.
There appear to be at least five pictures of
Kilgarran by Turner in existence. The largest
are two exact duplicates, answering to the de
scription and measurements given above ; and,
in all probability, one of these was the picture
exhibited in the Academy.
Of these (A) was in the collection of Lord de
Tabley (as Sir John Fleming Leicester) an early
patron of Turner's ; and at his sale, 1 827, was sold
for £1 1 5 ioj. (Butterworth). This picture was
possibly that which was hung in the exhibition
of the Royal Birmingham Society of Artists,
1829, No. 345. It was afterwards in the gallery
of Mr. Joseph Gillott, at whose sale, 1872, it
passed, at the price of ^2,835 into that of Mr.
H. L. Bischoffsheim. By this gentleman, the
present owner, it was lent, O.M., 1881, No. 173 ;
and Guildhall, 1899, No. 1. This picture is
distinguished by a deep golden tone.
(B) was in the collection of Mr. H. A. J.
Munro, of Novar, a friend of Turner's in his later
life, who is said to have acquired it from the
painter. At his sale, 1878, it was bought for
;63)57o by Lord Armstrong, and lent by him to
the Guildhall, 1892, No. 93, and 1899, No. 3.
Upon the authenticity of this picture — which is
distinguished from (A) by great freshness of
tone and colour — doubt was thrown by Mr.
McWhirter, R.A., in the "Times" of May 1,
1899.

1799 75
It is impossible to tell whether a picture sold
in 1854 with the collection of Mr. W. Cave for
£525 (Wallis), was one of these larger works, or
one of the smaller versions of the same subject.
The history of these last is involved in some
obscurity. One of them (23 x 29) which was also in the
Gillott collection, represents the Castle from a
different point of view from that of the two
pictures already described. It is seen, in the
centre of the canvas, rising above the trees
upon the further side of a valley with pre
cipitous rocky sides ; and the ruin terminates
towards the left in a bastion overhanging the
ravine. In the foreground to left is a dead tree
amongst the fallen masses of rock that encumber
the bed of a narrow rushing stream, not a
river as in the larger pictures, which is seen
upon the right. In the middle of the picture is
a single figure of a man. From the angle at
which the light is thrown the effect appears to
be intended for late forenoon or early after
noon. At the dispersion of the Gillott collec
tion in 1 872 it was sold for £630 ; and it
was said at the time that both this and the
larger work (A) had been acquired for the
Metropolitan Museum, New York. As has
already been pointed out this was not the case
with regard to (A) ; nor was it with regard to
the present example which appears to have
passed into the collection of M. Wilson, of
Brussels ; an etching of it by Greux is to be
found in the catalogue of that gallery (1873).
It is said subsequently to have become the
property of M. Durand Ruel, and at his sale
(1874) to have been sold for ^1,320 to Mr. G.
Faulkner. From this gentleman's collection it
was purchased (1879) for £220 10s. by Mr. Levy,
and after his death (1884) was bought in by his
executors for £178 ioj. It seems ultimately

76 OIL PAINTINGS
to have passed into the possession of Mr. Martin
H. Colnaghi, by whom it was lent to O.M. 1891
(No. 18). Redford notes that at the Faulkner
sale this picture was said to be from the
Gillott collection, but that the statement was
doubted, probably on account of the unfounded
rumour that Mr. Gillott's picture had gone to
America. The fourth picture of this subject, and of
similar dimensions to the last, was in the
possession of Mr. Wynn Ellis ; it was sold in
1876 for £472 ioj., and was possibly the same
example that in an anonymous sale in May
1 89 1, was sold for £$67 10s. (Barter).
The fifth picture with this title, a panel gi x
I3i, differing in composition from either Mr.
Bischoffsheim's, Lord Armstrong's, or Mr. Col-
naghi's canvases, was lent to Guildhall, 1899,
by S. N. Castle, Esq. (No. 5).
The confusion which surrounds Turner's pic
tures of Kilgarran is mainly due to the report
circulated at the time of Mr. Gillott's sale, that
his examples had been bought for the New York
gallery. It has perhaps been increased by the
assumption of the same name by one or other
of the pictures of various Welsh castles, painted
by Turner at this time. It has not been lessened
by Mr. Temple, who, in the Guildhall catalogue,
1899, has confounded this early composition
with the drawing engraved in the England and
Wales series.
92 Dolbadern Castle, North Wales.
{Quotation, anonymous!)
View looking up a mountain glen, its rocky
sides mostly covered with trees ; in the middle
of the picture, upon a height rising from the
glen, is seen the keep of the castle, nearer to the
spectator a stream issuing from the glen falls

1800-1801 77
over a cliff, and flows away in rapids to the left ;
on the shore in the right foreground a group of
two armed brigands with a prisoner ; clouded
sky. Canvas 47 x 35^.
R.A. 1800, No. 200. Collection: The
Royal Academy ; the Artist's Diploma
work, A.T.M. 1857, No. 232.
^ 93 The Fifth plague of Egypt. Exodus ix.
23. "And the Lord sent thunder and
hail, and the fire ran along the
ground." In the distance the Pyramids and other build
ings ; in the foreground figures and a pool.
Dark, stormy sky, with lightning ; fires run
ning along the ground. Canvas 47 x 71.
R.A. 1800, No. 206. Collections :
William Beckford, of Fonthill, Esq.
George Young, Esq., B.I. 1853, No.
164, International Ex., 1862, No. 268;
sale 1866, ,£1,065. Richard second
Marquess of Westminster, O.M. 1871,
No. 140. Sir Francis Cook, Bart.,
Guildhall, 1899, No. 9.
Engraved in Liber Studiorum. R. 16.
f This picture, as Thornbury correctly observes,
\ represents the seventh, not the fifth Plague.
94 Dutch boats in a gale ; fishermen en
deavouring TO PUT THEIR FISH ON BOARD.
Rough sea ; on a rising wave in the middle of
the picture a galliot with all sails set ; round it
are fishing boats ; in the distance to right three
large three-masted vessels. Stormy sky with
rolling clouds ; breeze blowing from the left.
Canvas 60 x 84.

78 OIL PAINTINGS
R.A. 1801, No 157. Collection : Francis,
third Duke of Bridgewater and his
descendants.
Engraved in the Turner Gallery.
Thornbury, p. 325.
95 The army of the Medes destroyed in the
desart by a whirlwind, FORETOLD BY
Jeremiah. Chap, xv., ver. 32 and 33.
R.A..1801, No. 281.
96 Fishermen upon a lee-shore, in squally
WEATHER. In the foreground fishermen hauling at a
boat ; part of a larger vessel seen to right ; on
the left another boat sailing out to sea ; stormy
sky, rough sea. Canvas 351x48.
R.A. 1802, No. 1 10. Collections:
Thomas first Lord Delamere ; sale
1856 (Benoni White). White sale 1879,
,£2,415 (Agnew). W. Agnew, Esq.,
M.P., O.M. 1883, No. 214. Edward,
first Lord Iveagh, Guildhall, 1899, No. 7.
Redford (vol. ii., p. 122) gives a lengthy
account of the circumstances attending the sale
of this picture and No. 105 post in 1856.
97 The tenth plague of Egypt. Exodus xii.
29. 30-
View from a height overlooking a valley in
which is a city ; on a rocky plateau in the left
foreground a group of figures mourning over a
dead child. Blue sky with rolling clouds to left.
Canvas 571 x 931.

1801-1802 79
R.A. 1802, No. 153. Collection: The
Artist, N. G., No. 470.
Engraved in Liber Studiorum. R. 61.
98 Ships bearing up for anchorage.
[Agitated sea ; large ship at anchor in the
middle distance, with other vessels sailing
near it ; jetty, with figures to left. Stormy
sky. Signed, J. M. W. Turner, P. Canvas
47x71 (?)•]
R.A. 1802, No. 227. [Collection: George
third Earl of Egremont and his descend
ants, Petworth House, O.M. 1892, No.
131-
Engraved in Liber Studiorum. R. 10 (?).]
99. Jason. A rocky amphitheatre at the bottom of which
Jason, dressed in a red cloak, crouches close to
a fallen tree ; part of the dragon is seen above
the broken boughs. Canvas 354. x 47 \.
R.A. 1802, No. 519; B.I. 1808, S.R. No.
394. Collection : The Artist, N.G.
No. 471.
Engraved in Liber Studiorum. R. No. 6.
In the British Institution the contents of each
room were, in the earlier years, numbered in
separate series; and in the index the initials of the
names of the rooms are given to distinguish the
different series. S. R. stands for the South
Room. The dimensions given in the catalogues
of the British Institution include the frames. It
is found, by comparison of the actual measure
ments of all extant pictures exhibited by Turner

80 OIL PAINTINGS
in the Institution with their length and height as
printed in the catalogues, that the depth of the
mouldings in which they were originally framed
was from eight to nine inches.
ioo Bonneville, Savoy, with Mont Blanc.
View of a valley with high hills on each side,
to right buildings and in the foreground a stream ;
a straight road, upon which are two women,
starting from the left foreground runs along at
the foot of heights crowned by buildings ; in the
distance Mont Blanc ; blue sky with clouds.
Canvas 23^ x 48-t.
R.A. 1803, No. 24. Collection: The
Countess of Camperdown, O.M. 1895,
No. 134.
Turner painted several pictures of Bonneville,
and exhibited no less than three {see Nos. 104
and 124 post). It is only conjecturally that they
have been identified in this catalogue upon the
idea that, as seems not improbable, the well-
known composition engraved in Liber Studiorum
(R. 64) is that to which the title of Chateau
de St. Michel was attached by the painter.
10 1 The festival upon the opening of the
vintage of MacoN.
View overlooking a bend of the river Sa6ne
between Chalons and Macon ; a bridge across
the river in the middle distance ; in the right
foreground a group of figures dancing under
high trees. Afternoon sun in the middle of the
picture. Canvas 57 x 93.
R.A. 1803, No. no. Collection : Charles
first Earl of Yarborough and his
descendants, B.I. 1849, No. 43, A.T.M.
1857, No. 229, O.M. 1875, No. 122,

1803 81
Grosvenor Gallery, 1888, No. 121 ; O.M.
1893, No- I37-
Engraved in mezzotint by T. O. Barlow,
R.A. ; published 1890.
Burnet and Cunningham, p. 79.

y 102 Calais Pier, with French poissards pre
paring FOR SEA : AN ENGLISH PACKET
ARRIVING. The Pier, crowded with figures, running out
from the right foreground to the middle distance ;
in the middle of the picture fishing boats putting
out to sea ; beyond them is the English Packet ;
other shipping in the distance. Rough sea and
stormy sky with dark clouds to left. Canvas
67x941.
R.A. 1803, No. 146. Collection: The
Artist, N.G., No. 472.
Engraved in the Turner Gallery, by T.
Lupton, published 1 892, and by Sir F. Seymour
Haden (Drake, Catalogue of Haden's Works,
No. 140).
Thornbury, p. 196.
103 Holy family.
In the middle of the picture the abruptly fore
shortened figure of the Infant Christ lying upon
some white drapery, with His head towards the
spectator ; the Virgin kneeling over Him ; to
left St. Joseph looks down on the Child. Land
scape background with rocks to right. Canvas
41 x 56.
R.A. 1803, No. 156. Collection: The
Artist, N.G., No. 473.

82 OIL PAINTINGS
104 Chateaux de St. Michael, Bonneville,
Savoy. View looking towards the town.with mountains
rising steeply from the further side of the river,
and Mont Blanc in the distance ; figures with
sheep and goats at the edge of the water ; a man
and a woman seated on a rock in the foreground.
Blue sky with clouds. Canvas 354. x 47.
R.A. 1803, No. 237. Collection: T.
Horrocks Miller, Esq., O.M. 1889,
No. 173.
Engraved in Liber Studiorum. R. 64.
A replica in water colour in the collection at
Farnley Hall, O.M. 1886, 38.
See No. 100 ante and 124 post.

105 Boats carrying out anchors and cables
to Dutch men of war in 1665.
Rough sea ; in the foreground in the middle
of the picture a rowing boat full of men, with
cables and anchors, pulling out to the fleet of
men-of-war seen lying at anchor in the middle
distance to left ; the coast in the distance to
right ; the wind blowing from the left. Blue
sky. Canvas 40 x 51.
R.A. 1804, No. 183. Collections :
Thomas first Lord Delamere ; sale 1856
(Benoni White). White sale, 1879,
^1,575 (White). W. Houldsworth,
Esq.; sale 1891, ,£1,312 (Gordon); sale
1896, £1,62 7 io.y. (McLean). Sir
Horatio Davies, Guildhall, 1899, No. 8.
See No. 96 ante.

1803-1806 83
106 Narcissus and Echo.
{Quotation!)
In the foreground is a sheet of water, beyond
which are wooded hills ; on the top of a hill in
the middle distance are the buildings of a town,
with the sea visible beyond ; on the right Echo
is seen concealing herself behind some trees, and
calling to Narcissus, who bends over the water ;
three other figures on the left. Canvas 34 x 46.
R.A. 1804, No. 207; B.I. 1806, S.R.
No. 22. Collection : George third Earl
of Egremont, and his descendants,
Petworth House, O.M. 1888, No. 11.
See No. 99 ante.
107 Fall of the Rhine at Schaffhausen.
Peasants unloading a waggon in the fore
ground at the foot of the Falls. Canvas 57 x 92.
R.A. 1806, No. 182. Collection: John
first Lord de Tabley and his descend
ants, A.T.M. 1857, No. 297, Interna
tional Exhibition, 1863, No. 332, O.M.
1879, No. 169.
Thornbury, p. 425.
108 The goddess of Discord choosing the apple
of contention in the garden of the
Hesperides.
A valley closed in by mountains ; on the summit
of a rocky height in the middle distance lies the
guardian Dragon ; in the foreground a pool, on
its nearer bank to right is the tree of golden

84 OIL PAINTINGS
apples, by which are the figures of the Hesperides,
one of whom offers the fruit to the Goddess of
Discord, on its further bank to left tall trees, and
a group of women drawing water from a spring.
Canvas 59I- x 84.
B.I. 1806, S.R. No. 55. Collection:
The Artist, N.G., No. 477.
Engraved in the Turner Gallery and in Wed-
more's Turner and Ruskin.
See No. 99 ante.
1 09 A COUNTRY BLACKSMITH, DISPUTING UPON THE
PRICE OF IRON AND THE PRICE CHARGED TO
THE BUTCHER FOR SHOEING HIS PONEY.
In the middle of the picture the forge at
which, to left, the smith is standing hammer in
hand ; behind him a man blowing the bellows,
and a woman looking in at a window ; on the
right two horses, the nearer a white pony being
shod by a smith who is kneeling on the ground ;
close behind him two men leaning on a low wall
at the side of the forge. Panel, 224 x 30!-.
R.A. 1807, No. 135. Collections: John
first Lord de Tabley; sale 1827, ,£147
(J. M. W. Turner). The Artist, N.G.,
No. 478.
Engraved in the Turner Gallery.
Burnet, p. 43, Redgrave, Century of Painters,
2nd edition p. 237, Thornbury, p. 425.
1 10 Sun rising through vapour; fishermen
cleaning and selling fish.
The sun, near the horizon in the middle of the
picture, reflected in a calm sea ; in the distance

1806-1808 85
a guard-ship and other vessels ; in the middle
distance to left fishing-boats lying in shallow
water, to right a jetty at the foot of which are
two boats drawn up on the shore, surrounded
by figures cleaning and packing fish. Canvas
52 x 70.
R.A. 1807, No. 162. B.I. 1809, S.R. No.
269. Collections : John first Lord de
Tabley (who obtained it from the Artist
in exchange for the Shipwreck, N.G., No.
476, see Thornbury, p. 423) ; sale 1827,
£"514 \os. (J. M. W. Turner). The
Artist, N.G., No. 479.
Engraved in the Turner Gallery.
A replica formerly in the Farnley Hall Gallery
was sold in 1890 for £1,050.
This is one of the two pictures (the other is
No. 134 post) bequeathed to the nation by
Turner, on condition that they should hang by
the side of two by Claude.
See No. 99 ante.

in The unpaid bill, or the Doctor reproving
his son's prodigality.
Interior of a laboratory, with a number of
bottles, instruments and utensils on shelves ; the
doctor, seated at a table near a window, is hold
ing a paper, and addressing his son who stands
with his back to the spectator ; near the youth,
close to an open door, sits his mother. Panel,
24X31I-
R.A. 1808, No. 116. Collection: A. R.
Boughton Knight, Esq., O.M. 1882,
No. 30.

86 OIL PAINTINGS
112 The battle of Trafalgar, as seen from
the mizen starboard shrouds of the
Victory.
In the middle of the picture somewhat to left,
Nelson, supported by officers and men, is lying
on the deck, which is crowded with figures. A
broadside is being fired into the " Redoubtable,"
which is seen on the right ; the upper part of the
picture filled with rigging seen through smoke.
Canvas 68x94.
B.I. 1808, S.R., No. 359. Collection :
The Artist, N.G., No. 480.
Engraved in the Turner Gallery.
See No. 99 ante.
Turner painted two pictures of the battle of
Trafalgar, but the present, usually known as the
Death of Nelson, was alone exhibited during the
painter's life-time.
The second was painted for King George IV.,
and is now at Greenwich Hospital. It represents
a general view of the battle. (Thornbury, pp.
288, 334, 428.) It is also engraved in the Turner
Gallery. In the N.G., No. 556, is a large oil
sketch for this second picture.
113 Spithead. Boat's crew recovering an
anchor.
Rough sea ; in the middle distance to right,
two men-of-war in full sail ; nearer to the
spectator a small sailing boat filled with figures.
On the left in the foreground a buoy near which
are several boats and a barge full of men ; in the
distance numerous large ships lying at anchor ;
the coast is seen beyond. Blue sky, with dark
clouds to right. Canvas 67 x 92.
R.A. 1809, No. 22. Collection: The
Artist, N.G., No. 481.

1808-1809 87
Engraved in the Turner Gallery and in Wed-
more's Turner and Ruskin.
114 Tabley, the seat of Sir J. F. Leicester,
Bart. — Windy day.
In the foreground a lake, with a large round
tower in the middle, close to which are two small
sailing boats ; three other boats are sailing, and
two men in a rowing boat are talking to another
who is sculling ; in the distance is the house, with
woods to left. Cloudy sky. Canvas 36 x 47^.
R.A. 1809, No. 105. [Liverpool Academy,
181 1, No. 9(?).] Collection: John
first Lord de Tabley and his descend
ants, A.T.M. 1857, No. 292, O.M. 1881,
No. 178.
115 Tabley, Cheshire, the seat of Sir J. F.
Leicester, Bart. ; calm morning.
Canvas 36 x 48^.
R.A. 1809, No. 146. [Liverpool Academy,
181 1, No. 9 (?).] Collections : John
first Lord de Tabley; sale 1827, ,£173 $s.
George, third Earl of Egremont, and his
descendants, Petworth House.
116 The garreteer's petition.
{Quotation!)
Interior of a garret dimly lighted by a lamp
on the left ; in the middle of the picture a bed
in a recess ; to left the poet seated at a table, his
head supported on his right hand, his left held
out in a declamatory attitude. Panel, 21 x 30.
R.A. 1809, No. 175. Collection: The
Artist, N.G., No. 482.

88 OIL PAINTINGS
117 lowther castle, westmoreland, the seat
of the Earl of Lonsdale, North-west
view from Ulleswater lake ; Evening.
View looking across the park towards the
Castle, which is situated on high ground in the
middle distance ; cattle in the foreground ;
evening sky. Canvas 354- x 48.
R.A. 1 8 10, No. 85. Collection : William,
first Earl of Lonsdale and his descend
ants, O.M. 1891, No. 131.
118 Lowther castle, Westmoreland, the seat
of the Earl of Lonsdale (the north
front), with the river Lowther : Mid
day. View looking across the park towards the
north front of the Castle ; the river in the fore
ground ; mid-day sky. Canvas 35^x48.
R.A. 1810, No. 115. Collection : William,
first Earl of Lonsdale, and his descend
ants, O.M. 1876, No. 33, 1891, No 135.
119 Petworth, Sussex, the seat of the Earl
of Egremont : Dewy morning.
View across the lake looking towards the
house ; several boats with figures in the fore
ground ; high ground with trees on the left.
Morning sky. Canvas 36 X 474-.
R.A. 1 8 10, No. 158. Collection:
George, third Earl of Egremont and
his descendants, Petworth House, O.M.
1892, No. 133.

i8io-i8ii 89
120 Mercury and Herse.
{Quotation from Ovid!)
View overlooking a mountainous distance and
an arm of the sea ; in the middle distance a river
flowing between wooded slopes, and divided by
an island reached by two bridges, to left a town
on a hill ; in the foreground on either side groups
of tall trees at the foot of which lie fragments of
classic architecture, in the middle of the picture
a religious procession approaching the spectator,
Mercury standing under the trees to right.
Canvas 75 x 63.
R.A. 181 1, No. 70. Collections: Sir
John Swinburne, Bart. Sir John Pender,
O.M. 1872, No. 131, 1891, No. 133;
sale 1897, .£7,875 (Tooth). Sir Samuel
Montagu, Bart., Guildhall, 1899, No. 20.
Engraved by J. Cousen, published 1842, and
in the Magazine of Art, 1898.
121 Apollo and Python.
{Quotation from Hymn of Callimachus!)
A rocky hollow through which a shallow
stream flows ; in the foreground to right the
Python struggling among rocks and trees which
he has crushed in his fall, and two fragments of
rock which he has tossed into the air, to left
Apollo kneeling in front of a boulder ; beyond,
part of a valley is seen with mountains in the
distance. Canvas 57|rX93i.
R.A. 181 1, No. 81. Collection: The
Artist, N.G., No. 488.
Engraved in the Turner Gallery, and in Wed-
more's Turner and Ruskin.

90 OIL PAINTINGS
122 SoMER-Hlll., NF.AR TuXHUIDGE, TIIK. SEAT OF
W. F. Woodgatk, Esq.
The house, a structure with many gables,
standing against the sky at the top of a hill in
the middle of the picture ; it is approached by
a broad avenue cut through tlie wood that clothes
tlie side of the hill ; at the foot of tlie slope a
meadow with cattle ; in the foreground a lake
with ducks and a boat to left. Sunset sky. Can
vas 35x47.
R.A. 1811, No. 177. Collections: 
Alexander, Esq.; sale 1851, ,£320
(bought in). Wynn Ellis, Esq. ; sale
1876, .£892 io>\ (Williams). Ralph
Brocklebank, Esq., O.M. 1880, No. 11 ;
Guildhall, 1S99, No. 17.
Engraved in Wedmore's Turner and Ruskin.

¦s>"

123 Whalley Bridge and Abbey, Lancashire.
Dyers washing and drying cloth.
View looking along a river crossed in the
middle distance by a bridge of three lofty arches,
through which part of the Abbey and glimpses
of the distant landscape are seen ; to the left a
steep bank crowned with buildings among trees,
to the right a shelving bank covered with trees,
amongst diem several tall pines; in the fore
ground a stretch of sandy shore with cloth
spread about, to right rocks, to left two men stand
ing in the river washing cloth. Afternoon sky.
Canvas 24 x 34^,
R.A. 181 1, No. 244. Collections: J. N.
Hughes, Esq. ; sale 1848, ^309 15*.
(Brown). Wynn Ellis, Esq. ; sale 1876,
6945 (Agnew). Samuel, first Lord
verstone. Lord Wantage.

1811-1812 91
1 24 A view of the Castle of St. Michael, near
Bonneville, Savoy.
[In the distance the Alps stretching across the
background ; at their base a stream, crossed on
the right by a bridge of several arches, flows
towards the spectator, its bank being shown in
the immediate foreground ; in the middle
distance sheep and trees on a sloping bank,
beyond in the centre of the picture some build
ings with a tower. Blue sky with light clouds.
Canvas 38^ X 46I.]
R.A. 1812, No. 149. [Collections: John
Gibbons, Esq.; sale 1893, £777. John
G. Johnson, Esq., of Philadelphia
Pennsylvania (?).]
Engraved in Liber Studiorum. R. 64.
See Nos. 100 and 104 ante.

125 View of the High Street, Oxford.
View looking westwards ; in the foreground to
right, All Souls' College, above which is seen the
spire of St. Mary's Church, to left University
College ; in the middle of the picture the spire
of All Saints' Church, Carfax in the distance ;
many figures in academic dress in the street ; a
man on a ladder to left. Signed, J. M. W. Turner,
R.A. Canvas 26|- X 384.
R.A. 1812, No. 161. Collections: Mr.
Wyatt, of Oxford. Jesse Watts Russell,
Esq. ; sale 1875, ,£1,050. Lord
Wantage, Grosvenor Gallery, 1889,
No. 34.
Engraved by Middiman, Pye and Heath.
Published 181 2.

92 OIL PAINTINGS
126 View of Oxford from the Abingdon road.
View from a height overlooking the valley of
the Thames ; in the distance in the middle of the
picture Christ Church, on the left the spires and
roofs of the city, on the right Magdalen Tower ;
in the foreground figures, cattle and a flock of
sheep. Evening sky. Canvas 26 X 36^.
R.A. 1812, No. 169. Collections: Mr.
Wyatt, of Oxford. Jesse Watts Russell,
Esq. ; sale 1875, £"1,280. Sir John
Fowler, Bart. ; sale 1899, £4,200
(Tooth).
Engraved by John Pye, published February
13. 1818.
The series of twelve letters, written by Turner
to Mr. Wyatt, on the subject of this and the
preceding picture forms the most interesting
portion that survives of the artist's correspond
ence. These letters are printed in Thornbury's
Life of Turner, pp. 164-176; but in his pages
they are full of misprints and placed in a se
quence which makes them almost unintelligible.
From internal evidence, and from allusions to
contemporary events, such as the election of
Lord Grenville to the Chancellorship of the
University, December 14, 1809, their correct
order appears to be : 1, 11, 2, 3, 10, 4, 5, 12, 6, 8,
9, 7. Of these Nos. 2, 4, 5, 6, 10, seem to refer
to the View of the High Street (No. 125) ; No. 8
to the View from the Abingdon road (No. 1 26) ;
and No. 6 to both pictures.

i^-

127 Snow storm : Hannibal and his army
crossing the Alps.
{Quotation from " Fallacies of Hope.")
View down a broad, mountain valley, through
which the army is defiling into the distance ; in

1812-1813 93
the foreground to left a dead elephant and
several men pillaging dead warriors others cast
ing rocks down upon the army ; a snow storm
sweeping across the heights to right ; to left the
sun veiled by the edge of a cloud. Canvas
57X93-
R.A. 181 2, No. 258. Collection: The
Artist, N.G., 490.
Engraved in the Turner Gallery.
128 Frosty morning.
{Quotation from Thomson!)
View along a road running into the distance
to left, where a coach is seen approaching ; in
the middle of the picture a cart with two horses
and figures ; to right a gate, near which stands a
man with a billhook. Canvas 45 x 69.
R.A. 18 1 3, No. 15. Collection: The
Artist, N.G., No. 492.
Engraved in the Turner Gallery.
Thornbury, pp. 12 1-2 and 431.
129 The deluge.
{Quotation from Milton.)
The foreground filled with a mass of surging
waters from which emerge rocks and the tops of
buildings ; drowning figures and animals strug
gling in the flood ; in the distance to left a
stretch of calm water on which floats the Ark ;
stormy sky with lightning to left, in the middle
the new moon just above the horizon. Canvas
57X93-
R.A. 181 3, No. 213. Collection: The
Artist, N.G., No. 493.
Engraved by J. B. Quilley.

94 OIL PAINTINGS
1 30 Dido and Aeneas.
{Quotation from Dryden' s Virgil!)
In the middle of the picture a river flowing
away to the distance from the right foreground,
where it is crossed by a bridge of two arches,
above which rises a wooded bank crowned with
buildings ; further away a broken bridge, and
beyond it the city of Carthage ; in the middle
foreground many figures preparing for the chase ;
to left tall trees and undergrowth. Morning sky.
Canvas 58x95.
R.A. 1814, No. 177. Collection: The
Artist, N.G., No. 494.
Engraved by W. R. Smith, published June,
1842, and in the Turner Gallery.
This, the first Carthaginian subject exhibited
by Turner, is usually known as The Morning of
the Chase.
Thornbury, p. 1 23.
131 Apullia in search of Apullus, vide Ovid.
An extensive hilly landscape ; in the middle
distance a river crossed by a bridge of seven
arches with a tower in the middle; wooded
slopes beyond ; on the right a tower and water-
mill ; in the foreground a bank and trees, under
which are Apuleia and other figures, one of
whom is pointing to the name Apuleius carved
in the bark of one of the trees. Inscribed in the
lower part of the picture are the words : "Apuleia
in search of Apuleius learns from the swain the
cause of his metamorphosis." Canvas 57 x 93.
B.I. 1814, S.R., No. 168. Collection:
The Artist, N.G., No. 495.
Engraved in Liber Studiorum. R. 72.
See No. 99 ante.

1814-1815 95
The subject of this picture is said to be with
out foundation in classical literature, although
Turner refers to Ovid in the catalogue. It is
believed to have been painted as a companion
to a celebrated Claude in the collection at Pet
worth, and to have gained a prize when it was
exhibited at the British Institution, whence it is
sometimes known as the Premium Landscape.
Mr. Rawlinson says that the composition of
this work seems to him to have been borrowed
from Claude: Liber Veritatis, No. 134.
Thornbury, p. 432.

132 Bligh Sand, near Sheerness; Fishing
boats, trawling.
In the foreground a stretch of wet sand upon
which a moderate sea is breaking ; many fishing-
boats in the middle and extreme distance ; a
half-decked boat with two men in it close to the
shore a little to left. Cloudy sky, the sun
illuminating the distance through a rift. Canvas
•35X47-
R.A. 1815, No. 6. Collection : The
Artist, N.G., No. 496.
Engraved in the Turner Gallery.
This picture must have been painted before
1809, as it appears in the catalogue of Turner's
own gallery, printed in that year, as "No. 7.
Fishing upon the Blythe-sand, tide setting in."
See No. 20 ante.
A picture of The Nore, formerly in the collec
tions of Mr. Newington Hughes and Mr. Gillott,
and now in that of Mr. P. A. B. Widener, of
Philadelphia, has sometimes been confused with
this of Bligh Sand.
Thornbury, pp. 317 and 432.

96 OIL PAINTINGS
^133 Crossing the brook.
View from a height over a wide prospect,
through which a river, spanned in the middle
distance by a bridge of five arches, flows to the
sea appearing in the extreme distance ; in the
foreground, in the middle, a brook running to
join the river on the left, on the right the arched
opening of a grotto in a wooded bank, on the left
a group of tall trees ; a dog is fording the brook ;
on the right bank sits a girl taking off her shoes ;
on the left a woman stands leaning against a
boulder.R.A. 1815, No. 94. Collection : The
Artist, N.G., No. 497.
Engraved by R. Brandard, published June 23,
1843, m tne Turner Gallery, and by A. S. Hand-
ford, published 1893.
What is said to be an original finished sketch
for this picture is in the collection of Mr. C. B.
Walker, of Minneapolis, into which it passed
from that of the Earl of Jersey.
Thornbury, pp. 152-153 and 433.
^.134 Dido building Carthage; or the rise of
the Carthaginian Empire.
View of the estuary of a river crossed in the
middle distance by a bridge ; on the left build
ings, fortifications, and ships in course of con
struction ; on the right, other buildings, and some
trees, among which is a large pine, at the, foot of
a high rock crowned by a temple ; many figures
in boats and on the shore ; Dido, on the left,
examining some plans ; near her some children
watching the voyage of a toy boat. Inscribed
on the wall of the unfinished building on the
right are the title of the picture, signature and
date. Canvas 6oi x 89^.

1815 97
R.A. 1815, No. 158. Collection: The
Artist, N.G., No. 498.
Engraved by Prior, published August, 1863,
and in the Turner Gallery.
Of Turner's Carthaginian subjects, designed,
it has been assumed, with cryptic reference to
the political relations between England and
France during the Napoleonic period (Thorn
bury, p. 433 ; Hamerton, p. 168), this is probably
the most famous. It owes its celebrity to the
extraordinary esteem in which it was held by its
author. For, after it had been in the first in
stance returned to the artist by the disappointed
patron who had commissioned it (Thornbury,
p. 183 ; Hamerton, p. 218), he refused to sell it
for great sums offered by friends, patrons or
publishers, and even by a body of subscribers
anxious to secure it for the National Gallery
(Thornbury, pp. 182, 343 and 434). He used jest
ingly to declare his intention of being buried
rolled up in it (Thornbury, pp. 128, 338 and
434), and finally bequeathed it to the nation,
together with the Sun rising through vapour
(No. 1 10 ante), upon condition that the two pic
tures should hang beside the famous Angerstein
Claudes.
135 The Temple of Jupiter Panellenius
restored.
{Quotation!)
In the middle of the picture a ridge of rocks
which, near to the spectator is covered with
shrubs and tall trees and in the middle distance
to right is crowned by the temple and other
Greek buildings ; on the extreme left a wooded
cliff, between which and the central ridge is a
view down a glade ; in the distance the sea ; a
religious procession with beasts for sacrifice, and
H

98 OIL PAINTINGS
musicians, crosses the foreground ; to right a
tank with a woman washing. Evening sky.
Canvas 57 x 93.
R.A. 1816, No. 55. Collections : Messrs.
Graves, sold 1836. Wynn Ellis, Esq.,
B.I. 1853, No. 169; sale 1876, ^"2,100
(Goupil).
Engraved by John Pye, published March 1,
1828 ; and in the Turner Gallery.

1 36 View of the Temple of Jupiter Panellenius
in the island of ^edna with the greek
national dance of the romaika ; the
Acropolis of Athens in the distance.
Painted from a sketch taken by H.
Gally Knight, Esq., in 18 10.
View from a height looking along a mountain
valley ; upon the right rise lofty cliffs breaking
near the middle of the picture into an isolated
pinnacle of rock, which, as well as the cliffs, is
crowned by ruined buildings ; upon the left a
rectangular sheet of water surrounded by ruins ;
in the distance in the centre of the picture the
Acropolis with remote mountains beyond ; in
the middle of the foreground figures dancing and
a woman playing a guitar, to right other figures
seated on the ground. Sunset sky, the sun, near
the horizon on the left, casting a strong reflection
in the water. Signed. Canvas 27^x35.
R.A. 1816, No. 71. Collections: [Joseph
Gillott, Esq., Royal Manchester Institu
tion 1845, No. 228(?)]. Miss Heaven,
Whitworth Institute, Manchester, No.
370.

1816-1817 99
137 The Decline of the Carthaginian Empire.
Rome, being determined on the over
throw 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.
{Quotation!)
View along an estuary with classic buildings
on either side ; in the middle of the foreground
the waves break against a semicircular flight of
steps ; on the left ships, and people embarking ;
to right an altar-like monument ; at its foot a
woman weeping and other figures ; emblematic
accessories lying on the ground. Afternoon
sky ; the sun in the middle of the picture.
Canvas 67^x95.
R.A. 1817, No. 195. Collection: The
Artist, N.G., No. 499.
Engraved in the Turner Gallery.
Thornbury, pp. 128, 182, 343.
1 38 View of the Temple of Jupiter Panellenius
in the Island of ^Egina with the Greek
National Dance of the Romaika ; the
Acropolis in the distance. Painted
from a sketch taken by H. Gally
Knight, Esq., in 18 10.
View from a height overlooking a stretch of
undulating country with the sea to left ; on a hill
in the middle of the picture a clump of trees, on
another, more remote, to right, the ruins of the
Temple ; in the middle of the foreground, on a
rocky plateau, figures in Albanian costume re-

too OIL PAINTINGS
dining on the ground, in the midst others
dancing and a woman holding a tambourine ; to
left a bank with tall trees. Canvas 46 x 70.
B.I. 181 7, No. 266. Collections: Adam
Fairrie, Esq., of Liverpool; sale 1856,
^1,365 (Gambart). Algernon, fourth
Duke of Northumberland, B.I., 1856,
No. 53.
Redford is in error in saying that this picture
was sold by auction in 1884, and bought by Mr.
Gambart for £1,260.
Engraved in Liber Studiorum. R. 77.
Besides this picture and Nos. 135, and 136
ante, there is a water-colour drawing by Turner
of this subject. Thornbury (p. 179) says that it
was made by Turner for Mr. Cockerell, from a
sketch by that architect, and that a dispute arose
about the price. It appears subsequently to have
passed through the hands of Mr. Munro, sale
1867, £189 (White), Mr. P. Allen, National Ex
hibition, Leeds, 1 868, No. 203 1 ; sale 1 869,
£220 ioj. (Gambart), Mr. J. Smith, sale 1870,
£53 iij. (Agnew), and Mr. H. W. F. Bolckow,
sale 1891, £162.
Altogether the history of these pictures of the
Temple of Jupiter is somewhat obscure. The
appearance of a copy of one of them at a sale in
1 86 1, seems to have given rise to an idea that a
forged picture of this subject was in existence.
In consequence of this the executors of Mr.
Wynn Ellis announced that they would allow
the purchaser of his picture (No. 135 ante), three
months during which to reconsider his bar
gain, if he could prove that the picture was not
authentic. The question has been discussed in
a letter of Mr. Gladwell to the Athenceum for
May 20, 1876, and by Redford, A rt Sales, vol. i.
pp. 223-225.

1817-1818 IOI
139 Raby Castle, the seat of the Earl of
Darlington. In the middle distance, in the centre of the
picture, the Castle, in front of it a road leading
to a lodge on the left, near which is a herd of
deer ; on either side low wooded hills ; undulating
foreground, groups of huntsmen to right and
left, a fox on the left, and a pack of hounds in
the middle of the picture ; hills in the distance.
Cloudy sky with a burst of sunlight on the
Castle. R.A.i8i8,No.i29. Collections : William ,
first Duke of Cleveland and his de
scendants. In the possession of Messrs.
Wallis, of the French Gallery, London,
1899.

140 Dort or Dordrecht, the Dort packet-boat
from Rotterdam becalmed.
View looking over a broad stretch of calm
water ; in the distance, a little to the right of the
centre of the picture, is seen the city of Dort ;
in the foreground, a little to left are the packet-
boat and another vessel lying becalmed with all
sails set ; a rowing-boat full of figures is putting
off from the packet ; numerous boats in the
distance. Signed and dated, J. M. W. Turner,
R.A. 1818, Dort. Canvas 62 x 9H.
R.A. 18 1 8, No. 166. Collection : Walter
Fawkes, Esq., of Farnley Hall, and his
descendants.
Engraved in Hamerton, Les Artistes cttebres —
Turner, and in the Magazine of Art, 1887.
[Hamerton, p. 326 (?).]

102 OIL PAINTINGS
141 The Field of Waterloo.
{Quotation from Byron!)
In the foreground are women searching by
torch-light among the dead and dying; to the
right the Chateau of Hougoumont on fire, re
flected in a small pool ; in the distance the plain.
Full moon to left ; rocket- signals seen against
the sky. Canvas 59 x 93.
R.A. 1818, No. 263. Collection: The
Artist, N.G., No. 500.
Engraved by F. C. Lewis.
142 Entrance of the Meuse : Orange-merchant
on the bar, going to pieces ; brill
Church bearing S.E. by S., Masensluys
E. BY S.
Heavy sea ; in the middle distance the vessel
surrounded by boats is heeling over towards the
spectator ; in the foreground to left a boat with
men in it, to right a small sailing vessel beyond
which, on the horizon is seen the church tower ;
oranges floating on the water. Cloudy sky.
Canvas 67 x 94^.
R.A. 18 19, No. 136. Collection : The
Artist, N.G., No. 501.
Engraved in the Turner Gallery.
143 England: Richmond Hill, on the Prince
Regent's Birthday.
{Quotation from Thomson!)
View from the top of the hill, the distant
prospect seen between groups of trees to right
and left ; scattered across the foreground under

1818-1822 103
their shade numerous figures, chiefly brightly
dressed ladies. Canvas 70 X 132.
R.A. 1 8 19, No. 206. Collection : The
Artist, N.G., No. 502.
Hamerton, p. 170.
144 Rome from the Vatican. Raffaelle ac
companied by La Fornarina, preparing
his pictures for the decoration of the
Loggia.
In the centre of the picture an arch of the
Loggia, through which is seen a bird's-eye view
of the Piazza of St. Peter's, beyond it the Castle
and bridge of St. Angelo, other buildings and
mountains in the distance ; in the middle distance,
to left, a wing of the Palace, to right an arcade
in perspective ; in the foreground pictures, plans
and accessories, the Fornarina, seated, looking
over the balustrade, Raphael standing facing
the spectator. Canvas 69^ X 131.
R.A. 1820, No. 206. Collection : The
Artist, N.G., No. 503.
Engraved in the Turner Gallery.
145 " What you will."
A landscape with many figures.
R.A. 1822, No. 114. Collection: Sir
Francis Chantrey, R.A. ; sale 1861,
£257 5s. (Agnew).
146 Bay of Bai^e, with Apollo and the Sybil.
{Quotation.)
View looking across the bay towards Pozzuoli ;
to right, on a promontory in the middle distance,

104 OIL PAINTINGS
is seen the Castle of Baiae ; in the foreground, to
left, talj pine trees under which are seated the
figures of Apollo and the Sibyl. Canvas
57i*93i-
R.A. 1823, No. 77. Collection : the
Artist, N.G., No. 505.
Engraved in the Turner Gallery.
147 Harbour of Dieppe. (changement de
domicile.) View of the Avant-port ; on the right the quay
crowded with figures and bounded by a row of
buildings, amongst which the College is con
spicuous, in the middle of the picture a mass of
shipping, to left a stretch of open water ; in the
distance the quay lined with ships, with the dome
and tower of Saint Jacques rising beyond ; in
the foreground to left the prow of a boat upon
which are two women. Sunset sky. Canvas
59 x 89.
R.A. 1825, No. 152. Collections: James
Wadmore, Esq.; sale 1854, ,£1,942 \os.
John Naylor, of Leighton Hall, Esq.
148 Cologne, the arrival of a packet-boat.
Evening.
View looking up the Rhine towards the bridge
of boats, across which a coach and numerous
figures are passing ; on the right the buildings
of the city, with towers rising above them, the
Cathedral with a high pyramidal roof and single
turret being almost in the middle of the picture ;
also on the right, nearer to the spectator, is the
packet-boat, a square-built sailing vessel, drawing
in to the shore beneath the town wall ; in the
foreground two women carrying timber into a

1823-1826 105
warehouse, and a dog drinking at the edge of
the river. Sunset sky. Canvas 59 x 89.
R.A. 1826, No. 72. Collections: James
Wadmore, Esq.; sale 1854, £"2,100.
John Naylor, of Leighton Hall, Esq.,
A.T.M. 1857, No. 224.
This is the picture whose glowing tone so
injured the effect of two portraits by Lawrence,
near to which it hung in the Academy, that
Turner darkened it upon varnishing day with a
coat of lamp-black in water colour. (Thornbury,
pp. 274, 347.) It must not be confounded with
the water-colour drawing, formerly in the Windus
collection, which is engraved in the Turner
Gallery. See Appendix.
149 Forum Romanum, for Mr. Soane's Museum.
View of the ruins in the Forum looking to
wards the Capitol which rises in the background ;
in the middle of the picture is a religious pro
cession making its way to the church of San
Lorenzo in Miranda ; the foreground to right is
encumbered by the ruins of the Basilica of Con
stantine, to left is the Arch of Titus, rising to
the top of the picture, beneath its shade three
friars are standing, a woman kneeling before one
of them. Effect of noonday sunlight. Canvas
50 x 89 (arched top).
• R.A. 1826, No. 132. The Artist, N.G.,
No. 504.
Engraved in the Turner Gallery.
Mr. G. H. Birch, the Curator of Sir John
Soane's Museum, who has been so good as to
look into this matter for me, informs me that he
has certainly seen, although he is unfortunately
unable at present to lay his hand upon it, a letter

io6 OIL PAINTINGS
of Sir John to Turner which may possibly relate
to this picture.
In it he expressed admiration for a picture of
Turner's, and a desire to possess it, and enclosed
a draft payable to the painter, for, as far as my
informant could recollect, £500. The letter, with
the draft unused, had been returned to Sir John,
so presumably there was some dispute over the
matter. If the draft was really for £500 it
must, considering Turner's usual scale of prices,
have been in payment for an oil picture of some
magnitude. This conclusion is strongly sup
ported by the fact that the work was hung at
the Academy in the Great Room in proximity
to several portraits by Sir Thomas Lawrence,
amongst them the famous pictures of Canning
and Sir Robert Peel, and other oil pictures.

150 The Seat of William Moffatt, Esq., at
Mortlake. Early (summer's) Morning.
View looking down the Thames from the
garden of a house which is seen to right ; a high
tree in front of the house, others on the terrace
to left ; on the grass in the foreground two men
sharpening their scythes, and a wheelbarrow.
Cool light of early morning. Canvas 35 X47.
R.A. 1826, No. 324. Collections

Fripp, Esq.; sale 1864, ;£i,io2 10s.
(bought in). Samuel Mendel, Esq., O. M.
1872, No. 22 ; sale 1884. James Price,
Esq., O.M. 1895, No. 25; sale, 1895,
.£5,460 (Agnew). S. G. Holland, Esq.,
Guildhall, 1899, No. 22.
Engraved in the sale catalogue of the Price
collection, where it is mistakenly described as the
Mortlake with evening effect, No. impost.

1 826- 1 827 107
151" NOW FOR THE PAINTER " (ROPE). PASSENGERS
GOING ON BOARD.
Moderate sea with breeze from the left ; in
the middle of the foreground an open boat in
which are five figures ; beyond, a small vessel
with three masts, from one of which a pennant
inscribed Pas de Calais is flying ; it is filled
with figures, a man in the stern about to throw a
rope to the open boat ; in the distance other
boats, and on the right the town of Calais. Blue
sky with clouds. Canvas 59 x 89.
R.A. 1827, No. 74. Collection: John
Naylor, of Leighton Hall, Esq.,A.T.M.
1857, No. 295.
Engraved by W. Davison, published May,
1830, and in the Turner Gallery.
This picture is also known as the Pas de
Calais. Thornbury, p. 293.
152 Port Ruysdael.
Very rough sea breaking against two wooden
jetties which appear in the foreground at either
side of the picture, upon that to left is a signal
mast with a ladder, to right a beacon pole, and
in the immediate foreground a bucket and some
fish ; in the middle distance a single sailing
vessel. Stormy sky with torn cumulus clouds.
Canvas 36 x 48.
R.A. 1827, No. 147. Collections:
Elhanan Bicknell, Esq. ; sale 1863,
;£i,995 (Agnew), Sir John Kelk,
Bart. ; sale 1900, ,£5,040. R. Hall
McCormick, Esq., of Chicago.
Engraved in Wedmore's Turner and Ruskin.
Hamerton, p. 217.

108 OIL PAINTINGS
153 Rembrandt's daughter.
Interior of a room ; a girl seated on the edge
of a bed with her left arm resting on the back of
an armchair, in her right hand she holds a letter
which she is reading ; behind the chair the
painter is seen entering the room, followed by
his wife, he holds a palette and brushes ; in the
background is a canvas inscribed Rembrandt.
Canvas 46^ X 44^.
R.A. 1827, No. 166. Collection :
Walter Fawkes, of Farnley Hall, Esq.,
and his descendants, O.M. 1877, No.
261.

154 Mortlake Terrace, the seat of William
Moffatt, Esq., summer's evening.
On the right is the river, seen between the
stems of a line of trees bordering a terrace, at
the end of which is a summer-house ; on the
grass in the middle of the picture are a chair
and a table ; a black dog on the parapet of the
terrace ; on the river a state barge and other
boats. Evening sky, the sun in the middle of the
picture. Canvas 36 x 48.
R.A. 1827, No. 300. Collections : E. T.
Daniel, Esq. ; sale 1843, £"90 6s.
(Creswick). Sam. Ashton, Esq., A.T.M.
1857, No. 256, Guildhall, 1899, No. 23.
Engraved in the Book of Gems, 1 836.
It is said that the dog in the foreground of
this picture was cut out of black paper, and stuck
on to the canvas by Sir Edwin Landseer in
Turner's absence. Magazine of Art, 1899,
p. 403.
Thornbury, p. 438.

1827-1828 io9
155 Scene in Derbyshire.
{Quotation.)
R.A. 1827, No. 319.
156 Dido directing the equipment of the
fleet, or the morning of the Cartha
ginian Empire.
In the middle of the picture a river, covered
with shipping, flows into the distance ; on the
right a quay crowded with figures, and lined
with large classic buildings ; a rocky bank to
left, on which, near the shore, grows a tall pine,
is also covered with classic buildings. Sun in
the middle of the picture. Canvas 59 x 89.
R.A. 1828, No. 70. Collections

Broadhurst, Esq. The Artist, N.G., No.
506.
Engraved inHamerton's Life of Turner, 1895.
157 East Cowes Castle, the seat of J. Nash,
Esq., the Regatta beating to windward.
R.A. 1828, No. 113. Collection: J.
Nash, Esq. ; sale 1835, £^199 \os.
(Tiffin).
158 East Cowes Castle, the seat of J. Nash,
Esq. ; the regatta starting for their
moorings. View looking along an estuary, on the left
the Yacht Squadron, and on a height in the dis
tance the Castle ; on the right the shore crowded
with figures under the shade of trees, buildings
beyond ; in the foreground to right a boat full

no OIL PAINTINGS
of ladies, rowed by a man. Afternoon sky,
the sun in the middle of the picture. Canvas
35X47-R.A. 1828, No. 152. Collections : J.
Nash, Esq., sale 1835, ,£283 105-.
(Tiffin). John Sheepshanks, Esq.,
V.A.M. 1856, No. 210.
159 Boccaccio relating the tale of the Bird
cage. Scene in a garden ; to right a glade shaded
by trees and, nearer to the spectator, a fountain ;
through an opening amongst the boughs to left
is seen a white castle ; in the foreground a table
spread with a dessert, and figures reclining in
groups on the grass ; in the midst is a birdcage
partly covered with a handkerchief. Canvas
48 x 36.
R.A. 1828, No. 262. Collection : The
Artist, N.G., No. 507.
Engraved in the Turner Gallery ; and by
J. B. Quilley, published January, 1830.
Thornbury, p. 222 ; Hamerton, p. 134.
160 The banks of the Loire.
R.A. 1829, No. 19. Collection: Kunst-
halle, Hamburg, Schwabe collection, No.
114.
161 Ulysses deriding Polyphemus — Homer's
Odyssey.
In the centre of the picture to left the galley
of Ulysses, the rigging crowded with figures ; a
train of star-crowned sea-nymphs rising from the

1828-1829 III
sea before the ship ; beyond it the giant is seen
among the clouds on the summit of a cliff, with
one hand clutching his wounded head, with the
other menacing Ulysses ; to left is a fire burning
in a cavern at the foot of the cliff ; to right of
the centre an arched rock and beyond it the sun
rising over the sea ; further to right the Greek
fleet. Canvas 5 1 x 79.
R.A. 1829, No. 42. Collection : The
Artist, N.G., No. 508.
Engraved by H. R. Robertson, published
1888, in the Turner Gallery, and in Wedmore's
Turner and Ruskin.
162 The Loretto necklace.
A view from a height overlooking a wooded
prospect with mountains in the distance ; on the
right a city standing on a wooded hill, down the
side of which a brook falls in cascades and flows
away towards the left, where it is crossed by a
bridge with a double range of arches ; in the
middle of the foreground a tall tree, at its foot
stand a girl and a man who is putting a necklace
round her neck. Canvas 52 x 69.
R.A. 1829, No. 337. Collection: The
Artist, N.GU No. 509.
Engraved in the Turner Gallery.
163 Linlithgow Palace.
The palace stands on a height in the back
ground at the foot of which is the lake ; in the
foreground youths bathing in a stream shaded by
trees. Blue sky, with clouds. Canvas 35 X47.
Royal Manchester Institution, 1829, No.
271. Collection : The Countess of
Camperdown, O.M. 1888, No. 37.

112 OIL PAINTINGS
164 Pilate washing his hands. (St. Matt, xxvii,
24.) In the centre of the foreground, Christ, sur
rounded by the holy women, is leaving the
crowded Judgment Hall ; in the middle
distance Pilate is seen seated on a lofty throne,
washing his hands ; buildings in the back
ground. Canvas 35x47.
R.A. 1830, No. 7. Collection: The
Artist, N.G., 510.

165 View of Orvieto ; painted in Rome.
View from a height overlooking a valley in
the midst of which stands the city on a high
rock ; mountains in the distance ; in the fore
ground to left a group of tall trees, to right a
woman washing clothes in a tank. Effect of
bright sunlight with haze. Canvas 36 X 48.
R.A. 1830, No. 30. Collection : The
Artist, N.G., No. 511.
Engraved in the Turner Gallery.
This picture is doubtless the " small three feet
four," mentioned by Turner in a letter to Chantrey,
dated from Rome, Nov. 6, 1828 (Thornbury,
p. 100), as having been painted by him to satisfy
the inquisitive cognoscenti.

l66 PALESTRINA — COMPOSITION.
{Quotation from " The Fallacies of Hope.")
View from a height overlooking an extensive
prospect with mountains in the distance. To
the left in the middle distance is the town crown
ing vast rocky heights, a fortified spur of which

1830 113
stretches towards the spectator, at its foot is a
triumphal arch forming the approach to a bridge
seen in abrupt perspective in the foreground ; in
the middle of the picture a stream rushing from
under the bridge falls in cascades down into the
distance ; to right a long glade between tall trees,
near its entrance a flock of goats, and, in the im
mediate foreground, two children, one with a
pipe, seated amid fragments of ancient architec
ture upon the ground. Afternoon light, blue
sky, with light clouds at the top of the picture.
Canvas 56 x 98-i.
R.A. 1830, No. 181. Collections :
Elhanan Bicknell, Esq. ; sale 1863,
£"1,995. Henry Bicknell, Esq.; sale
1865, ,£2,205 (bought in), sale 1881,
.£3,150 (Agnew). Mrs. Williams.
167 Jessica.
{Quotation from Shakespeare!)
Canvas 48 x 36.
R.A. 1830, No. 226. Collection: George
third Earl of Egremont and his descend
ants, Petworth House.
That this picture was painted in Rome in
1828, is apparent from a letter from the artist to
Chantrey, printed by Thornbury, p. 100.
168 Calais sands, low water : Poissards col
lecting bait.
Canvas 28^ x 42.
R.A. 1830, No. 304. Collection: Joseph
Gillott, Esq.; sale 1872, .£1,785
(Agnew).

H4 OIL PAINTINGS
169 Fish-Market on the sands; the sun rising
through vapour.
View on a strand ; in the foreground numerous
figures of men and women selling fish which are
strewn on the sand ; on the left a boat with large
brown sails lies on the shore, beyond it white
cliffs seen through a hazy atmosphere ; on the
right other boats ; in the distance more vessels
and two large warships. The sun and its
reflection occupy the centre of the picture.
Canvas 34 x 44.
R.A. 1830, No. 432. Collections: John
Chapman, Esq., A.T.M. 1857, No. 294.
George Chapman, Esq., J.M., 1887, No.
610, Guildhall, 1892, No. 118, and 1899,
No. 31.
This picture is sometimes called The Shore at
Margate.
1 70 Life- boat and Manby apparatus going off
to a stranded vessel, making signal (blue
lights) of distress.
In the foreground to left a very rough sea
breaking on the shore, on which, to right, stand
two figures of girls looking out to sea ; in the
middle distance a wooden pier with many boats
to right, and to left a life-boat putting off ; in the
distance rockets seen against a dark cloud
obscuring the sky to left. Canvas 35 X47.
R.A. 1 83 1, No. n^ Collections : J. Nash,
Esq. ; sale 1835, £"262 \os. (Tiffin). John
Sheepshanks, Esq., V.A.M. 1856, No.
211.
Engraved by Kratke", published 1890; in the

1830-1831 us
Turner Gallery, in the Portfolio, 1890, and in
Wedmore's Turner and Ruskin.
This picture is sometimes known as Vessel in
distress off Yarmouth.
1 7 1 Caligula's palace and bridge.
{Quotation from " Fallacies of Hope.")
In the middle of the picture to left classic
ruins, behind which the sun is setting ; in the
middle distance to right the Bay of Baise crossed
by the bridge seen in perspective, close to the
shore galleys at anchor ; in the foreground a
stream with women and goats wading, tall trees
to right. Canvas 56 x 98.
R.A. 1831, No. 162. Collection: The
Artist, N.G., 512.
Engraved by Goodall, published June 23,
1 842 ; and in the Turner Gallery.
Thornbury, p. 447.
172 Vision of Medea.
{Quotation from " Fallacies of Hope.")
To left Medea performing an incantation ; on
the ground beside her are the three Fates ; imme
diately above and behind them appears to be
her dragon chariot, with her twins ; the chariot
is also represented in clouds above to left,
where Medea again is seen in the act of throw
ing her children into the burning palace below.
Canvas 68 x 98.
R.A. 1831, No. 178. Collection: The
Artist, N.G., No. 513.
The National Gallery catalogue says that this
picture was painted in Rome in 1829.

116 OIL PAINTINGS
173 Lucy, Countess of Carlisle, and Dorothy
Percy's visit to their father Lord
Percy when under attainder upon the
supposition of his being concerned in
the gunpowder plot.
Interior of a richly furnished room ; on the
right Lord Percy, dressed in black and gold,
seated in a large armchair ; on the left three
ladies, in Vandyck costumes, leaving the room
by a door at the top of some steps. Panel
i5iX27h
R.A. 1831, No. 263. Collection: The
Artist, N.G., No. 515.

174 Admiral van Tromp's barge at the
entrance of the texel, 1 645.
Moderate sea ; in the middle of the picture
van Tromp's barge, with a large flag hoisted at
the stern, sailing away from the spectator,
beyond it is a man of war and another is seen
on the right, between this latter and the barge
is a boat with two masts ; in the distance other
vessels and the coast to left. Canvas 35^x48.
R.A. 183 1, No. 288. Collection : Sir
John Soane's Museum.
Engraved in the Magazine of Art, 1899.
A small replica of this picture is mentioned by
Redford as having been sold in 1868 with the
collection of Mr. J. C. Grundy.
The identity of the four " Van Tromp " pic
tures exhibited by Turner (Nos. 174, 179, 186
and 245) has been explained by Mr. C. W. Carey,
in an article contributed to the Magazine of Art,
1899 (p. 173). I am indebted to this valuable

1831 n7
paper for the information concerning these works
here given.
Yet a fifth picture, not mentioned by Mr.
Carey, and perhaps never exhibited by Turner,
is in the collection of Mr. T. Horrocks Miller,
(O.M. 1889, No. 18).
175 Watteau, study by Fresnoy's rules.
{Quotation from Mason's translation of Du
Fresnoy!) Interior of a studio crowded with accessories ;
in the middle Watteau, dressed in red and wear
ing a black hat, stands sketching on a board
which rests on his knee ; his models, a richly
dressed lady and a youth, are seated on a settee
to right ; other figures behind ; to left pictures
on easels. Panel 1 5i X 27-1.
R.A. 1 83 1, No. 298. Collection : The
Artist, N.G., No. 514.
176 "In this arduous service (of reconnois-
sance) on the French coast, 1805, ONE 0F
our cruisers took the ground, and had
to sustain the attack of the flying
artillery along shore, the batteries,
and the fort of Vimieux which fired
heated shot, until she could warp off
at the rising tide which set in with
all the appearance of a stormy night."
— Naval Anecdotes.
In the middle of the picture a three-masted
vessel lying heeled over towards the left in
shallow water, the deck crowded with figures ;
the smoke from her guns drifts towards the low-
lying shore, seen on the left, upon which are
parties of soldiers firing upon her, and in the
distance a fort ; to the right the sea breaking

u8 OIL PAINTINGS
against the bows of the ship ; in the foreground
a stretch of wet sand, with the anchor to which
the vessel is attached to the left, near it a shot
has just fallen. Sunset sky, the sun near the
horizon on the right. Canvas 28 X 42.
R.A. 1831, No. 406. Collections: Charles
Meigh, Esq.; sale 1850, .£693. James
Lenox, Esq., Lenox Library, New York
City, No. 86.
177 Childe Harold's pilgrimage — Italy.
{Quotation from Byron!)
View overlooking a broad wooded valley ; in
the middle distance a river flowing round a
promontory, and crossed on the right by a
bridge with a tower, on the left hills, covered
with trees and ruins, rise from the brink of the
river ; in the foreground, slightly to left, a tall
stone pine, a little to right a group of figures
seated on the ground, others dancing ; the
Pilgrim emerging from a grotto on the extreme
left. Blue sky, effect of brilliant sunlight.
Canvas 56x98.
R.A. 1832, No. 70. Collection : The
Artist, N.G., No. 516.
Engraved by J. T. Willmore, published 1861,
by David Law, published 1889, and in the
Turner Gallery.
[78 The Prince of Orange, William III.,
embarked from Holland and landed at
Torbay, November 4TH, 1688, after a
STORMY PASSAGE.
{Quotation from " History of England.")
Rough sea ; a fleet of large vessels and small
sailing boats stretching across the picture in the

1831-1832 119
middle distance ; nearer to the spectator, in the
centre of the picture, a large barge manned by
rowers, approaching on the crest of a wave, in
the bows a flag with the Prince's arms, the
Prince is seen standing in the stern, raising his
hat. Grey sky with an effect of sunny haze.
Canvas 35^ x 47^.
R.A. 1832, No. 153. Collections : Robert
Vernon, Esq., N.G. 1847, No. 369.
Engraved in the Turner Gallery.
179 Van Tromp's shallop at the entrance of
the Scheldt.
The river ruffled by a fresh breeze ; in the
foreground a sailing boat with several people
in it ; on the right two men-of-war at anchor ;
on the left, and further off, are other ships and
boats ; in the distance is the city of Antwerp.
Blue sky and clouds. Canvas 35 x 47.
R.A. 1832, No. 206. Collections :
H. A. J. Munro, of Novar, Esq. ; sale
1878, ^5,460 (Agnew). Kirkman D.
Hodgson, Esq. Sir Charles Tennant,
Bart, O.M. 1894, No. 103.
See No. 174 ante.
180 Helvoetsluys ; — the City of Utrecht, 64,
going to sea.
Agitated sea ; in the centre of the picture a
man-of-war sailing away from the spectator ; on
the left a sailing boat, beyond which is seen a
jetty ; other shipping on the right ; in the middle
of the foreground a red buoy. Clouded sky.
Canvas 36 x 50.
R.A. 1832, No. 284. Collections :

120 OIL PAINTINGS
Elhanan Bicknell, Esq.; sale 1863,
£"i,68o (Agnew). James Price, Esq.,
O.M. 1895, No. 32 ; sale 1895, £6,720
(Agnew). James Ross, Esq., of Mont
real.
Engraved in the sale-catalogue of the Price
collection. Thornbury, pp. 326-327.
181 " Then Nebuchadnezzar came near to the
mouth of the burning fiery furnace,
and said, shadrach, meshach, and
abednego, come forth and come hither.
Then Shadrach, Meshach, and Abednego
came forth of the midst of the fire."
Daniel, chap, iii., ver. 26.
Courtyard of a palace crowded with figures,
those in the middle distance lit up by the glare
from the furnace which is seen on the right, to
left the golden image under a high canopy, in
the middle a vast spectral figure ; in the distance
the towers of the palace stand out against the
blue sky ; in the foreground to left a throne upon
which the king, shrinking with terror, is seated
beside three queens, one of whom caresses a boy.
Panel 354rX27i.
R.A. 1832, No. 355. Collection: The
Artist, N.G., No. 517.
Thornbury, p. 324.
182 Staff a, Fingal's cave.
{Quotation from Scott.)
In the foreground a heavy sea breaking on
basaltic rocks at the foot of cliffs, which are seen
on the left ; in the middle of the picture a steam
boat, the smoke from the funnel mixing with the

1832-1833 121
drifting rain clouds which obscure the summits
of the cliffs ; stormy sky with very dark clouds
on the right, below which the sun near the
horizon breaks in a faint halo. Signed, J. M. W.
Turner, R.A. Canvas 36 x 49.
R.A. 1832, No. 453. Collection: James
Lenox, Esq., Lenox Library, New York
City, 1845, No. 90.
An interesting letter from the painter, describ
ing the visit to Staffa which inspired this work,
is quoted in the catalogue of the pictures in the
Lenox library. The picture was bought, as is
well known, for Mr. Lenox by Mr. C. R. Leslie,
R.A., whose oft-quoted account of the transac
tion was first printed in his Autobiography, 1 860,
vol. i., pp. 205-207.
183 Rotterdam ferry-boat.
R.A. 1833, No. 8. Collection: H. A. J.
Munro, of Novar, Esq.
1 84 Bridge of Sighs, Ducal Palace and Custom
house, Venice : Canaletti painting.
View looking across the Grand Canal ; in the
middle distance are seen the Mint, Library,
Bell-tower of St. Mark's, Ducal Palace, and
Prisons ; near the spectator, on the left, the
Dogana ; many boats lying at the quays ; in
the foreground to left, Canaletti standing on a
raft, painting at an easel, to right a gondola in
rapid motion. Blue sky with light clouds.
Panel 20 X 32.
R.A. 1833, No. 109. Collections : Robert
Vernon, Esq., N.G. 1847, No. 370.
Engraved by Willmore, and in the Turner
Gallery. Thornbury, p. 336.

122 OIL PAINTINGS
185 Van Goyen looking out for a subject.
R.A. 1833, No. 125. Collections:
Elhanan Bicknell, Esq. ; sale 1863,
,£2,635 10s. (Agnew). J. Graham, of
Skelmorlie, Esq. ; sale 1887, .£6,825
(Agnew).
186 Van Tromp returning after the battle
Off the Dogger Bank.
Moderate sea, the wind blowing from the
right of the picture ; Van Tromp's yacht, with
a small boat in tow, sailing away from the
spectator, in the middle of the canvas ; beyond,
• to right, a man-of-war lying at anchor ; to left
other smaller ships. Canvas 36 X 48.
R.A. 1833, No. 146. Collection: The
Artist, N.G., No. 537.
Engraved in the Magazine of Art, 1899.
See No. 174 ante.
187 Ducal Palace, Venice.
[View looking across the Piazzetta ; on the left
the Ducal Palace ; to right the Columns ; between
them San Giorgio is seen across the Canal, on
which are boats ; figures in the Piazzetta. Blue
sky with clouds on the horizon (?).]
R.A. 1833, No. 169. [Collection : Mrs.
de Putron.
Engraved by Miller, published 1854 (?).]
188 Mouth of the Seine. Quille-bceuf.
{Quotation!)
In the foreground a large wave breaking upon

1833-1834 123
a shoal ; beyond a stretch of wet sand distinctly
reflecting the church and lighthouse which occupy
the middle of the picture ; in the distance to left
vessels lying in shallow water, beyond them a
remote coast line is seen. Stormy sky. Canvas
351X474,.
R.A. 1833, No. 462. Collections: Charles
Birch, Esq., Royal Birmingham Society
of Artists, 1849, No. 113 (?). T.
Horrocks Miller, Esq., O.M. 1889,
No. 49. Museum of Fine Arts, Boston.
Engraved in Wedmore's Turner and Ruskin.
Another picture (27 x 34) of this subject,
apparently in water colours {Athenceum, 27th
September, 1884), was sold with the collection
of Mr. J. Bibby, of Liverpool, in 1900 for £126
(Ichenhauser).

189 The fountain of Indolence.
In the centre of the picture is the fountain,
filling the foreground with its spray, which to
gether with the pool below is crowded with
sporting amorini ; beyond is a lake stretching
towards mountains in the distance ; in the middle
distance to right a temple from which flights of
steps descend to the water ; in the foreground to
left a figure with a fishing-rod reclining at the
foot of some tall trees. Canvas 41 x 64.
R.A. 1834, No. 52. [B.I. 1839, No. 58(?).]
Collections : W. H. Vanderbilt, Esq.,
of New York (purchased from Messrs.
Agnew in 1882). George Vanderbilt,
Esq.
See No. 217 post.

124 OIL PAINTINGS
190 The golden bough. MS. Fallacies of
Hope.
View from a height overlooking Lake Avernus,
which occupies the middle distance in the centre
of the picture ; beyond is undulating country
with mountains in the distance ; to left a rocky
height with a temple and pines ; in the foreground
to right ruins and a solitary pine tree beneath
which are reclining figures, in the middle others
round a fire, to left another figure, standing in a
a pool and holding a sickle and the golden bough.
Canvas 414: X 644-.
R.A. 1834, No. 75. Collections : Robert
Vernon, Esq., N.G., 1847, No. 371.
Engraved by Willmore and in the Turner
Gallery. Cunningham, Turner and his Works, p. 39,
says, that the Council of the Academy suppressed
the lines from the Fallacies of Hope, which
accompanied the title of this picture, absurdly
leaving the name of the poem by itself.

191 Venice. View of the entrance of the Grand Canal from
a spot opposite the steps of the Salute ; on the
right the Dogana with the Church and Campa
nile of San Giorgio seen beyond it ; on the left
the buildings of the Riva degli Schiavoni retreat
ing into the distance ; many gondolas and sailing
vessels on the canal. Effect of brilliant sunlight ;
blue sky with fleecy clouds. Canvas 354- x 48.
R.A. 1834, No. 175. Collections: Henry
McConnel, Esq. John Naylor, of
Leighton Hall, Esq.

1834 125
y 192 Wreckers, — coast of Northumberland,
WITH A STEAM-BOAT ASSISTING A SHIP OFF
SHORE. View looking along the shore, upon which to
right a rough sea is breaking, towards a castle
standing on a rock in the middle distance to
left ; near the foot of the rock is a two-masted
vessel, and to right a steamboat ; in the fore
ground a group of figures hauling the mast of
a wreck up on to the beach ; stormy sky to
right, sunlight breaking through to left. Canvas
35*47- R.A. 1834, No. 199. B.I. 1836, No. 268.
Collections : Elhanan Bicknell, Esq. ;
sale 1863, ,£1,984 (Agnew). Sir John
Pender, J.M. 1887, No. 622, O.M. 1891,
No. 21, and O.M. 1896, No. 128; sale
1897, .£7,980 (Wallis). A. M. Byers,
Esq., of Pittsburg, Pennsylvania.

193 St. Michael's Mount, Cornwall.
In the middle of the picture the Mount, lighted
up by a gleam of sunshine, is seen across a stretch
of wet sand ; to right the sea with many fishing-
boats ; to left large sailing vessels drawn up on
shore ; in the foreground to left a buoy, and a
group of figures near some fish laid out on the
sand, to right men launching a boat. Stormy
sky. Canvas 23 x 30.
R.A. 1834, No. 317. Collections: John
Sheepshanks, Esq., V.A.M. 1856,
No. 209.
Engraved in the Turner Gallery.

126 OIL PAINTINGS
t/ 194 Keelmen heaving in coals by night.
View on the river Tyne. On the right
numerous vessels, some taking in coals by
torchlight ; to left other ships under sail ; full
moon veiled by light clouds shining down the
centre of the river ; in the foreground a large
buoy. Signed, J. M. W. T. Canvas 354- x 48.
R.A. 1835, No. 24. Collections: Henry
McConnel, Esq. John Naylor, of
Leighton Hall, Esq., O.M. 1887, No. 14.
195 The bright stone of honour (Ehren-
breitstein) and tomb of Marceau from
Byron's Childe Harold.
{Quotation from Byron!)
View looking across the Rhine at its junction
with the Moselle ; in the background to left
the fortress, to right the town of Coblentz
approached by a bridge ; in the foreground to
left a fountain near which are groups of figures ;
beyond it, in the middle distance, the pyramidal
tomb of Marceau before which soldiers are exer
cising. Sunset sky, full moon rising to left.
Canvas 364- x 484;.
R.A. 1835, No. 74. Collections:
Elhanan Bicknell, Esq. ; sale 1863,
^1,890 (Agnew). Ralph Brocklebank,
Esq., O.M. 1883, No. 211. Thomas
Brocklebank, Esq., Guildhall, 1899, No.
33-
Engraved by John Pye, published March,
1846, in the Turner Gallery, and in Wedmore's
Turner and Ruskin.
Thornbury, p. 452.

1835 127
196 Venice, from the porch of Madonna della
Salute. View along the middle of the Grand Canal,
which is crowded with boats ; two gondolas
approaching the portico of the Salute which
appears on the right ; beyond it the Dogana ;
on the left a line of palaces, above them the
bell-tower of St. Mark's ; the Doge's palace in
the distance. Signed (on a floating plank in the
left corner), J. M. W. T. Canvas 36 x 48.
R. A. 1835, No. 155. Collections : H. A. J.
Munro, of Novar, Esq. ; sale i860,
,£2,520 (Gambart). Sam. Mendel, Esq.;
sale 1875, ,£7,350 (Agnew). William,
first Earl of Dudley; sold 1890. Cor
nelius Vanderbilt, Esq., Metropolitan
Museum, New York, 1900.
Engraved by Miller, published June 1, 1838,
and in the Turner Gallery.
197 Line-fishing, off Hastings-.
Moderate sea ; breeze blowing from the left ;
in the middle distance the town in the centre of
the picture, with cliffs to right and left, on that
to left the Castle ; in front of it a large sailing
vessel, nearer to the spectator three fishing boats
with sails set, and in the foreground an open
boat with five men, and fish in it ; two similar
boats to right. Blue sky with rain clouds on the
cliffs, and gleams of sunlight. Canvas 23 x 30.
R.A. 1835, No. 234. Collections: John
Sheepshanks, Esq., V.A.M. 1856,
No. 207.
Engraved in the Turner Gallery and in Wed-
more's Turner and Ruskin.

128 OIL PAINTINGS
^ 198 The burning of the Houses of Lords and
Commons, October i6th, 1834.
[The Thames looking towards Westminster
Bridge ; in the middle distance the Houses of
Parliament in flames ; the towers of Westminster
Abbey dimly seen in the distance ; to left crowds
of spectators on barges and on the left bank.
Canvas 364. X 484- (?).]
R.A. 1835, No. 294 [B.I. 1836, No. 261 (?).]
Collections : [John Marshall, of Conis
ton, Esq., and his descendants, National
Exhibition, Leeds, 1868, No. 11 72.
O.M. 1883, No. 215; sale 1888,^1,575
(Ponsford) (?).]
Thornbury, p. 452.
199 The Burning of the House of Lords and
Commons, i6th October, 1834.
[View taken from the Surrey side, close to
Westminster Bridge, which is seen on the right
crowded with figures ; in the left distance,
through flames and smoke appear the towers of
Westminster Abbey ; sky lighted up by flames ;
on the river numerous boats full of figures.
Canvas 35x47 (?).]
B.I. 1835, No. 58. Collections : [Charles
Birch, Esq., Royal Birmingham Society
of Artists, 1852, No. 114. Messrs.
Lloyd, of Ludgate Hill, sale 1855. H.
Wallis, Esq. ; sale i860, ^"708 15*.
(White).  Fisher, Esq.; sale 1868,
£"1,527. Holbrook Gaskell, Esq., O.M.
1885, No. 197 (?)•]
Two pictures alone of this subject — those
described above — have reappeared in loan exhi-

1835-1836 129
bitions, and it is possible that, as Thornbury
(p. 534) seems to imply, Turner never painted a
third. It is true that the title is found once in
the catalogue of the Royal Academy (1835), and
twice in those of the British Institution (1835
and 1836) ; but the painter in several cases exhi
bited at the Institution pictures which had pre
viously been seen at the Academy, and it is not
unlikely that he did so in this instance. The
only objection to this hypothesis is the fact that
the dimensions (51 x 27) of the picture in the In
stitution exhibition of 1836,3s given in the cata
logue, do not agree with those of either of the
existing pictures. The measurements of the
picture exhibited in 1835 do, however, when
allowance has been made for the width of the
frame (see No. 99 ante) correspond with those of
both of the two known pictures. There is reason
for presuming that the second dimension in the
1 836 catalogue maybe misprinted. Such a narrow
upright form is without parallel amongst Turner's
works ; and this point has some slight force, for,
except in the case of the long, horizontal panels
especially designed to fit into the decoration of a
room at Petworth, he almost invariably painted
upon canvases or panels of certain standard sizes.
Thornbury, pp. 313, 534-5.
200 Juliet and her nurse.
View, by moonlight, from the top of a building,
of the Piazza of St. Mark's, crowded with figures ;
in the middle of the picture the bell-tower and
Church of St. Mark, and the Ducal Palace ; be
tween these and San Giorgio, seen on the extreme
right, the Grand Canal, with boats from which
rockets are being let off; in the right fore
ground, on the top of a house, the figures of
Juliet and her Nurse. Clouds on the horizon,
stars above to left. Canvas 36 X 48.
R.A. 1836, No. 71. Collections : H. A. J.
K

130 OIL PAINTINGS
Munro.of Novar, Esq.; sale 1878, ^5,460
(Agnew). Kirkman Hodgson, Esq.; sale
— ;£8,400 (Agnew). James Price, Esq. ;
sold 1895 to Messrs. Wallis. Colonel
O. H. Paine, of New York.
Engraved by Hollis, published June 23, 1842.
This picture has sometimes been called St.
Mark's Place, moonlight, and fuliet after the
Masquerade.
201 Rome from Mount Aventine.
View looking across the Forum with the
Coliseum in the middle distance ; figures and
goats in the foreground. Blue sky flecked with
light clouds. Canvas 354.x 48.
R.A. 1836, No. 144. Collections : H. A. J.
Munro, ofNovar.Esq. ; sale 1878, £"6,142
(Davis). Archibald, fifth Earl of Rose-
bery, O.M. 1896, No. 8.
202 Mercury and Argus.
In the middle distance to left a lake studded
with islands, stretching away to distant moun
tains ; on the right a rocky height crowned
with buildings ; in the foreground two streams
flowing from the lake towards the spectator in a
series of small cascades ; between them rises a
tall tree ; on a bank to left Mercury and Argus
seated. Cattle scattered about the foreground ;
among them the white cow, lo, is conspicuous
drinking from a stream on the right. After
noon sky, the sun in the centre of the picture.
Canvas 59x43.
R.A. 1836, No. 182. B.I. 1840, No. 59.
Collections : Charles Birch, Esq., Royal
Birmingham Society of Artists, 1846,
No. 70. John Naylor, of Leighton Hall,

1836-1837 i3i
Esq. John Graham, of Skelmorlie, Esq. ;
sale 1887, £"3,780 (Laurie). Lord Strath-
cona, Guildhall, 1899, No. 3, Paris Exhi
bition, 1900.
Engraved by Willmore, published May 1,
1839, in the Turner Gallery, and in Wedmore's
Turner and Ruskin.
203 The Grand Canal, Venice.
{Quotation from Shakespeare!)
View looking along the Grand Canal towards
the Fondaco dei Tedeschi and the Rialto which
are seen one beyond the other in the distance to
left, to right a long line of palaces and beneath
them innumerable boats crowded with figures ;
in the middle distance to right the white mass of
the Grimani Palace rises almost to the top of the
picture, nearer to the spectator other palaces,
their balconies covered with figures watching a
procession with torches, which is landing from
the Doge's state barge at some steps ; in the
foreground to left a landing place with figures,
amongst whom a monk and some nuns are con
spicuous, to right Shylock leaning on a parapet
waving the bond at Antonio and Salarino who
stand upon a step below. Effect of brilliant
morning sunlight, blue sky with light clouds.
Canvas 59 x 64.
R.A. 1837, No. 31. Collections: John
Ruskin, Esq.; sale 1872, .£4,000
(Agnew). Ralph Brocklebank, Esq.,
Guildhall, 1894, No. 97, Guildhall,
1899, No. 34.
Engraved in Wedmore's Turner and Ruskin.
To distinguish this picture from others of the
Grand Canal, Venice, by Turner, it is sometimes
called Shylock and also, somewhat absurdly, the
Marriage of the Adriatic.

132 OIL PAINTINGS
204 Story of Apollo and Daphne, Ovid's
Metamorphoses. {Quotation!)
View down a wide valley with mountains on
either side, and the sea in the distance ; ruins of
temples and aqueducts scattered about the land
scape ; in the middle distance to right a waterfall
seen down a glade shut in by trees, to left a
lake ; in the middle of the foreground Apollo
and Daphne with other figures, to left trees.
Canvas 424- x 774-.
R.A. 1837, No. 130. Collection: The
Artist, N.G., No. 520.
Engraved in the Turner Gallery, and in Wed
more's Turner and Ruskin.
205 The parting of Hero and Leander, from
the Greek of Musaeus.
{Quotation!)
To right the Hellespont with rocky islands ;
to left a palace with flights of steps and terraces
on one of which stand two figures, one waving
torches ; below, on the shore, Hero parting from
Leander ; on the right a breaking wave rises in
a cloud of sea-nymphs. Stormy sky with the
moon high on the right ; dawn appearing on the
horizon. Canvas 574. x 93.
R.A. 1837, No. 274. Collection: The
Artist, N.G., No. 521.
Engraved in the Turner Gallery.
206 Snow-storm, avalanche and inundation —
a scene in the upper part of Val d'Aout,
Piedmont. A snow-storm whirling down the valley

1837 133
numerous figures in the right foreground.
Canvas 364- x 47 i.
R.A. 1837, No. 480. B.I. 1841, No. 104
Collections : H.A.J. Munro, of Novar,
Esq.; sale 1878, .£955 10s. Edward,
first Earl of Wharncliffe, Grosvenoi
Gallery, 1889, No. 27. James Price,
Esq., O.M. 1895, No. 126; sale 1895,
^"4,200 (Agnew).
Engraved in the sale catalogue of the Price
collection. Thornbury, p. 104.
207 Regulus.
View looking along an estuary ; on the right,
heights with classic buildings, to left a fleet of
galleys at anchor, beyond them castellated
buildings on a low-lying coast ; in the foreground
to right, many figures, some bathing, others em
barking in boats. Evening sky, sun in the middle
of the picture. Canvas 36 x 48.
B.I. 1837, No. 120. Collection: The
Artist, N.G., No. 519.
Engraved by D. Wilson, published August 1,
1840; by E. W. Evans, published 1890, and in
the Turner Gallery.
208 Phryne going to the public bath as Venus
— Demosthenes taunted by ^Eschines.
View from a height overlooking a wide un
dulating distance with a lake to right ; in the.
middle distance buildings, and a pool surrounded
by porticoes ; the foreground is occupied by the
rear of a procession which is descending into
the valley, among the figures Phryne is con-

134 OIL PAINTINGS
spicuous to right, seated in a shell-shaped chariot
drawn by cupids, on either side are groups of
tall trees, under those to left are seated
Demosthenes and ^Eschines. Canvas 70 x 65.
R.A. 1838, No. 31. Collection : The
Artist, N.G., No. 522.
Engraved in the Turner Gallery.
209 Modern Italy — the Pifferari.
A view from a height ; in the distance a plain
stretching away to the mountains and the sea ;
in the centre of the picture a river, in which are
bathers, flows between high-wooded banks ; in
the middle distance to left a city on the slope of
a hill, running down to the ruins of a circular
temple, overhanging the river which is spanned
by a bridge of two arches, to right a religious
procession approaching a wayside shrine ; in the
foreground to left a terrace on which are the
figures of a woman kneeling before a monk, and
beyond them the Pifferari. Blue sky with light
clouds. Canvas 36 x 48.
R.A. 1838, No. 57. Collections: H. A.
J. Munro, of Novar, Esq.; sale 1867,
£3A&5- James Fallows, Esq. ; sale
1868, £2,961. Butler Johnstone, Esq.;
sale 1878, ^"5,250. David Price, Esq.;
sale 1892, £"5,250. Kirkman Hodgson,
Esq. James Reid, of Auchterarder, Esq.,
presented by his family after his death
to the Corporation Galleries, Glasgow,
1896.
Engraved by Miller, in the Turner Gallery, and
in the Magazine of Art, 1895.
Thornbury, pp. 170-173.

1838 135
210 Ancient Italy — Ovid banished from Rome.
View along a river spanned in the distance by
a bridge of four arches ; on the left bank monu
ments and triumphal arches at the foot of a rock
crowned by a vast palace ; to right are seen the
buildings of another part of the city among which
two monumental columns rise conspicuously ;
on the quay to left many figures ; on the shore
in the foreground, vases and other accessories.
Sun near the horizon in the middle of the picture.
Canvas 36 x 48.
R.A. 1838, No. 192. Collection: H. A. J.
Munro, of Novar, Esq. ; sale, 1878,
,£5,460 (Agnew).
Engraved in the Turner Gallery.
In 1894 an attempt, which proved unsuccess
ful, was made to purchase this picture by sub
scription in order to present it to the Louvre.
{Magazine of Art, 1894, xxxv and xliv.)
211 Fishing-boats, with Hucksters bargaining
for fish.
Canvas 79 x 100 (including frame, see No. 99
ante).
B.I. 1838, No. 134.
212 The fighting " Temeraire " tugged to her
last berth to be broken up, 1 838.
{Quotation!)
View of a wide reach of the river ; the
Tem6raire in the middle distance to left, tugged
towards the spectator by a steamer, beyond which
are seen sailing vessels ; on the right the shore,
with buildings and many ships lying at anchor,

136 OIL PAINTINGS
receding into the distance ; nearer the middle
another man-of-war and a steam-tug ; in the
foreground a dark buoy ; evening sky, the sun
sinking on the right ; new moon high on the left.
Canvas 354- x 474-.
R.A. 1839, No. 43. Collection : The
Artist, N.G., No. 524.
Engraved by Willmore, published 1845, by
Gravier, published, 1879, in the Turner Gallery,
in the Portfolio, 1 874, etc., etc.
Thornbury, pp. 361, 458-459, 462-465.
213 Ancient Rome, Agrippina landing with the
ASHES OF GERMANICUS. The TRIUMPHAL
Bridge and Palace of the Caesars
restored.
{Quotation!)
A harbour, crossed in the middle distance by
a long bridge decorated with porticoes and
triumphal arches and flanked at each end by a
circular temple ; beyond rises a height covered
with classic buildings ; in the foreground gilded
galleys lie at a landing place which is crowded with
people prostrating themselves before Agrippina.
Evening sky, full moon to left. Canvas 35 x 474-.
R.A. 1839, No. 66. Collection: The
Artist, N.G., No. 523.
Engraved in the Turner Gallery, in the Port
folio, 1878, and in Wedmore's Turner and Ruskin.

214 Modern Rome — Campo Vaccino.
{Quotation from Byron!)
View across the Tiber from hilly ground on

1839 137
the right bank, with the Campo Vaccino on the
further side ; St. Peter's and the Vatican in the
distance ; figures and a tree in the foreground ;
evening sky. Canvas 354^x48.
R.A. 1839, No. 70. Collections: H. A.
J. Munro, of Novar, Esq.; sale 1878,
£4,672 las'. (Davis). Archibald, fifth
Earl of Rosebery, O.M. 1896, No. 12.

215 Pluto carrying off Proserpine, — Ovid's
Metam.
View overlooking a mountainous landscape;
in the middle distance a rock crowned with
buildings, to the right and left of it streams fall
ing in cascades ; in the foreground, to right a
half-dead tree, sculptured slabs and emblematic
accessories, to left is represented the rape of
Proserpine. Canvas 35x47.
R.A. 1839, No. 360. Collections:

Wetherall, Esq. ; sale 1849, £"420 (bought
in). John Chapman, Esq., A.T.M. 1857,
No. 191. Edward Chapman, Esq., J.M.
1887, No. 609, O.M. 1896, No. 28, Guild
hall, 1892, No. 112, and 1899, No. 35.
216 Cicero at his Villa.
Canvas 35-1 x 47-4-
R.A. 1839, No. 463. Collections: H. A. J.
Munro, of Novar, Esq.; sale 1867,
.£1,543 \os. Mervyn, seventh Viscount
Powerscourt. Edward Hermon, Esq. ;
sale 1882, £"1,890 (bought in).

138 OIL PAINTINGS
217 The Fountain of Fallacy.
Canvas 56 x 80, including frame.
B.I. 1839, No. 58.
Excepting the bare title and dimensions in
the exhibition catalogue, no allusion to this
work is anywhere to be found. This can, how
ever, be accounted for by the specious conjecture
that the picture here called the Fountain of
Fallacy, is one and the same with the Fountain
of Indolence, exhibited at the Academy in 1834
(No. 189 ante). Upon the assumption, which in
several cases where it can be tested proves satis
factory, that the width of the original frame was
eight inches, the dimensions of the two pictures
will be found to be identical. (See No. 99 ante!)
218 Bacchus and Ariadne.
In the middle of the picture a group of trees
on a bank ; on the right the sun setting over
an estuary towards which, in the foreground,
Ariadne surrounded by cupids is advancing ;
on the left heights crowned with temples ; nearer
to the spectator Bacchus approaching in his
chariot accompanied by Satyrs. Canvas,
circular, 304^.
R.A. 1840, No. 27. Collection : The
Artist, N.G., No. 525.
Engraved in the Turner Gallery.
219 Venice, the Bridge of Sighs.
{Quotation from Byron!)
View looking up the Rio della Paglia, the
Ducal Palace on the left, the Prisons on the
right ; the Bridge of Sighs in the middle

1 839-1840 139
distance ; nearer to the spectator the Ponte
della Paglia ; in the foreground, to right market-
boats and a barge with figures ; on the left two
gondolas. Canvas 24 x 36.
R.A. 1840, No. 55. Collection : The
Artist, N.G., No. 527.
Engraved in the Turner Gallery.
220 Venice from the Canale della Giudecca,
chiesa de S. Maria della Salute, &c.
View looking across the Giudecca and Grand
Canal ; in the middle of the picture the Doges'
palace and the Library, over which is seen
the bell-tower of St. Mark's ; the Prisons and
other buildings on the Riva stretching away into
the distance to right ; on the left and nearer to
the spectator, the Dogana and houses ; above
them the domes and towers of the Salute ; the
foreground on both sides crowded with gondolas
and boats. Blue sky with light clouds.
Canvas 23 x 35.
R.A. 1840, No. 71. Collection: John
Sheepshanks, Esq., V.A.M. 1856,
No. 208.
Engraved in the Turner Gallery, and in
Wedmore's Turner and Ruskin.
221 Slavers throwing overboard the dead and
dying — typhon coming on.
{Quotation from " Fallacies of Hope.")
Rough sea ; a little to left of the middle of the
picture the slave ship ; in the foreground are seen
the extremities of figures, fettered and chained,
struggling in the water surrounded by sharks and

140 OIL PAINTINGS
gulls. Stormy sky, the sun setting behind clouds
in the middle of the picture. Canvas 36 x 48.
R.A. 1840, No. 203. Collections: John
Ruskin, Esq.; sale 1869, ^2,042 5$.
(Vokins). Thos. Gilbert, Esq. ; sale
1873, £577 10s. Miss Alice Hooper,
of Boston. John Taylor Johnston,
Esq. Museum of Fine Arts, Boston,
Massachusetts.
Engraved in Monkhouse's Life of Turner, and
in Wedmore's Turner and Ruskin.
222 The new moon, or " I've lost my boat, you
shan't have your hoop."
View across a wide stretch of sandy shore, the
sea to right ; in the distance, to left coast with
lighthouse, to right a steamboat ; in the fore
ground a group of children, dogs and other
figures. Sunset sky ; the new moon in the
middle at the top of the picture. Panel 25x31.
R.A. 1840, No. 243. Collection : The
Artist, N.G., No. 526.
223 Rockets and blue lights (close at hand)
to warn steam-boats of shoal-water.
Rough sea breaking on the shore ; figures on
the beach to left ; several vessels indistinctly
seen. Stormy sky. Canvas 354- x 47.
R.A. 1840, No. 419. B.I. 1841, No. 112.
Collections : Charles Birch, Esq., Royal
Birmingham Society of Artists, 1850,
No. 123. John Naylor, of Leighton
Hall, Esq. H. McConnel, Esq. ; sale

1 84O- 1 841 I4i
1886, ^745 10s. (Agnew). Sir Julian
Goldsmid, Bart., O.M. 1896, No. 122;
sale 1896, ,£3,885 (Agnew). James
Orrock, Esq.
Chromolithograph, by R. Carrick, published
1852. Engraved in Wedmore's Turner and
Ruskin.
224 Neapolitan fisher-girls surprised bathing
by moonlight.
Panel 25 X31.
R.A. 1840, No. 461. Collections : Robert
Vernon, Esq.; sale 1842, ,£57 15^-.
Anonymous sale 1857, ^735. H. A.J.
Munro, of Novar, Esq. ; sale i860, .£225
15J. (Flatow). T. Woolner, Esq., O.M.
1875, No. 261; sale 1875, ^525 (Ellis).
225 Ducal Palace, Dogano, with part of San
Georgio, Venice.
R.A. 1 841, No. 53. Collections : Sir
Francis Chantrey, R.A. ; sale 1841 (?),
£"1,500. W. J. Brodrip, Esq. ; sale 1853,
j£m55 (Egg).
Thornbury, p. 179.
226 Giudecca, la Donna della Salute and San
Georgio. In the middle of the picture the island of San
Giorgio, on the left the Salute ; to right are seen
the palaces and bridges on the Riva degli
Schiavoni. Effect of bright afternoon sunlight.
Canvas 24 x 36.
R.A. 1 84 1, No. 66. Collections : Elhanan

142 OIL PAINTINGS
Bicknell, Esq.; sale 1863, .£1,737 ioj.
(Agnew). Sir John Pender; sale 1897,
^7,140 (Tooth). Sir Donald Currie,
Guildhall, 1899, No. 32.
227 Roseneu, SEAT of H.R.H. Prince Albert
of Coburg, near Coburg, Germany.
In the centre of the picture a stream flowing
through an avenue towards the spectator ; in the
middle distance to right a castellated house on a
hill ; in the foreground, to left a group of trees,
among which is a pine, to right a meadow with
children fishing. Canvas 38x49.
R.A. 1 841, No. 176. Collections : Joseph
Gillott, Esq., Royal Manchester Institu
tion, 1845, No. 285; sale 1872, £1,942
10s. (Agnew). C. Skipper, Esq. ; sale
1884, ;£88o (Agnew). George Holt,
Esq., J.M. 1887, No. 624, Guildhall,
1892, No. 117. Mrs. G. Holt, Guildhall,
1899, No. 26.
Engraved in Wedmore's Turner and Ruskin.
228 Depositing of John Bellini's three pictures
in la Chiesa Redentore, Venice.
View looking along the Canal of the Giudecca
towards San Giorgio, which is seen in the dis
tance ; to right the Redentore ; in the middle of
the picture a state barge decorated with flags and
flowers, and surrounded by numerous gondolas,
in some of which are the pictures supported by
men ; crowds watch the pageant from boats and
from the shore. Canvas 28 x 44.
R.A. 1841, No. 277. Collections: R.

i 841 143
Hemming, Esq. Sir John Pender ; sale
1897, ,£7.350 (Agnew). J. Pierpont
Morgan, Esq., Paris Exhibition, 1900.
Engraved by Willmore for the Art Union,
1858, and in the Magazine of Art, 1897.
229 Dawn of Christianity (Flight into Egypt).
{Quotation from Gisborne!)
Circular.
R.A. 1841, No. 532. Collections : B. G.
Windus, Esq.; sale 1853, .£745 (bought
in), sale 1859, ^£320 (bought in), sale
1862, £"351 15*. (Rought). B.G. Windus,
Esq.; sale 1868, £"351 \6s. L. Huth,
Esq.; sale 1872, ^966 (Rawlings).
230 Glaucus and Scylla — Ovid's Metamor
phoses. R.A. 1841, No. 542. Collections: B. G.
Windus, Esq. ; sale 1853, .£735 (bought
in), sale 1859, £"280 (bought in ?), sale
1862, ^284 (Rought). B. G. Windus,
Esq. ; sale 1868, ,£294. L. Huth, Esq. ;
sale 1872, ;£553 ioy. (Tooth). Marquis
de Santurce; sale 1883, .£598 us.
231 The Dogano, San Giorgio, Citella, from
the steps of the Europa.
View across the Grand Canal and Giudecca
upon which are many boats and gondolas ; in
the middle distance to right the Dogana, on
the left, and more remote, the island of San
Giorgio, still more distant, in the middle of the
picture is the church of the Citella ; the steps, on

144 OIL PAINTINGS
which are two dogs, are in the foreground to
right. Afternoon sky ; new moon high up in
the middle of the picture. Canvas 214- x 344-.
R.A. 1842, No. 52. Collections: Robert
Vernon, Esq., N.G., 1847, No. 372.
Engraved in the Turner Gallery and in
Monkhouse's Life of Turner.
232 Campo Santo, Venice.
View across the Lagune, the Campo Santo in
the middle distance to right ; to left houses and
churches ; in the foreground boats, a double-
sailed felucca conspicuous on the left ; mountains
in the distance. Blue sky with fleecy clouds.
Canvas 24 x 36.
R.A. 1842, No. 73. Collections : Elhanan
Bicknell, Esq. ; sale 1863, .£2,100
(Agnew). H. McConnel, Esq. ; sale 1 886,
£"2,625. Mrs. Keiller, Guildhall, 1899,
No. 36.
Engraved in the Art fournal, 1899.
^233 Snow-storm — steam-boat off a harbour's
mouth making signals in shallow water,
and going by the lead. the author was
in this storm on the night the ariel
left Harwich.
Very rough sea ; in the middle of the picture
the steam boat, the mast bent by the force of the
wind, and the smoke from the funnel rising in a
whirl and mingling with the driving snow.
Canvas 354- x 474-.
R.A. 1842, No. 182. Collection : The
Artist, N.G., No. 530.

1842 145
Engraved in the Turner Gallery, and in
Wedmore's Turner and Ruskin.
Thornbury, p. 457.
234 Peace — burial at sea.
{Quotation from " Fallacies of Hope.")
The centre of the picture is occupied by a
large steamship, with sails standing out dark
against the sky ; a cloud of smoke from the funnel
blowing towards the left ; in the middle of the
ship a blaze of torch-light, against it is seen
the body being lowered into a calm sea which
reflects the whole scene ; other vessels in the dis
tance. Evening sky, new moon to right. Canvas,
octagonal, diameter 32^.
R.A. 1842. No. 338. Collection: The
Artist, N.G., No. 528.
Engraved in the Turner Gallery, in the Port
folio, 1874, in the Magazine of Art, 1895, etc., etc.
This picture is sometimes known as the Burial
of Sir David Wilkie ; it is well known to have
been painted to commemorate that event.
Thornbury, p. 323-324.
235 War. The exile and the rock-limpet.
{Quotation from " Fallacies of Hope.")
A stretch of rocky shore ; to right cliffs with
fortifications upon them ; to left stands Napoleon
with his arms folded, his figure reflected in the
wet sand, in front of him is the limpet, behind
him stands a sentry. The sun on the horizon in
the middle of the picture, the moon to left.
Canvas, circular 304-.
R.A. 1842, No. 353. Collection : The
Artist, N.G., No. 529.
L

146 OIL PAINTINGS
236 The opening of the Walhalla, 1842.
" L'konneur au Roi de Bavwre."
{Quotation from " Fallacies of Hope.")
View looking along the Danube which is
crossed in the middle distance by a bridge of
many arches, on the river are two boats ; to left
a range of hills sloping down to the river, and
the Walhalla on a wooded promontory above
the bridge ; in the foreground to right groups
of figures, the rear of a long procession which
makes its way along the right bank towards the
bridge and the Walhalla. Canvas 424^ x 774-.
R.A. 1843, No. 14. Collection : The
Artist, N.G., No. 533.
Engraved in the Turner Gallery.
Hamerton, p. 294.
237 The Sun of Venice going to sea.
{Quotation from " Fallacies of Hope.")
A fishing-boat, with gaily painted sails, on one
of which are the words " Sol di Venezia," in the
middle of the picture ; on either side and in
the distance other boats indistinctly visible in
the mist ; a tower on the left. Effect of brilliant
diffused light. Canvas 24 x 36.
R.A. 1843, No. 129. Collection: The
Artist, N.G., No. 535.
Engraved in the Portfolio, 1874.
238 dogana and madonna della salute,
Venice.
View looking along the Grand Canal near its
junction with the Giudecca which is seen on the

1 843 147
left ; both canals are covered with boats ; in the
middle of the picture slightly to left the Dogana
with the Salute rising beyond it ; in the fore
ground to left a paved landing-place upon which
lie various accessories ; autumnal sunset, new
moon in mid-sky to right. Signed, J. M. W. T.
Canvas 24 x 36.
R.A. 1843, No. 144. Collections: E.
Bullock, Esq., of Handsworth, Royal
Birmingham Society of Artists, 1843,
No. 54; sale 1878, .£2,688 (Agnew).
Sir John Fowler, Bart. ; sale 1899,
,£8,410 (Agnew). James Ross, Esq.,
of Montreal; Birmingham, 1899, No. 7.
Engraved in Wedmore's Turner and Ruskin.
239 Shade and darkness — the evening of the
Deluge.
{Quotation from " Fallacies of Hope.")
In the foreground groups of animals crowded
together on rocks which emerge from the waste
of waters stretching away from the spectator ; in
the distance mountains lit by the setting sun.
A heavy cloud fills the top of the picture.
Canvas, octagon, 304-.
R.A. 1843, No. 363. Collection: The
Artist, N.G., No. 531.
240 Light and Colour. (Goethe's Theory) —
the morning after the Deluge — Moses
writing the book of genesis.
{Quotation from "Fallacies of Hope.")
Sun rising to left ; in the focus of its rays a

148 OIL PAINTINGS
vast procession of spectral figures approaching
the spectator ; in the clouds, in the middle of the
picture, a seated figure below whom a coiled
serpent is conspicuous. Canvas, octagon 304-.
R.A. 1843, No. 385. Collection: The
Artist, N.G., No. 532.
241 St. Benedetto, looking towards Fusina.
View across the Lagune ; in the middle dis
tance to right and left, buildings on islands ;
in the foreground, to left a group of gondolas,
in the middle a solitary gondola, to right
market-boats crowded with figures. Evening
sky, the sun near the horizon in the middle of
the picture. Canvas 24 x 36.
R.A. 1843, No. 554. Collection : The
Artist, N.G., No. 534.
Engraved in the Turner Gallery, and in the
Portfolio, 1875.
Sometimes called The Approach to Venice,
but this picture must not be confounded with
No. 247 post.
242 Ostend.
In the foreground rough sea at the entrance
to a haven, with piers to right and left ; in the
middle of the picture some fishing-boats appear
to have just entered the calmer water inside the
harbour ; in the distance a tall light-house and
several windmills with other buildings of a town
on the left, all seen through the mist which fills
the picture. Canvas 34 x 47.
R.A. 1844, No. 11. Collections : H. A. J.
Munro, of Novar, Esq.; sale i860,

i 843- i 844 149
.£1,732 10s. (Gambart). Cornelius
Vanderbilt, Esq.
The picture described above was bought by
Mr. Vanderbilt, without a pedigree, as a picture
of Boulogne Harbour. Mr. Thomas Moran, N.A.,
first suggested that it was most probably the
picture of Ostend exhibited in 1844.
243 Fishing boats bringing a disabled ship into
Port Rysdael.
Rough sea ; to right a jetty and signal mast ;
in the middle distance the ship, surrounded by
boats ; all indistinctly seen through sun-lit mist.
Canvas 35 X47.
R.A. 1844, No. 21. Collection : The
Artist, N.G., No. 536.
Engraved in the Portfolio, 1875.
-244 Rain, Steam and Speed — the Great
Western Railway.
The railway, carried on a high viaduct over a
river, is seen in the middle of the picture, running
straight away from the spectator ; on the left
another bridge and a town ; on the right the
open country, indistinctly visible through the
rain ; a train, the fire visible through an opening
in front of the engine, approaching the spectator ;
a hare running before it. Sweeping rain-clouds
fill the atmosphere. Canvas 36 x 48.
R.A. 1844, No. 62. 'Collection: The
Artist, N.G., No. 538.
Engraved by Brunet Debaines, published 1880,
in the Turner Gallery, and in Wedmore's Turner
and Ruskin.

150 OIL PAINTINGS
245 Van Tromp, going about to please his
masters, ships a sea, getting a good
wetting. Vide Lives of Dutch Painters.
Rough sea ; in the middle of the picture, on
the crest of a wave which is breaking over it, a
small vessel with all sails set, flags flying, and a
broom at the mast-head ; on the right many
other vessels, those nearest the spectator crowded
with figures ; to left, in the distance, a man-of-war
at anchor. Cloudy sky. Canvas 36 X 48.
R.A. 1844, No. 253. Liverpool Academy,
1850, No. 2>7- Collections : John
Miller, Esq.; A.T.M. 1857, No. 282 ; sale
1858, £"567 5s. (Gambart). Henry
Woods, Esq.; sale 1883, ^3,675 (Mar
tin). Royal Holloway College Gallery.
Engraved in the Magazine of Art, 1899, and
in Wedmore's Turner and Ruskin.
See No. 174 ante.
246 Venice — Maria della Salute.
In the middle of the picture the Dogana and
the Church of Santa Maria della Salute ; to left
the Giudecca ; on the extreme right the Zecca
and Giardino Reale, and between these and the
Salute is seen the Grand Canal stretching away
from the spectator ; in the foreground, to left a
group of gondolas, to right barges one with a
staging upon it. Misty effect. Canvas 24 x 36.
R.A. 1844, No. 345. Collection : The
Artist, N.G., No. 539.
247 Approach to Venice.
{Quotations from Rogers and Byron.)
The city of Venice, seen in the distance across

1844-1845 i5i
the Lagune, occupies the middle of the picture ;
many gondolas and sailing-boats scattered over
the expanse of water ; a group of three gondolas
conspicuous in the left foreground. Sunset sky,
the full moon rising on the left. Canvas.
R.A. 1844, No. 356. Collections: B. G.
Windus, Esq.; sale 1853, ,£850 (Gam
bart). Charles Birch, Esq. ; sale 1856,
,£882. Joseph Gillott, Esq., Royal Birm
ingham Society of Artists, i860, No. 64.
Mrs. Moir, J.M. 1887, No. 613.
Engraved by Wallis, published May, 1859.

248 Venice quay, Ducal Palace.
View from the Canale di San Marco looking
towards the Riva degli Schiavoni ; in the middle
distance is the quay at which many fishing boats
are lying ; beyond are seen, on the left, the bell-
tower of Saint Mark's, on the right the Church
of San Zaccaria ; in the foreground a group of
gondolas. Canvas 234^ x 354-.
R.A. 1844, No. 430. Collection : The
Artist, N.G., No. 540.

249 Whalers — Vide Beale's Voyage, p. 163.
Calm sea, the atmosphere filled with driving
mist ; in the middle distance to right a ship with
white sails ; in the centre of the foreground a
group of boats crowded with figures, some rowing,
others casting harpoons at a whale whose head
is seen on the extreme right. Canvas 35 X47.
R.A. 1845, No. 50. Collection: The
Artist, N.G., No. 545.

152 OIL PAINTINGS
250 Whalers — Vide Beale's Voyage, p. 175.
A white phantom-like ship under full sail
emergingintoviewthrough the mistyatmosphere ;
in the left foreground a large whale rears its head
from the sea and spouts water stained with blood ;
with its tail it has overturned one of the four
boats put out for its capture. Canvas 35 x 48.
R.A. 1845, No. 77. Collections: British
Gallery of Art; sale 1851, ,£299 5$.
(Gambart). John Miller, Esq.; sale 1858,
£"367 10s. (Gambart). F. R. Leyland,
Esq. ; sale 1874, ,£960 15.?. (bought in).
C. Cooper, Esq. ; sale 1883, ^945
(Vokins). Sir F. Seymour Haden, O.M.
1892, No. 19; sale 1891, ^£945 (Wylie).
Metropolitan Museum, New York (Wolfe
Gallery), 1896.
According to Redford a smaller picture — 18 x
24 — of the same subject, was sold with the collec
tion of T. Woolner, R.A., 1875, for £325 ioj.
A reference to the page quoted by Turner, in
Natural History of the Sperm Whale, by Thomas
Beale, London, 1839, shows that the picture de
scribed above is wrongly named "Hurrah for the
Whaler Erebus ! " both in the O.M. Catalogue
1 892, and in that of the Metropolitan Museum
(see No. 257 post).
251 Venice, evening, going to the ball —
MS. "Fallacies of Hope."
View across the Lagune with the outskirts of
the city in the middle distance. On the right,
the entrance to a canal at the mouth of which is
a church with two towers ; sailing boats upon the
Lagune to left ; in the middle of the foreground
a gondola filled with figures, two others in the
left corner of the picture ; bright evening sky.
Canvas 234- x 354;.

1845 153
R.A. 1845, No. 117. Collection: The
Artist, N.G., No. 543.
252 Morning, returning from the ball, St.
Martino— MS. "Fallacies of Hope."
View looking across the Lagune ; in the dis
tance to left buildings, to right other buildings
and a bridge ; in the middle of the foreground a
laden market-boat and gondolas, to right a
group of boats with figures. The rising sun near
the horizon in the middle of the picture. Canvas
234- x 35-ir-
R.A. 1845, No. 162. Collection: The
Artist, N.G., No. 544.
253 Venice— noon. MS. " Fallacies of Hope."
View from a point off the Public Gardens ; in
the distance to left the Church of San Giorgio, to
right the Doge's palace ; in the middle of the
foreground a group of boats filled with figures ;
other boats in the middle distance. Canvas
234- x 354..
R.A. 1845, No. 396. Collection: The
Artist, N.G., No. 541.
254 Venice — sunset, a fisher. MS. "Fallacies
of Hope."
View of the Giudecca and Grand Canals from
a point near their junction ; in the centre of the
picture the domes of the Salute are seen in the
middle distance ; in the foreground to left a
boat with men fishing, beyond it a large rowing
boat. Blue sky with ragged clouds. Canvas
234- X 354-
R.A. 1845, No. 422. Collection : The
Artist, N.G., No. 542.

154 OIL PAINTINGS
255 Returning from the ball, (St. Martha).
In the distance the outskirts of Venice seen
across the Lagune ; in the middle distance, to
right an island covered with buildings, above
which rise two tall towers, all brightly reflected
in the water, to left a boat with double sails ; in
the foreground on the extreme right a group of
gondolas filled with gaily dressed figures. Effect
of brilliant sunrise with light clouds. Canvas
24x36.
R.A. 1846, No. 59. Collections: B. G.
Windus, Esq. ; sale 1853, ,£640 (Wallis).
Joseph Gillott, Esq.; sale 1872, ,£1,575.
Thomas, Earl of Bective ; sale 1878,
.£1,260 (bought in). James Price, Esq.,
J.M. 1887, No. 614; sale 1895, ^"2,940
(Agnew). Sir Donald Currie, Guild
hall, 1897, No. 67.
Engraved in the sale catalogue of the Price
collection.
256 Going to the ball (San Martino).
View looking across the Lagune from a point
beyond the Public Gardens ; in the remote dis
tance the city of Venice, the Doge's palace and
bell-tower of St. Mark's dimly seen a little to
the right of the middle of the picture ; stretching
away from the centre of the foreground is a long
train of gondolas, the dark figure of a gondolier
conspicuous upon that nearest to the spectator.
Misty sunset, a large bank of stratus clouds in
the middle of the sky. Canvas 25 x 37.
R.A. 1846, No. 74. Collections: B. G.
Windus, Esq.; sale 1853, ,£546 (Gam
bart). Joseph Gillott, Esq. ; sale 1872,

1846 155
.£1,785 ioy. Thomas, Earl of Bective;
sale 1878, ,£1,260 (bought in). James
Price, Esq., J.M. 1887, No. 620 ; sale
1895, ^2,940 (Agnew). Sir Donald
Currie, Guildhall, 1897, No. 63.
Engraved in the sale catalogue of the Price
collection.
257 " Hurrah for the whaler Erebus !
Another fish ! " Beale's Voyage.
View looking out to sea ; to right the whale-
ship in shallow water, surrounded by boats
filled with men ; to the left other boats also
crowded with figures, some of whom are waving
hats and handkerchiefs. Misty afternoon sky ;
sun in the middle of the picture. Canvas 35 x 47.
R.A. 1846, No. 237. Collection : The
Artist, N.G., No. 546.
Engraved in the Turner Gallery.
See Nos. 249 and 250 ante.
258 Undine giving the ring to Massaniello,
fisherman of Naples.
In the middle of the picture a focus of bright
light in which Undine, surrounded by a group
of nymphs, is seen rising from the waves ; to right
Masaniello stooping to receive the ring ; in the
distance to left Vesuvius in eruption appears
against the dark sky. Canvas 304- square.
R.A. 1846, No. 384. Collection: The
Artist, N.G., No. 549.
259 The Angel standing in the sun. Revela
tion xix, v. 17, 18.
{Quotation from Rogers!)
In the middle of the picture the angel with

156 OIL PAINTINGS
large wings floating in the air, he looks upwards
and waves a sword towards the birds which fill
the top of the picture ; in the foreground a
crowd of figures fleeing towards the spectator.
Canvas 304- square.
R.A. 1846, No. 411. Collection: The
Artist, N.G., No. 550.
260 Whalers (boiling blubber) entangled in
flaw ice, endeavouring to extricate
themselves.
On the left a three-masted vessel fast in the
ice ; on the right, in the distance, the masts of a
second vessel are seen, the hull being hidden by
a crowd of figures dimly visible in the midst of
smoke and mist ; in the middle distance two
masses of ice; in the foreground, wreckage strewn
upon the ground. Overcast sky, through which
the rays of the sun struggle," casting a ruddy
gleam upon the ice. Canvas 354- X 47.
R.A. 1846, No. 494. Collection : The
Artist, N.G., 547.
261 Queen Mab's cave.
{Quotations from Shakespeare, and "Fallacies
of Hope.")
A lake shut in by high wooded banks ; in the
midst a rock island, on its summit are classic
ruins, in its base the cave, glowing with light
from within ; in the foreground fairies floating
on the water. Evening sky, new moon low on
the left. Canvas 35x47.
B.I. 1846, No. 57. Collection : The
Artist, N.G., 548.

1846-1849 i57
262 The hero of a hundred fights. An idea
suggested by the German invocation
upon casting the bell : in england
called Tapping the furnace. — Fallacies
of Hope.
To right the furnace, surrounded by machinery
dimly seen in the gloom ; in the middle distance
to left, men at work lit up by the glow of the
fire, which illuminates the middle and left of the
picture. Canvas 35 X 47.
R.A 1847, No. 180. Collection: The
Artist, N.G., No. 551.

263 The wreck buoy.
Rough sea ; in the foreground to right a green
buoy inscribed WRECK, to left another, painted
red and marked WEST LAST ; in the middle
distance a boat with red and yellow sails, and
beyond it a yacht with white sails, to left, on a
rising wave, a boat full of people ; in the extreme
distance two large vessels. Clouded sky with
double rainbow. Canvas 37 x 48.
R.A. 1849, No. 81. Collections : H. A. J.
Munro, of Novar, Esq. ; sale 1867,
;£r>575 (Agnew). John Graham, of
Skelmorlie, Esq. ; sale 1887, ^1,050
(Agnew). Mrs. George Holt, Guildhall,
1899, No. 37.
Engraved in Wedmore's Turner and Ruskin.
Thornbury (p. 105) says that this was an early
picture of Turner's upon which he spent six
laborious days, quite at the end of his life, much
to Mr. Munro's horror until its transformation
was completed.

158 OIL PAINTINGS
264 Venus and Adonis.
In the middle of the picture Venus reclining
on a mass of drapery, with her arm round the
neck of Adonis who stands before her, his back
to the spectator, holding four dogs in leash ; in
the foreground Cupid, lying on the ground,
grasps the right heel of Adonis ; above, among
trees, hover amorini ; mountainous landscape in
the distance to left. Signed, J. M. W. Turner.
Canvas 59 x 47.
R.A. 1849, No. 206. Collections : John
Green, Esq. ; sale 1830, ,£87 3s. (Munro).
H. A. J. Munro, of Novar, Esq. ; sale
1 8 78, ;£ 1, 942 iay. (Benjamin). C. Beckett
Denison, Esq.; sale 1885, £1,522 10s.
(Agnew). Sir W. Cuthbert Quilter,
Bart., O.M. 1887, No. 149, Guildhall,
1897, No. 65.
Engraved in Wedmore's Turner and Ruskin.
This picture, sometimes known as The
Departure of Adonis for the Chase, was painted
many years before it was exhibited. In the
sale catalogue of the Novar collection it was
roughly assigned to 1806, in that of the Beckett
Denison collection to 1 809 : in the Dictionary
of National Biography to a period probably
before 181 2.
265 Mercury sent to admonish Aeneas.
View looking down upon an inlet of the sea,
over which the sun is rising through mist ; on
either side rocky slopes, covered with the ruins
of classic buildings, are dimly visible, upon that
to left in the foreground is seen ^Eneas, wearing
a helmet, with a nude boy by his side ; below is a
group of women and children, and nearer to the

1849-1850 159
spectator Mercury sitting at the foot of the
slope ; to right a procession of figures floating
on the waves. Canvas 35 x 47.
R.A. 1850, No. 174. Collection : The
Artist, N.G., No. 553.
266 ^Eneas relating his story to Dido.
{Quotation from " Fallacies of Hope.")
View of a harbour, upon its further shore a
large fortified building beyond which is a city
built upon a steep hill ; in the middle of the
picture a richly decorated galley, with Dido
and ^Eneas seated beneath a canopy on its
poop, is being rowed towards the right ; in the
foreground, to left boats following the galley, to
right the bank with figures beneath a clump of
trees ; blue sky with clouds, rainbow high on the
left.
R.A. 1850, No. 192. Collection: The
Artist, N.G., No. 552.
267 The visit to the tomb.
{Quotation from " Fallacies of Hope;")
View along an estuary with steep banks
covered with buildings at either side, that on
the right is crowned by a large fortress above
which rises a monumental column ; to the right
is the mouth of a river, flowing into the estuary,
upon which are several ships ; in the foreground
to left at the foot of a group of trees stand Venus,
robed in white, and Cupid surrounded by doves,
behind them is ^Eneas wearing a red cloak and
plumed helmet, further to left the entrance to
the tomb of Anchises ; evening sky, the sun in
the middle of the picture. Canvas 354- x 474^.
R.A. 1850, No. 373. Collection : The
Artist, N.G., No. 555.

160 OIL PAINTINGS
268 The departure of the fleet.
{Quotation from " Fallacies of Hope.")
View along an inlet, its mouth, flanked by a
tower on either side, seen in the distance ; at the
foot of the bank on the right, which rises in
heights covered with buildings, several large
galleys getting under way ; upon the bank on
the left many figures, amongst them Dido
stands lamenting. Canvas 35 X47.
R.A. 1850, No. 482. Collection : The
Artist, N.G., No. 554.

APPENDIX
THERE exists a group of works by Turner, con
tributed to the exhibitions of Provincial Academies
and London picture-dealers during the artist's lifetime,
which it has, upon various accounts, seemed better not to
include in the body of the foregoing catalogue. The
individual works in this group range themselves for the
most part in three classes.
I. — Pictures concerning which such scanty informa
tion is to be obtained, in most cases the title only, and
that title of the vaguest description, that it is impossible
to say whether they are oil pictures or water-colour
drawings. II. — Drawings made in the first instance for engraving,
which cannot therefore be said accurately to have made
their first public appearance in the exhibitions of which
they formed part. The descriptions and pedigrees of
such drawings would most appropriately find their places
in a catalogue of the series of prints for which they were
made similar in form to Mr. Rawlinson's book upon
Liber Studiorum.
III. — Works lent for exhibition during Turner's life
time by patrons who had acquired them, and which cannot
therefore be strictly reckoned amongst those exhibited
by the painter himself.
In the following list these three classes of pictures are
placed all together in one chronological sequence. The
earlier part of it is made up of drawings shown at the
exhibitions formed by W. B. Cooke the engraver, in his
house No. 9, Soho Square. The catalogues of the first
three of these exhibitions (1822-23-24), seem alone to
be in existence, nor is it known whether the exhibi-
M

162 APPENDIX
tions themselves were carried on after these years.1
Cooke, as is well known, acted in his dealings with
Turner as the representative of a company of engravers
and booksellers, who undertook the publication of nu
merous illustrated books and volumes of prints, amongst
them being the Rivers of England and Views on the
Southern Coast of England; and several which were never
completed. The business transactions of Turner and
Cooke have been published in detail by Thornbury (pp.
1 76- 1 77, 1 8 5 - 1 90, 63 3-636). It appears that in some cases,
notably in that of the Rivers of England, the painter
charged a certain sum for the copyright and loan of the
drawings while in the engravers' hands, and that upon
the completion of the plates, the drawings reverted to
him. In this way it is that the complete set of drawings
for the Rivers of England happens to form part of the
artist's bequest to the National Gallery. The presence
of the designs for Rogers's Italy and Poems, and for the
Seine volume of the Rivers of France in the same collec
tion, is due to similar arrangements.
It is uncertain whether the drawings for the Southern
Coast were executed under a like agreement. The price
paid for each drawing by Cooke was, it is true, only a
little larger than that paid for those for the Rivers of
England, but in the catalogues of the exhibitions in
Soho Square, the greater number of these drawings are
entered as the property of W. B. Cooke and of G. Cooke.
In spite of the fact that only a few of the drawings are
noted as for sale in the catalogues, there can be little
doubt that Turner's drawings for the Southern Coast were,
in common with those by other artists, which had been
made use of for engraving in the publications of the firm,
exhibited with the purpose of selling them in view.
Besides these works, Cooke seems to have been in the
habit of commissioning each year two or three drawings
of considerable size, in order to give dignity to the ex
hibition, the remaining portion of which consisted of
drawings borrowed from private collections.
1 The catalogues of the first two exhibitions are in the Print
Room at the British Museum, of the three in the National Art
Library, Victoria and Albert Museum,

APPENDIX 163
ILFRACOMBE, NORTH DEVON, STORM AND SHIP
WRECK.
Cooke's Exhibition, 1822, No. 1.
Engraved in the Southern Coast.
Tintagel Abbey.
Cooke's Exhibition, 1822, No. 2.
Engraved in the Southern Coast.
Lyme Regis, Dorsetshire, a Squall.
Cooke's Exhibition, 1822, No. 4.
Engraved in the Southern Coast.
Eruption of Vesuvius.
Cooke's Exhibition, 1822, No. 8.
Engraved for Delineations of Pompeii.
Hastings from the sea.
Cooke's Exhibition, 1822, No. 9.
Engraved for Views of Hastings and its Vicinity.
Torbay seen from Brixham, Devonshire.
Cooke's Exhibition, 1822, No. 15.
Engraved in the Southern Coast.
View of Cologne.
Cooke's Exhibition, 1822, No. 20. Lent by T.
Tomkison, Esq.
Probably the drawing engraved by Goodall in 1824,
and subsequently in the Windus collection.
Dartmouth, Devon.
Cooke's Exhibition, 1822, No. 26.
Engraved in the Southern Coast.
Bay of Naples with Vesuvius, morning.
Cooke's Exhibition, 1822, No. 27.
The Land's End, Cornwall. Approaching
thunder storm.
Cooke's Exhibition, 1822, No. 31.
Engraved in the Southern Coast.
WiNCHELSEA, SUSSEX, AND THE MILITARY CANAL.
Cooke's Exhibition, 1822, No. 91.
Engraved for Views of Hastings and its Vicinity.

164 APPENDIX
Poole and distant view of Corfe Castle,
Dorsetshire.
Cooke's Exhibition, 1822, No. 92.
Engraved in the Southern Coast.
Minehead, Somersetshire.
Cooke's Exhibition, 1822, No. 94.
Engraved in the Southern Coast.
Wells Cathedral.
Cooke's Exhibition, 1822, No. 95.
Possibly the drawing, said to have been made for Mr.
Munden, sold in 1861 for £52 \os. ; or that in the
Windus collection sold in 1868 for £105.
Lulworth Castle, Dorsetshire.
Cooke's Exhibition, 1822, No. 103.
Engraved in the Southern Coast.
Pendennis Castle, Cornwall: Scene after
a WRECK.
Cooke's Exhibition, 1822, No. 104.
Engraved in the Southern Coast.
Weymouth, Dorsetshire.
Cooke's Exhibition, 1822, No. in.
Engraved in the Southern Coast.
Teignmouth, Devonshire.
Cooke's Exhibition, 1822, No. 112.
Engraved in the Southern Coast.
Plymouth Dock from near Mount Edge-
cumbe.
Cooke's Exhibition, 1822, No. 113.
Engraved in the Southern Coast.
Saint Michael's Mount, Cornwall. Sir John
St. Aubyn.
Cooke's Exhibition, 1822, No. 117.
Engraved in the Southern Coast.
East and West Looe, Cornwall.
Cooke's Exhibition, 1822, No. 244.
Engraved in the Southern Coast,

APPENDIX 165
Westminster Bridge from the Surrey side
looking towards westminster. an early
drawing of the artist.
Cooke's Exhibition, 1822, No. 271, lent by John
Britton, Esq.
Bow and Arrow Castle, Isle of Portland.
Cooke's Exhibition, 1822, No. 279.
Engraved in the Southern Coast.
Watchett, Somersetshire.
Cooke's Exhibition, 1822, No. 294.
Engraved in the Southern Coast.
Fetcham Park, Surrey. An early specimen
of the artist.
Cooke's Exhibition, 1823, No. 5. Lent by Dr. Munro.
Pevensey Castle.
Cooke's Exhibition, 1823, No. 15.
Engraved in Views in Sussex.
Rainbow. A view on the Rhine from Dunk-
holder Vineyard, of Osterspey and Feltzen
below bosnart. the rhine here makes one
of the most considerable bends in its whole
course, and assumes the form of a lake.
Cooke's Exhibition, 1823, No. 21. Lent by James
Slegg, Esq.
Dover Castle. Drawn in December, 1822.
Cooke's exhibition, 1823, No. 26.
This work is apparently the " large drawing for ex
hibition " to which two entries in Cooke's accounts refer.
(Thornbury, p. 634.) And probably the work (measuring
164- x 24) engraved by Willmore, which was in the Dillon
collection, and subsequently in that of Mr. J. G. Chap
man. It is now jn the possession of Mr. S. P. Avery of
New York.
nleuweid and weise thurn with hoche's
monument on the rhine, looking towards
Andernach.
Cooke's Exhibition, 1823, No. 34. Lent by J. Slegg
Esq.

1 66 APPENDIX
Newark Church. An early specimen of the
artist.
Cooke's Exhibition, 1823, No. 44. Lent by John
Landseer, Esq.
HURSTMONCEUX CASTLE, SUSSEX.
Cooke's Exhibition, 1823, No. 99.
Engraved in Views in Sussex.
Norburry Park, Surrey. An early specimen
of the artist.
Cooke's Exhibition, 1823, No. 102. Lent by Dr. Munro.
This may possibly be the same drawing as that, No.
42, p. 36, in the foregoing list, exhibited in the Academy
iri 1798.
Saint Agatha's Abbey, near Richmond, York
shire.
Cooke's Exhibition, 1823, No. 152.
Engraved in Whitaker's History of Richmondshire.
The Bridge and Castle of St. Angelo.
Cooke's Exhibition, 1824, No. 20.
Engraved in Hakewill's Picturesque Tour of Italy.
Fish Market at Hastings.
Cooke's Exhibition, 1824, No. 21.
This drawing was presented by Turner to Sir Anthony
Carlisle the famous physician. It measures 174- x 264-,
and was sold in 1858 for £1 10 $s., it subsequently passed
into the collection of Mr. Joseph Gillott, at the dispersion
.of which in 1872 it was sold for £1,155 5s- An entry
of payment for the frame occurs in Cooke's accounts.
(Thornbury, p. 636.)
The Mew Stone at the entrance of Plymouth
Sound.
Cooke's Exhibition, 1824, No. 32.
Engraved in the Southern Coast.
The Rialto, Venice.
Cooke's Exhibition, 1824, No. 40.
Engraved in Hakewill's Picturesque Tour of Italy.

APPENDIX 167
Twilight, Smugglers off Folkestone fishing
up smuggled gin.
Cooke's Exhibition, 1824, No. 41.
This is the " large drawing" referred to in the accounts.
(Thornbury, p. 635.)
The Observatory in Rose-Hill Park, the seat
of 'John Fuller, Esq.
Cooke's Exhibition, 1824, No. 86.
Engraved in Views in Sussex.
Morning — An effect of Nature in the
neighbourhood of london.
Cooke's Exhibition, 1824, No. 91.
This may perhaps be identified with the London,
Autumnal morning, exhibited in the Academy of 1801.
No. 56, p. 41, in the foregoing catalogue.
Margate.
Cooke's Exhibition, 1824, No. 93.
Engraved in the Southern Coast.
Bridport, Dorsetshire.
Cooke's Exhibition, 1824, No. 94.
Engraved in the Southern Coast.
Fowey Harbour, Cornwall.
Cooke's Exhibition, 1824, No. 99.
Engraved in the Southern Coast.
Tintern Abbey.
Cooke's Exhibition, 1824, No. 105. Lent by P. F.
Robinson, Esq.
View of La Riccia, Italy.
Cooke's Exhibition, 1824, No. 128.
Engraved in Hakewill's Picturesque Tour of Italy.
Lake of Nemi.
Cooke's Exhibition, 1824, No. 153.
Engraved in Hakewill's Picturesque Tour of Italy.
Brignall Church, Yorkshire.
Cooke's Exhibition, 1824, No. 155.
Engraved in Whitaker's History of Richmondshire.

168 APPENDIX
Moss Dale Fall, Yorkshire.
Cooke's Exhibition, 1824, No. 164.
Engraved in Whitaker's History of Richmondshire.
Marxbourg on the Rhine.
Northern Academy of Arts, Newcastle, 1828, No. 71.
Lent by E. Swinburne, Esq., Senior.
This drawing is still in the possession of the Swinburne
family, it was lent to O. M. 1887, No. 59.
Palace of Bubvinitch near Mayence.
Northern Academy of Arts, Newcastle, 1828, No. 74.
Lent by E. Swinburne, Esq., Senior.
This drawing of Biebrich is also still in the possession
of the Swinburne family, it was lent to O. M. 1887, No.
61.
Entrance to Fowey Harbour.
Royal Birmingham Society of Artists, 1829, No. 356.
Engraved in Picturesque Views in England and Wales.
Stonehenge. Royal Birmingham Society of Artists, 1829, No. 377.
Engraved in Picturesque Views in England and Wales.
Colchester.
Royal Birmingham Society of Artists, 1829, No. 388.
Engraved in Picturesque Views in England and Wales.
Lake Albano.
Royal Birmingham Society of Artists, 1829, No. 412.
Engraved in the Keepsake for 1829.
Richmond Castle.
Royal Birmingham Society of Artists, 1829, No. 424.
Probably the view taken from the banks of the Swale,
engraved in Picturesque Views in England and Wales.
Coast Scene.
Royal Birmingham Society of Artists, 1830, No. 136.
Florence.
Royal Birmingham Society of Artists, 1830, No. 300.
In all probability this was the drawing engraved for
the Keepsake for 1828.

APPENDIX 169
Forum Romanum.
Liverpool Academy, 1831, No. 222.
Engraved in Hakewill's Picturesque Tour of Italy.
Roman Forum.
Liverpool Academy, 1831, No. 231.
Engraved in Hakewill's Picturesque Tour of Italy.
Landscape.
Royal Birmingham Society of Artists, 1834, No. 9.
View of Rye.
Royal Birmingham Society of Artists, 1834, No. 248.
Lent by Charles Birch, Esq.
Possibly this was the drawing engraved for the South
ern Coast.
Venice.
Royal Manchester Institution, 1834, No. 53.
Landscape.Royal Birmingham Society of Artists, 1835, No. 17.
Lent by J. Allnutt, Esq.
Moonlight.
Royal Manchester Institution, 1835, No. 260.
Three Decker taking in stores.
Leeds Exhibition, 1839, No. 14.
This with the following thirty-three drawings as well
as eight which have been described in the foregoing list
(Nos. 65, 69, 71,72, 73, 75, 76, and 77), all from the Farnley
Hall collection, were lent by Mr. Francis Hawkesworth
Fawkes to this exhibition. It was an exhibition of mis
cellaneous works of art and other objects, held at the
Music Hall in Leeds. The contents of each room were
numbered in separate series, the present works having
been placed in the Cabinet.1
Loss of an East Indiaman.
Leeds Exhibition, 1839, No. 15.
Man of War off the Tagus.
Leeds Exhibition, 1839, No. 18.
1 The catalogue is to be found in the library of the Leeds
Philosophical Society.

170 APPENDIX
Old Farnley Hall.
Leeds Exhibition, 1839, No. 19.
Loch Fine, Argyleshire.
Leeds Exhibition, 1839, No. 21.
The Strid, Bolton Park.
Leeds Exhibition, 1839, No. 22.
Fall of the Reichenbach, Switzerland.
Leeds Exhibition, 1839, Nos. 23 and 29.
It is uncertain which of these two was the large draw
ing (No. 76, p. 51 ante) and which the smaller, now
known as the Upper Falls of the Reichenbach (O.M.
1886, No. 33).
Wharfedale from the Chevin Deer Park.
Leeds Exhibition, 1839, No. 26.
Interior of St. Peter's, Rome.
Leeds Exhibition, 1839, No. 27.
Lausanne, Lake of Geneva.
Leeds Exhibition, 1839, No. 30.
Rome.
Leeds Exhibition, 1839, No. 32.
Vevay, Lake of Geneva.
Leeds Exhibition, 1839, No. 33.
Drawings of the Swords of Cromwell, Fairfax
and Lambert, &c.
Leeds Exhibition, 1839, No. 40.
Fall of Staubbach, Lauterbrunnen.
Leeds Exhibition, 1839, No. 51.
Fountain's Abbey.
Leeds Exhibition, 1839, No. 52.
Passage of Mont Cenis.
Leeds Exhibition, 1839, No. 56.
Valley of Chamouni.
Leeds Exhibition, 1839, No. 57.
Mer de Glace, Chamouni.
Leeds Exhibition, 1839, No. 60.

APPENDIX 171
Windermere.
Leeds Exhibition, 1839, No. 62.
Mer de Glace, Chamouni.
Leeds Exhibition, 1839, No. 65.
High Force, Tees.
Leeds Exhibition, 1839, No. 66.
Naples and Mount Vesuvius.
Leeds Exhibition, 1839, No. 6g.
Coliseum, Rome.
Leeds Exhibition, 1839, No. 70.
Bonneville, Switzerland.
Leeds Exhibition, 1839, No. 72.
See No. 104, p. 82 ante.
Venice, the Rialto.
Leeds Exhibition, 1839, No. 73.
Bolton Abbey.
Leeds Exhibition, 1839, No. 76.
Lancaster Sands.
Leeds Exhibition, 1839, No. 77.
Eruption of Vesuvius.
Leeds Exhibition, 1839, No. 80.
Venice from Fusina.
Leeds Exhibition, 1839, No. 8i,
Brientz Moonlight.
Leeds Exhibition, 1839, No. 85.
East Coast of England.
Leeds Exhibition, 1839, No. 86.
Loch Tiny, Farnley Park.
Leeds Exhibition, 1839, No. 91.
Farnley Hall, from the junction of the
Wharfe and the Washburne.
Leeds Exhibition, 1839, No. 92.
The Washburne, Farnley.
Leeds Exhibition, 1839, No. 93.

172 APPENDIX
The Rialto.
Liverpool Academy, 1845, No. 58.
Walton-on-Thames, Surrey.
Royal Birmingham Society of Artists, 1847, No. 129.
Lent by Joseph Gillott, Esq.
This picture of Walton Bridges measures 36 x 48. At
the dispersion of the Gillott collection in 1 872 it was sold
for £5,250 ; it subsequently passed into the possession of
Mr. H. W. F. Bolckow.and was sold in 1891 for £7,455.
Other versions of this subject by Turner, both in oil and
water colours, are equally famous.

INDEX

Abergavenny Bridge, 37.
Academy, Royal, Diploma
Gallery, 77.
Adonis, Departure of, 158.
Aegina, Island of, 97-99.
Aeneas, Mercury sent to ad
monish, 158.
Aeneas relating his story to
Dido, 159.
Agnew, Messrs., 26, 53.
Agnew, W., 78.
Agrippina landing with the
ashes of Germanicus, 136.
Albano, Lake, 168.
Alexander, — , 90.
Allen, P., 100.
Allnutt, John, 37, 40, 169.
Ambleside Mill, 36.
Angel standing in the Sun,
the, 155.
Antwerp. See Van Goyen.
Aosta, Val d', 45, 49, 132.
Apollo and Daphne, 132.
Apollo and Python, 89.
Apollo and the Sybil, 103.
Apullia in search of Apullus,
94-
Armstrong, Lord, 74.
Arveiron, Glacier and Source
of the, 45.
Ashburton, Lord, 37, 52.
Ashton, Samuel, 108.
Ashton, Thomas, 42, 47.
Avernus, Lake, 124.

Avery, S. P., 165.
Avon, View on the River, 26.
Bacchus and Ariadne, 138.
Baiae, Bay of, with Apollo and
the Sybil, 103.
Caligula's Palaceand Bridge,
"5-
Bath Abbey, West Front of,
32-
Beauchamp, Lord, 27.
Beckford, William, 39, 77.
Bective, Earl of, 154, 155.
Bellini, John, depositing three
pictures of, in La Chiesa
Redentore, Venice, 142.
Ben Lomond Mountains, 44.
Berthon, Mrs., 27.
Bevan, R. C L., 47.
Bibby, J., 123.
Bicknell, Elhanan, 49, 107,
113, 120, 122, 125, 126,
141, 144.
Bicknell, Henry, 113.
Biebrich, 168.
Birch, Charles, 123, 128, 130,
140, 151, 169.
Birchall, T., 72.
Birdcage. See Boccaccio.
Bischoffsheim, H. L., 74.
Blacksmith, a country, 84.
Bligh Sand, near Sheerness, 95.
Blue lights, 140.
Boats carrying out anchors and

174

INDEX

cables to Dutch men-of-
war, 82.
Boccaccio relating the tale of
the birdcage, no.
Bolckow, H. W. F., 40, 44,
100, 172.
Bolton Abbey, 171.
Bolton Park, the Strid, 1 70.
Bonneville, Chateaux de St.
Michael, 82, 171.
Bonneville, Savoy, with Mont
Blanc, 80.
Bonneville, View of the Castle
of St. Michael, 91.
Booth, Mrs., 43.
Boston, Museum of Fine Arts,
123, 140.
Bow and Arrow Castle, 165.
Bridgewater, Duke of, 78.
Bridlington Priory, 6.
Bridport, 167.
Brientz: Moonlight, 171.
Bright stone of honour, the,
126.
Brignall Church, 167.
Bristol, St. Vincent's Rock, 26,
27.
British Museum, 30.
Britton, John, 165.
Broadhurst, — , 109.
Brocklebank, Ralph, 40, 41,
42, 90, 126, 131.
Brocklebank, Thomas, 126.
Brodrip, W. J., 141.
Bubvinitch, Palace of, 168.
Buckley, Abel, 43.
Bullock, E., 147.
Burial at sea, 145.
Burnett, G. R., 41, 43.
Burnett, J., 37.
Burning of the Hbuses of
Lords and Commons,
128.
Buttermere Lake, 73.

Byers, A. M., 125.
Caernarvon Castle, 38, 40.
Calais, Pas de, 107.
Calais Pier, 81.
Calais Sands, 113.
Caligula's palace and bridge,
"5-
Cambridge, Choir in King's
College Chapel, 30.
Cambridge, Fitzwilliam Mu
seum, 28.
Campbell, Sir H., 43.
Camperdown, Countess of, 80,
in.
Canaletti painting, 121.
Canterbury Cathedral, St.
Anselm's Chapel, 28.
Canterbury, Christchurch
Gate, 28.
Canterbury, Gate of St. Augus
tine's Monastery, 27.
Cardiff, Corporation Art
Gallery, 33.
Carlisle, Sir Anthony, 166.
Carthage, Building of, 96.
Decline of, 99.
Castle, S. N., 76.
Cave, W., 75.
Chale Farm, Isle of Wight, 31.
Chambers, R., 27, 32, 37.
Chamonix, Valley of, 1 70.
Mer de Glace, 45, 170, 171.
Chantrey, Sir Francis, R.A.,
103, 141.
Chapman, Edward, 137.
Chapman, George, 114.
Chapman, J. G., 165.
Chapman, John, 114, 137.
Chickens : May, 48.
Childe Harold's Pilgrimage,
118.
Christianity, Dawn of, 143.
Chryses, 47.

INDEX

175

Cicero at his Villa, 137.
Claude Le Lorrain, 85, 97.
Cleveland, Duke of, 101.
Clutterbuck, R., 28.
Clyde, The fall of the, 42.
Coast Scene, 168.
Coburg, Rosenau, near, 142.
Cockerell, C. R., R.A, 150.
Colchester, 168.
Colnaghi, Martin H., 76.
Cologne, the arrival of a packet
boat, 104.
View of, 163.
Coniston Fells, morningamong
the, 72.
Cook, Sir Francis, 77.
Cooper, C, 152.
Mrs., 26.
Cottage, Internal of a, at Ely,
27, 31-
Cottage Steps. See May.
Courmayeur. See St. Huges.
Courtauld, Mrs., 25.
Cowes, 109.
Cromwell, Fairfax and Lam
bert, the Swords of, 170.
Crossing the brook, 62, 96.
Cruiser off the French coast,
117.
Currie, Sir Donald, 142, 154,
155-
Daniel, E. T., 108.
D'Aoust. See Aosta.
Dart, Miss, 25.
Dartmouth, 163.
Davies, Sir Horatio, 82.
Delamere, Lord, 78, 82.
Deluge, the, 93.
The evening of the, 147.
The morning after the, 147.
Demosthenes taunted by
Aeschines, 133.
Denison, C. Beckett, 158.

Departure of the fleet, the,
160.
De Putron, Mrs., 122.
Derbyshire, scene in, 109.
De Tabley, Lord, 74, 83, 84,
85, 87.
Devil's Bridge, Cardiganshire,
27.
Switzerland, 50.
View near the, with the river
Ryddol, 29.
Dewick, Revd. E. S., 6.
Dido, 159, 160.
and Aeneas, 94.
building Carthage, 96.
directing the Equipment of
the Fleet, 109.
Dieppe, Harbour of, 104.
Dillon, John, 31, 33, 35,
165.
Dinevor Castle, Landilo Bridge
and, 31.
Doctor reproving his son's pro
digality, 85.
Dogger Bank. See Van Tromp.
Dolbadern Castle, 76.
Dort, or Dordrecht, 101.
Dover Castle, 165.
Drake, Sir William, 25.
Dudley, Earl of, 127.
Dunstanborough Castle, 72.
Durand-Ruel, M., 75.
Dutch boats in a gale, 77.
Dutch men of war, boats carry
ing out anchors to, 82.
East and West Looe, 164.
East Cowes Castle ; the regatta
beating to windward, 109.
The regatta starting for their
moorings, 109.
Edinburgh from Caulton Hill,
46.
from the Water of Leith, 43.

176

INDEX

Egremont, Earl of, 79, 83, 87,
88,113.
Egypt, the Fifth Plague of, 77.
the Tenth Plague of, 78.
Ehrenbreitstein and the tomb
of Marceau, 126.
Ellesmere, Earl of. See Bridge-
water, Duke of.
Ellis, E. S., 46.
Wynn, 76, 90.
Ellison, J., 39.
Eltham, King John's Palace,
25-
Ely, a Study at, 31.
Bishop of. See Yorke.
Cathedral, South Transept,
12. 33-
Cathedral, Transept and
Choir of, 12, 18, 32.
England, East Coast of, 171.
Richmond Hill, 102.
Ewenny Priory, Transept of,
32.
Fairrie, Adam, 100.
Fallows, James, 134.
Farnley Hall. See Fawkes.
Hall, 171.
'Old, 170.
Park, Loch Tiny, 171.
the Washburne, 171.
Faulkner, G., 75, 76.
Fawkes, F. H., 169-171.
Walter, 45, 47, 48, 49, 50,
51,82, 85, 101, 108.
Fetcham Park, 165.
Fiery Furnace, the, 120.
Fighting Te"me"raire, the, 135.
Fingal's Cave, 120.
Fisher, — , 128.
Fishermen at sea, 30.
becalmed previous to a storm,
72-
cleaning and selling fish ;

sun rising through vapour,
84.
coming ashore at sun set, 71.
on a lee-shore, 78.
Fishing boats bringing a dis
abled ship into Port Ruys-
dael, 149.
trawling (Bligh Sand), 95.
with Hucksters bargaining
for fish, 135.
Fish-Market on the sands,
114.
Flight into Egypt, the, 143.
Florence, 168.
Flounder-fishing, November,
47-
Fonthill Abbey, Views of, 39-
41.
Fort Rock, Battle of, 20, 49.
Forum Romanum, 105, 169.
Fothergill, Watson, 33.
Fountain of Fallacy, the, 138.
Fountain of Indolence, the,
123.
Fountains Abbey, 170.
dormitory and transept of,
36.
Fowey Harbour, 167.
Entrance to, 168.
Fowler, Sir John, 44, 52, 92,
147.
Frick, H. C, 43.
Fripp, 106.
Frosty Morning, 93.
Funeral of Sir T. Lawrence,
20.
Garreteer's Petition, the, 87.
Gaskell, Holbrook, 123.
Gibbons, John, 91.
Gibson-Craig, j. T., 29.
Gilbert, Thomas, 140.
Gillott, Joseph, 98, 113, 142,
151' T54> l66> x72'

INDEX

177

Gilpin, S., R.A., 36, 47.
Glasgow, Corporation Gal
leries, 134.
Glaucus and Scylla, 143.
Goddess of Discord in the
Garden of the Hesperides,
83-
Going to the ball, 154.
Golden Bough, the, 124.
Goldsmid, Sir Julian, 141.
Graham, John, 122, 131, 157.
Great Malvern Abbey, 27.
Great Western Railway, the,
149.
Green, John, 158.
Greenwich Hospital, 86, 112.
Haden, Sir F. Seymour, 152.
Hamburg, Kunsthalle, no.
Hannibal and his Army cross
ing the Alps, 92.
Hardwick, P. C., 26.
Harewood, Earl of, 31, 35, 47.
Harlech Castle from Twgwyn
ferry, 73.
Hastings, Fish Market at, 166.
from the Sea, 163.
Line-fishing off, 127.
Heaven, Miss, 98.
Helvoetsluys ; — the City of
Utrecht going to sea, 119.
Hemming, R., 143.
Hermon, Edward, 137.
Hero and Leander, the Part
ing of, 132.
Hero of a hundred fights, the,
157-
Hertford House, London, 49.
Hesperides, the garden of the,
83-
Heugh, John, 31, 40, 42, 44,
72-
Hoare, Sir Richard Colt, 33,
34, 37. 38, 42.

Hodgson, Kirkman D., 119,
130. 134-
Holland, S. G., 106.
Holloway College Gallery,
Royal, 150.
Holt, George, 142.
Mrs. George, 142, 157.
Holt, R. Durning, 32, 43.
Holy Family, 81.
Holy Island Cathedral, 35.
Hooper, Miss Alice, 140.
Houldsworth, William, 43,
44.
Houses of Lords and Com
mons, Burning of the,
128.
Hughes, J. Newington, 90, 95.
"Hurrah for the Whaler
Erebus!", 155.
Hurstmonceux Castle, 166.
Huskisson, — , 26, 31, 73.
Huth, C. F., 41.
L., 143.
Ilfracombe, 163.
Indiaman, loss of an, 169.
" In this arduous service,''
etc. See Cruiser.
Italy, Ancient, 135.
Modern, 134.
Iveagh, Lord, 78.
" I've lost my boat, you shan't
have your hoop," 140.
James, Miss, 41.
Jason, 79.
Jersey, Earl of, 96.
Jessica, 113.
Johnson, John G., 91.
Johnston, John Taylor, 140.
Juliet and her Nurse, 129.
Jupiter Panellenius, the temple
of, restored, 95.
View of, with the Greek

N

1 78

INDEX

National Dance of the
Romaika, 98, 99.
Keane, H. P., 50.
Keelmen heaving in coals by
night, 126.
Keiller, Mrs., 144.
Kelk, Sir John, 107.
Kilchern Castle, 43.
Kilgarran Castle, 61, 74;
Kirkstall Abbey, Refectory of,
12, 19, 34.
Knight, A. R. Boughton, 85.
Knight, H. Gaily, Esq., 98, 99.
Lambeth, View of the Arch
bishop's Palace, 25.
Lancaster Sands, 171.
Landaff Cathedral, 31.
Landilo Bridge and Dinevor
Castle, 31.
Landscape, 169.
composition of Tivoli, 52.
with a tower, 5.
Landseer, John, 166.
Sir Edwin, R.A., 108.
Land's End, 163.
Langhorne's " Visions of
Fancy," 38.
La Riccia, View of, 167.
Lausanne, 170.
Lauterbrunnen, fall of Staub-
bach, 170.
Lawrence, Sir Thomas, funeral
of, 53-
Leconfield, Lord. See Egre
mont, Earl of.
Leech, William, 43.
Leicester, Sir John Fleming,
74 ; and see de Tabley.
Leighton Hall. See Naylor.
Lenox, James, 118, 121.
Levy, — , 75.
Leyland, F. R., 152.

Liber Studiorum, 34, 35, 43,
72. 77, 79, 8°> 82, 91, 94,
100.
Life-boat, etc., going off to a
stranded vessel, 114.
Light and Colour — the morn
ing after the Deluge, 147.
Lincoln Cathedral, St. Hugh's,
the Burgundian's porch,
28.
(view from the west), 19, 30.
Line-fishing, off Hastings, 127.
Linlithgow Palace, in.
Lloyd, Messrs., 128.
Loch Fyne, 170.
Loire, the banks of the, no.
London, autumnal morning,
41.
effect of nature in the neigh
bourhood of, 167.
London. See Academy, Royal ;
British Museum ; Hertford
House; National Gallery;
Soane Museum; Victoria
and Albert Museum.
Lonsdale, Earl of, 88.
Loretto necklace, the, 1 1 1.
Lowther Castle, north front
with the river Lowther,
88.
north-west view, 88*
Lucerne, Lake of, 51.
Lulworth Castle, 164.
Lyme Regis, 163.
McConnel, Henry, 124, 126,
140, 144.
McCormick, R. Hall, 32, 107.
Macon, festival upon the
opening of the vintage
of, 62, 80.
Malmesbury Abbey, 6, 25.
Manchester, Whitworth In
stitute, 6, 29, 37, 98.

INDEX

179

Man of war off the Tagus,
169.
Marford Mill, 29.
Margate, 167.
shore at, 114.
Marriage of the Adriatic, the,
I3I-
Marshall, John, 128.
Marxbourg on the Rhine, 168.
Massaniello, 155.
May, Chickens, 48.
Mayo, Rev. C. F., 32.
Medea, Vision of, 115.
Medes, the Army of the,
destroyed in the Desert,
78.
Meigh, Charles, 118.
Melbourne, City Art Gallery,
72.
Mendel, S., 106, 127.
Mercury and Argus, 130.
and Herse, 89.
sent to admonish Aeneas,
158.
" Messieurs les Voyageurs,"
53-
Meuse, entrance of the, 102.
Mew Stone, 166.
Mickleham, study in Mr.
Lock's park, 36.
Millbank, study at, 71.
Miller, John, 150, 152.
Miss, 29.
T. Horrocks, 82, 117, 123.
William Pitt, 47.
Minehead, 164.
Moffatt, W., seat of, at Mort
lake, 106, 108.
Moir, Mrs., 151.
Monach, Second Fall of the
River, Devil's Bridge,
Cardiganshire, 27.
Monro, Dr. See Munro.
Montagu, Sir Samuel, 89.

Mont Blanc, 80, 82.
Mont Cenis, Passage of, 170.
Moonlight, 169.
a study at Millbank, 71.
Morgan, J. Pierpont, 143.
Morning, from Dr. Lang-
horne's " Visions of
Fancy," 38.
Morning of the Chase, the,
94.
Morrison, Charles, 52.
Mortlake, early summer's
morning, 106.
Summer's evening, 108.
Moses writing the book of
Genesis, 147.
Moss Dale Fall, 168.
Moss, Mrs., 35.
Mount St. Gothard, the passage
of, 50.
Mount Tarrar, travellers in a
snow drift on, 53.
Munden, Mr., 164.
Munro, Dr., 28, 165, 166.
Munro, H. A. J., 74, 100, 119,
121, 127, 130, 133, 134,
!35> !37, Hi, 148, 157,
158.
Naples and Mount Vesuvius,
Bay of, with Vesuvius, morn
ing, 163.
Napoleon, 145.
Narcissus and Echo, 83.
Nash; J., 109, no, 114'
National Gallery, 46, 49, 53,
7i, 72,73,79,8i,84, 85,
86, 87, 89, 93, 94, 95, 96,
97, 99, 102, 103, 104,
105, 109, no, in, ii2;
115, 116, 117, 118, 120,
122, 132, 133, 134, 136,
i38> x39, Uo, 144, U5,

i8o

INDEX

146, 147, 148, 149, 150,
151, i53, i55> 156, i57,
159, 160.
Naylor, John, 104, 105, 107,
124, 126, 130, 140.
Neapolitan fisher-girls sur
prised bathing by moon
light, 141.
Nebuchadnezzar at the mouth
of the burning fiery fur
nace, 120.
Nemi, Lake of, 167.
Neuwied and Weisse Thurm
(View on the Rhine), 165.
Newark Church, 166.
New moon, the, 140.
New York, Lenox Library,
118, 121.
Metropolitan Museum, 127,
152-
Nile, Battle of the, 73.
Norbury Park, 166.
Norham Castle on the Tweed,
12, 34.
Norris, T., 27.
Northumberland, Coast of. See
Wreckers.
Northumberland, Duke of,
100.
Novar. See Munro.
November : Flounder-fishing,
47-
"Now for the Painter;" 107.
Nuneham Courtenay, n.
Orange, Prince of, landing at
Torbay, 118.
Orrock, James, 14,1.
Orvieto, View of, 112.
Ostend, 148.
Overstone, Lord, 90.
Ovid banished from Rome,
135-
Oxford Cathedral, 6.

Oxford, View of the High
Street, 63, 91.
Magdalen Bridge, 6.
Oriel College, 18.
View of, from Abingdon
Road, 92.
Paine, Colonel O. H., 130.
Palestrina — composition, 112.
Pantheon, the, — the morning
after the Fire, 26.
Peace — burial at sea, 145.
Pembroke Castle; Clearing up
of a thunderstorm, 46.
Thunderstorm approaching,
41.
Pendennis Castle, 164.
Pender, Sir John, 89, 125, 142,
143-
Penn, W., 72.
Percy, Dr. John, 33.
Percy, Lord, under attainder,
116.
Peterborough Cathedral, West
Entrance, 29.
Petworth House. See Egre
mont, Earl of.
Petworth, Sussex, 88.
Pevensey Castle, 165.
Phryne going to the bath as
Venus, 133.
Pifferari, the, 134.
Pilate washing his hands, 112.
Pilkington, Sir John, 49.
Plague, the fifth, 77.
the Tenth, 78.
Pluto carrying off Proserpine,
137-
Plymouth Dock, 164.
Sound, the Mew Stone, 166.
Poole, 164.
Pooley, C. J., 40.
Powerscourt, Viscount, 137.
Prater, — , 43.

INDEX

181

Premium Landscape, the, 95.
Price, David, 134.
James, 106, 120, 130, 133,
i54, i5S-
Proserpine, Pluto carrying off,
137-
Putron. See de Putron.
Queen Mab's Cave, 156.
Quille-bceuf, 122.
Quilter, Sir W. Cuthbert, 158.
Raby Castle, 101, 139.
Raffaelle and La Fornarina,
103.
Rainbow: a viewon the Rhine,
. 165.
Rain, Steam and Speed — the
Great Western Railway,
149.
Regulus, 133.
Reichenbach, Fall of the, 51,
170.
Reid, James, 134.
Rembrandt's Daughter, 108.
Returning from the ball, 154.
Rhine, Fall of the, at Schaff
hausen, 83.
View on the, 165.
Richmond Castle, 23, 168.
Hill, 102.
Rising Squall, the, 8, 27.
Robinson, P. F., 167.
Rockets and blue-lights to
warn steam-boats, 140.
Rome, 170.
Ancient : Agrippina landing
etc., 136.
Arch of Titus, 105.
Bridge and Castle of St.
Angelo, 166.
Coliseum, 171.
Forum Romanum, 105, 169.
From Mount Aventine, 130.

Rome, from the Vatican, 103.
Modern : Campo Vaccino,
136.
Rosebery, Earl of, 130, 137.
Rose-Hill Park, the Observa
tory in, 167.
Rosenau, 142.
Ross, James, 120, 147.
Rotterdam Ferry-boat, 121.
Ruel. See Durand-Ruel.
Ruskin, John, 28, 131, 140.
Russell, Jesse Watts, 91, 92.
Ruston, Joseph, 43.
Ruysdael, Port, 107.
Port, fishing-boats bringing
a disabled ship into, 149.
Ryddol, the River (Devil's
Bridge), 29.
Rye, 169.
St. Agatha's Abbey, near Rich
mond, 166.
St. Alban's, 6.
St. Angelo, the Bridge and
Castle of. See Rome.
St. Donat's Castle, 42.
St. Erasmus in Bishop Islip's
Chapel, Westminster Ab
bey, 31.
St. Huges denouncing ven
geance on the Shepherd,
45-
St. Michael's Mount, Corn
wall, 125, 164.
St. Vincent, eruption in the
Island of, 49.
Salisbury Cathedral, Choir of,
12, 18, 33.
Chapter House, 42.
Inside of the Chapter House
of, 37-
North Porch of, 34.
West Front of, 38.
Salisbury, Close Gate, 31.

1 82

INDEX

Santurce, Marquis de, 143.
Scarborough Town and Castle,
48.
Schaffhausen, Fall of the Rhine
at, 83.
Scheldt. See Van Tromp.
Schwabe, Collection. See
Hamburg Kunsthalle.
Seine, Mouth of the : Quille-
bceuf, 122.
Shade and Darkness — the
evening of the Deluge,
147.
Sheepshanks, John, no, 114,
125, 127, 139.
Ships bearing up for anchor
age, 79.
Shrewsbury, Welsh Bridge at,
29.
Shylock, 131.
Skipper, C, 142.
Slavers throwing overboard
the dead and dying, 139.
Slegg, J., 165.
Smith, J., 27, 100.
William, 28.
Smugglers off Folkestone, 167.
Snow-storm, Avalanche and
Inundation, 132.
Hannibal crossing the Alps,
92.
steam-boat off a harbour's
mouth, 144.
Soane Museum, 34, 45, 105,
116.
Society, XIX Century Art, 73.
Somer-Hill, near Tunbridge,
90.
Souffrier Mountains. See St.
Vincent.
South Kensington. See Vic
toria and Albert Museum.
Spithead : boat's crew recover
ing an anchor, 86.

Staffa, Fingal's Cave, 120.
Stonehenge, 168.
Stour, rise of the river at Stour
head, 20, 52.
Stourhead. See Hoare.
Strathcona, Lord, 131.
Sunny Morning, 36.
Sun of Venice, the, going to
sea, 146.
Sun rising through vapour, 84.
Sweakley, near Uxbridge, 25.
Swinburne, E., senior, 168.
Sir John, 89.
Tabley, Cheshire : calm morn
ing, 87
windy day, 87.
Tabley. See de Tabley.
Tagus, Man of War off the,
169.
Taylor, J. E., 28, 29.
Tees, High Force, 171.
Teignmouth, 164.
Temeraire, the fighting, 135.
Tempe, Vale of. See Apollo
and Daphne.
Tennant, Sir Charles, 39, 119.
Texel. See Van Tromp.
Thompson, James Pyke, 33.
Three Decker- taking in stores,
169.
Thwaites, Daniel, 35, 38.
Tintagel Abbey, 163.
Tintern Abbey, 167.
Inside of, 6, 28.
Transept of, 29.
Tite, Sir William, 27.
Titus, the Arch of, 105.
Tivoli, 20, 52.
Torbay, Prince of Orange land
ing at, 118.
seen from Brixham, 163.
Totnes, 23.
Trafalgar, Battle of, 86.

INDEX

i83

Turner Collection. See Na
tional Gallery.
Tyne, the River, 126.
Ulysses deriding Polyphemus,
no.
Undine giving the ring to Mas
saniello, 155.
Unpaid Bill, the, 85.
Vanderbilt, Cornelius, 127,
149.
George, 123.
W. H., 123.
Van Goyen looking out for a
subject, 122.
Van Tromp going about to
please his masters, 150.
returning after the battle off
the Dogger Bank, 122.
Van Tromp's barge at the
entrance of the Texel,
116.
shallop at the entrance of
the Scheldt, 119.
Vaughan, Henry, 37, 42.
Venice, 169.
Bridge of Sighs, 138.
Bridge of Sighs, etc., Cana
letti painting, 121.
Campo Santo, 144.
Depositing John Bellini's
threepicturesin La Chiesa
Redentore, 142.
Dogana and Madonna della
Salute, 146.
Ducal Palace, 122.
Ducal Palace, Dogana, with
part of San Giorgio, 141.
(Entrance to the Grand
Canal), 124.
Evening, going to the ball,
152-
From Fusina, 171.

Venice, from the Canale della
Guidecca, 139.
From the Porch of Madonna
della Salute, 127.
From the steps of the Eu-
ropa, 143.
Going to the ball (San Mar
tino), 154.
Guidecca, La Donna della
Salute and San Giorgio,
141.
Maria della Salute, 150.
Morning, returning from the
ball (San Martino), 153.
Noon, 153.
Quay, Ducal Palace, 151.
Returning from the ball
(St. Martha), 154.
St. Benedetto, looking to
wards Fusina, 148.
St. Mark's Place, Moonlight,
129.
Sunset, a fisher, 1 53.
The approach to, 148, 150.
The Grand Canal, 131.
The Rialto, 166, 171, 172.
Venus and Adonis, 158.
Vernon, Robert, 119, 121,
124, 141, 144.
Vesuvius, Eruption of, 163,
171.
Vevay, 170.
Victoria and Albert Museum,
28, 37, 39, 42.
Vimieux. See Cruiser.
Visit to the tomb, the, 159.
Wadmore, James, 104, 105.
Walhalla, the opening of the,
146.
Walker, C. B., 96.
Wallace Collection (Hertford
House), 49.
Sir Richard, 49.

1 84

INDEX

Wallis, H., 128.
Messrs, 10 1.
Walters, Laundy, 35.
Waltham Abbey, Remains of,
3*-
Walton-on-Thames, 172.
Wantage, Lord, 90, 91.
War : The exile and the rock-
limpet, 145.
Ward, W., 36.
Warkworth Castle, 12, 19, 38.
Watchett, 165.
Waterloo, Field of, 102.
Watteau, study by Fresnoy's
rules, 117.
Wells Cathedral, 164.
Westminster Abbey, Bishop
Islip's Chapel, 31.
Westminster Bridge, 165.
Westminster, Duke of, 72.
Marquess of, 77.
Wetherall, — , 137.
Weymouth, 164.
Whalers, 151, 152, 155.
(boiling blubber), 156.
Whalley Bridge and Abbey,
63, 9°-
Wharfedale, from the Chevin
Deer Park, 170.
Wharncliffe, Earl of, 133.
"What you will," 103.

White, Benoni, 78, 82.
Widener, P. A. B., 95.
Wilkie, Sir David, burial of,
MS-
William III. landing at Tor-
bay, 118.
Williams, Mrs., 113.
Wilson, M., 75.
W., 41.
Winchelsea, 163.
Windermere, 171.
Windsor Park, 47.
Windus, B. G, 143, 151, 154,
163, 164.
Winesdale, Yorkshire, 71.
Winkworth, Mrs. Stephen, 34.
Wolverhampton, 31.
Woods, Henry, 150.
Woolner, T., R. A., 141.
Wreck buoy, the, 157.
Wreckers — coast of Northum
berland, 125.
Wyatt, J., 91, 92.

Yarborough, Earl of, 80.
Yarmouth, vessel in distress
off, 114.
Yorke, Right Rev. James,
D.D, 34.
Young, George, 77.

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