,,early ,,english ,,water-,,colour ,,drawings ,,by ,,the ,,great ,,masters ,,early ,,english ,,water-,,colour ,,drawings ,,by ,,the ,,great ,,masters ,,with ,,articles ,,by ,a4 ,j4 ,,finberg #aiai ,,edited ,,by ,,geoffrey ,,holme 8,,the ,,studio10 ,l41 ,,london ,,paris1 ,,new ,,york ,,contents ,,articles ,,by ,a4 ,j4 ,,finberg ,,page ,introduction #a ,the ,turners #d ,turner's ,predecessors #bb ,turner's ,contemporaries #bf ,descriptive ,catalogue of the ,exhibition of ,selected ,water-,colour ,drawings by ,artists of the ,early ,english ,school held at ,messrs4 ,thomas ,agnew ,sons' ,galleries1 ,london1 ,march-,april #aiai #cc ,,illustrations ,,in ,,colours ,after ,j4 ,s4 ,cotman ,,plate ,rouen 7#c7 xxxv ,after ,j4 ,r4 ,cozens ,a ,swiss ,valley 7#dc7 xxvii ,villa ,negroni1 ,rome 7#db7 xxix ,after ,j4 ,m4 ,w4 ,turner1 ,r4,a4 ,castle of ,chillon 7#ah7 vii ,saumur 7#bc7 x ,richmond ,bridge--,play 7#bj7 xi ,worcester 7#be7 xii ,the ,longships ,lighthouse1 ,land's ,end 7#bg7 xiii ,lake ,nemi 7#bf7 xv ,the ,rigi at ,sunrise--,lake of ,lucerne 78,the ,blue ,rigi07 7#bh7 xvii ,lake of ,lucerne3 ,brunnen in the ,distance 7#acj7 xx ,mouth of the ,grand ,canal 7#abg7 xxiii ,,illustrations ,,in ,,monotone ,after ,t4 ,collier ,beeston ,castle 7#hb7 xliv ,after ,j4 ,s4 ,cotman ,bridge over ,river near a ,town 7#gh7 xxxiii ,gormire ,lake1 ,yorkshire 7#gd7 xxxiv ,after ,j4 ,s4 ,cotman ,a ,lake ,scene 7#a7 xxxvi ,church in ,normandy 7#i7 xxxvii ,after ,j4 ,r4 ,cozens ,in the ,farnesina ,gardens1 ,rome 7#da7 xxviii ,lake ,nemi 7#de7 xxx ,after ,edward ,dayes ,norwich ,cathedral 7#add7 xxvi ,after ,copley ,fielding ,the ,pilot ,boat 7#gj7 xlii ,after ,thomas ,girtin ,kenilworth 7#adf7 xxxi ,lincoln 7#g7 xxxii ,after ,samuel ,prout ,folkestone 7#hf7 xxxix ,after ,david ,roberts1 ,r4,a4 ,granada 7#hh7 xliii ,after ,g4 ,robson ,ben ,venue1 from ,lanrick 7#ff7 xli ,after ,paul ,sandby1 ,r4,a4 ,the ,swan ,inn1 ,edmonton 7#fd7 xxv ,after ,j4 ,m4 ,w4 ,turner1 ,r4,a4 ,old ,abbey1 ,evesham 7#aci7 i ,malmesbury ,abbey 7#ec7 ii ,water ,mill 7#adg7 iii ,a ,mountain ,stream 7#aeb7 iv ,cassiobury3 ,the ,house seen across the ,park 7#af7 v ,lake of ,thun 7#cd7 vi ,patterdale ,old ,church 7#ba7 viii ,rolandswerth ,nunnery and ,drachenfels 7#ce7 ix ,valley of the ,washburne1 near ,farnley 7#aec7 xiv ,florence1 from near ,san ,miniato 7#bi7 xvi ,steeton ,manor1 near ,farnley 7#acf7 xviii ,wilderness of ,sinai 7#acb7 xix ,saltash 7#cj7 xxi ,prudhoe ,castle 7#bb7 xxii ,a ,gorge 7#aae7 xxiv ,after ,william ,turner of ,oxford ,kingley ,vale1 with ,chichester ,cathedral in the ,distance 7#gg7 xl ,after ,john ,varley ,leyton1 ,essex 7#ahcj7 7#abb7 xxxviii ,,the ,,editor ,,desires ,,to ,,acknowledge ,,the ,,valuable ,,assistance ,,rendered ,,him ,,in ,,the ,,preparation ,,of ,,this ,,volume ,,by ,,messrs4 ,,thomas ,,agnew ,,sons2 ,,and ,,to ,,thank ,,mr4 ,c4 ,,morland ,,agnew1 ,,mr4 ,w4 ,j4 ,h4 ,,jones1 ,,and ,,mr4 ,r4 ,w4 ,,lloyd ,,for ,,kindly ,,allowing ,,their ,,drawings ,,to ,,be ,,reproduced ,,introduction ,turner was one of the greatest artists this country has produced1 and much of his best work--and nearly all the work by which he has endeared himself to his fellow-countrymen1 was done in water-colour2 yet water-colour painting1 though it has played almost as important a part as oil painting in the history of ,british art1 is not yet recognized by our authorities as an independent branch of art4 ,that ,turner the water-colour painter is represented at all in our ,national ,gallery is purely an accident4 ,the bulk of his water-colours are in private collections1 and it is only on rare occasions that the public can get an opportunity of seeing them4 ,it is for these reasons that ,messrs4 ,thomas ,agnew and ,sons' annual exhibitions of ,english water-colours1 though the outcome of the energy and enterprise of a private firm1 have become artistic events of great public importance4 ,the chief feature of these exhibitions has always been a generous supply of ,turner's finished water-colours4 ,they have1 therefore1 become a regular source of instruction and pleasure to that section of the public which really cares for ,british art4 ,they open the doors1 at any rate for a time1 to the chief private collections of ,turner's water-colours2 they give students of his work valuable opportunities of enlarging their experience and increasing their knowledge2 and they do much to spread and stimulate an adequate appreciation of the achievements not only of ,turner but of the other great water-colour painters of this country4 ,the exhibition which was opened in ,march of this year 7#aiai7 was neither superior nor inferior to those which had gone before1 but it attracted a quite unusual amount of interest and attention4 ,this was due1 ,i imagine1 at least in part to circumstances connected with the war--to the closing of the public galleries and museums1 and to the almost incredible folly of the ,government in not reopening them immediately the armistice was signed4 ,after the long-drawn-out agony of the war there was a part of the public which was disposed to turn naturally to the comfort and refreshment which art can give4 ,but though the armistice was signed in ,november last year1 ,messrs4 ,agnew's exhibition was the first opportunity offered to the public of seeing1 under favourable conditions1 a fine selection of some of the most beautiful work of our great artists of the past4 ,the public was evidently grateful for such an opportunity and took full advantage of it4 ,this was only another instance of our national good luck in finding that private enterprise and initiative so often step in and perform work of public importance which our ,government is too stupid or too supine to perform4 ,i have said that this exhibition was neither superior nor inferior to its immediate predecessors1 but to say that it was not inferior was to give it very high praise4 ,the exhibition1 indeed1 was one which would have done credit to any of our public galleries4 ,the array of ,turner's masterpieces on the long south wall of the gallery produced an overpowering sense of his incomparable technical skill1 his boundless energy1 and the infinite variety of his mind4 ,in the centre of the wall1 in a place of honour1 was enthroned the regal ,lake ,nemi 7,plate ,,xv71 resplendent with something brighter than the sunshine of ,italy1 a gorgeous and intoxicating dream of sensuous beauty4 ,beneath it hung the awe-inspiring ,longships ,lighthouse 7,plate ,,xiii71 and on the right the beautiful and pathetic 8,blue ,rigi0 7,plate ,,xvii71 tender and wistful1 in which the helplessness and restlessness of old age only made more manifest the sorrows and regrets with which the painter's heart was filled4 ,grouped round these great masterpieces of his full strength and waning powers were works of his early manhood1 like the ,cassiobury 7,plate ,v71 with its horses and dogs1 a robust jovial scene1 the ,lake of ,thun 7,plate ,,vi71 the restrained and elegant ,castle of ,chillon 7,plate ,,vii71 the dainty1 coquettish ,scarborough1 several of the ,rhine drawings of #ahag1 and many of his proudest and most exultant drawings1 like the ,byronic ,florence1 from near ,san ,miniato 7,plate ,,xvi71 the ,saumur 7,plate ,x71 and the ,saltash 7,plate ,,xxi71 ,prudhoe 7,plate ,,xxii71 ,richmond ,bridge 7,plate ,,xi71 ,windsor ,castle1 ,coventry1 and the somewhat operatic ,worcester 7,plate ,,xii71 of the 8,england and ,wales0 series2 nor must ,i forget the impressive ,lowestoft1 a grey and gloomy tragedy as grim and moving even as the ,longships4 ,and as no man stands alone--not even the greatest of geniuses--the educational value of this array of masterpieces was increased by a fine display of the works of those ,english water-colour painters who had been born and had worked before ,turner1 and of his contemporaries4 ,the early topographical draughtsmen whom ,turner first set out to imitate and rival1 were represented by ,paul ,sandby's ,the ,swan ,inn1 ,edmonton 7,plate ,,xxv71 ,thomas ,hearne's ,thaxted ,church1 ,essex1 ,thomas ,malton ,junior's two quaint views of ,bath1 and many other drawings1 mostly in the 8stained0 manner1 by ,wheatley1 ,j4 ,i4 ,richards1 ,ibbetson1 ,william ,payne1 ,dayes and others4 ,richard ,wilson1 the chief influence in directing ,turner's genius to imaginative design1 was perforce unrepresented1 as he does not seem to have worked in water-colour2 but ,gainsborough was represented by one of his charming drawings in chalk1 and there was a noble group of nine of ,john ,r4 ,cozens's austerely beautiful drawings1 among them the large ,lake ,albano1 and the charming ,villa ,negroni 7,plate ,,xxix74 ,turner's contemporaries were well represented by over seventy drawings1 which included three of his friend ,girtin's early works1 and at least one fine example of his robust maturity--a masterly view of the ruined ,lady ,chapel of ,fountains ,abbey4 ,cotman had two fine early ,girtinesque drawings1 ,gormire ,lake1 ,yorkshire 7,plate ,,xxxiv71 and ,bridge over ,river 7,plate ,,xxxiii71 a nobly designed ,lake ,scene 7,plate ,,xxxvi71 in monochrome1 and a brilliantly coloured view of ,rouen 7,plate ,,xxxv74 ,there were also two of ,copley ,fielding's most ambitious sea-pieces--,the ,pilot ,boat 7,plate ,,xlii7 and ,seaford from ,newhaven ,pier1 and a number of admirable drawings by ,de ,wint1 ,david ,cox1 ,varley and ,prout4 ,after being got together with much labour and thought1 and having served its purpose for a month or two1 this exhibition seemed destined to suffer the usual fate of such undertakings1 which is to be speedily dispersed and soon forgotten4 ,it occurred1 however1 to the ,editor of ,,the ,,studio that a permanent record of it would make a strong appeal to many of those who had seen and enjoyed the exhibition1 and would enable a large number of those lovers of ,british water-colours who had not been able to visit ,messrs4 ,agnew's gallery to realize something of its interest and beauty4 ,such is the origin1 such is the purpose of the present volume4 ,it was naturally gratifying to me to be invited to supply the text for such a work4 ,but the value of a book like this depends very little on its letterpress1 and much on its illustrations4 ,the colour processes have in recent years made extraordinary progress and the reproductions of the wonderful drawings collected by ,messrs4 ,agnew will be sure of a very hearty and a very wide welcome4 ,,the ,,turners ,as ,turner's drawings formed the chief feature of the exhibition ,i will begin my comments with them4 ,the best way to arrange my notes seems to be to take the drawings in their chronological order1 disregarding the sequence in which they were hung in the exhibition4 ,by beginning in this way1 with the earlier drawings1 we shall be able to study the gradual development of ,turner's mind and skill4 ,a #abh4 ,church of ,st4 ,lawrence1 ,evesham1 as seen through ,tower ,gateway1 #agic4 #aci4 ,old ,abbey1 ,evesham1 #agic 7,plate ,i74 ,these two subjects were sketched during the summer of #agib1 when ,turner was seventeen years of age4 ,he was then a student at the ,royal ,academy schools1 where he attended the life class diligently during the winter and spring months4 ,in the early part of the summer of #agib1 he went to ,bristol to visit his uncle's friends1 the ,narraways1 and went from there to ,south ,wales1 ,hereford1 ,great ,malvern1 ,worcester1 ,evesham1 ,tewkesbury and ,gloucester4 ,several of the pencil drawings made during this tour were exhibited some years ago at ,mr4 ,walker's gallery in ,bond ,street4 ,these two highly finished and accomplished water-colours are good examples of the work of the industrious apprentice4 ,one searches them in vain for signs of originality1 for some promise of a new way of thinking or feeling1 a new vision1 or a new form of expression4 ,their aims are conventional1 and their modest triumphs are triumphs of the commonplace virtues--intelligence1 docility1 and above all1 industry working upon a foundation of natural talent4 ,in them ,turner was trying to do exactly what the successful topographical and antiquarian draughtsmen of the day were doing1--,sandby1 ,rooker1 ,hearne and ,dayes--and the precocious boy has already succeeded in doing such work nearly as well as it can be done4 #ec4 ,malmesbury ,abbey1 #agid 7,plate ,,ii74 ,though a year later in execution than the ,evesham drawings1 this was based on sketches which had been made in #agia4 ,these are now in the ,national ,gallery 7,turner ,bequest1 ,,vii ,c4 and ,d47 ,one is inscribed in ,turner's handwriting1 8,the ,ruins of the ,tower at the ,west ,end of ,malmesbury ,abbey1 taken from the ,friars ,walk1 #agia40 ,it is carefully worked in water-colour with brown ink outlines4 ,the other drawing is similarly worked and represents the same tower from a point of view a little more to the left and lower down4 ,the picturesque features of these two views have been cunningly combined in the finished drawing4 ,turner exhibited a drawing of ,malmesbury ,abbey at the ,royal ,academy in #agib4 ,i was once misled by other writers into thinking that this drawing might be the one which was then exhibited4 ,the date1 #agid1 disproves this4 ,the present drawing is probably a reduced replica of the exhibited work4 #aef4 ,willesden ,church1 circa #agif4 ,i believe this is the drawing which was described as 8,kilburn ,church0 in the ,j4 ,e4 ,taylor sale4 ,it is worked in blue and grey washes4 ,it is connected1 ,i think1 with ,turner's activities as a teacher of drawing4 #adg4 ,water ,mill1 #agig-agih 7,plate ,,iii74 #aeb4 ,a ,mountain ,stream1 #agih 7,plate ,,iv74 #aei4 ,mountainous ,landscape1 #agih4 ,these drawings are separated from the views of ,evesham by an interval of five or six years4 ,turner was now twenty-three years of age4 ,his exhibits at the ,royal ,academy in #agif and #agig had proved him to be the most accomplished topographical and antiquarian draughtsman which this country had produced1 but the limitations of such work were too narrow to satisfy either his ambitions or his powers of expression4 ,he had made up his mind by this time to be an artist and not merely a draughtsman4 ,he had felt the glamour of ,richard ,wilson's paintings1 and their rich and sombre harmonies of colour were haunting his imagination4 ,there is a small pocket-book1 bound in green leather1 in the ,national ,gallery1 labelled by ,turner on the back1 8,studies for ,pictures4 ,copies of ,wilson10 which contains many colour sketches done from memory of pictures by ,wilson which he had seen in public exhibitions or private collections4 ,all the drawings and sketches from nature ,turner made at this time show the influence of ,wilson's work4 ,he was trying hard to see nature as ,wilson had seen it1 and he had evidently taken a strong dislike to the neat 8bit-by-bit0 style of painting of the 8,evesham0 and 8,malmesbury ,abbey0 period4 ,he had also begun painting in oil on rather a large scale2 another influence which made for breadth of style4 ,in the ,water ,mill 7,plate ,,iii7 the results of his early training in topographical and antiquarian work are evident in the treatment of all the quaint details of the old mill4 ,the irregularity of its structure1 the effects of age and weather on the shapes of the roofs1 and the colouring of the tiles1 bricks and woodwork are rendered with intense sympathy and the most delicate and accurate observation4 ,this delight in the irregularity and picturesqueness of old buildings1 and the effects of weather1 use and decay reminds one of ,prout's drawings2 yet there are no traces of ,prout's mannerisms and shortcomings in this beautiful work of the young master1 and there is a breadth and ease in ,turner's drawing which we look for in vain in ,prout's numerous productions4 ,in the first volume of 8,modern ,painters0 ,mr4 ,ruskin wrote3 8we owe to ,prout1 ,i believe1 the first perception1 and certainly the only existing expression of that feeling which results from the influence among the noble lines of architecture1 of the rent and the rust1 the fissure1 the lichen1 and the weed1 and from the writing upon the pages of ancient walls of the confused hieroglyphics of human history40 ,the ,water ,mill shows that ,turner forestalled ,prout by a good many years4 ,if it were my business to point out to people the qualities of sight1 brain-power and manual dexterity which distinguish the works of great artists from those of inferior ones1 ,i should choose the best drawing of ,prout ,i could secure and ask my students to compare it carefully with the ,water ,mill4 ,such comparison would show that ,turner did everything that ,prout did1 and did it better2 every picturesque detail is rendered with the same affectionate interest and fidelity2 but while ,prout seems to be working with a certain stiffness and rigidity1 as though practising a formula1 ,turner's rendering is delicate1 supple1 and without any self-consciousness or display4 ,in ,a ,mountain ,stream 7,plate ,,iv7 ,turner has got completely away from his early 8bit-by-bit0 manner of working4 ,the scene is grasped as a whole1 and every detail and part is subordinated to the general effect4 ,this is a fine example of the early development of ,turner's executive mastery4 ,every touch is inspired by the general conception4 ,turner spent the summer of #agih1 when this drawing was made1 in ,north ,wales1 visiting ,kilgerran1 ,harlech1 ,conway and ,carnarvon castles1 and the neighbourhood of ,snowdon4 ,in the 8,hereford ,court0 ,sketch ,book 7,turner ,bequest1 ,,xxxviii7 there are several ,wilsonesque water-colours similar to this4 ,the ,mountainous ,landscape is probably a leaf of the 8,north ,wales0 ,sketch ,book1 a smaller book in use at the same time as the 8,hereford ,court0 ,sketch ,book4 ,it is slighter and more summary than the ,mountain ,stream1 being worked with a few simple washes put on at once with unerring skill and knowledge4 ,this masterly little sketch was erroneously ascribed to ,alexander ,cozens in the catalogue2 though why1 ,i cannot imagine1 as it does not bear the faintest resemblance to that artist's style4 ,but the mistake was productive of an incident which caused considerable amusement amongst students of ,turner's works4 ,the art critic of one of the leading ,london papers happens to be a superior person who finds ,turner too 8vulgar0 for his refined taste4 ,this delightful critic dismissed the whole collection of ,turner's wonderful drawings in the exhibition as mere 8works of commerce10 and singled out this ,mountainous ,landscape1 because he was told it was by ,alexander ,cozens1 as one of the finest things in the exhibition4 ,yet there are still people who ask 8,what's in a name80 ,probably if ,turner's 8,blue ,rigi0 had been described in the catalogue as by ,alexander ,cozens this amusing critic1 who seems to judge pictures rather by what he is told than by what he sees1 might have found that it possessed some artistic merits4 #aeh4 ,crosses and ,brasses1 ,whalley ,abbey1 circa #agii4 ,this was done to be engraved in ,whitaker's 8,history of the ,parish of ,whalley10 and is therefore a mere 8work of commerce40 ,i suppose some people must think an artist lowers himself somehow if he sells his work or accepts an order to make a drawing4 ,work done under these conditions1 they seem to think1 must be done carelessly1 hastily1 and half-heartedly1 otherwise there would be no point in the sneer4 ,this is a curious example of modern ways of thinking4 ,work has become low1 plebeian2 only the groundlings work2 the really superior person has a private income 7or his wife has7 and devotes himself to doing things which will benefit humanity at large in the dim and distant future4 ,some of this muddle-headedness1 so far as art is concerned1 is probably due to the current cant about 8utterance10 emotion and self-expression1 though some of it may be due to a genuine though vague and unpractical desire for the general good4 ,i will merely remark that ,turner was emphatically not a superior person of this kind4 ,he looked upon himself always as a workman4 ,he retained even late in life1 as ,mr4 ,ruskin once happily remarked1 8some little ,english sense and practical understanding40 ,he believed in work1 and he was prouder of his enormous powers of work than of his genius1 his success1 or even his money4 ,but he expected to be paid for his work1 and he grumbled vigorously when any of his works failed to sell4 ,on the other hand1 he never scamped his job1 or offered an employer work which was not done as well as he could do it4 ,how unsparing of his time and labour he was is proved by this drawing of the ,whalley crosses and brasses4 ,the subject gave him no chance of using those of his gifts which gave him most pleasure to use4 ,it gave him no opportunities of what our modern sentimentalists call emotion or 8utterance40 ,as the subject called only for sheer plodding labour1 he gave that1 and he gave it in full measure4 ,the drawing once belonged to ,mr4 ,ruskin4 #ade4 ,norbury ,park1 circa #agig4 ,this is a study of natural colouring and effect2 a note of the autumn tints on a charming stretch of country4 ,wilson is quite forgotten for the moment4 ,the young artist is content to put down on the paper1 as neatly and swiftly as possible1 a faithful record of what he sees4 ,this drawing was probably made in ,september #agig1 when ,turner was at ,norbury ,park4 ,he exhibited at the ,royal ,academy in the following year ,a ,study in ,september of the ,fern ,house1 ,mr4 ,lock's ,park1 ,mickleham1 ,surrey4 ,it would be interesting to know what has become of this drawing4 ,i can find no trace of it in ,christie's records or elsewhere4 #af4 ,cassiobury3 ,the ,house seen across the ,park1 circa #ahjj 7,plate ,v74 ,another example of ,turner's 8commercial work10 and like the ,whalley brasses done as well as he could do it4 ,this is one of the numerous drawings and paintings he made for the noblemen and gentlemen of ,england of their houses and grounds4 ,it was done for ,george1 #eth ,earl of ,essex1 who was one of ,turner's earliest patrons4 ,as ,viscount ,malden1 before he succeeded to the earldom1 he had employed ,turner in #agie to make views of the house and grounds at ,hampton ,court1 ,herefordshire4 ,the drawing of ,a ,waterfall1 now in the ,victoria and ,albert ,museum 7#afhb-'ga7 is a view of the cascade in those grounds4 ,the introduction of the huntsmen1 horses and dogs in the foreground of the ,cassiobury drawing gives it a sporting and jovial character which is thoroughly in harmony with the spirit of the place4 ,turner was quick in noting characteristic details of this kind and used them with propriety and effect4 ,yet the drawing has a fine spaciousness and stateliness which the artist's noble patron would appreciate4 ,i believe this water-colour must have been lower in tone and darker in colour when it was first done than it is now4 ,the pencil drawing from nature of the mansion from which the water-colour was painted is in the 8,fonthill0 ,sketch ,book1 p4 #da4 ,the curious will find it reproduced in my book on 8,turner's ,sketches and ,drawings40 #cd4 ,lake of ,thun1 #ahji 7,plate ,,vi74 ,fortunately this drawing is dated1 otherwise one would be tempted to consider it as having been painted some years earlier4 ,it was sketched during ,turner's first tour in ,switzerland1 in #ahjb1 and may have been begun soon afterwards4 ,it is ,wilsonian in colour1 but a certain massiveness and heaviness in the design suggest that he was thinking rather too much of the composition of ,poussin and the old masters4 ,it is in an excellent state of preservation4 #ah4 ,castle of ,chillon1 #ahaj 7,plate ,,vii74 ,another fruit of the #ahjb tour in ,switzerland1 and1 like the preceding drawing1 painted for ,sir ,j4 ,e4 ,swinburne4 ,it is more beautiful than the ,lake of ,thun4 ,the colour is a lovely harmony of deep blues1 russet browns and dull crimsons4 ,there is no formalism or heaviness in the design4 ,i hope the fortunate owner of this exquisite drawing will keep it carefully from undue exposure to a strong light1 as the blues in it are very sensitive to such influences4 ,when once they have faded they can never be coaxed back4 ,so many of ,turner's drawings of this kind have been ruined by exposure to the light that one cannot but be anxious that this1 one of the most beautiful of them all1 should be preserved for the delight of the coming generations4 ,turner seems to have repeated this subject1 as ,i remember another version of it in ,mrs4 ,stern's possession which was sold at ,christie's in #aijh4 ,doubtless there are some slight differences in the two drawings1 but the design and general effect were similar4 ,mrs4 ,stern's drawing had the same restraint and elegance as this one4 #ba4 ,patterdale ,old ,church1 circa #ahaj 7,plate ,,viii74 ,another well-preserved drawing4 ,the indigo and other blues are unfaded4 ,when this drawing was exhibited at the ,royal ,academy 7,old ,masters7 in #ahhf1 it was described in the catalogue as the original of an engraving of this subject which was published in ,mawman's 8,excursion in the ,highlands10 #ahje4 ,this must be incorrect4 ,the 8,p4,p40 7,professor of ,perspective7 at the end of ,turner's signature proves it to be a later drawing1 as ,turner was not elected ,professor of ,perspective till #ahjg4 #cf4 ,vale of ,pevensey1 from ,rosehill ,park1 circa #ahaf4 ,one of a series of views of ,rosehill1 ,sussex1 7now known as ,brightling ,park7 and of places in the neighbourhood1 made for ,mr4 ,john ,fuller1 ,m4,p41 about #ahaf4 ,these drawings were inherited by ,sir ,alexander ,acland-,hood1 who sold them at ,christie's in #aijh4 ,the present drawing has suffered from exposure to a strong light4 ,the indigo having disappeared the general effect is lighter and the colour warmer than when it was first painted4 ,yet in spite of this1 how fine the drawing is6 ,its complexion1 one might say1 has changed1 but all its native nobility of character remains4 ,how splendidly the subject is conceived1 what a glorious composition it makes1 yet how truthful and sympathetic the drawing is as a representation of the rolling downs of ,sussex1 its lusty and happy trees1 its exhilarating vistas of the distant sea and rugged coast-line4 ,the elaborate and beautifully drawn pencil study from which this picture was painted is in the ,national ,gallery1 in the 8,views in ,sussex0 ,sketch ,book 7,turner ,bequest1 ,,cxxxviii1 p4 #ai74 ,the drawing was engraved in aquatint by ,j4 ,c4 ,stadler 7the same size as the original7 for ,mr4 ,fuller1 printed in colours1 and finished by hand4 ,these prints1 ,mr4 ,rawlinson tells us1 are excessively rare4 #ag4 ,mayence and ,kastel1 #ahag4 #ai4 ,lurleiberg3 the ,bend of the ,river1 #ahag4 #ce4 ,rolandswerth ,nunnery and ,drachenfels1 #ahag 7,plate ,,ix74 #cg4 ,mayence1 #ahag4 ,these are four out of the fifty-one ,rhine drawings which ,turner made for ,mr4 ,walter ,fawkes in the summer and autumn of #ahag4 ,thornbury dates these drawings #ahai1 which is a mistake1 and says that they were done 8at the prodigious rate of three a day40 ,but no man1 not even ,turner1 marvellously rapid worker as he was1 could have produced these fifty-one drawings at such a rate4 ,what really happened was this3 the sketches for these drawings were actually made in twelve days1 between ,august #ah and #cj1 #ahag2 the fifty-one water-colours were then painted from these pencil sketches between the end of ,august and ,november #ac 7the day ,turner handed the complete series 8in a slovenly roll0 to ,mr4 ,fawkes at ,farnley ,hall74 ,we do not know exactly where the work was done1 but it was probably partly at inns1 for ,turner could work anywhere and under any conditions1 and partly when staying with ,lord ,darlington at ,raby ,castle1 or with ,lord ,strathmore at ,hylton ,castle or ,gibside4 ,the documentary evidence which has enabled me to correct ,thornbury's statements is given in detail in my account of 8,turner's ,water-,colours at ,farnley ,hall0 7,,the ,,studio office74 ,the drawings of this series are not hurried sketches from nature1 they are carefully pondered and perfectly elaborated works of art4 ,the painting of the dark cloud crossing the sun in the ,mayence and ,kastel is a striking instance of ,turner's technical mastery4 ,it must have been floated on while the paper was wet and allowed--or rather made--to run into just the right shapes4 ,its evanescent effect1 its melting1 imperceptible gradations1 could have been got in no other way4 ,the broad calm river1 the spacious design1 and the beautifully drawn rocks in the ,rolandswerth ,nunnery and ,drachenfels 7,plate ,,ix7 make it a delightful drawing4 ,this view must have been taken from near ,oberwinter1 looking north1 in the direction of ,bonn4 ,nearly all the drawings in this series were painted over a grey preparation1 put on over the white paper before the work was begun4 ,by wiping out or scraping away this preparation the white paper was laid bare and ,turner was thus enabled to get his high lights and his general effect of light and dark very rapidly4 ,but the presence of the grey preparation forces the drawings into a low key and makes grey the predominant note in the colour scheme4 ,the colour harmonies are1 therefore1 generally silver rather than golden4 ,the drawing of ,mayence is1 however1 an exception to the rule1 as it is painted direct upon the white paper without any grey preparation4 ,it therefore stands out from its companions as being more limpid in workmanship and more luminous in effect than they are4 #abi4 ,florence from ,fiesole1 circa #ahag4 #acd4 ,turin1 from the ,church of the ,superga1 do4 #acg4 ,lake of ,nemi1 do4 ,these three drawings were made as illustrations to ,james ,hakewill's 8,picturesque ,tour of ,italy10 and they were worked from ,hakewill's sketches1 as ,turner at that time had never visited ,italy4 ,they formed part of ,mr4 ,ruskin's collection and were exhibited at the ,fine ,art ,society's galleries in #ahgh4 ,it is stated in the text of ,hakewill's book that the view of ,florence from ,fiesole was 8taken from the garden of the ,franciscan convent at ,fiesole10 but ,mr4 ,ruskin has pointed out that the little bend of wall within which some monks are standing in the foreground on the left is not really a part of the ,franciscan garden1 but is one of the turns of the road in the ascent to ,fiesole4 ,mr4 ,ruskin regarded the ,turin1 from the ,superga as one of his 8very chiefly valued possessions40 ,and well he might4 ,it is indeed a most exquisite and delightful piece of work4 ,each time ,i see it1 it gives me a fresh thrill of pleasure2 its colour is so cheerful and happy1 the subject-matter is so well chosen--the contrast between the distant snow-clad mountains and the comfortable sheltered existence of the people of the city--and the design is so daring1 so original1 and carried out with such consummate skill and resource4 ,mr4 ,ruskin tells us that the inlaid diamond-shaped mosaics in the pavement1 which complete the perspective of the distance1 are ,turner's own invention4 8,the portico is in reality paved with square slabs of marble only40 ,perhaps ,turner mistook some indications in ,hakewill's sketch for these insertions1 or perhaps he felt that the bare space in the foreground wanted variety and calmly invented this artifice for the purpose4 ,i notice that though these diamond-shaped mosaics look quite plausible and satisfactory in the drawing1 ,turner has altered them in the engraving1 reducing the width of the black band and introducing another lozenge within the white centre4 ,the ,lake of ,nemi is1 as ,mr4 ,ruskin said1 8consummate in all ways40 ,he goes on to point out how the light trees on the right have been left while the distant lake and crags were being finished2 and that the towers and buildings of the ,capuchin's ,convent high up on the right were painted before the sea horizon1 8which is laid in afterwards with a wash that stops before touching the houses40 ,the town beyond the convent is ,gensano1 and the distant mountain on the ,mediterranean is ,monte ,circello4 #aec4 ,valley of the ,washburne1 near ,farnley1 circa #ahah 7,plate ,,xiv74 #acf4 ,steeton ,manor1 near ,farnley1 do4 7,plate ,,xviii74 #cb4 ,scarborough1 #ahah4;,b ,between #ahab and #ahah1 ,turner made a series of nearly fifty drawings of views of ,farnley ,hall1 inside and outside1 and of places of interest in the grounds and in the neighbourhood4 ,the ,valley of the ,washburne 7,plate ,,xiv7 shows us the first stages through which most of these drawings passed4 ,the whole subject is drawn very carefully in chalk on brown paper4 ,a few touches of body-colour in the foreground and a slight wash over part of the sky begin the later stages1 but then the drawing was for some reason carried no further4 ,yet one cannot regret this1 for there is such a freshness1 such overflowing vigour and happiness in what has been done that the most exigeant criticism can demand no more4 ,this is a good example of what ,i have noticed repeatedly1 that ,turner's drawings were always delightful at each stage of their development2 and from the commencement they had a certain completeness and finality4 ,they never suggest 8work40 ,they always look as though the artist were just enjoying himself by putting down on the paper1 without any effort whatever1 the thoughts which had taken possession of his mind4 ,i do not know why this drawing was not 8carried on10 as ,turner would have expressed it4 ,there is a superb and completely finished water-colour of a very similar view of the banks of the ,washburne in the ,farnley ,hall collection1 so perhaps ,mr4 ,fawkes did not want another drawing of quite the same subject4 ,when ,i was at ,farnley a few years before the war1 ,i went to the ,washburne intending to make a sketch of this picturesque view4 ,but ,i found the banks covered with such a dense overgrowth of trees that the little river was entirely shut out from sight4 ,the rocky crest of the ,chevin was1 however1 still unaltered1 and there was ,caley ,park on the slopes very much as when ,turner had drawn it2 and there was ,leathley ,church with its square tower1 the ,farnley place of worship1 where the late owner of ,farnley1 the ,rev4 ,ayscough ,fawkes1 was for many years incumbent4 ,steeton ,manor ,house 7,plate ,,xviii7 is near ,skipton4 ,this drawing is on a smaller scale than most of the series4 ,the ,fawkeses1 in ,turner's time1 were fond of ,scarborough1 and ,turner was sometimes there in their company4 ,mr4 ,fawkes bought ,turner's large drawing of ,scarborough which was exhibited at the ,royal ,academy in #ahaa 7there is a repetition of this drawing in the ,wallace ,collection74 ,but by #ahah1 when ,mr4 ,morland ,agnew's lovely drawing was made1 ,turner's style had changed4 ,the earlier 8,scarborough0 is reserved and stately in design1 but its breadth verges on emptiness4 ,it is as though the artist was a little afraid of nature and was determined to keep her at arm's length1 for fear of offending the shades of ,poussin1 ,claude and the other great old masters4 ,but by #ahah he had got over his shyness4 ,he had by then taken nature to his bosom4 ,he delights in the sheer loveliness and infinite variety of ,english scenery4 ,his manner of painting has become more sensitive and refined1 to enable him to render the subtle qualities of form and atmosphere4 ,our modern theorists tell us that if an artist is in love with what he sees and bent on reproducing it1 he ceases to 8express himself0 and becomes a mere mechanic4 ,but this is because they fail to understand that healthy and imaginative artists do not sit at home in the dark anxiously feeling their pulse and worrying about their emotions and their moods4 ,when ,turner painted this lovely drawing of ,scarborough he was as passionately absorbed in the variety and ever-changing beauty of physical nature as a poet like ,wordsworth4 ,the eye was the organ of his mind and spirit4 ,he not only looked at nature1 but he understood her1 and loved her with intense and self-forgetting devotion4 ,a drawing like this proves--what nobody should ever doubt--that an artist may be a realist and also a poet4 ,the late ,mr4 ,francis ,bullard has drawn attention 7in a privately printed catalogue of some of ,turner's engravings which he generously presented to the ,boston ,museum of ,fine ,arts7 to some valuable remarks by ,mr4 ,santayana on the subject of naturalism in poetry which apply with so much force to ,turner's realism that ,i will venture to quote them4 ,after pointing out that our interest in nature need not necessarily be shallow and egotistical1 ,mr4 ,santayana writes3 8,our emotion may be ingenuous2 it may be concerned with what nature really is and does1 has been and will do for ever4 ,it need not arise from a selfish preoccupation with what these immense realities involve for our own persons1 or may be used to suggest to our self-indulgent fancy4 ,no1 the poetry of nature may be discerned merely by the power of intuition which it awakens and the understanding which it employs4 ,these faculties1 more1 ,i should say1 than our moodiness or stuffy dreams1 draw taut the strings of the soul1 and bring out her full vitality and music4 ,naturalism is a philosophy of observation1 and of an imagination that extends the observable2 all the sights and sounds of nature enter into it1 and lend it their directness1 pungency1 and coercive stress4 ,at the same time1 naturalism is an intellectual philosophy2 it divines substance behind appearance1 continuity behind change1 law behind fortune4 ,it therefore attaches all those sights and sounds to a hidden background that connects and explains them4 ,so understood1 nature has depth as well as surface1 force and necessity as well as sensuous variety4 ,before the sublimity of this insight1 all forms of the pathetic fallacy seem cheap and artificial4 ,mythology1 that to a childish mind is the only possible poetry1 sounds like bad rhetoric in comparison4 ,the naturalistic poet abandons fairyland1 because he has discovered nature1 history1 the actual passions of man4 ,his imagination has reached maturity40 ,by the time the ,valley of the ,washburne and ,scarborough drawings were made ,turner's imagination had reached its maturity4 ,in much of his work done after this period one misses something of the earlier freshness1 spontaneity1 and what1 for want of a better word1 ,i must call 8integrity40 ,these shortcomings are most noticeable in his large oil paintings4 ,the ,wordsworthian calm and absolute sincerity of the earlier paintings1 like ,the ,frosty ,morning1 ,lord ,essex's ,walton ,bridges1 the ,windsor and the ,abingdon1 give place to the ,byronic ,bay of ,bai 7#ahbc71 the two ,mortlakes 7#ahbf-bg71 ,dido ,directing the ,equipment of the ,fleet 7#ahbh7 and the ,ulysses and ,polyphemus 7#ahbi74 ,instead of the profoundly imaginative realism of the earlier works1 we get the unrest of romanticism1 with its vague and empty pomp1 its cloying self-indulgence1 its warm1 voluptuous atmosphere4 ,yet even in the rush of romantic intoxication ,turner could often touch the deepest chords of our imagination1 especially in his water-colours1 with works of the most intense sincerity and sublime insight4 ,we have two examples of such works in the present exhibition1 ,the ,longships ,lighthouse and the ,lowestoft4 ,but before coming to these drawings1 which form part of the 8,england and ,wales0 series1 ,i must refer to the following subjects3-- #bi4 ,florence1 from near ,san ,miniato1 circa #ahbe 7,plate ,,xvi74 #bc4 ,saumur1 circa #ahbi 7,plate ,x74 #acb4 ,wilderness of ,sinai1 circa #ahcb-cd 7,plate ,,xix74 ,this view of ,florence is the earliest example in the exhibition of an ,italian scene painted from ,turner's own impressions4 ,yet in spite of this it seems to me to miss something of the charm of the drawings made from ,hakewill's sketches4 ,it is richer in colour and more gorgeous in effect than they2 yet it suggests1 at least to my mind1 more of the opera than of reality4 ,it might have been painted as an illustration to ,byron's 8,childe ,harold40 ,it has been stated that this drawing was engraved in 8,the ,keepsake0 for #ahbh1 and ,mr4 ,rawlinson says 7in his valuable book on 8,the ,engraved ,work of ,turner07 8there are two apparently identical drawings of this subject1 one in the possession of ,lord ,northbourne1 the other in the possession of ,mr4 ,j4 ,beecham40 ,but the foreground and figures in this drawing 7which was once in ,sir ,joseph ,beecham's collection7 are different from those in the engraving4 ,i think therefore that ,lord ,northbourne's version1 which ,i do not remember to have seen1 must be the original from which 8,the ,keepsake0 engraving was made4 ,saumur 7,plate ,x71 on the other hand1 was engraved for 8,the ,keepsake0 for #ahca1 and it was republished in ,heath's 8,gallery of ,british ,engravings40 ,it has a magnificent sky1 full of the moving pageantry of the heavens1 and it is superbly designed4 ,another and different view of this subject was engraved in the 8,rivers of ,france40 ,one would hardly recognize the chateau of the ,queen of ,sicily1 on the rock by the bridge1 as the same building in the two engravings4 ,the ,wilderness of ,sinai 7,plate ,,xix71 like the ,hakewill drawings1 was done from the sketch of an amateur1 a ,major ,felix4 ,turner always lavished more than his usual care and labour on such work4 ,for sheer delicacy and cunning of hand it would be hard to find its equal4 ,the engraving was published in ,finden's 8,landscape ,illustrations of the ,bible0 7#ahcf74 ,the rock in the foreground is said by the ,arabs to be the one which ,moses struck when the ,israelites were athirst4 ,the alert figures in the foreground and the two mounted men beyond show how well ,turner could draw such things when he wanted to4 ,we have now to turn our attention to the 8,england and ,wales0 series1 the most ambitious of ,turner's publications1 which occupied much of his time between #ahbe and #ahch4 ,the scheme as originally planned was to include one-hundred-and-twenty drawings1 but the venture was financially unsuccessful and it was abandoned after about a hundred drawings had been made and engraved4 ,posterity has not endorsed the contemporary indifference to this series4 ,the plates are probably the best known and most widely appreciated of all ,turner's engravings1 and the original drawings are certainly the most popular and most eagerly sought after by collectors of his water-colours4 ,they are eminently characteristic of the artist2 full to overflowing of evidence of his extraordinary knowledge1 powers of observation and incomparable technical skill1 and they display freely all his faults of mind and character4 ,parts of his work are like ,shakespeare's1 incorrect1 capricious and wanton4 ,like ,shakespeare his imagination was crowded with a tumultuary confusion of images4 ,he had all ,shakespeare's reckless and unquestioning confidence in himself and in his own powers1 so that his work often seems vehement and negligent4 ,but if he had ,shakespeare's faults he had also much of ,shakespeare's greatness4 ,we have only to change the word poet to painter to apply ,dryden's encomium of ,shakespeare to him4 8,all the images of nature were still present to him1 and he drew them not laboriously1 but luckily4 ,when he describes any thing1 you more than see it1 you feel it too4444 ,i cannot say he is every where alike2 were he so1 ,i should do him injury to compare him with the greatest of mankind4444 ,but he is always great1 when some great occasion is presented to him4 ,no man can say1 he ever had a fit subject for his wit1 and did not then raise himself as high above the rest of poets1 ,quantum lenta solent inter viburna cupressi40 ,the 8,england and ,wales0 series was represented in ,messrs4 ,agnew's exhibition by eight beautiful drawings3-- #cj4 ,saltash1 #ahbe 7,plate ,,xxi74 #bb4 ,prudhoe ,castle1 circa #ahbf 7,plate ,,xxii74 #bd4 ,windsor ,castle1 circa #ahbi4 #bj4 ,richmond ,bridge--,play1 circa #ahcj 7,plate ,,xi74 #cc4 ,coventry1 circa #ahcb4 #be4 ,worcester1 circa #ahcc 7,plate ,,xii74 #bg4 ,the ,longships ,lighthouse1 ,land's ,end1 circa #ahcd 7,plate ,,xiii74 #ca4 ,lowestoft1 circa #ahce4 ,the most glorious in colour of these drawings is1 ,i think1 the ,windsor ,castle1 but the ,richmond ,bridge 7,plate ,,xi7 runs it very close4 ,the latter subject is interesting because it was the first water-colour by ,turner which ,mr4 ,ruskin acquired2 8my father buying it for me10 he tells us1 8thinking ,i should not ask for another--we both then agreeing that it had nearly everything characteristic of ,turner in it1 and more especially the gay figures60 ,mr4 ,ruskin was naturally very much attached to this drawing and he was never tired of trying to analyse it2 but 8after thirty years' endeavour1 ,i finally surrender that hope--with all similar hopes of ever analysing true inventive or creative work40 ,he drew attention1 however1 as an instructive piece of composition1 to the way the parasols in the foreground repeat and reverse the arches of the bridge1 and the feather head-dresses of the ladies repeat the plumy tossing of the foliage4 ,these are merely ,turner's habitual tricks of composition4 ,we find these habits of design in most of his earlier and later work1 but the results are not always equally fortunate4 ,one of the most exquisite and perfect examples of this practice of placing and grouping the figures and objects so as to repeat or emphasize the most salient features of a landscape1 is afforded in my opinion by the large oil painting of ,walton ,bridges1 which was painted in #ahji for the ,earl of ,essex4 ,in some of the later drawings and paintings the results are not always so happy4 ,the execution of the ,richmond ,bridge is unequal4 ,the group of figures in the foreground on the right is imperfectly imagined and fumbling in touch1 but the smaller figures on the left are vivid and alert2 the big group of trees on the right1 with the sunlight striking athwart them1 is dashed in with extraordinary vigour and certainty4 ,the drawing is in splendid condition1 and the general effect is breezy1 reckless1 gorgeous--and1 ,i cannot help thinking1 a trifle vulgar1 probably on account of the gay foreground figures4 ,it certainly has everything 8characteristic0 of ,turner1 the beauties and the defects4 ,in the ,coventry and ,worcester 7,plate ,,xii7 there is some flagging of ,turner's power--hints of weariness and a sense of effort4 ,there is some 8swelling into bombast0 in them4 ,but the ,longships ,lighthouse 7,plate ,,xiii7 is one of the most wonderful and flawless drawings ever made by ,turner1 or any other artist4 ,turner must have been nearly sixty years of age when he made it1 but there are no signs of human weakness in it4 ,it is all pure gold and immortal work4 ,for once ,turner had found a subject exactly suited to his genius1 8a fit subject for his wit40 ,it is of course impossible to do justice in words to the grandeur and terrible beauty of this wonderful drawing1 but ,mr4 ,ruskin has so nearly succeeded in this impossible task that ,i will venture to quote his words4 8,in the ,longships ,lighthouse1 ,land's ,end1 we have clouds without rain--at twilight--enveloping the cliffs of the coast1 but concealing nothing1 every outline being visible through their gloom2 and not only the outline--for it is easy to do this--but the surface4 ,the bank of rocky coast approaches the spectator inch by inch1 felt clearer and clearer as it withdraws from the garment of cloud--not by edges more and more refined1 but by a surface more and more unveiled4 ,we have thus the painting1 not of a mere transparent veil1 but of a solid body of cloud1 every inch of whose increasing distance is marked and felt4 ,but the great wonder of the picture is the intensity of gloom which is attained in warm grey1 without either blackness or blueness4 ,it is a gloom1 dependent rather on the enormous space and depth indicated1 than on actual pitch of colour1 distant by real drawing1 without a grain of blue1 dark by real substance1 without a stroke of blackness2 and with all this1 it is not formless1 but full of indications of character1 wild1 irregular1 shattered1 and indefinite--full of the energy of storm1 fiery in haste1 and yet flinging back out of its motion the fitful swirls of bounding drift1 of tortured vapour tossed up like men's hands1 as in defiance of the tempest1 the jets of resulting whirlwind1 hurled back from the rocks into the face of the coming darkness2 which1 beyond all other characters1 mark the raised passion of the elements4 ,it is this untraceable1 unconnected1 yet perpetual form--this fulness of character absorbed in the universal energy--which distinguishes ,nature and ,turner from all their imitators4 ,to roll a volume of smoke before the wind1 to indicate motion or violence by monotonous similarity of line and direction1 is for the multitude2 but to mark the independent passion1 the tumultuous separate existence of every wreath of writhing vapour1 yet swept away and overpowered by one omnipotence of storm1 and thus to bid us ,be as a ,presence or a motion--one ,among the many there--while the mists ,flying1 and rainy vapours1 call out shapes ,and phantoms from the crags and solid earth1 ,as fast as a musician scatters sounds ,out of an instrument1-- this belongs only to ,nature and to him40 ,and in a later chapter of the same volume 78,modern ,painters10 ,vol4 ,i47 ,mr4 ,ruskin again refers to this drawing as 8a study of sea whose whole organization has been broken up by constant recoils from a rocky coast40 8,the entire disorder of the surges10 he continues1 8when every one of them1 divided and entangled among promontories as it rolls in1 and beaten back part by part from walls of rock on this side and that side1 recoils like the defeated division of a great army1 throwing all behind it into disorder1 breaking up the succeeding waves into vertical ridges1 which in their turn1 yet more totally shattered upon the shore1 retire in more hopeless confusion1 until the whole surface of the sea becomes one dizzy whirl of rushing1 writhing1 tortured1 undirected rage1 bounding1 and crashing1 and coiling in an anarchy of enormous power1 subdivided into myriads of waves1 of which every one is not1 be it remembered1 a separate surge1 but part and portion of a vast one1 actuated by internal power1 and giving in every direction the mighty undulation of impetuous line which glides over the rocks and writhes in the wind1 overwhelming the one1 and piercing the other with the form1 fury1 and swiftness of a sheet of lambent fire4 ,and throughout the rendering of all this1 there is not a false curve given1 not one which is not the perfect expression of visible motion2 and the forms of the infinite sea are drawn throughout with that utmost mastery of art which1 through the deepest study of every line1 makes every line appear the wildest child of chance1 while yet each is in itself a subject and a picture different from all else around4 ,of the colour of this magnificent sea ,i have before spoken2 it is a solemn green grey 7with its foam seen dimly through the darkness of twilight71 modulated with the fulness1 changefulness1 and sadness of a deep1 wild melody40 ,the only drawing in the whole series which can be compared for tragic power with the ,longships ,lighthouse is the ,lowestoft4 ,the time represented is an hour before sunrise in winter4 ,a violent storm with rain is passing over the sea2 through it the lighthouses and coast are dimly seen4 ,mr4 ,ruskin speaks of the 8most hopeless1 desolate1 uncontrasted greys0 in this drawing4 #bf4 ,lake ,nemi1 circa #ahdj 7,plate ,,xv74 ,this representation of the afternoon of a hot and cloudless day was hung immediately above the ,longships4 ,it is a truly superb drawing1 as fine in its way as the ,longships1 yet how different6 ,it is so full of purely sensuous delight that one would suppose it the work of some voluptuary who had turned his back on all the sorrows and terrors of life2 one who lived only for the gratification of his senses4 ,that some people should shrink from the sternness and cruelty of ,longships ,i can understand2 but ,i simply cannot imagine how any one accessible to the pleasures of pictorial art can resist the triumphal appeal of this regal and happy drawing4 ,it would be difficult to bring together two other drawings which illustrate so well the truly ,shakespearean range of ,turner's mind4 #bh4 ,the ,rigi at ,sunrise--,lake of ,lucerne 78,the ,blue ,rigi07 7,plate ,,xvii74 ,with a fine sense of congruity ,messrs4 ,agnew hung beside the ,lake of ,nemi a masterpiece of ,turner's latest manner--8,the ,blue ,rigi40 ,this was painted in #ahda1 in circumstances described in his own inimitable way by ,mr4 ,ruskin1 in the 8,epilogue0 to his notes on his own collection of ,turner's drawings4 ,there are signs in the drawing that the painter's age was beginning to tell on him4 ,he was getting near the end of his career as a water-colour painter1 though his career as an oil painter lasted a few years longer3 for the ,burial at ,sea2 ,the ,opening of the ,walhalla2 ,rain1 ,steam and ,speed2 ,the ,sun of ,venice ,going to ,sea1 and the other late ,venetian paintings were yet to come2 which supports the contention that water-colour makes sterner demands on the artist's physique than oil painting4 ,in 8,the ,blue ,rigi0 the laboured execution and trembling touch hint at the artist's physical disabilities4 ,but these signs of weakness harmonize so well with the subject-matter that they only heighten the pathos of this incomparably beautiful drawing4 ,i think that ,turner made hardly more than a dozen finished drawings after 8,the ,blue ,rigi40 ,this was partly because the sustained effort such work demanded was too much for him1 and partly because there was no demand among his patrons for such work4 ,but he could still make sketches like the ,mouth of the ,grand ,canal 7,plate ,,xxiii71 ,lake of ,lucerne3 ,brunnen in the ,distance 7,plate ,,xx7 and the ,alpine ,stream1 marvellous in their freshness of colour1 the vigour and delicacy of their washes1 and full of poetical suggestion and pictorial enchantment4 ,the old war-horse no doubt regretted that his patrons would give him no opportunities to elaborate these wonderful sketches--for the distinction which modern criticism has obliterated between a sketch and a 8finished0 drawing was ingrained in ,turner's mind--but we cannot share these regrets4 ,the gain in fullness and authority of statement would have provided little compensation for the loss of delicacy and freshness1 and effortless vigour of execution4 ,but these remarks have taken me slightly out of my chronological course4 ,the following sketches ,i am inclined to date conjecturally somewhere between #ahce and #ahdj4 #abf4 ,rheinfels ,castle4 ,can this drawing be correctly named8 ,it does not seem much like the other drawings and engravings of the old fortress of ,rheinfels which ,i have compared with it4 ,and what is the meaning of 8,dib10 which ,turner has written in pencil in the foreground8 ,i cannot help wondering whether 8,dib0 was meant to refer to ,dieblich1 on the ,moselle4 ,if it did1 the mountain on the right would be the ,niederburg1 and the two buildings on the mountain beyond would be the two castles of the ,knights of ,cobern4 ,turner passed along this part of the ,moselle in #ahcd4 ,but1 as a famous commentator once said1 ,i put forward this suggested emendation without much confidence in its correctness4 #aae4 ,a ,gorge 7,plate ,,xxiv74 #aca4 ,alpine ,scene4 #acc4 ,swiss ,landscape4 ,i can offer no suggestion as to the identity of the places represented in these sketches1 except that ,a ,gorge may be one of the falls of the ,reichenbach4 #ci4 ,the ,rainbow4 ,this is a strange drawing which ,i do not understand4 ,the rainbow has only two colours1 viz4 yellow and crimson lake4 #ach4 ,ehrenbreitstein4 #ace4 ,alpine ,stream4 ,the latter sketch contains an entrancing play of colour and suggestion4 ,what a fine foundation for the airy structure raised above it that band of rich darkness makes which runs straight across the centre of the design6 ,i suppose it represents loose rocks in shadow4 ,above them a range of mountains1 faintly touched with crimson1 rises out of the pale blue mist1 with an opalescent sky above2 on the right a cluster of white roofs carries the eye to a narrow defile4 ,the foreground is just as elusive as the distance and middle distance4 ,there are streams flowing among the stones1 but those touches of white1 are they birds or foam8 ,and is that a figure on the right almost lost in the shadow of the rocks8 ,what a beautiful dream it all is6 ,and ,i cannot help wondering what earthly place suggested the dream4 ,it reminds me vaguely of the neighbourhood of ,bellinzona4 ,somewhere north of ,lugano ,i fancy the happy wanderer might chance at daybreak upon some such scene as ,turner has suggested4 #acj4 ,lake of ,lucerne3 ,brunnen in the ,distance 7,plate ,,xx74 ,there can be no doubt about the locality which furnished the motive of this lovely vision1 though ,i believe some years ago the drawing was described as a 8,view on the ,rhine40 ,there in the distance are the two ,mythens2 and there at the edge of the lake is ,brunnen4 ,the drawing must have been made at or near ,treib1 on the ,lake of ,lucerne4 #abg4 ,mouth of the ,grand ,canal 7,plate ,,xxiii74 ,on the right is the ,dogana1 with the ,church of ,san ,giorgio ,maggiore in the distance2 on the left are tall buildings which once were palaces and are now mostly hotels1 among them probably the ,palazzo ,giustiniani1 which became the ,htel de l',europe1 where ,turner put up during his later visits to ,venice4 ,it is no good my trying to describe the colour of such a drawing4 ,when it was sold at ,christie's in the ,beecham sale an enthusiastic scribe writing in one the newspapers said that it was 8as if drawn by a butterfly40 ,i remember that the expression struck me at the time as--impressionistic1 but ,i think ,i know what the writer felt4 ,there is something that makes one think of butterflies in its elusiveness and its fluttering beauty of colour4 #afj4 ,an ,iceberg4 ,this must have been done about #ahde1 and it is the latest of ,turner's sketches in the exhibition4 ,it belongs to the time when ,beale's 8,voyage0 had set him dreaming about icebergs and whalers4 ,there is a draft of some attempted poetry scribbled on the drawing1 which ,i have spent perhaps more time than it is worth in trying to decipher4 ,the only words ,i can feel sure about are the following3-- --,against all ,hope-- ,no one has lived to tell the tail 7sic674 ,no vestige found1 nor deck-- no spar or mast-- ,those who remember the oil painting called1 ,whalers 7boiling blubber7 entangled in floe-ice1 endeavouring to extricate themselves--it was on loan at the ,glasgow ,art ,gallery when last ,i saw it--may be able to form some vague idea of what ,turner was thinking about when he made this fantastic and almost incomprehensible sketch4 ,,turner',s ,,predecessors ,but the wonderful array of ,turner's works was far from exhausting the interest of this memorable exhibition4 ,grouped round the ,turners were about thirty drawings by his predecessors1 i4e4 ,english water-colour painters who were born before him1 and about seventy drawings by his contemporaries1 i4e4 artists who were born at or about the same time as ,turner1 or whose period of work coincided with his lifetime4 ,there were also some drawings by later artists4 ,i propose to speak of the former group in this chapter4 ,perhaps the earliest topographical drawings in the exhibition were the two views of ,bath1 made in #aggg1 by ,thomas ,malton1 the younger 7#agdh-ahjd7--the ,west ,front1 ,town ,hall 7#ea7 and ,pulteney ,bridge 7#ee74 ,though cold and precise these drawings have very great charm1 and they are crowded with topographical and antiquarian interest4 ,but they belong to an undeveloped stage of the art of water-colour painting4 ,the details of architecture are drawn carefully and accurately1 the figures are life-like though rather stiff1 and the indications of light and shade explain the shapes of the buildings and knit the whole composition together4 ,but the drawings do not go beyond this4 ,the few pale washes of colour diversify the surface1 but do not suggest either colour or atmosphere4 ,every object1 the roadway1 figures1 buildings and the sky1 has the same texture1 which makes the general effect monotonous and abstract4 ,though ,paul ,sandby 7#agbe-ahji7 was born before the younger ,malton1 his drawing of ,the ,swan ,inn1 ,edmonton 7,plate ,,xxv7 is1 ,i fancy1 some ten or perhaps twenty years later in point of execution than these ,bath drawings2 ,sandby's style1 however1 was always less abstract than ,malton's4 ,compared with the ,bath views this drawing by ,sandby is like a window opened on nature2 it is flooded with light1 the warm sunshine plays on and through the trees1 lighting up the road1 the figures and the whole scene4 ,yet ,sandby's care for detail is as great as ,malton's4 ,each house1 each garden1 each tree has its individual character fully recorded with unflagging industry and spirit4 ,the spectator's interest is awakened by the variety of shapes1 colours and incidents1 and sustained by the artist's evident alertness and thorough enjoyment of the spectacle4 ,sandby was one of the first ,english artists to rob topographical delineation of its abstractness and impersonality4 ,he throws the charm of his genial personality over the scene4 ,and though his work is always alert1 interesting and full of charm1 this ,edmonton drawing is1 ,i think1 one of the most delightful of his works that ,i have seen4 ,the best drawing by ,edward ,dayes 7#agfc-ahjd7 in the exhibition was probably the view of ,norwich ,cathedral 7,plate ,,xxvi71 which is dated #agic4 ,dayes1 for all his cleverness and skill1 was not as likeable a man as ,sandby4 ,he seems to have been deficient in geniality1 generosity and sympathy4 ,these defects of character show in his work4 ,he often seems bored and ill at ease with his subjects2 he was seldom if ever capable of taking the delight and interest in a scene which ,sandby took in his ,edmonton drawing4 ,there is a certain coldness1 not only of colour and effect1 but of interest in this ,norwich ,cathedral drawing4 ,it is nevertheless a clever piece of work1 and though perhaps not so truthful and accurate as ,malton's views of ,bath1 it shows much greater technical skill than they possess4 ,turner1 ,i believe1 got his first lessons in perspective from ,malton's father's 8,treatise10 and both ,sandby and ,dayes had a great deal of influence on his early work4 ,some of the earliest drawings by ,turner in existence were copied or adapted from ,sandby's drawings or engravings1 and for a short period1 about the years #agid and #agie1 his style1 handling1 and colour were so closely modelled on ,dayes's work that many drawings by the elder artist are mistaken for ,turner's4 ,indeed1 some of ,dayes's best drawings in public and private collections are wrongly attributed to ,turner4 ,this is no small compliment to ,dayes1 and it probably accounts for the want of proper appreciation from which he now suffers4 ,of the connection between ,turner and the greatest of his predecessors1 ,john ,robert ,cozens 7#ageb-agii 78771 it is difficult to speak with much certainty4 ,nearly all recent writers on ,turner say that he was greatly influenced by ,cozens's work2 but ,i have failed to discover any certain evidence of this influence in his early work1 unless it be in choosing the same subject--,hannibal and his ,army ,crossing the ,alps--for one of his oil paintings that ,cozens had chosen for one of his water-colours4 ,the dominant influence in ,turner's early work1 as ,i have already pointed out1 is ,richard ,wilson rather than ,john ,r4 ,cozens4 ,but ,cozens's work was greatly admired by some of ,turner's early patrons1 especially by ,dr4 ,monro1 and tradition says that ,dr4 ,monro induced ,turner to copy many of the drawings by ,cozens which he possessed4 ,i have found it hard to discover evidence in support of this tradition4 ,i do not remember to have seen a copy of any of ,cozens's works which was unmistakably done entirely by ,turner2 in the drawings of this kind traditionally attributed to ,turner1 at least the pencil outlines are nearly always clearly recognizable as by ,girtin4 ,even if we accept these copies as ,turner's1 they show that he possessed1 at that time1 very little appreciation of the higher beauties of ,cozens's work4 ,no attempt is made in them to reproduce either the general effect or the light and shade of the originals2 they rob ,cozens's work of its grandeur and austerity1 and substitute for these qualities mere prettiness and conventionality4 ,indeed it is incorrect to call these drawings copies2 they are nothing more than exercises in laying washes and inventing systems of light and shade1 based upon ,cozens's work4 ,their mode of production and purpose may be thus described3 the outlines were first drawn in pencil with bold1 firm strokes1 by a careless and free hand1 which bears remarkable resemblances to that of ,girtin4 ,these outlines must have been done direct from ,cozens's drawings1 but what was done afterwards seems to have been done without reference of any kind to them4 ,these outlines were then given to another artist1 who clothed them according to his own fancy with a commonplace arrangement of light and shade4 ,that these exercises in blue and grey tinting and the arrangement of light and shade were done by ,turner we cannot know for certain1 but the tradition that they were1 seems too insistent to be ignored4 ,though the characteristic beauties of ,cozens's work counted for little or nothing in these academical exercises1 yet they show that ,turner was brought early into contact with the work of the first great master of ,english water-colour painting1 and so far as this work exercised any influence on him it must have been to his advantage4 ,cozens was represented in ,messrs4 ,agnew's exhibition by no less than nine drawings4 ,the largest and most important was the ,lake ,albano 7#dd71 with the ,castel ,gandolfo in the middle distance4 ,an excellent reproduction in colour of this impressive drawing was published in 8,the ,development of ,british ,landscape ,painting in ,water-,colours0 7,,the ,,studio1 #aiah74 ,cozens was the first ,english artist to suggest in his drawings something of the grandeur and beauty of the ,alps4 ,a ,swiss ,valley 7,plate ,,xxvii7 is one of his finest drawings of this kind4 ,it owes much of its dramatic effect to its magnificently designed sky1 which is as daring as it is original4 ,the scene represented is probably in the ,splgen ,pass4 ,less moving1 less dramatic1 are the two ,roman views4 ,in the ,farnesina ,gardens 7,plate ,,xxviii7 is a pensive sylvan scene of great elegance and charm4 ,the ,villa ,negroni 7,plate ,,xxix7 is a wonderfully fascinating and original design with its noble group of pines and cypresses silhouetted against the sky4 ,in the foreground we get the brow of the hill on which the trees are standing1 with sheep feeding near an ancient statue2 the ruins on the left1 in the middle distance in the plain below1 are fragments of the ,claudian ,aqueduct1 those on the right are some of the ,neronian arches4 ,the ,villa ,negroni was situated near the ,porta ,s4 ,giovanni4 ,it has now ceased to exist and its place has been taken by the ,casino ,massini4 ,it is interesting to compare ,cozens's view of ,lake ,nemi 7,plate ,,xxx7 with ,turner's two drawings of the same subject1 one made nearly twenty years later from ,hakewill's sketch1 the other drawn from his own impressions fifty years later4 ,the earlier view1 like the ,cozens1 shows the town of ,gensano on a hill in the middle distance1 with ,monte ,circello and the ,mediterranean in the distance4 ,there is less exaggeration in ,cozens's drawing than in the ,turners1 and a certain gauntness and strangeness repels one at the first glance as much as ,turner's charm and glow of colour attract4 ,yet when one gets over the first feeling of strangeness in this drawing1 as well as in all of his works1 it exerts a very potent charm over the imagination4 ,his drawings are unequal1 but when he is at his best1 as in the ,lake ,albano and the ,villa ,negroni1 they possess a haunting beauty which almost overawes the spirit4 ,such works 8draw taut the strings of the soul1 and bring out her full vitality and music40 ,,turner',s ,,contemporaries ,the greatest of ,turner's contemporaries1 ,john ,constable 7#aggf-ahcg71 never took seriously to water-colour painting4 ,he was not like ,turner1 equally at home with all pictorial mediums1 with oil1 water-colour1 pastel1 with etching and mezzotint engraving4 ,that he could work freely and well in water-colour is proved by drawings from his hand in the ,victoria and ,albert ,museum and in the ,salting ,bequest at the ,british ,museum4 ,but he was happier with oil paint2 and when his powers had matured he used water-colour mainly for slight and hasty notes1 like ,landscape with ,cottage 7#abc7 in ,messrs4 ,agnew's exhibition4 ,i imagine that an artist like ,mr4 ,wilson ,steer would be delighted with this brilliant sketch1 which has many affinities with his own work in water-colour4 ,the other contribution by ,constable to this exhibition was a large unfinished drawing of ,derwentwater 7#afa74 ,this is little more than what artists call a 8lay-in02 it consists mainly of preliminary washes of pale colour4 8,well begun is half done0 the moralists tell us2 but having made so good a beginning ,constable seems to have hesitated and finally abandoned the work4 ,turner's friend and youthful rival1 ,thomas ,girtin1 was born in #agge1 the same year as ,turner1 but he died in #ahjb1 at the early age of twenty-seven4 ,a life so tragically short did not permit of the production of a large and varied body of work4 ,towards the end of his short career he devoted much time to his great panorama of ,london1 which after being exhibited in ,spring ,gardens is said to have been sold1 8about the year #ahbe10 to some person in ,russia and has not been heard of since4 ,the number of his water-colours is therefore limited1 and all of them are not entirely worthy of his genius and deservedly high reputation4 ,that he was not well represented in this exhibition is hardly surprising4 ,but he had at least one fine architectural drawing in his best manner--the ruins of the ,lady ,chapel of ,fountains ,abbey 7#eg72 ,the ,road through the ,village 7#b71 and three specimens of his earlier work1 ,winchelsea ,church 7#adj71 ,st4 ,augustine's ,priory1 ,canterbury 7#ada71 and ,kenilworth 7,plate ,,xxxi74 ,these early drawings were made soon after the termination of his apprenticeship to ,edward ,dayes1 and they bear evident marks of ,dayes's influence4 ,st4 ,augustine's ,priory was done from a sketch by a ,mr4 ,james ,moore1 an amateur who at one time employed ,dayes to work up his sketches1 but who afterwards engaged ,girtin for the same purpose4 ,moore's pencil drawing which provided the material for this water-colour is now in the ,ashmolean ,museum1 to which it was generously presented by ,mr4 ,thomas ,girtin1 the great-grandson of the artist4 ,the view of ,lincoln 7,plate ,,xxxii71 which is attributed to ,girtin1 bears very little resemblance to ,girtin's characteristic style of work4 ,the composition is too crowded for ,girtin1 and the drawing and painting of the cathedral are quite unlike ,girtin's treatment of architecture4 ,i cannot but feel that this attribution to ,girtin was made without proper consideration4 ,yet the drawing is a fine one1 and it is evidently the work of a gifted and accomplished artist4 ,in my opinion it is much more probably the work of ,peter ,de ,wint than of ,girtin4 ,de ,wint spent a good deal of time at ,lincoln1 at first as a visitor to ,william ,hilton1 his fellow-apprentice at ,j4 ,r4 ,smith's4 ,hilton's sister afterwards became ,de ,wint's wife4 ,the treatment of the architecture is exactly in his manner4 ,de ,wint 7#aghd-ahdi7 was represented in the exhibition by about a dozen other drawings1 amongst them the ,high ,torr1 ,derbyshire 7#ch7 and ,crowland ,abbey 7#ad74 ,the most delightful was probably the early ,river ,scene 7#ab71 a very peaceful and happy design1 though slightly faded in colour4 ,john ,sell ,cotman 7#aghb-ahdb7 was born only seven years later than ,girtin4 ,he came to ,london in #agih1 and a few years afterwards became a member of the sketching society which ,girtin had founded4 ,two of his early drawings were in ,messrs4 ,agnew's exhibition1 and both of them show that he had learnt much from ,girtin4 ,the less successful of the two1 the ,bridge over ,river near a ,town 7,plate ,,xxxiii71 is dated #ahjc4 ,as in others of ,cotman's early drawings the architecture is tortured into strange and fantastic shapes which destroy all ideas of probability4 ,the bridge in this drawing looks as though a moderate breeze would blow it over2 it is certainly unsafe for traffic4 ,there can1 ,i think1 be no doubt that this is a representation of the old ,welsh ,bridge at ,shrewsbury4 ,the drawing is worked almost entirely in brown1 though some dark blue has been introduced in parts4 ,the general effect is muddy1 and the washes have been rubbed and worried1 as though the artist had often been in difficulties with his work4 ,the other drawing1 ,gormire ,lake1 ,yorkshire 7,plate ,,xxxiv71 though it must have been painted about the same time1 for it was exhibited at the ,royal ,academy in #ahjd1 is more successful and already contains evidence of that distinctive manner of working with which ,cotman's name is connected4 ,like the ,shrewsbury drawing1 it is painted almost entirely in brown and blue1 but the washes have not been worried4 ,the richly blotted washes preserve all their freshness and lustre4 ,their beautiful quality gives a charm and dignity to the drawing which is worthily supported by the massive simplicity of the design4 ,the placing of the cattle in the water1 and the two figures at the side of the tarn1 is worthy of ,cotman's impeccable sense of design4 ,as the dignity and authority of such a drawing are the result of selection and the ruthless omission of irrelevancies1 every detail which is admitted must possess significance and must contribute actively to the general effect4 ,the two oars carried on the shoulder of the man in the foreground are good examples of the telling use ,cotman could make of what1 to other artists1 might be insignificant details4 ,the force and grandeur of the whole design may be said to depend entirely on the lines made by these oars1 for without them the spell would be broken4 ,in ,a ,lake ,scene 7,plate ,,xxxvi7 we see how sedulously ,cotman developed the characteristic qualities of his style4 ,eschewing the charms of colour1 he concentrates all his powers on the massive simplicity of design and the correct and happy placing of every detail4 ,the ,church in ,normandy 7,plate ,,xxxvii71 done in pencil with a few washes of sepia1 is a good example of his intelligent and accomplished architectural work4 ,his latest drawing1 ,rouen 7,plate ,,xxxv71 belongs to the period when he was influenced by1 and attempted to rival1 ,turner's brilliance of colour4 ,the design is firmly built up1 but the absence of emphasis gives it rather an academic air4 ,for once ,cotman has abandoned his usual method of painting4 ,the effect of light and brilliance is obtained by an extensive use of the knife or razor over all the sky and distance1 and some of the foreground4 ,i do not remember having seen any other drawing by ,cotman in which the knife has been so freely used4 ,samuel ,prout 7#aghc-aheb7 was actually a year younger than ,cotman1 yet he seems to have belonged to an earlier generation of artists4 ,we somehow feel towards ,cotman as to a contemporary4 ,the things he cared most about1 perfection of workmanship and design1 are disengaged from the accidents of time4 ,that is what we mean1 ,i suppose1 when we class him among the immortals4 ,compared with ,cotman1 ,prout is mortal1 and bound rather heavily with the shackles of time and circumstance4 ,his work was always in the mode of his day1 and as fashions change his work appears old-fashioned4 ,this large drawing of ,folkestone 7,plate ,,xxxix7 certainly looks to me old-fashioned2 ,i am almost tempted to say frumpish4 ,but as ,i happen to be fond of old-fashioned things1 ,i like it very much4 ,there is a clumsiness1 a heavy-handedness1 about the workmanship which harmonizes very happily with the subject-matter4 ,the composition is wanting in fineness of feeling and perception4 ,there is a certain awkwardness in the way the church on the cliff projects over the roof of the wooden hut in the foreground1 which might easily have been avoided with a little tact and cunning4 ,but the whole drawing is so vigorous1 so solid and strong1 that it seems to express the blunt1 downright habits of thought and feeling of the typical ,englishmen of the early part of the nineteenth century4 ,as our rude forefathers spoke1 so ,prout painted4 ,his ,coast ,scene 7#gi7 has much of the bluntness and directness of the ,folkestone1 but not the same fullness and authority of statement4 ,a ,road through a ,village 7#afb7 comes nearer the ,folkestone in these respects1 but the choice of subject-matter is not so fortunate4 ,these are all comparatively early drawings of ,prout1 done before he turned foreign tourist and became a fashionable drawing-master4 ,his later manner is exemplified by two pleasing drawings of architectural 8bits0 in ,normandy 7#aac and #aai74 ,the touch is still clumsy1 but it has become systematized1 and something of the old sincerity seems to have gone4 ,john ,varley 7#aggh-ahdb7 is an attractive figure in the history of ,english water-colour painting1 but his work rarely seems quite worthy of his obvious powers4 ,perhaps he did too much4 ,in #ahjh he sent fifty-two drawings to the exhibition of the ,society of ,painters in ,water-,colours1 and between #ahje and #ahab his exhibits actually amounted to three hundred and forty-four4 ,no wonder so many of his drawings are uninspired and commonplace4 ,yet he had great technical ability and the right sort of feeling1 as drawings like ,bala ,lake 7#fe7 and ,a ,welsh ,river 7#ga7 prove4 ,all he wanted was something of ,cotman's concentration and scrupulousness4 ,as it is1 his best works are often his unpretentious sketches done direct from nature1 of which the view of ,leyton1 ,essex 7,plate ,,xxxviii7 is a very good example2 it is brisk1 alert1 genial and convincing4 ,william ,turner 7#aghi-ahfb7 was one of the many pupils of ,john ,varley4 ,after leaving ,varley he settled in ,oxford1 where he lived for the remainder of his life4 ,he is generally called ,william ,turner of ,oxford1 to distinguish him from the other ,turner4 ,this view of ,kingley ,vale1 ,chichester 7,plate ,,xl71 bears little resemblance to ,varley's broad and dashing style4 ,this was painted towards the end of the artist's life1 as it was exhibited at the ,society of ,painters in ,water-,colours in #ahea1 when it figured in the catalogue as ,view from the side of ,bow ,hill1 on the ,south ,downes1 near ,chichester1 looking over the ,groves of ,yew ,trees1 and ,stoke ,park1 toward the ,sea4 ,this is a full and accurate description of the subject1 as ,kingley ,valley is at the foot of ,bow ,hill4 ,to the modern eye1 which is perhaps over-fond of broad and slap-dash work1 there is rather too much insistence on details and small forms in this drawing2 but in an unambitious drawing1 aiming at nothing more than topographical interest1 this is not necessarily a fault4 ,there is a certain navet and truthfulness about the record which gives it great charm4 ,the subject1 too1 is well chosen1 the effect of sunlight is successfully rendered1 and the stretch of blue distance is restful to the eye and agreeable to the imagination4 ,george ,fennell ,robson 7#aghh-ahcc7 painted little but ,scottish lake and mountain scenery4 ,he was fond of dramatic effects of storm and cloud1 and his work is powerful1 accomplished and well sustained4 ,ben ,venue1 from ,lanrick 7,plate ,,xli7 is as good an example of his masculine style as one could find4 ,it is probably the drawing which was exhibited at the ,society of ,painters in ,water-,colours in #ahea1 under the title ,ben ,venue1 from the head of ,loch ,achray4 ,the meadow on the left is ,lanrick ,mead1 which was the gathering-place of the ,clan ,alpine4 ,the two largest drawings in the exhibition were ,copley ,fielding's 7#aghg-ahee7 two sea-pieces1 ,the ,pilot ,boat 7,plate ,,xlii7 and ,seaford1 from ,newhaven ,pier 7#gf74 ,i have confessed on other occasions that ,i cannot share the general enthusiasm for ,copley ,fielding's work4 ,it is1 ,i acknowledge1 nearly always pleasing in effect2 but it strikes me as superficial1 and it lacks the 8bite10 the tremendous energy of mind and inexhaustible knowledge of ,turner's work4 ,but these two large drawings are very favourable specimens of ,fielding's style4 ,they are cheerful in colour1 breezy in effect1 and full of movement4 ,the ,pilot ,boat is probably the better of the two2 but ,i wish there was more sense of weight and the power of resistance in the waves4 ,the date on the ,seaford drawing is indistinct4 ,when it was exhibited at the ,old ,masters at ,burlington ,house in #aijh1 the compiler of the catalogue read the date as 8#aheh10 which must surely be a mistake1 as ,fielding died in #ahee4 ,i think ,i am right in reading the date as 8#ahcj10 but it is difficult to identify this particular drawing among the list of ,fielding's exhibited works1 as there are several titles which might fit it4 ,i think it is probably the ,pier at ,newhaven1 ,sussex1 ,no4 #he1 in the ,water-,colour ,painters' exhibition of #ahcj2 but it might also be the ,scene at ,entrance of ,newhaven ,harbour1 ,no4 #afa1 which was exhibited the following year1 or ,no4 #bje1 ,scene at ,newhaven in the same exhibition4 ,after ,cotman and ,turner ,i think ,david ,roberts 7#agif-ahfd7 was the most skilful draughtsman of architecture of his time4 ,he was not perhaps a great artist2 the oil paintings with which he delighted the public of his own time leave us now unmoved1 in spite of their eminently respectable qualities4 ,they are too sedate to have a strong effect on the imagination4 ,but his work with the point--pencil1 chalk or etching-needle--is delightfully easy1 graceful and accomplished4 ,a ,ruined ,abbey 7#aji7 is certainly a view of ,melrose ,abbey4 ,it was probably drawn in #ahcf1 about the same time as the view of ,durham 7#aba71 which happens to be dated1 8,sep4 #ad1 #ahcf40 ,i believe an artist can only draw and paint well the scenes of his native country2 but ,roberts's public was bored with ,english and ,scottish views1 and very much preferred his ,spanish and ,eastern subjects4 ,roberts was at ,granada in ,february #ahcc1 when the picturesque street scene here reproduced 7,plate ,,xliii7 must have been drawn4 ,we have now finished our review of the large group of works by ,turner's contemporaries which was included in ,messrs4 ,agnew's exhibition4 ,but1 as ,i have said before1 there were also a few drawings by later artists--by ,h4 ,g4 ,hine 7#ahaa-ahie71 ,e4 ,m4 ,wimperis 7#ahce-aijj7 and ,thomas ,collier 7#ahdj-ahij74 ,it was probably a mere accident that these three artists belonged to the ,institute of ,painters in ,water-,colours 7now the ,royal ,institute71 while nearly all the leading artists in the group of ,turner's contemporaries belonged to the 8,old0 ,water-,colour ,society4 ,there is little evidence of ,turner's influence in the works of ,wimperis and ,collier4 ,it would be more accurate to describe these artists as the successors of ,de ,wint than of ,turner4 ,they carried on the ,de ,wint tradition of healthy realism and freely handled washes with great success2 yet each artist preserves his individuality1 and their works are steadily increasing in value4 ,the fine drawing of ,beeston ,castle by ,collier 7,plate ,,xliv7 is an excellent specimen of his spirited and truthful work4 ,,alexander ,j4 ,,finberg ,,note ,the ,numbers given after the titles of the ,illustrations refer to the ,catalogue of ,messrs4 ,agnew's ,exhibition which will be found at the end of the ,volume4 ,illustration3 ,,plate ,i ,,old ,,abbey1 ,,evesham4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#aci7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,,ii ,,malmesbury ,,abbey4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#ec7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,iii ,,water ,,mill4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#adg7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,iv ,a ,,mountain ,,stream4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#aeb7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,v ,,cassiobury3 ,,the ,,house ,,seen ,,across ,,the ,,park4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#af7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,,vi ,,lake ,,of ,,thun4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#cd7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration3 ,,plate ,,vii ,,castle ,,of ,,chillon ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#ah7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration ,illustration3 ,,plate ,,viii ,,patterdale ,,old ,,church4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#ba7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,,ix ,,rolandswerth ,,nunnery ,,and ,,drachenfels4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#ce7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,x ,,saumur ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#bc7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration ,illustration3 ,,plate ,,xi ,,richmond ,,bridge--,,play ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#bj7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration ,illustration3 ,,plate ,,xii ,,worcester ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#be7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration ,illustration3 ,,plate ,,xiii ,,the ,,longships ,,lighthouse1 ,,land',s ,,end ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#bg7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration ,illustration3 ,,plate ,,xiv ,,valley ,,of ,,the ,,washburne1 ,,near ,,farnley4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#aec7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xv ,,lake ,,nemi ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#bf7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration ,illustration3 ,,plate ,,xvi ,,florence1 ,,from ,,near ,,san ,,miniato4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#bi7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration3 ,,plate ,,xvii ,,the ,,rigi ,,at ,,sunrise--,,lake ,,of ,,lucerne 78,,the ,,blue ,,rigi07 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#bh7 7,in the possession of ,walter ,j4 ,h4 ,jones1 ,esq47 ,illustration ,illustration3 ,,plate ,,xviii ,,steeton ,,manor1 ,,near ,,farnley4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#acf7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,,xix ,,wilderness ,,of ,,sinai4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#acb7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xx ,,lake ,,of ,,lucerne3 ,,brunnen ,,in ,,the ,,distance ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#acj7 7,in the possession of ,walter ,j4 ,h4 ,jones1 ,esq47 ,illustration ,illustration3 ,,plate ,,xxi ,,saltash4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#cj7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration3 ,,plate ,,xxii ,,prudhoe ,,castle4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#bb7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration3 ,,plate ,,xxiii ,,mouth ,,of ,,the ,,grand ,,canal ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#abg7 7,in the possession of ,walter ,j4 ,h4 ,jones1 ,esq47 ,illustration ,illustration3 ,,plate ,,xxiv ,a ,,gorge4 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7#aae7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xxv ,,the ,,swan ,,inn1 ,,edmonton4 ,,by ,,paul ,,sandby1 ,r4,a4 7#fd7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,,xxvi ,,norwich ,,cathedral4 ,,by ,,edward ,,dayes 7#add7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,,xxvii ,a ,,swiss ,,valley ,,by ,j4 ,r4 ,,cozens 7#dc7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration ,illustration3 ,,plate ,,xxviii ,,in ,,the ,,farnesina ,,gardens1 ,,rome4 ,,by ,j4 ,r4 ,,cozens 7#da7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,,xxix ,,villa ,,negroni1 ,,rome ,,by ,j4 ,r4 ,,cozens 7#db7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration ,illustration3 ,,plate ,,xxx ,,lake ,,nemi4 ,,by ,j4 ,r4 ,,cozens 7#de7 7,in the possession of ,c4 ,morland ,agnew1 ,esq47 ,illustration3 ,,plate ,,xxxi ,,kenilworth4 ,,by ,,thomas ,,girtin 7#adf7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xxxii ,,lincoln4 ,,by ,,thomas ,,girtin 7#g7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xxxiii ,,bridge ,,over ,,river ,,near ,a ,,town4 ,,by ,j4 ,s4 ,,cotman 7#gh7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xxxiv ,,gormire ,,lake1 ,,yorkshire4 ,,by ,j4 ,s4 ,,cotman 7#gd7 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration3 ,,plate ,,xxxv ,,rouen ,,by ,j4 ,s4 ,,cotman 7#c7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration ,illustration3 ,,plate ,,xxxvi ,a ,,lake ,,scene4 ,,by ,j4 ,s4 ,,cotman 7#a7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xxxvii ,,church ,,in ,,normandy4 ,,by ,j4 ,s4 ,,cotman 7#i7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xxxviii ,,leyton1 ,,essex 7#ahcj74 ,,by ,,john ,,varley 7#abb7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xxxix ,,folkestone4 ,,by ,,samuel ,,prout 7#hf7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xl ,,kingley ,,vale1 ,,with ,,chichester ,,cathedral ,,in ,,the ,,distance4 ,,by ,,william ,,turner ,,of ,,oxford 7#gg7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xli ,,ben ,,venue1 ,,from ,,lanrick4 ,,by ,g4 ,,robson 7#ff7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,,plate ,,xlii 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,,the ,,pilot ,,boat4 ,,by ,,copley ,,fielding 7#gj7 ,illustration3 ,,plate ,,xliii 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,,granada4 ,,by ,,david ,,roberts1 ,r4,a4 7#hh7 ,illustration3 ,,plate ,,xliv ,,beeston ,,castle4 ,,by ,t4 ,,collier 7#hb7 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,,descriptive ,,catalogue ,,of ,,the ,,exhibition ,,of ,,selected ,,water-,,colour ,,drawings ,,by ,,artists ,,of ,,the ,,early ,,english ,,school ,,held ,,at ,,messrs4 ,,thomas ,,agnew ,,and ,,sons' ,,galleries1 ,,london1 ,,march-,,april #aiai #a4 ,a ,,lake ,,scene4 7,plate ,,xxxvi47 ,j4 ,s4 ,,cotman #aj in4 #ad in4 ,monochrome wash4 ,cattle in foreground1 standing beside a lake which is surrounded by mountains4 #b4 ,,the ,,road ,,through ,,the ,,village4 ,,thomas ,,girtin #ab in4 #bj in4 ,signed1 8,girtin40 ,figures on road running through village2 wall on one side of road1 pond on the other side2 man watering a horse at the pond in foreground4 ,a large rambling house occupies centre and right of design1 with trees on left4 #c4 ,,rouen4 7,plate ,,xxxv47 ,j4 ,s4 ,,cotman #aa in4 #ai in4 ,signed and dated1 8,j4 ,s4 ,cotman1 #ahbc40 ,probably the 8,rouen from ,mount ,st4 ,catherine0 exhibited at the ,norwich ,society of ,artists1 #ahbd4 ,buildings1 with group of trees and landing-stage on left2 barges on river in foreground2 distant hills4 #d4 ,,hardwick ,,hall4 ,,david ,,cox #e4 ,,ripon ,,cathedral4 ,,thomas ,,girtin #aa in4 #ah in4 ,signed and dated1 8,girtin1 #ahja40 ,cathedral in middle distance1 seen against the sky2 river in foreground1 with sailing-boat towards right4 #f4 ,,the ,,bridge ,,house4 ,j4 ,s4 ,,cotman #g in4 #aa in4 ,pencil and sepia4 #g4 ,,lincoln4 7,plate ,,xxxii47 ,,thomas ,,girtin #ag in4 #bb in4 ,pen outlines and wash4 ,query1 an early ,de ,wint4 ,horse and cart and figures on road in foreground on right2 ,lincoln ,cathedral and houses seen above trees against the sky to the left4 #h4 ,,harvest-,,time4 ,p4 ,,de ,,wint #g in4 #af in4 ,sheaves of corn in foreground2 men cutting corn beyond2 a distant church among trees4 #i4 ,,church ,,in ,,normandy4 7,plate ,,xxxvii47 ,j4 ,s4 ,,cotman #aj in4 #af in4 ,pencil and sepia4 ,signed in pencil1 8,cotman40 ,church in centre2 river and gateway in foreground on left4 #aj4 ,,the ,,empty ,,harvest ,,waggon4 ,,david ,,cox #aj in4 #ad in4 ,signed and dated1 8,david ,cox1 #ahdi40 #aa4 ,,athelstan ,,abbey1 ,,on ,,the ,,tees4 ,,thomas ,,girtin #aj in4 #ag in4 ,signed1 8,girtin40 #ab4 ,,river ,,scene4 ,p4 ,,de ,,wint #ad in4 #bb in4 ,wooden bridge1 with two boys on it1 stretching across centre of drawing2 one of the river-banks in foreground on left2 boats1 one with square sail1 beyond the bridge4 ,a peaceful evening scene4 #ac4 ,,landscape4 ,p4 ,,de ,,wint #aa in4 #ag in4 ,road on right running beside palings of a park2 wagon on road2 distant trees with fine expanse of moving clouds4 #ad4 ,,crowland ,,abbey4 ,p4 ,,de ,,wint #ae in4 #bi in4 ,the abbey in distance on the left2 fishermen in punts in foreground2 nets stretched out on stakes to dry in middle distance4 #ae4 ,,whitby ,,abbey ,,and ,,lighthouse4 ,p4 ,,de ,,wint #e in4 #be in4 ,pier running parallel to picture plane1 with lighthouse at the extremity on the left2 cliffs on the right2 the ruins of abbey on cliff beyond on the right4 ,evening effect4 #af4 ,,cassiobury3 ,,the ,,house ,,seen ,,across ,,the ,,park4 ,circa #ahjj4 7,plate ,v47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #ah in4 #bg in4 ,engraved in aquatint by ,hill1 and published in 8,history and ,description of ,cassiobury ,park10 #ahaf4 ,title of plate1 8,cassiobury4 ,view from ,n4 ,west40 ,the drawing was made for ,george1 #eth ,earl of ,essex 7#ageg-ahci74 ,christie's1 #ahib 7,bolckow74 ,huntsmen and dogs in foreground on road leading to entrance of stables2 ,cassiobury in middle distance in centre on a slight elevation4 #ag4 ,,mayence ,,and ,,kastel4 #ahag4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #ad in4 ,exhibited ,r4,a41 #ahhi 7,no4 #bc72 ex ,farnley ,collection4 ,looking up river to bridge1 town on right2 sailing-boats2 dark cloud passing over sun4 #ah4 ,,castle ,,of ,,chillon4 ,circa #ahaj4 7,plate ,,vii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #ae in4 ,signed1 8,j4 ,m4 ,w4 ,turner1 ,r4,a40 ,painted for ,sir ,john ,e4 ,swinburne2 ,r4,a41 #ahhg 7,miss ,julia ,swinburne72 ,christie's1 #bf ,may1 #aiaf 7,no4 #aai7 7,miss ,isabel ,swinburne74 ,three figures of women with washing spread on grass in foreground on the left2 figures in boat on lake to right4 ,the castle in middle distance near centre2 view looking up the ,rhne ,valley with ,dent du ,midi in distance4 #ai4 ,,lurleiberg4 #ahag4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #g in4 #ab in4 ,r4,a41 #ahhi 7,no4 #ch71 as 8,a ,bend of the ,river02 ex ,farnley ,collection4 ,high rocky shore on each side2 on left1 in foreground1 a road with figures2 a ferry-boat is crossing the river4 ,evening sky4 #bj4 ,,richmond ,,bridge--,,play4 ,circa #ahcj4 7,plate ,,xi47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #ag in4 ,engraved by ,w4 ,r4 ,smith1 in 8,england and ,wales0 series1 published #ahcg4 ,ex ,ruskin ,collection and that of ,mr4 ,g4 ,p4 ,dewhurst4 ,bridge in centre1 with houses on hill beyond on left2 group of trees by river-side on right2 on meadow in foreground groups picnicking4 #ba4 ,,patterdale ,,old ,,church4 ,circa #ahaj4 7,plate ,,viii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aj in4 #ae in4 ,signed1 8,j4 ,m4 ,w4 ,turner1 ,r4,a41 ,p4,p40 ,christie's1 #ahgb 7,gillot72 #ahgf 7,levy72 ,r4,a41 #ahhf 7,sir ,william ,agnew1 ,bart474 ,heavy thunder-storm breaking over valley2 church in foreground4 #bb4 ,,prudhoe ,,castle4 ,circa #ahbf4 7,plate ,,xxii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #af in4 ,query1 a signature scratched at bottom of drawing1 on the left4 ,engraved by ,e4 ,goodall1 and published in the 8,england and ,wales0 series1 #ahbh4 ,r4,a41 #ahhi 7,rev4 ,w4 ,kingsley74 ,view looking up the ,tyne2 sunset sky4 #bc4 ,,saumur4 ,circa #ahbi4 7,plate ,x47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #af in4 ,engraved by ,r4 ,wallis1 and published in 8,the ,keepsake10 #ahca4 ,forster's1 #ahee 7,j4 ,dillon72 ,manchester ,art ,treasures1 #aheg 7,l4 ,loyd72 ,guildhall1 #ahii1 ,no4 #adg 7,hon4 ,w4 ,f4 ,d4 ,smith1 ,m4,p472 ,christie's1 ,may #aiag 7,sir ,joseph ,beecham74 ,bridge running across river in middle distance2 chateau on hill beyond on right2 a boat moored beside bank in foreground is being unloaded4 #bd4 ,,windsor ,,castle4 ,circa #ahbi4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #ag in4 ,engraved by ,w4 ,miller1 and published in 8,england and ,wales0 series1 #ahca4 ,moon's ,gallery1 #ahcc 7,tomkinson72 ,r4,a41 #ahhg 7,mrs4 ,moir72 ,guildhall1 #ahii 7,george ,agnew72 ,christie's1 #ahgj 7,j4 ,smith71 ,march #aijh 7,r4 ,e4 ,tatham71 ,may #aiag 7,beecham71 and #aj ,may1 #aiah4 ,castle in centre stretching across drawing1 with smoke rising from town below2 the ,thames in front1 with barges on right and horses on tow-path to left4 ,sun behind castle4 #be4 ,,worcester4 ,circa #ahcc4 7,plate ,,xii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #ag in4 ,engraved by ,t4 ,jeavons1 and published in 8,england and ,wales0 series1 #ahce4 ,christie's1 ,may #aiag 7,sir ,joseph ,beecham72 ex ,hon4 ,w4 ,f4 ,d4 ,smith1 ,m4,p4 ,cathedral on high ground to right2 the river ,severn stretches across the drawing in front1 with boats and punt in foreground4 #bf4 ,,lake ,,nemi4 ,circa #ahdj4 7,plate ,,xv47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #ac in4 #bj in4 ,large single plate engraved by ,r4 ,wallis1 and published ,june #ahdb2 plate also published in 8,finden's ,royal ,gallery of ,british ,art40 ,ex ,windus and ,fordham ,collections4 ,b4,f4,a4,c41 #ahga2 ,r4,a41 #ahhi 7,sir ,john ,fowler72 ,christie's1 #ahii 7,fowler71 and #h ,june1 #aiag4 ,lake in centre enclosed by wooded hills2 town high on right2 figures and goats in foreground4 #bg4 ,,the ,,longships ,,lighthouse1 ,,land',s ,,end4 ,circa #ahcd4 7,plate ,,xiii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #ag in4 ,engraved by ,w4 ,r4 ,smith1 and published in 8,england and ,wales0 series1 #ahcg4 ,international ,exhibition1 #ahfb 7,agnews72 ,christie's1 #ahgh 7,munro72 ,r4,a41 #ahia1 and ,guildhall1 #ahii 7,j4 ,e4 ,taylor72 ,christie's1 ,july #aiab 7,j4 ,e4 ,taylor74 ,high cliffs on right on which a wild sea is breaking2 lighthouse on horizon to left1 wreckage among waves in foreground4 #bh4 ,,the ,,rigi ,,at ,,sunrise--,,lake ,,of ,,lucerne 78,the ,blue ,rigi074 #ahda4 7,plate ,,xvii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #ag in4 ,painted for ,mr4 ,bicknell2 see ,ruskin's 8,epilogue40 ,christie's1 #bi ,april1 #ahfc 7,bicknell71 ,july #aiab 7,j4 ,e4 ,taylor72 ,r4,a41 #ahhf 7,j4 ,e4 ,taylor72 ,guildhall1 #ahii 7,j4 ,e4 ,taylor74 ,sun rising behind the mountain with morning star above2 man in boat on left firing at wildfowl in foreground2 a dog in water1 another jumping from the boat4 #bi4 ,,florence1 ,,from ,,near ,,san ,,miniato4 ,circa #ahbe4 7,plate ,,xvi47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #af in4 ,ex ,novar ,collection4 ,guildhall1 #ahii1 and ,glasgow1 #aija 7,hon4 ,w4 ,f4 ,d4 ,smith1 ,m4,p472 ,christie's1 #ahig 7,pender71 ,may #aiag 7,beecham74 ,view overlooking city with the ,arno on left2 group of poplars in foreground with a gaily dressed group of figures4 #cj4 ,,saltash4 #ahbe4 7,plate ,,xxi47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aj in4 #af in4 ,signed and dated1 8,j4 ,m4 ,w4 ,turner1 ,r4,a41 #be40 ,engraved by ,w4 ,r4 ,smith1 and published in 8,england and ,wales0 series1 #ahbg4 ,moon's ,gallery1 #ahcc 7,windus72 ,manchester1 #aheg 7,d4 ,r4 ,davies72 ,christie's1 #ahfe 7,knowles71 #ahgb 7,leyland71 #aijh 7,s4 ,g4 ,holland71 ,may #aiag 7,beecham74 ,harbour in front with many rowing-boats crowded with women and soldiers2 town in distance1 partly hidden by man-of-war2 hulks on left4 #ca4 ,,lowestoft4 ,circa #ahce4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aj in4 #af in4 ,engraved by ,w4 ,r4 ,smith1 and published in 8,england and ,wales0 series1 #ahcg4 ,exhibited ,worcester1 #ahhb1 and ,r4,a41 #ahia 7,mrs4 ,sale72 ,christie's1 #i ,july1 #aiae4 ,lighthouse to right on cliff2 town on left in deep shadow2 rough sea in front with boats and wreckage2 crescent moon4 #cb4 ,,scarborough4 #ahah4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aj in4 #ae in4 ,signed and dated1 8,j4 ,m4 ,w4 ,turner1 #ahah40 ,once in ,mr4 ,ruskin's ,collection4 ,guildhall1 #ahii 7#acj71 lent by ,mr4 ,arthur ,severn4 ,distant view of town and cliff2 two ladies in summer costume among rocks in foreground on the left2 a starfish on the sand4 #cc4 ,,coventry4 ,circa #ahcb4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aa in4 #ag in4 ,engraved by ,s4 ,fisher1 and published in 8,england and ,wales0 series1 #ahcd4 ,moon's ,gallery1 #ahcc 7,c4 ,heath72 ,christie's1 #ahgg 7,munro of ,novar71 #aa ,may1 #aiag 7,mrs4 ,c4 ,w4 ,lea74 ,town in distance with three spires2 two coaches on hollow road in foreground to right2 donkeys1 cattle and sheep in foreground to left4 #cd4 ,,lake ,,of ,,thun4 #ahji4 7,plate ,,vi47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #ae in4 #bb in4 ,signed and dated1 8,j4 ,m4 ,w4 ,turner1 ,r4,a41 ,p4,p41 #ahji40 ,painted for ,sir ,john ,e4 ,swinburne4 ,r4,a41 #ahhg 7,miss ,julia ,swinburne72 ,christie's1 #bf ,may1 #aiaf 7,miss ,isabel ,swinburne74 ,view looking across lake to mountains in distance2 stretch of sandy beach in foreground with figures1 boats1 and merchandise2 buildings on right4 #ce4 ,,rolandswerth ,,nunnery ,,and ,,drachenfels4 #ahag4 7,plate ,,ix47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #g in4 #ab in4 ,from the ,farnley ,collection4 ,r4,a41 #ahii 7,no4 #fh72 ,christie's1 #ahij 7,fawkes74 ,afterwards in collection of ,sir ,donald ,currie4 ,castle of ,rolandseck on rock to left1 with the ,nunnery of ,rolandswerth in centre at its base2 beyond1 on right1 the ,castle of ,drachenfels2 figures towing a boat in foreground on left2 sailing-boat in mid-stream4 ,view from near ,oberwinter1 looking north4 #cf4 ,,vale ,,of ,,pevensey1 ,,from ,,rosehill ,,park4 ,circa #ahaf4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #ae in4 #bb in4 ,a privately printed plate engraved in aquatint by ,j4 ,c4 ,stadler1 and printed in colours4 ,international ,exhibition1 #ahfb2 ,r4,a41 #ahhf 7,sir ,a4 ,acland-,hood1 ,bt41 inherited from ,mr4 ,j4 ,fuller1 of ,rosehill72 ,christie's1 #d ,april1 #aijh 7#ic74 ,slopes of wooded park in front1 looking across country to the sea2 ,beachy ,head in distance2 summer-house on hill to right2 labourers and sheep in foreground4 #cg4 ,,mayence4 #ahag4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #ad in4 ,from the ,farnley ,collection4 ,r4,a41 #ahhi 78 #be72 ,r4,a41 #ahia 7#ib72 ,christie's1 #ahij 7,fawkes71 #aiab 7,j4 ,e4 ,taylor74 ,view looking up river towards the bridge of boats1 with town on left2 hay-barge in foreground1 with two other boats beyond4 ,sunset effect4 #ch4 ,,high ,,torr1 ,,derbyshire4 ,p4 ,,de ,,wint #af in4 #bc in4 ,perhaps the drawing exhibited at the ,society of ,painters in ,water-,colours1 #ahbi1 as 8,matlock ,high ,tor0 7,no4 #ace74 ,river in foreground with mountain on left2 cows in water on left bank1 road with several figures on it in foreground on right4 #ci4 ,,the ,,rainbow4 ,circa #ahdj4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #i in4 #aa in4 ,christie's1 ,july #aiab 7,j4 ,e4 ,taylor74 ,view over flat country1 with a tower in distance2 fiery sky and rainbow4 #dj4 ,,sunset ,,on ,,st4 ,,peter',s1 ,,rome4 ,j4 ,r4 ,,cozens #aj in4 #ad in4 ,r4,a41 #ahia1 ,no4 #bd 7,c4 ,morland ,agnew74 ,stone-pines in foreground1 with shadows coming towards spectator2 ,st4 ,peter's seen through the trees in distance1 with sun setting above it2 deer in foreground on right4 #da4 ,,in ,,the ,,farnesina ,,gardens1 ,,rome4 7,plate ,,xxviii47 ,j4 ,r4 ,,cozens #i in4 #ad in4 ,tomb among trees with gnarled trunks2 campanile and trees in distance4 #db4 ,,villa ,,negroni1 ,,rome4 7,plate ,,xxix47 ,j4 ,r4 ,,cozens #aj in4 #ad in4 ,r4,a41 #ahia1 ,no4 #ai1 8,italian ,landscape0 7,c4 ,morland ,agnew74 ,grove of pines and cypresses on brow of hill1 with statue1 and sheep feeding2 ruins and distant mountains beyond4 #dc4 ,a ,,swiss ,,valley4 7,plate ,,xxvii47 ,j4 ,r4 ,,cozens #ac in4 #bj in4 ,probably a scene at the ,italian side of the ,splgen ,pass4 ,there is a copy1 in blue and black1 of a similar view at ,turner ,house1 ,penarth1 attributed to ,turner1 which is described as 8,near ,chiavenna40 ,winding streams between mountains2 snow-clad peaks in distance4 #dd4 ,,lake ,,albano4 ,j4 ,r4 ,,cozens #ag in4 #be in4 ,castel ,gandolfo on hill in middle distance to the right2 group of large trees in foreground beside a road on which a man is driving goats4 ,sunset4 #de4 ,,lake ,,nemi1 #agij4 7,plate ,,xxx47 ,j4 ,r4 ,,cozens #ad in4 #ba in4 ,signed and dated1 8,john ,cozens1 #agij40 ,i have seen copies in blue and black by ,girtin or ,turner of this drawing4 ,lake in centre1 surrounded by steep wooded banks2 the town of ,gensano on hill in middle distance1 with the ,mediterranean beyond4 ,buildings with pines and cypresses on right in foreground4 #df4 ,,temple ,,of ,,ceres1 ,p,,stum4 ,j4 ,r4 ,,cozens #aj in4 #ad in4 ,ruins standing dark against gloomy sunset4 #dg4 ,,convent ,,at ,,vietri4 ,j4 ,r4 ,,cozens #aj in4 #ad in4 ,convent in centre among trees2 another convent and buildings on brow of hill beyond2 small stream in foreground in centre4 #dh4 ,,isola ,,bella1 ,,lago ,,maggiore4 ,j4 ,r4 ,,cozens #aj in4 #ad in4 ,terrace in foreground with building on left2 two figures against the balustrade on right2 mountains beyond lake with snow-clad peaks4 #di4 ,,mountainous ,,landscape ,,and ,,lake4 #aghh4 ,f4 ,,wheatley1 ,r4,a4 #ab in4 #ah in4 ,signed1 8,f4 ,w41 #aghh40 ,lake surrounded by mountains1 with ferry and cows in foreground on right4 ,probably an ,irish scene4 #ej4 ,a ,,welsh ,,village4 ,j4 ,c4 ,,ibbetson #g in4 #i in4 ,two women spinning outside a cottage2 others at work in distance4 #ea4 ,,west ,,front1 ,,town ,,hall1 ,,bath1 #aggg4 ,t4 ,,malton1 ,junr4 #ab in4 #ah in4 ,signed and dated1 8,t4 ,malton1 #aggg40 8,hancock0 and 8,white ,lion ,inn and ,tavern0 on building on left1 at which a coach has stopped2 the ,town ,hall beyond2 ,bath ,abbey faces the spectator at the end of the street4 #eb4 ,,stowmarket4 ,,paul ,,sandby1 ,r4,a4 #ab in4 #ah in4 ,town near centre in middle distance1 with hills beyond2 woman milking cow in foreground2 trees and barns behind her and a gateway leading into town4 #ec4 ,,malmesbury ,,abbey4 #agid4 7,plate ,,ii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #ad in4 #aj in4 ,signed and dated1 8,turner1 #agid40 ,r4,a41 #ahhg2 ,christie's1 #aiab 7,j4 ,e4 ,taylor74 ,view of abbey with ruined arch2 hayrick on right and a pig feeding2 milkman and dog in centre4 #ed4 ,,llanrwst ,,bridge4 ,j4 ,c4 ,,ibbetson #g in4 #i in4 ,women washing clothes beside river2 some at tubs set on trestles1 some standing in the water2 bridge beyond1 and mountains4 #ee4 ,,pulteney ,,bridge1 ,,bath4 #aggg4 ,t4 ,,malton1 ,junr4 #ab in4 #ai in4 ,signed and dated1 8,t4 ,malton1 #aggg40 ,building with domes and columns on left of roadway2 8,wicksteed1 ,seal ,engraver0 over portico2 figures and a one-horse chaise on roadway2 glimpse of a distant hill on left4 #ef4 ,,richmond ,,hill1 #agih4 ,j4 ,i4 ,,richards1 ,r4,a4 #ab in4 #bj in4 ,trees on left1 with houses on right2 other houses seen through trees in middle distance4 #eg4 ,,fountains ,,abbey4 ,,thomas ,,girtin #ah in4 #ab in4 ,the ruins of the eastern transept and ,lady ,chapel4 #eh4 ,,off ,,the ,,coast ,,of ,,bute4 ,j4 ,t4 ,,serres #i in4 #af in4 ,signed1 8,j4 ,t4 ,serres1 fect40 ,shipping in foreground2 distant mountains with clouds floating across them4 #ei4 ,,mountainous ,,landscape1 ,,with ,,castle4 ,,paul ,,sandby1 ,r4,a4 #ab in4 #bj in4 ,castle on rock2 bridge with stream and cascade at foot of rock on left2 lady on horseback talking to woman and child in foreground4 #fj4 ,,prison ,,of ,,the ,,conciergerie1 ,,paris4 ,h4 ,,edridge1 ,a4,r4,a4 #ac in4 #ai in4 ,prison on left2 mounted cuirassiers passing along the quay2 bridge in middle distance4 #fa4 ,,cassiobury4 ,,thomas ,,hearne #ab in4 #i in4 ,scene in the park1 with road running between tall trees2 felled timber lying on left of road2 wagon passing down the road4 #fb4 ,,the ,,priory ,,church1 ,,tynemouth4 ,circa #agih4 ,,edward ,,dayes #ai in4 #ad in4 ,signed and dated1 8,e4 ,dayes1 #agih 7870--the last figure is covered by the mount4 ,engraved in ,john ,britton's 8,architectural ,antiquities of ,great ,britain40 ,ruins seen through archway4 #fc4 ,,fishing-,,boats ,,on ,,the ,,scheldt4 ,n4 ,,pocock #aj in4 #af in4 ,signed1 8,n4 ,pocock40 ,boats in a choppy sea2 storm effect4 #fd4 ,,the ,,swan ,,inn1 ,,edmonton4 7,plate ,,xxv47 ,,paul ,,sandby1 ,r4,a4 #ad in4 #ba in4 ,roadway in centre with figures1 buildings on either side2 sign of the ,swan ,inn in middle distance on the left4 #fe4 ,,bala ,,lake4 ,,john ,,varley #ab in4 #ag in4 ,lake in centre1 with mountains reflected in its waters2 evening effect4 #ff4 ,,ben ,,venue1 ,,from ,,lanrick4 7,plate ,,xli47 ,g4 ,f4 ,,robson #ah in4 #be in4 ,perhaps the drawing entitled 8,ben ,venue1 from the head of ,loch ,achray10 exhibited by ,robson at the ,society of ,painters in ,water-,colours1 #ahae 7,no4 #cab74 ,the mountain in distance with ,loch ,achray near foreground4 #fg4 ,,hope ,,dale1 ,,derbyshire4 ,j4 ,c4 ,,ibbetson #ab in4 #ag in4 ,horse and cart with figures coming up road on the right2 distant valley in centre1 with mountains beyond4 #fh4 ,,pastoral ,,scene4 ,j4 ,c4 ,,ibbetson #ab in4 #af in4 ,signed and dated1 8,j4 ,ibbetson1 #agih40 ,four cows lying in foreground1 with boy talking to a woman2 houses among trees beyond on right4 #fi4 ,,country ,,lane1 ,,harrow4 ,h4 ,,edridge1 ,a4,r4,a4 #aj in4 #af in4 ,horse and cart on road to left2 stream with overhanging trees on right2 houses among trees in centre4 #gj4 ,,the ,,pilot ,,boat4 7,plate ,,xlii47 ,,copley ,,fielding #bd in4 #ch in4 ,signed and dated1 8,copley ,fielding1 #ahca 78740 ,perhaps the 8,vessels in a ,stiff ,breeze off ,calshot ,castle1 ,hampshire10 exhibited at the ,society of ,painters in ,water-,colours1 #ahcb 7,no4 #aab74 ,two boats in a stiff sea1 with men-of-war in the offing4 #ga4 ,a ,,welsh ,,river4 ,,john ,,varley #aj in4 #ba in4 ,signed1 8,j4 ,varley40 ,road on left beside river in foreground2 range of jagged peaks beyond which catch the rays of the setting sun4 #gb4 ,,carnarvon ,,castle4 ,j4 ,b4 ,,pyne #aa in4 #bf in4 ,ship unloading beneath walls of the ,castle2 castle near the centre1 with distant coast on right4 #gc4 ,,mountainous ,,landscape1 ,,with ,,lake4 ,,john ,,varley #i in4 #ab in4 ,lake containing two small islands1 surrounded by mountains4 #gd4 ,,gormire ,,lake1 ,,yorkshire4 7,plate ,,xxxiv47 ,j4 ,s4 ,,cotman #ad in4 #ba in4 ,this is probably the drawing exhibited at the ,royal ,academy in #ahjd as 8,gormire1 ,yorkshire0 7,no4 #ibh74 ,man carrying two oars on his shoulder and a woman stooping in foreground1 at edge of the lake2 three cows standing in shallow water on right2 cliffs beyond4 ,gormire ,lake is the only considerable 8tarn0 of the ,east ,yorkshire hills4 #ge4 ,,river ,,scene1 ,,with ,,round ,,tower4 ,p4 ,,de ,,wint #ab in4 #ah in4 ,buildings with tower seen through trees2 stream with small bridge in foreground4 #gf4 ,,seaford1 ,,from ,,newhaven ,,pier4 ,,copley ,,fielding #be in4 #ch in4 ,signed and dated1 8,copley ,fielding1 #ahcj 78740 ,exhibited ,royal ,academy1 #aijh 7,no4 #bbb72 in the catalogue the date is said to be #aheh1 but ,fielding died in #ahee4 ,perhaps the 8,pier at ,newhaven1 ,sussex10 exhibited at the ,society of ,painters in ,water-,colours1 #ahcj 7,no4 #he72 or 8,scene at ,entrance of ,newhaven ,harbour10 exhibited in #ahca 7,no4 #afa74 ,a rough sea with pier-head on left2 ships on right2 town and line of coast in distance2 blue sky1 flecked with clouds4 #gg4 ,,kingley ,,vale1 ,,with ,,chichester ,,cathedral ,,in ,,the ,,distance4 7,plate ,,xl47 ,,william ,,turner of ,oxford #aj in4 #af in4 ,signed1 8,w4 ,turner40 ,exhibited at the ,society of ,painters in ,water-,colours1 #ahea 7,no4 #aig74 ,kingley ,valley is at the foot of ,bow ,hill1 ,west ,sussex1 four miles ,n4,n4,w4 of ,chichester4 ,shepherd and sheep in foreground2 beyond1 dark masses of foliage1 a valley1 and gently sloping hills2 spire of cathedral and sea in distance4 #gh4 ,,bridge ,,over ,,river ,,near ,a ,,town4 7,plate ,,xxxiii47 ,j4 ,s4 ,,cotman #ac in4 #ba in4 ,signed1 8,j4 ,s4 ,cotman1 #ahjc40 ,river running across drawing in foreground2 bridge on left1 with town beyond4 ,this is1 ,i think1 the old ,welsh ,bridge at ,shrewsbury4 #gi4 ,,coast ,,scene4 ,,samuel ,,prout #aj in4 #ag in4 ,signed with monogram1 8,s4,p40 ,fishermen dragging a net beside a wooden breakwater2 two vessels fully rigged in middle distance2 flight of seagulls4 #hj4 ,,conway4 ,w4 ,,payne #ab in4 #af in4 ,signed1 8,w4 ,payne40 ,looking down on the castle from heights above2 the sea in distance with ,great ,orme's ,head on right4 #ha4 ,,cissbury3 ,,early ,,morning4 ,h4 ,g4 ,,hine #g in4 #ah in4 ,signed and dated1 8,h4 ,g4 ,hine4 #ahfe40 ,sheep entering valley in foreground1 followed by shepherd and dog2 mists rising round ,cissbury ,hill2 pale crescent moon above4 #hb4 ,,beeston ,,castle4 7,plate ,,xliv47 ,t4 ,,collier #bb in4 #ce in4 ,signed and dated1 8,thos4 ,collier4 #ahgg0 7or '#ga74 ,the castle in middle distance on left2 flock of sheep in meadow in foreground2 a small stream1 bordered with trees1 runs across the picture on the right4 #hc4 ,,chanctonbury ,,ring4 ,h4 ,g4 ,,hine #aa in4 #ba in4 ,signed and dated1 8,h4 ,g4 ,hine4 #ahgd40 ,hayricks1 cottages and trees1 with range of hills beyond3 a sunny early morning4 #hd4 ,,carnarvon4 ,w4 ,,payne #aa in4 #af in4 ,signed1 8,w4 ,payne40 ,shepherd with sheep and dog on road in foreground1 with large1 overhanging trees2 castle in middle distance4 #he4 ,,temple ,,of ,,baalbec4 ,,david ,,roberts1 ,r4,a4 #ac in4 #ai in4 ,pencil on grey paper1 with touches of body-colour4 ,inscribed1 8,ruins of the ,eastern ,portico of the ,temple of ,baalbec4 ,may #fth1 #ahci4 ,david ,roberts1 ,r4,a40 ,figures seated on ruins in foreground1 and a small group on the right4 #hf4 ,,folkestone4 7,plate ,,xxxix47 ,,samuel ,,prout #ah in4 #be in4 ,roughly built wooden houses in foreground on the shore2 church in distance1 above on the left2 cliffs in centre1 with sea on right4 #hg4 ,,cissbury3 ,,mist ,,rising4 ,h4 ,g4 ,,hine #ac in4 #ai in4 ,signed1 8,h4 ,g4 ,hine1 ,cisbury ,camp40 ,mists rising round the hill2 moon and star above4 #hh4 ,,granada4 7,plate ,,xliii47 ,,david ,,roberts1 ,r4,a4 #ae in4 #aa in4 ,inscribed1 8,granada40 ,roberts was in ,granada in #ahcc4 ,river running through the town2 bridge in middle distance1 with buildings and tall tower on right4 #hi4 ,,italica1 ,,birthplace ,,of ,,the ,,emperor ,,trajan4 ,w4 ,e4 ,,lockhart #ad in4 #ba in4 ,signed and dated1 8,w4 ,e4 ,lockhart1 ,r4,h4,a41 #ahgj-hc40 ,inscribed1 8,italica4 ,birthplace of the ,emperor ,tragan0 sic64 ,peasant with two oxen on road in foreground2 buildings on slight eminence on left4 #ij4 ,,harvest ,,time4 ,t4 ,,collier #ia4 ,,across ,,the ,,heath4 ,e4 ,m4 ,,wimperis #i in4 #ad in4 ,signed with initials1 8,e4 ,m4 ,w40 ,horse and cart with two men on common in foreground2 a forked road leading over ridge of hill near centre2 roofs of houses and tops of trees seen over crest of hill1 with mountains beyond4 #ib4 ,,landscape1 ,,with ,,rabbits4 ,,david ,,cox #f in4 #i in4 ,rabbits on hill-side1 with foxgloves2 distant hills4 #ic4 ,,eton ,,playing-,,fields4 ,,david ,,cox #f in4 #i in4 ,buildings and trees1 with visitors4 #id4 ,,rounding ,,old ,,calais ,,pier3 ,a ,,calm4 ,,david ,,cox #g in4 #aj in4 ,signed1 8,d4 ,cox10 with 787 8#ahcb40 ,probably exhibited at ,society of ,painters in ,water-,colours1 #ahcc4 ,pier on right with many figures2 two sailing vessels with sails set arriving at pier in centre2 two fishing-boats nearer foreground4 ,sunset4 #ie4 ,,river ,,scene3 ,,sunset4 ,g4 ,,barret #e in4 #h in4 ,two boats on centre of river1 with trees on bank to left2 storm-clouds passing over crescent moon4 #if4 ,,welsh ,,river ,,scene4 ,,david ,,cox #f in4 #h in4 ,signed and dated1 8,d4 ,cox1 #ahbg40 ,engraved in 8,the ,social ,day40 #ig4 ,,sunset4 ,r4 ,p4 ,,bonington #e in4 #g in4 ,cattle near foreground2 distant trees dark against sunset sky2 flight of birds on right4 #ih4 ,,stokesay ,,castle4 ,,david ,,cox #e in4 #g in4 ,peasant woman and girl carrying bundles on road in foreground2 castle beyond1 on right1 with dark mountains in distance4 ,stormy sky4 #ii4 ,,the ,,mouth ,,of ,,the ,,thames3 ,a ,,grey ,,day4 ,,david ,,cox #f in4 #aj in4 ,signed and dated1 8,d4 ,cox1 #ahcb40 ,passengers in rowing-boat1 with sailing vessels beyond4 #ajj4 ,,on ,,the ,,moselle4 ,p4 ,,de ,,wint #h in4 #ab in4 ,road leading to village1 with church-spire and castle on left2 river on right1 with rocky banks4 #aja4 ,,barnard ,,castle4 ,p4 ,,de ,,wint #e in4 #i in4 ,ruins of castle on hill in distance to right2 rocks and trees in foreground4 #ajb4 ,,landscape1 ,,with ,,castle4 ,,david ,,cox #g in4 #aj in4 ,query1 ,powys ,castle4 ,castle among trees1 seen from above2 shepherd and dog in foreground2 mountain ranges in distance4 #ajc4 ,,undercliff1 ,,ventnor4 ,p4 ,,de ,,wint #aj in4 #ac in4 ,figure sketching in foreground1 among rocks4 #ajd4 ,,on ,,the ,,moor4 ,t4 ,,collier #f in4 #i in4 ,a stretch of moorland1 with moving clouds4 #aje4 ,,the ,,mid-,,day ,,meal4 ,j4 ,,linnell #d in4 #g in4 ,signed1 8,j4 ,linnell40 ,figures seated under a tree4 #ajf4 ,,the ,,quay4 ,,david ,,cox #e in4 #h in4 ,quay of red brick and stone1 with crane on it2 barges moored beside it4 #ajg4 ,,warwick ,,castle4 ,g4 ,,barret #g in4 #aj in4 ,signed and dated1 8,geo4 ,barret4 #ahba0 7or #ahbf74 ,river in foreground2 castle seen against the sunset4 #ajh4 ,,the ,,castle ,,by ,,the ,,river4 ,,john ,,varley #e in4 #aj in4 ,castle with trees on a hill2 bridge in middle distance2 distant blue mountains4 ,a composition4 #aji4 ,a ,,ruined ,,abbey4 ,,david ,,roberts1 ,r4,a4 #h in4 #aa in4 ,signed1 8,d4 ,roberts1 ,r4,a40 ,chalk on grey paper1 heightened in parts with body-colour4 ,evidently ,melrose ,abbey4 #aaj4 ,,drawing-,,room ,,at ,,cassiobury1 #ahba4 ,w4 ,,hunt #i in4 #ac in4 ,signed and dated1 8,w4 ,hunt4 #ahba40 ,windows on left1 fireplace and wall covered with pictures on right2 round mahogany table in centre4 ,trees of the park seen through window at end of room4 #aaa4 ,,in ,,kensington ,,gardens4 ,t4 ,,hearne #g in4 #aj in4 ,signed1 8,t4 ,hearne40 ,road1 bordered with trees1 in centre1 running into drawing2 group of haymakers in middle distance on left4 #aab4 ,,lake ,,scene4 ,,john ,,varley #h in4 #ac in4 ,ruined castle on lake1 which is surrounded by mountains4 #aac4 ,,in ,a ,,normandy ,,town4 ,,samuel ,,prout #aj in4 #g in4 ,signed1 8,s4 ,prout40 ,figures outside doorway of a picturesque old ,french house4 #aad4 ,,hampstead4 ,w4 ,,oliver #h in4 #ab in4 ,signed1 8,william ,oliver40 ,looking over the heath towards ,harrow2 figures in sandpits in foreground4 #aae4 ,a ,,gorge4 ,circa #ahce4 7,plate ,,xxiv47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #ac in4 #i in4 ,christie's1 #aiab 7,j4 ,e4 ,taylor74 ,mountain torrent rushing down among rocks4 ,perhaps one of the ,falls of the ,reichenbach4 #aaf4 ,,the ,,thames1 ,,near ,,walton4 ,p4 ,,de ,,wint #h in4 #ag in4 ,river in foreground1 with barges and rowing-boats4 #aag4 ,a ,,scene ,,from ,a ,,window ,,of ,,miceas ,,court1 ,,herefordshire4 ,t4 ,,hearne #g in4 #aj in4 ,signed1 8,t4 ,hearne40 ,winding river with steep banks running into picture on right2 cattle and trees in foreground4 #aah4 ,,cassiobury4 ,t4 ,,hearne #aj in4 #ac in4 ,signed and dated1 8,t4 ,hearne4 #ahje40 ,small bridge with figures in foreground2 trees on either side2 ,cassiobury ,house in middle distance on slope4 #aai4 ,,old ,,gateway1 ,,normandy4 ,,samuel ,,prout #aj in4 #g in4 ,signed1 8,s4 ,prout40 ,companion to ,no4 #aac4 ,peasants under archway1 ornamented with wood-carvings4 #abj4 ,,loch ,,leven ,,castle4 ,,john ,,varley #g in4 #aj in4 ,castle in centre against sunset sky2 river on right1 with blue mountains in distance4 #aba4 ,,durham4 ,,david ,,roberts1 ,r4,a4 #f in4 #i in4 ,inscribed1 8,durham1 ,sep4 #adth1 #ahcf40 ,cathedral and castle in centre1 with river and bridge on right4 #abb4 ,,leyton1 ,,essex4 #ahcj4 7,plate ,,xxxviii47 ,,john ,,varley #aj in4 #af in4 ,signed1 8,j4 ,varley40 ,figures on road1 running into picture on left2 row of old houses on right2 sunny effect with strong shadows cast over roadway4 #abc4 ,,landscape ,,with ,,cottage4 ,,john ,,constable1 ,r4,a4 #d in4 #e in4 ,cottage among trees2 a rapid sketch4 #abd4 ,,the ,,storm4 ,j4 ,,linnell #d in4 #g in4 ,signed1 8,j4 ,linnell40 ,flock of sheep on road in centre2 large tree dark against stormy sky4 #abe4 ,,charles ,v4 ,,visiting ,,francis ,i4 ,,after ,,the ,,battle ,,of ,,pavia4 ,r4 ,p4 ,,bonington #e in4 #f in4 ,lithographed by ,harding1 #ahbi1 when the drawing was in the possession of ,clarkson ,stanfield4 ,francis in bed2 attendant with green dress holding a dog in foreground2 ,charles ,v4 standing on other side of bed in shadow4 #abf4 ,,rheinfels ,,castle4 ,circa #ahce4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #f in4 #i in4 8,dib0 written in pencil in foreground4 ,river in foreground with high mountain on right2 buildings beyond at foot of another hill1 surmounted by ruined buildings4 #abg4 ,,mouth ,,of ,,the ,,grand ,,canal4 ,circa #ahda4 7,plate ,,xxiii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #ab in4 ,once in collection of the ,rt4 ,hon4 ,w4 ,f4 ,d4 ,smith1 ,m4,p4 ,christie's1 ,may #aiag 7,beecham74 ,the ,dogana on right1 with church of ,san ,giorgio ,maggiore beyond2 tall buildings on left4 #abh4 ,,church ,,of ,,st4 ,,lawrence1 ,,evesham1 ,,as ,,seen ,,through ,,tower ,,gateway1 #agic4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #aj in4 ,woman seated in foreground sketching4 #abi4 ,,florence ,,from ,,fiesole4 ,circa #ahag4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #e in4 #h in4 ,signed1 8,turner1 ,r4,a40 ,engraved by ,w4 ,r4 ,smith for 8,a ,picturesque ,tour of ,italy1 from drawings made in #ahaf-ahag1 by ,james ,hakewill1 ,archt40 ,christie's1 #ahfi 7,dillon72 ,ruskin ,collection1 ,f4,a4,s41 #ahgh2 ,glasgow1 #aija 7,a4 ,t4 ,hollingsworth72 ,christie's1 ,may #aijh 7,humphrey ,roberts74 ,view taken from the garden of the ,franciscan convent at ,fiesole4 #acj4 ,,lake ,,of ,,lucerne3 ,,brunnen ,,in ,,the ,,distance4 ,circa #ahdj4 7,plate ,,xx47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #i in4 #aa in4 ,query the drawing sold at ,christie's1 #aiji 7,nettlefold71 as 8,view on the ,rhine40 ,the two ,mythens in the distance2 view from near ,treib4 #aca4 ,,alpine ,,scene4 ,circa #ahce4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #d in4 #f in4 ,study of a glacier4 #acb4 ,,wilderness ,,of ,,sinai4 ,circa #ahcb4 7,plate ,,xix47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #e in4 #g in4 ,engraved in ,finden's 8,landscape ,illustrations of the ,bible10 from a sketch by ,major ,felix4 ,christie's1 #ahge 7,levy74 ,view of the rock said to have been struck by ,moses2 ,arabs in foreground4 #acc4 ,,swiss ,,landscape4 ,circa #ahce4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #ab in4 ,stream in foreground2 mountains beyond4 #acd4 ,,turin1 ,,from ,,the ,,church ,,of ,,the ,,superga4 ,circa #ahah4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #e in4 #h in4 ,signed1 8,j4 ,m4 ,w4 ,turner40 ,engraved by ,j4 ,mitam for 8,a ,picturesque ,tour of ,italy1 from drawings made in #ahaf-ahag1 by ,james ,hakewill1 ,archt40 ,ruskin ,collection1 ,f4,a4,s41 #ahgh4 ,city of ,turin below2 the river ,po winding through valley1 and beyond1 the rugged snow-clad chain of ,alps4 #ace4 ,,alpine ,,stream4 ,circa #ahdj4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #i in4 #aa in4 ,castle on cliff with mountain range beyond2 houses at entrance of defile on the right2 streams in foreground4 #acf4 ,,steeton ,,manor1 ,,near ,,farnley4 ,circa #ahah4 7,plate ,,xviii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #d in4 #e in4 ,from ,farnley ,collection2 ,r4,a41 #ahhi 7,j4 ,irvine ,smith74 ,steeton ,manor ,house is nearer ,skipton than ,farnley4 ,garden enclosed by wall in front of house2 a woman hanging out clothes to dry1 some clothes lying on ground4 ,evening sky4 #acg4 ,,lake ,,of ,,nemi4 ,circa #ahah4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #e in4 #h in4 ,signed1 8,j4 ,m4 ,w4 ,turner1 ,r4,a40 ,engraved by ,t4 ,page1 for 8,a ,picturesque ,tour of ,italy1 from drawings made in #ahaf-ahag1 by ,james ,hakewill1 ,archt40 ,ruskin ,collection1 ,f4,a4,s41 #ahgh2 ,guildhall1 #ahii4 ,town of ,gensano and ,convent of the ,capuchins on right2 ,monte ,circello and the ,mediterranean in distance4 #ach4 ,,ehrenbreitstein4 ,circa #ahdj4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #aa in4 ,river in foreground2 fortress in middle distance1 towards the right4 #aci4 ,,old ,,abbey1 ,,evesham4 #agic4 7,plate ,i47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #aj in4 ,signed1 8,w4 ,turner4 #agic40 ,arch of old abbey in foreground1 with ,church of ,st4 ,lawrence in distance4 #adj4 ,,winchelsea ,,church4 ,circa #agif4 ,,thomas ,,girtin #h in4 #e in4 ,blue and grey wash4 ,from ,james ,moore1 ,miss ,miller1 and ,girtin ,collections4 ,part of church on right2 figure seated on stone in foreground4 #ada4 ,,st4 ,,augustine',s ,,priory1 ,,canterbury4 ,circa #agif4 ,,thomas ,,girtin #f in4 #h in4 ,from a sketch by ,james ,moore1 now in the ,ashmolean ,museum4 ,from ,james ,moore and ,miss ,miller ,collections4 ,priory in centre1 with trees on right2 two cows and peasant in smock with pole and pail in foreground4 #adb4 ,a ,,suffolk ,,village4 ,,thomas ,,gainsborough1 ,r4,a4 #e in4 #h in4 ,a drawing in black1 white1 and red chalks on grey paper4 #adc4 ,,crummock ,,water4 ,r4 ,r4 ,,reinagle1 ,r4,a4 #f in4 #aj in4 ,signed and dated1 8,r4 ,r4 ,reinagle1 #ah--0 7the last two figures are hidden by the mount74 ,cottages with tall trees on left2 horse and cart on roadway in centre2 bend of river on right1 with distant mountains4 #add4 ,,norwich ,,cathedral4 #agic4 7,plate ,,xxvi47 ,,edward ,,dayes #aj in4 #ad in4 ,signed and dated1 8,e4 ,dayes1 #agic40 ,a similar view1 but with different figures in foreground1 was engraved by ,w4 ,angus and published1 ,october #ahja1 in the 8,beauties of ,england and ,wales0 7,norfolk volume74 ,view from the river2 gateway on left2 cathedral in centre2 figures on river-bank in foreground4 #ade4 ,,norbury ,,park4 ,circa #agih4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #ad in4 ,christie's1 ,july #aiab 7,j4 ,e4 ,taylor71 as 8,autumn in ,surrey0 7,no4 #aac74 ,warm autumn tints on foliage in foreground2 distant view over flat country with hills beyond4 #adf4 ,,kenilworth4 ,circa #agif4 7,plate ,,xxxi47 ,,thomas ,,girtin #h in4 #aa in4 ,ruins in centre2 wooden fence and foliage on right in foreground4 #adg4 ,,water ,,mill4 ,circa #agih4 7,plate ,,iii47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #i in4 #ac in4 ,mill1 with water-wheel1 to left2 two figures on rustic bridge among foliage on right4 #adh4 ,,llangollen ,,bridge4 ,,edward ,,dayes #i in4 #ad in4 ,this is incorrectly named2 probably ,llanrwst ,bridge1 ,denbighshire4 ,an engraving by ,j4 ,walker1 of ,llanrwst ,bridge1 8from an original picture by ,e4 ,dayes10 was published in the 8,copper-,plate ,magazine10 ,august #agii4 ,some cattle in the engraving are omitted in this drawing1 and the figures are different4 #adi4 ,,thaxted ,,church1 ,,essex4 ,t4 ,,hearne #i in4 #g in4 ,signed 8,hearne40 ,an engraving of this subject from a drawing by ,hearne was published in ,william ,byrne's 8,antiquities of ,great ,britain40 #aej4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a41 ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum ,j4 ,r4 ,,smith #h in4 #g in4 ,in profile1 seated1 looking at an engraving which he holds in his hand4 ,smith was ,keeper of the ,print ,room when he made this drawing4 #aea4 ,,derbyshire4 ,p4 ,,de ,,wint #e in4 #ab in4 ,trees in foreground1 with distant hills on right4 #aeb4 ,a ,,mountain ,,stream4 ,circa #agih4 7,plate ,,iv47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h;in4 #ab in4 ,probably a leaf of the 8,hereford ,court0 ,sketch ,book 7,turner ,bequest1 ,,xxxviii74 ,christie's1 #aiab 7,j4 ,e4 ,taylor74 ,river in centre1 tumbling over boulders in foreground2 mountains beyond4 #aec4 ,,valley ,,of ,,the ,,washburne1 ,,near ,,farnley4 #ahaf-ahah4 7,plate ,,xiv47 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aj in4 #ae in4 ,slightly different view from ,banks of ,washburne in ,farnley ,hall ,collection4 ,looking along river1 with steep wooded bank on right2 ,leathley ,church in middle distance on left2 ,otley ,chevin in distance4 #aed4 ,,the ,,abbey ,,gateway1 ,,reading4 ,f4 ,,mackenzie #i in4 #ac in4 ,a similar view of the gateway was drawn by ,e4 ,dayes and published in 8,beauties of ,england and ,wales0 7,berkshire volume71 ,january #ahjd4 #aee4 ,,malvern ,,church4 ,w4 ,s4 ,,gilpin #g in4 #aa in4 ,view of ,little ,malvern ,church with mountain beyond1 on left4 #aef4 ,,willesden ,,church4 ,circa #agif4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #i in4 #ac in4 ,blue and grey-wash4 ,christie's1 #aiab 7,j4 ,e4 ,taylor71 as ,kilburn ,church 7,no4 #hh74 ,view of church in centre1 with grave-digger in foreground on right4 #aeg4 ,,warwick ,,castle4 ,circa #ahcj4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #i in4 #ac in4 ,christie's1 #aiab 7,j4 ,e4 ,taylor71 as ,a ,,pool4 ,water in foreground2 towers seen among foliage on right4 #aeh4 ,,crosses ,,and ,,brasses1 ,,whalley ,,abbey4 ,circa #agih4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #aj in4 #g in4 ,from ,ruskin1 ,harrison1 and ,j4 ,e4 ,taylor ,collections4 ,engraved by ,j4 ,basire and published1 ,august #ahjj1 in ,whitaker's 8,history of the ,parish of ,whalley40 #aei4 ,,mountainous ,,landscape4 ,attributed to ,,alexander ,,cozens #e in4 #i in4 ,probably a leaf from ,turner's 8,north ,wales0 ,sketch ,book4 ,river in centre1 with distant mountain4 #afj4 ,,an ,,iceberg4 ,circa #ahde4 ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 #h in4 #ab in4 ,christie's1 #aiab 7,j4 ,e4 ,taylor74 ,an iceberg with splashes of red and black4 ,in foreground some writing in pencil4 #afa4 ,,derwentwater4 ,,john ,,constable1 ,r4,a4 #bc in4 #ch in4 ,lake in centre surrounded by mountains4 #afb4 ,a ,,road ,,through ,a ,,village4 ,,samuel ,,prout #be in4 #cf in4 ,man with two dogs driving cattle on road2 old priory building in centre1 with houses on left4 #afc4 ,,meadows ,,by ,,the ,,river ,,lugg1 ,,herefordshire4 ,,david ,,cox #bh in4 #db in4 ,sheep in meadow beside river on left2 seated figures in foreground on right1 with a man stooping to get water from a pool2 row of trees in shadow on left bank of river2 hills1 with cattle1 beyond4 #afd4 ,a ,,mountain ,,spring4 ,,david ,,cox #bi in4 #be in4 ,signed1 8,david ,cox40 ,two figures with pails in foreground2 rocks and mountain above4 #afe4 ,,westminster4 #ahjf4 ,m4 ,,dubourg #ah in4 #bh in4 ,signed1 8,m4 ,dubourg4 #ahjf40 ,bridge in centre towards right1 with ,westminster ,abbey beyond2 barges and boats on river2 in foreground on right1 two figures drawing boat aground1 and children playing4 #aff4 ,a ,,welsh ,,funeral3 ,,bettws-,y-,,coed4 ,,david ,,cox #bc in4 #cc in4 ,a larger and slightly different version of this subject was exhibited at the ,society of ,painters in ,water-,colours1 #ahej4 ,tall trees casting shadow over crowd of figures in roadway in foreground2 belfry of chapel among trees in middle distance2 mountains beyond4 #afg4 ,,in ,,switzerland4 ,,clarkson ,,stanfield1 ,r4,a4 #ah in4 #be in4 ,signed1 8,c4 ,stanfield1 ,r4,a4 #ahdi40 ,buildings and trees at foot of mountains2 figures on road in foreground4 #afh4 ,,under ,a ,,welsh ,,crag4 #ahhh4 ,t4 ,,collier #bc in4 #ce in4 ,signed and dated1 8,thos4 ,collier4 #ahhh40 #afi4 ,,houndean ,,valley1 ,,near ,,lewes4 ,h4 ,g4 ,,hine #ai in4 #cd in4 #agj4 ,,brendon ,,valley4 ,,cecil ,g4 ,,lawson #af in4 #bc in4 ,,footnotes3 ,a ,the numbers are those in the ,catalogue of ,messrs4 ,agnew's ,exhibition which appears at the end of this volume4 ,b ,reproduced in 8,the ,water-,colours of ,j4 ,m4 ,w4 ,turner0 7,,studio ,special ,number1 #aiji74