YALE UNIVERSITY
LIBRARY

Gift of
CHAUNCEY BREWSTER TINKER
YALE 1899

THE ENGRAVED WORK

OF

J. M. W. TURNER, R.A.
VOL. I

MACMILLAN AND CO., Limited
LONDON • BOMBAY ¦ CALCUTTA
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'moru'&lal&er&'-fu. <*o.

J'.Jt&lSTurner 9UI. cvbtivca^ of 23
^cuhMuL -by iUrrL^eAj. ^JVatioivcUy JfaMeru

THE ENGRAVED WORK
OF
J. M. W. TURNER, R.A.

BY

W. G. RAWLINSON
AUTHOR OF " TURNER'S LIBER STUDIORUM, A DESCRIPTION
AND A CATALOGUE "

VOL. I
LINE ENGRA VINGS ON COPPER, 1794— 1839

MACMILLAN AND CO., LIMITED
ST. MAETIN'S STEEET, LONDON
1908

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

CONTENTS.

PAGE
Portrait of J. M. W. Turner, E.A., at the age of 23
To face Title.
Preface  vii
Introduction ......... ix
Explanatory Notes  lxxv
Complete List of Engravings after Turner . . lxxxv
Catalogue  1
Index  175

PREFACE
I have endeavoured in this Catalogue to give as com
plete information as my present knowledge permits, con
cerning the entire engraved work of J. M. W. Turner,
R.A. But as that consists of nearly nine hundred
examples, it will be readily seen that absolute accuracy
in all details is hardly to be hoped for. I do not think
that many engravings after Turner will be discovered
which are not included here, but the publication of this
Catalogue will probably bring to light collections at
present unknown to me, containing certainly many
Trial Proofs, and very possibly some ' States,' which I
have never seen.
A second volume is in preparation, and a third may
perhaps be required ; a General Index will be given at
the end. These, with the ' Catalogue of the Liber
Studiorum ' (a revised edition of which was published
in 1906), will embrace the whole engraved work of
Turner executed during his lifetime and the period
immediately following his death.
I have not attempted any illustrations. None of the
reproductions of Turner's Line Engravings which I have
yet seen have appeared to me to give any true sense of
their luminousness and delicacy; nor have the Mezzo
tints fared much better. More satisfactory results might
probably be obtained by photogravures of the same
dimensions as the originals, but the size no less than
the cost would be prohibitive.

PREFACE.

It is my pleasant duty to thank many friends for their
help in what, if it is an arduous task, is also a labour
of love. To Mr. D. C. Lathbury I am indebted not only
for sound criticism, but also for a sometimes-needed
spur; Mr. Sidney Colvin's experienced advice has been
from time to time of great service; Mr. C. F. Bell,
of the Ashmolean Museum, Oxford, Mr. H. S. Theobald,
K.C., Mr. A. J. Finberg, Mr. C. Mallord Turner, and
Mr. Francis Bullard, of Boston, U.S.A., have all con
tributed information, and Mr. Edward Dillon's aid has
again been invaluable. Mr. Frank Short, A.R.A. — whose
knowledge of all engraving processes, past and present,
is even greater than was Turner's — has explained many
difficult technical points, and has very kindly read the
proofs of that portion of the Introduction which deals
with technique. Mr. Whitman of the British Museum
has aided in the solution of some puzzling problems
of detail, Mr. W- Ward, of Richmond, has supplied
useful particulars of engravings which from time to time
have passed through his hands, Mr. Algernon Graves,
whose firm was so long connected with Turner, has
cleared up some obscure questions relating to the later
engravings, and Messrs. Agnew have kindly furnished
me with the latest particulars of recent changes in the
ownership of important drawings. My thanks are also
due to Mr. Ruskin's Executors and to his publisher,
Mr. George Allen, for their permission to quote from
his writings. W. G. Rawlinson.
London. October, 1908.

THE ENGRAVED WORK OF
J. M. W. TURNER, R.A.

INTRODUCTION.
Turner is largely known to the world through his engrav
ings; much of his most important work was done for the
engraver, and under his influence the translation of land
scape into black-and-white was carried to a higher point
than it had ever before reached. Probably no painter
before him so well understood the methods, the capa
bilities, and the limitations of engraving; certainly none
ever devoted an equal amount of time and care to the
reproduction of his works.
From his boyhood to his latest years Turner was con- Turner's
nected with this branch of art. At nine years old his draw- connection
ings, exposed in the shop window of his father the barber, with
in Maiden Lane, attracted the attention of the customers enSravmS-
(among whom was the painter Stothard), and it was de
cided that the boy should be brought up as an artist.
His first training probably was in the workshop of John
Kaphael Smith, the great mezzotint engraver, who was
also a printseller. Here Turner and his fellow apprentice
Girtin were employed chiefly in colouring the aquatint
and mezzotint plates then so much in vogue, but there is
no doubt that in Smith's work-room he also acquired a
general knowledge of engraving processes, which stood
i. ix h

INTRODUCTION TO THE

him in good stead throughout his life. When, a few
years later, he commenced his famous 'Liber Studiorum,'
not only was he able to execute in a masterly way the
foundation etchings which his engravers required, but
dared not themselves attempt, but also, with his own
hand, he completed in mezzotint eleven of the finest
plates. His corrections and instructions on the trial
proofs which from time to time his engravers submitted
to him, also show that from the first he was familiar
with their terms and methods. As will be seen hereafter,
these instructions, in which he almost invariably took
pains to explain his reasons for the alterations which he
required, educated the artists who worked under him as
no engravers had ever been educated before. And the
gain was a double one. Not only were they taught by
Turner, but, in teaching and correcting them, he himself
learned how most effectively to draw with a view to trans
lation into black-and-white.
Landscape Turner was born in 1775, at which time William
a^thTend Woollett stood at the head of all landscape engravers.
of the XVIII His fine interpretations of the pictures of Claude, Poussin,
'' u,y and Wilson had gained him a high reputation, not only
in England, but throughout the Continent. He died in
1785, but his influence dominated the English school of
engraving at the end of the eighteenth and the beginning
of the nineteenth century. His work was always strong
and masterly, although it has not the delicacy nor especi
ally the luminousness of the men who were to succeed
him. From the middle to the end of the eighteenth century
Mezzotint engraving was at its zenith in England, in the
hands of McArdell, Valentine Green, John Eaphael Smith,
and other well known artists. But it was as yet almost
confined to portraiture, and although, as will be seen,
Turner on several occasions successfully employed it for

ENGRA VED WORK OF J. M. W. TURNER. xi
landscape — notably in his ' Liber Studiorum ' and ' Eivers
of England ' — yet throughout his life, his works, large and
small, were reproduced mainly in Line Engraving. Had
the commercial conditions been equal, he would probably
have employed Mezzotint more frequently, as its breadth
of treatment lends itself in many ways to the expression
of some of the most characteristic features of his art.
But the comparatively small number of good impressions
which the process yields was doubtless practically fatal to
its general use, especially for the book illustrations which
form so large a part of Turner's work in black-and-white.
He was in fact compelled from the first to accept Line
Engraving as his method, and it will be seen how in the
hands of the able men who worked under his influence
and direction, it gradually advanced in brilliance and dis
tinction, until it reached the high point of ' The Southern
Coast,' the ' Bichmondshire,' the 'England and Wales,'
' Eogers's Poems ' and ' Italy,' ' The Eivers of France,' and
some of the large plates produced during his later years.
As the great majority of the works which will be de
scribed in this Catalogue were executed in one or other of
the two processes just mentioned, it may be useful here to
describe their widely differing methods.1
' Line Engraving ' is so designated because its effects are Method of
primarily obtained by lines cut on the surface of a metal Line En-
plate by a tool called the burin or graver. The early
masters of the art — Durer, Lucas van Leyden, and the
first Italian engravers — worked in what is now known as
* pure line,' i.e., they actually cut with their own hands
every stroke or dot which appears on the prints bearing
1 I am deeply indebted to Mr. Prank Short, A.R. A., who has most
kindly revised these notes, and given me information on many
technical points, which could only have been afforded by an artist
familiar with every kind of black-and-white work.

INTRODUCTION TO THE

their names. But in the seventeenth century (or possibly
before) it was discovered that the earlier stages of this
necessarily slow and laborious process could be far more
quickly and easily executed by the method known as
• Engravers' Etching,' and for the last 250 years or more,
the usual procedure of the line engraver has been as
follows :
(1) An accurate outline-copy of the picture to be
engraved, reduced to the exact size of the engraving re
quired, is made (generally by the engraver but sometimes
for him) in pencil or crayon on smooth paper. Accuracy
in the reduction is obtained by dividing the picture itself
by cross threads into small squares of from one to two or
three inches each, each of which is numbered; these
squares and numbers are then drawn to the smaller scale
on the paper of the copy, and the drawing is completed,
square by square, until it exactly corresponds (but on its
smaller scale) with the picture. This copy, or a tracing
of it, is now rolled by a press over a plate of hammered
copper or steel, on which a thin layer of wax has pre
viously been laid, and by this means every line or touch
on the copy is imprinted on the surface of the wax. The
plate is now ready for engraving.
(2) The engraver with his ' point ' — a tool which is
simply a large needle with a steel or diamond tip — then
goes over the design which he sees before him imprinted
on the wax, the point as it advances removing the wax
and leaving the engraver's lines showing as bare, shining
metal below. Some are only outlines, but most are in
sets of lines in varying directions, by which means ' tone '
is obtained. (3) The plate is then immersed in a bath of diluted
nitric acid, which eats into these lines (now unprotected
by wax), and in so doing reproduces them on the surface
of the plate, all the rest of which remains protected by
its covering of wax. The finer lines need but a very short

ENGRAVED WORK OF J. M. W. TURNER, xiii
exposure to the acid, and have quickly again to be covered
with wax — ' stopped out ' as it is termed — but the dark
ones, in proportion to their darkness, require many
repetitions of the bath, each successive stage being
' stopped out ' with wax as it is completed. This process
— which is the distinguishing feature of all Etching — is
termed ' biting-in.' It needs extreme skill on the part of
the operator, as the gradations in the strength of the
lines demand the greatest judgement and delicacy in
manipulation, and there is moreover always a risk of the
acid penetrating on to the metal where it is not intended,
should the wax not have been properly laid. Such special
aptitude does it require, that it was formerly often
entrusted to some engraver known to be expert at it, and
his name, with the word ' Aquafortis ' after, may not
unfrequently be seen on the early stages of a line en
graving. Even the burin work which comes after was sometimes
'bitten-in' to enforce it. This is peculiarly hazardous,
as only the most delicate film of wax can be laid over an
already engraved plate. The late Mr. Goodall, E.A.,
whose father executed some of Turner's large engravings
and the greater part of his finest vignettes, told me that
he well remembered in his early days what anxious times
for the family ' biting-in days ' were.
An impression of a line engraving taken at this stage
is usually called the ' Open ' or ' Preliminary ' Etching.
These are generally hard and monotonous in effect,
being in fact mainly very skilful tracings, intended as a
foundation for subsequent work. They are never ' free,'
but are drawn with the needle resting against a ' straight
edge.' They must not be confounded with the altogether
higher productions of the great Painter-Etchers, such as
Eembrandt and his successors, who draw with the needle
on the wax with a free hand, just as they would paint an
oil or water-colour picture with the brush.

xiv INTRODUCTION TO THE
(4) The preliminary etching completed, the real engrav
ing of the plate begins. This is accomplished mainly with
two instruments, the more important of which is the burin
or graver, and the other the ' dry-point.' The burin is
a steel tool about five inches long, tapering to a triangular
point and set in a hollow, semicircular, wooden cap.
With this cap resting against the palm of his hand, the
engraver pushes the point of tbe burin before him
through the lines already bitten by the acid on the plate,
every stroke cutting away before it a minute shaving or
fragment of metal. By going over the etched lines in
this way again and again, they are gradually deepened
(and consequently darkened) as required; cross-lines,
dots, hatchings, and shadings are also added where
necessary. The lighter parts of an engraving — such as
the clouds — are seldom etched, but are usually executed
entirely with the burin or the ' dry-point.' The latter is
virtually an etching needle, but it is used without acid,
hence its name. It is required for the most delicate lines
of all, such as those of the sky, the reflections on water,
etc. In Turner's vignette engravings it was extensively
employed. A tool called a 'burnisher' is also needed.
This is a highly polished piece of steel of an oval section
tapering to a point ; it is used to rub down and so lighten
lines, or parts of lines, which may be too dark.
Formerly, nearly, if not the whole of the sky was
executed either with the burin or dry-point, involving a
very great amount of labour over the large open spaces,
but early in the last century this labour was much reduced
by the invention of the ingenious 'ruling machine.'
This produces by mechanical means, the fine close,
parallel lines by which so much of the sky is usually
represented. It was employed on many of Turner's later
engravings. Although machine ruling is often fairly
effective, it need hardly be said that it always misses the
sensitiveness and refinement of a skilful engraver's hand.

ENGRAVED WORK OF J. M. W. TURNER. xv
The ' human element ' in any work of art can never be
eliminated without some sacrifice.
The tone, quality, and colour of a line engraving
mainly depend upon the burin or dry-point work. Occa
sionally, in a master's hand — for example in Middiman's
High Street, Oxford, and especially in the late Mr. Barlow's
Vintage at Macon, both prints after Turner — the pre
liminary etching is so strong and so artistic as to be
often preferred to the finished plate : this however rarely
happens. The great feature of Turner's line engravers
from Pye's time onwards was the skill they displayed in
continually changing the direction of their sets of lines,
in order to express changing form in similar tones; yet
not doing it suddenly, but imperceptibly, so as to avoid
its being unduly noticeable.
With all the saving which etching effects in the earlier
stages, the labour of engraving a plate in line is enormous,
and the work itself very hard and tedious. The large
prints after Turner and other painters of his time occu
pied never less than two years each in execution, and
often more, and the cost and delay which this involved
was doubtless one of the causes which led to the disuse
into which the art has now fallen.
Turning now to Mezzotint, we find the procedure very Method of
different. It may be said that the fundamental distinction JJ^^1"*
between theMezzotinter and all other engravers — whether
in Line, Etching or Stipple — lies in the fact that whilst
each of the latter, in his own way, produces his effects
by gradually darkening a white surface with black lines,
hatchings, or dots, the former starts with a black surface,
which he, as gradually, lightens. In a word, he works
from dark to light, and they from light to dark.
The mezzotinter, like the line engraver, first makes an
accurately-reduced copy of the picture which he has to
engrave. He next proceeds to roughen the entire sur-

engraving.

INTRODUCTION TO THE

face of his copper or steel plate by means of a tool
known as a ' rocker.' This resembles a chisel, the edge of
which is a segment of a circle (like the rocker of a cradle)
consisting of very fine sharp teeth, not unlike a tooth-
comb. By continually working this backwards, forwards,
and across the plate, in every direction and at all possible
angles, an immense number of infinitely minute points
are raised all over its surface, so that if it were then
inked and a sheet of white paper rolled over it, the paper
would come from the press perfectly black. This rough
ening process is called ' laying the ground.'
The engraver next divides the ' grounded ' plate into
small squares, by ruling over it in soft chalk or pencil,
lines exactly corresponding with those on his copy; he
then traces, lightly but with extreme accuracy, on the
surface of the metal, the leading outlines of his subject.
Sometimes these outlines are etched, i.e., 'bitten-in,'
with acid, before the mezzotint ground is laid — as for
example in the plates of Turner's ' Liber Studiorum ' —
but this is rarely done.
As has just been said, the oopper-plate at this stage
would print absolutely black. Accordingly, the engraver's
task is now, by gradually scraping away the innumerable
minute raised points on the copper, to reduce that abso
lute blackness through varying gradations corresponding
to the varying Bhades on the picture, until he reaches the
highest lights, where the points have to be completely
removed. The metal in these places, being now once more
perfectly smooth, prints pure white; in the dark parts of
the print, the points have been left by the engraver so
proportionately high as to catch more or less ink as may
be necessary.
For removing the points and roughnesses on the copper,
the engraver uses two or three tools of different sizes
known as ' scrapers,' and for polishing the plate for the
high lights, a 'burnisher.' It may be imagined how

ENGRAVED WORK OF J. M. W. TURNER, xvii
minute and delicate are all the intermediate stages be
tween absolute black and absolute white, and what skill
is required thus entirely to reverse in engraving the
procedure by which the picture or drawing was originally
produced. In all methods of engraving, whether by the scraping The Print-
and burnishing of Mezzotint as just described, or by Line savings"
Engraving as previously explained, the artist requires
from time to time to see the effect in black and white of
his work, which is visible to him only as a gleaming
picture on the face of the metal. For that purpose what
are termed ' Trial ' or ' Progressive ' Proofs are taken at
various stages by the plate-printer. He first covers the
plate with ink of a greasy nature, which he applies with
a soft leather pad. Much of this ink is then wiped off
with a soft, open-textured, linen cloth made for the pur
pose, but some is of course left in the lines of the line-
engraving plate or adhering to the minute points on the
mezzotint. Great judgement and experience are required
for this ' wiping ' as it is termed, especially in mezzotint
plates, as according to the amount of ink left in the
various parts of the metal, the darkness or lightness of
the corresponding part of the impression will be largely
affected. After wiping, the plate is laid face upwards on the bed
of the press, and a damped sheet of plate-paper is forced
into close contact with it,bybeing passed under a revolving
roller. Great pressure is used, and several thicknesses of
blanket are interposed between the paper and the roller.
The elasticity of the blanket actually moulds the damp
paper into the hollows on the plate. In addition, the ink
on its surface is picked up. The distinctions between the
various impressions which succeed one another will be
dealt with, along with similar technical questions, in the
Explanatory Notes which precede the Catalogue.

INTRODUCTION TO THE

The first en- The earliest engravings after Turner are to be found
f^ngs in ' The Copper-Plate Magazine ' (afterwards called ' The
Turner. Itinerant'), one of the many small illustrated serials
which had come into vogue at the end of the eighteenth
century. Over the previous generation, the stately clas
sical landscapes of Claude Lorraine and Gaspar Poussin
had held sway, but in England a new, and what may be
termed a 'romantic,' interest had lately arisen in the
natural scenery of the country, in its ancient Gothic
cathedrals, in the remains of its many mediaeval castles,
and its beautiful ruined abbeys. A school of painters,
chiefly in water-colours — ' topographical draftsmen ' they
were usually called — devoted themselves to the represen
tation of such subjects. Of these Paul Sandby E.A.,
John Cozens, Thomas Hearne, and William Dayes were
the leaders, while Malton, Eooker, De Loutherbourg and
others were prominent members. Their work was char
acterized by great simplicity of design, and their colour
ing limited to the pale tints familiar to all students of
the Early English school; but this simple style and
unpretending colouring were generally accompanied by
careful draughtsmanship and skilful composition; often
also by true poetic feeling. They were largely occupied
in supplying designs for books illustrating the scenery
and antiquities of Great Britain, which were at this time
in great request.
' The Copper -Plate Magazine ' was the joint venture of
John Walker, the engraver of most of the plates, and
Harrison and Co., a city firm of publishers. Many of the
artists named above were employed on it, together with
not a few amateurs; the latter (as now in cricket) were
amusingly distinguished by an 'Esq.' after their names.
Turner received his first commission in 1793. He was
then eighteen, and had been for three years a student
and a regular exhibitor at the Eoyal Academy, where his

ENGRAVED WORK OF J. M. W. TURNER, xix
water-colours had already attracted considerable notice.
He started at once to make drawings for the work, hi8
remuneration, it is said, being fixed at the rate of two
guineas for each plate, with a small allowance for travel
ling expenses — it being stipulated that every drawing
should be made on the spot. Between 1793 and 1798,
while engaged on this and similar work, he went west
as far as Swansea; north, as far as Carlisle; east, as far
as Ely; and south, as far as Eochester. He travelled
mostly on foot, with his drawing materials and his scanty
wardrobe slung in a bundle over his shoulder, and usually
carrying his fishing-rod. Turner was a keen angler and
throughout his life he rarely lost an opportunity of intro
ducing a fisherman whenever he painted any form of
water. Even in later life, when his figures were treated
merely as points of light, colour, or composition, and
were usually very carelessly drawn, the angler was
always an exception, and he will be found invariably de
picted in some characteristic attitude which a fisherman
will at once recognize. Alaric Watts, a contemporary,
says of him : 1
" He walked twenty to twenty-five miles a day, sketching
rapidly on his way all striking pieces of composition, and
marking effects with a power that daguerreotyped them in his
mind. There were few moving phenomena in clonds and
shadows that he did not indelibly fix in his memory, though
he might not call them into requisition until years after
wards." Walker was a poor engraver. Only a few of Turner's
drawings for the ' Copper-Plate Magazine ' have survived,
and most of these have greatly faded, but the one or two
which are still unimpaired show that the translator has
entirely failed to render the charm of these early works.
No one seeing the prints would imagine from them the
1 ' Liber Fluviorum,' 1857, preface.

INTRODUCTION TO THE

delicate beauty of the pale blues, greens, and browns of
the originals, nor the dainty precision of the drawing of
the figures — so different from those of Turner's later
years ! Yet although the prints are small and poorly
engraved, they are far from unattractive. Their old-world
look gives no doubt a fairly accurate and often an artistic
record of an England which must then have been almost
everywhere picturesque — Sheffield and Birmingham even
included. From 1794 to 1798 Turner continued to supply occa
sional illustrations to magazines and various topograph
ical works, but his delicate and careful drawings were
reproduced mostly by inferior craftsmen, and it was not
until 1799 that he became associated with an engraver
worthy of his then fast rising reputation.
The 'Oxford In that year he was commissioned by the University
BaSre TtoI'' °* Oxford to supply the heading to the official broadsheet
Almanack of the University.1 For more than a century
the Oxford Almanacks had been embellished with a repre
sentation of the interior or exterior of some building con
nected with the University or the City, or of some view
in the immediate environs, the drawings for which had
been furnished by the leading water-colour artists of the
day. From 1799 to 1811 these, with one exception, were
supplied by Turner, but one of his designs, The Quad
rangle of Balliol College, was considered unsatisfactory
by the authorities, the Master of the College having
objected that the sunlight could not fall on the buildings
in the way in which it had been represented by Turner.
As Turner would doubtless have strongly objected to
make any alteration on such grounds, and the drawing
1 An interesting and exhaustive history of the ' Oxford Alma
nacks,' by Mr. C. F. Bell, will be found in the " Art Journal ' of
August, 1904.

ENGRAVED WORK OF J. M. W. TURNER, xxi
moreover had already been paid for, the design was
handed over to O'Neill, another water-colour artist, who
arranged it to suit the official view, and it appeared in
the Almanack of 1809 under his name.
The engraver to the University was James Basire, the
second of his name, an artist of good standing, whose
strong, masculine style continued the best traditions of
the school of Sir Eobert Strange and William Woollett.
Although his handling was at times inclined to be dark,
and his skies hard as compared with those of later
engravers, yet his careful drawing and brilliant touch
did justice to the breadth of composition and the
splendid architectural draughtsmanship of Turner's de
signs, all of which are preserved in the University
Galleries. In fact, Basire's work is nowhere to be seen
to better advantage than in early impressions of these
Oxford Almanacks. The Chapel of Merton College, The
Quadrangle of Oriel, and The Hall of Christ Church may
be cited as especially attractive. It should be added
however, that in these, as in all engravings on copper,
the quality of the engraver's work can only be seen in
the early impressions. With so soft a metal, the fric
tion inevitable in printing soon destroys the first brilli
ance of effect; in the case of an almanack, where a
large number of copies would necessarily be required, this
especially holds good. But in the fine series of Proofs of
the Oxford Almanacks in the Print Eoom of the British
Museum, the strength of Turner's designs and the force
of Basire's engraving can be really seen.
In 1799 Turner was elected an Associate of the Eoyal Turner
Academy, and three years later he became a full Member. a. R.A.
He was now much occupied with oil pictures and draw- 1799.
ings, both for commissions and for exhibition, and his
work for the engravers was only occasional and mostly
unimportant. But about 1800 he made an acquaintance

INTRODUCTION TO THE

Introduc- which was destined to have an important influence on his
Whitaker ' career by attracting him to that Yorkshire scenery which
1800. afterwards played so prominent a part in the work of his
early manhood. Dr. Whitaker, the vicar of Whalley, a
parish on the borders of Yorkshire and Lancashire, was
a wealthy and learned antiquary, who at this time re
quired some illustrations for his forthcoming ' History of
the Parish of Whalley,' one of a series of topographical
works dealing with Yorkshire, and Turner having been
recommended for the purpose by a Harrogate bookseller,
he was invited to the vicarage.
An amusing story is told of this first visit. The reputa
tion of being a hard bargainer had preceded him, and he
had been described to Dr. Whitaker as " a regular Jew."
This was understood literally, Turner's personal appear
ance lending- some colour to it. Accordingly Mrs. Whit
aker on the first morning, much to Turner's surprise, is
said to have apologized to him for the presence of ham
on the breakfast table. Still greater was his astonishment
and indignation on the Sunday morning when, as he was
preparing to accompany the family to church, the doctor
urbanely placed at his disposal the library during service
hours. An explosion ensued, followed by an explanation,
which must have been an awkward one for both parties.
Turner however, remained and completed the Whalley
drawings, but from the following letter it is evident that
matters did not run altogether smoothly. Writing on
February the 8th, 1800, to a friend, Dr. Whitaker says: l
" I have just had a ludicrous dispute to settle between Mr.
Townley (Charles Townley, Esq., of Townley), myself, and
Turner the draftsman [sic]. Mr. Townley, it seems, has found
out an old and very bad painting of G-awthorpe, at Mr.
Shuttle worth's house in London, as it stood in the last cen
tury, with all its contemporary accompaniments of clipped
1 Whitaker's ' Parish of Whalley,' vol. ii, p. 183.

ENGRAVED WORK OF J. M. W. TURNER, xxiii
yews, parterres, etc. This he insisted would be more character
istic than Turner's own sketch, which he desired him to lay
aside and copy the other. Turner, abhorring the landscape
and contemning the execution of it, refused to comply, and
wrote me very tragically on the subject. Next arrived a letter
from Mr. Townley recommending it to me to allow Turner to
take his own way, but while he wrote, his mind (which is not
unfrequent) veered about, and he concluded with desiring me
to urge Turner to the performance of his requisition as from
myself. I have, however, attempted something of a com
promise, whieh I fear will not succeed, as Turner has all the
irritability of youthful genius."
The compromise alluded to, seems to have been the
handing over to the engraver the responsibility of repro
ducing the objectionable picture.
Dr. Whitaker's estimate of Turner, to whom he alludes
simply as "the draftsman " is amusing, and characteristic
of the position then held by all but a very few artists;
especially considering that " the draftsman " was an
Associate of the Eoyal Academy. Nor does any allusion
to the painter's share in the work appear in the preface,
which is filled with acknowledgements to various local
notabilities who had contributed at their own expense
plates of their mansions and parks, as was customary
at the time. As the late Cosmo Monkhouse has remarked : 1
"We should have liked to have seen Turner's 'tragical
letter,' and also Dr. Whitaker's face, if he had been told
that not many years after, a book would have been pub
lished of drawings by Turner ' the draftsman,' with de
scriptions by the Eev. Dr. Whitaker." — He refers to the far-
famed 'History of Eichmondshire,' by which, twenty years
later, the doctor's name was to be immortalized by means
1 ' Turner,' by Cosmo Monkhouse (Biographies of the Great
Artists), p. 45. Short as this book is, it gives probably the best and
truest view of the painter and his work, of any of the many
biographies which have yet (1908) appeared.

INTRODUCTION TO THE

of Turner's illustrations. The ' Whalley ' drawings and
engravings, however, were mostly hard and topographical,
and show little promise of the brilliant ' Yorkshire period '
which followed a few years later.

Turner's Up to 1805 Turner's work had virtually all been repro-
ployment of duced in line engraving, but in that year a large mezzo-
Mezzotint, tint plate from his famous picture of The Shipwreck was
announced for subscription by Charles Turner, a portrait
engraver of high standing, a namesake, but not a relative
of the painter. This fine print suffers somewhat from
the blackness inherent in mezzotint, but it is broadly and
skilfully executed, and from an artistic point of view it
may be said to be highly successful; yet, judging from
the few fine impressions which exist, the wear of the
plate in printing must have been extraordinarily rapid,
and it is doubtful if the venture could have repaid the
engraver. It is interesting to note that the prospectus
shows that Turner contemplated issuing coloured impres
sions when the plate had become worn out — a practice
then very common with portrait and other mezzotints.
One or two such impressions, coloured no doubt by his
own hand, have survived.

The ' Liber _ Turner had recourse to mezzotint again in the following
1806 rUm' vear> f°r ^s famous ' Liber Studiorum.' I have already
described that work at length in a separate monograph,
and it will be sufficient here to say briefly that, begun in
1806 in emulation of Claude Lorraine's ' Liber Veritatis,'
which had recently been issued in England in an engraved
form, Turner endeavoured in his 'Liber Studiorum' to dis
play, also in engraved form, the whole range of his powers,
and to rival on their own ground his predecessors —
Claude, Poussin, Eembrandt, Backhuysen, Cuyp, Vander
velde, Wilson, and Gainsborough, as well as the painters

ENGRA VED WORK OF J. M. W. TURNER, xxv
of his own day. He made altogether a hundred or more
sepia drawings for the work, very varied in subject, and
etched with his own hand on each copper-plate, the founda
tion outline which was to correspond with the penwork of
the ' Liber Veritatis.' The light and shade, the sky, and
the atmospheric effects — which were to correspond with
Claude's brushwork — were added in mezzotint, mainly
by professional engravers working under Turner's close
supervision, but in several cases by his own hand.
The production of the ' Liber Studiorum ' was spread
over twelve years, and it ceased to appear after 1819,
owing to its failure pecuniarily. But although it was
commercially unsuccessful and was never completed — to
a large extent owing to Turner's own fault — from an art
point of view it was a triumph, and there can be little
doubt that it is the greatest, because it is the most per
sonal, of all Turner's engraved works.
From 1800 to 1810 Turner's prints were comparatively A new
few in number, and, with the exception of the ' Oxford ^pwj6*'
Almanacks,' unimportant in character, but in 1809 a small Villa,' 1809.
plate, executed for him by a new engraver, John Pye, had
a very important influence on the development of land
scape engraving. Turner had painted a picture of Pope's
Villa at Twickenham (then in course of demolition), and
an engraving from it had been commissioned by John
Britton, the enterprising publisher, for his ' Fine Arts of
the English School.' In the illustrations to this and
other similar antiquarian and topographical works, Brit
ton had aimed at a standard of execution higher than
that then current in English books of its class, and had
secured for his undertakings the aid of several able water-
colour artists, including Cotman, Mackenzie, and others,
together with some young, rising engravers, amongst
whom Le Keux, Eawle, and Pye were prominent. Pye's
work, although in other respects no better than that of

INTRODUCTION TO THE

Eawle and Le Keux, was distinguished by its superior
luminousness, especially in the skies. There is a pervading
light, a serenity, in the little print of Pope's Villa which
gives it a different effect from any previous landscape
engraving, although its affinity with the masterly works
which were being produced at about the same time by
Desnoyers and other French line engravers of the early
nineteenth century, some of which Pye had possibly seen,
will at once be recognized. It was, in fact, the first ex
ample of the style which was afterwards to be perfected in
England by Miller, Goodall, Willmore, Wallis, Brandard,
and other Turner engravers.
Mr. Frank Short has pointed out to me that the lumin
ousness which distinguishes this plate from previous
work, arises mainly from the greater delicacy of the line,
especially in the sky, and from the more skilful gradation
of light throughout. It will be observed also that in the
sky (much of which is in dry-point), the continuous change
in direction of the lines succeeds in rendering the forms of
Turner's clouds far better than the * cross-hatching '
which Woollett, Basire, and the older school had em
ployed. The plate throughout is clearer in tone, and less
black than any which had preceded it, and the careful
gradation of the lights is visible everywhere. Notice
especially the pollard willows on the left, the light com
ing through which is felt to be diffused naturally.
It need hardly be said that this new quality of luminous
ness at once appealed to Turner, and on seeing the proofs
of Pope's Villa he said to Pye: "This will do! you can
see the lights; had I known that there was a man who
could do that, I would have had it done before."
The 'High He at once placed in Pye's hands a more important
ford ' l'81^" work wnicn had just been commenced. Wyatt, the well-
known Oxford printseller, had commissioned a picture of
the High Street, Oxford, to be reproduced in an engraving
on a large scale. An extremely interesting correspondence

ENGRA VED WORK OF J. M. W. TURNER, xxvii
between the painter and the publisher which has sur
vived,1 shows the extreme care which from the first
Turner had bestowed on the undertaking, and also the
keen watch which he kept on the work of the engravers
of his day. The high standard of the illustrations in
Britton's works had attracted his notice, and in writ
ing to Wyatt on the question as to who should engrave
the High Street, he suggests two or three names, among
which are those of some of the engravers of Britton's
' Antiquities.' Pye, however, is not mentioned among these
(probably because no work of his had as yet appeared in
the book), and Middiman, an able engraver, had been
selected for the High Street. But after the success of
Pope's Villa, this arrangement appears to have been
altered; Middiman, who was Pye's father-in-law, executed
only the Preliminary Etching, whilst Pye carried out the
subsequent engraving.
Middiman's etching was masterly, and although it is
necessarily without shading, and the sky entirely blank,
it is nevertheless complete as a picture ; by many, it is even
preferred to the finished engraving. Pye's burin and dry-
point work however were admirable, and the figures were
ably executed by Heath — such collaboration in a large
print being frequent at that period. The High Street, Ox
ford, although the earliest of the large line engravings
after Turner, is one of the best. This was due not only to

1 The letters are all printed in Thornbury's ' Life of Turner,'
second edition, pp. 165-7 and 174-5. They are however most con
fusingly mixed in their order and some which refer to the later plate
Of Oxford from the Abingdon Road are placed among those relat
ing to the High Street. As the above Life will be frequently quoted
in these pages, it is necessary here to say that although it is a
veritable mine of information about Turner, yet that information
is at times so inaccurate — and, even when accurate, is often so
misleadingly arranged — that the greatest caution is needed in
drawing conclusions from its statements.

INTRODUCTION TO THE

Middiman's brilliant etching and Pye's delicate engrav
ing, but also to the extraordinary pains taken by Turner
throughout the progress of the plate. His numerous
letters to Wyatt, from one of which I quote below, show
that whilst he was keenly alive to the importance of
breadth and composition, at the same time no detail,
from the height and effect of the spire of St. Mary's,
down to the correctness of each academical costume in
the street, was too trivial to escape his attention. Writing
on February 28th, 1810, he says:
. . . " The figures introduced are as follows: Two clericals,
one in black, with a Master of Arts gown; the other with
lawn sleeves for the bishop, being in want of a little white and
purple scarf [sic] . . . and followed by a beadle. Now arises
some questions — First, is it right or wrong to introduce the
bishop crossing the street in . . . with his robes? Whether
he should wear a cap? What kind of a staff the beadles use,
and if they wear caps? In short these are the principal figures,
and if you will favour me with answers to the foregoing
questions, and likewise describe to me the particularity of each
dress, I should be much obliged to you, for I could wish to
be right. " I am your most obedient,
" J. M. W. Tuenek."
The success of the High Street, Oxford, led Wyatt in
the following year to commission from Turner a com
panion subject — Oxford from the Abingdon Road. This,
with the exception of the figures, was Pye's work through
out. Skilful as the latter was with the burin and dry-
point, he lacked Middiman's ability as a draughtsman and
etcher, and the second plate will not bear comparison
with the first. Pye was subsequently employed by Turner
on other engravings, in many of which he distinguished
himself — notably in the Hardraw Fall and Wyclife Hall
of the ' Eichmondshire ' — but although he was a great
admirer of the painter and very intimate with him per-

ENGRAVED WORK OF J. M. W. TURNER, xxix
sonally, the number of his plates is not large, Turner's
scale of remuneration having been less satisfactory than
he was able to obtain elsewhere.
From 1811 onwards, to within a few years of his death, 'The South-
Turner may be said to have been constantly employed on 18114827*'
drawings for book illustration, the engraving of which he
invariably supervised himself. The earliest of the more
important and best-known works of his middle period is
the ' Views in the Southern Coast of England,' which was
begun in 1811. W. B. Cooke, an able engraver and an
enterprising printseller and publisher, had projected an
important illustrated serial which was to represent in
engraving, the coast of England from the Nore on the east
to the Bristol Channel on the west. The prospectus
announced that the subjects would be supplied by the
leading water-colour artists of the day, among whom the
most prominent place was given to Turner. It was agreed
that the latter should execute forty drawings at the rate of
£7 10s. each, and a subsequent forty at a higher price for
a ' Northern Coast ' which was to follow, if the first venture
proved a success. The engraving was to be in the hands
of Cooke and his brother, both of whom were pupils of
Basire and accomplished artists, and the letterpress to
be furnished by Combe, the author of 'Dr. Syntax,'
assisted by Mrs. Hofland. The whole undertaking was a
partnership, managed by Cooke, and a share was volun
tarily given to Turner in addition to his agreed re
muneration. From the first there were troubles. Turner, not con
tent with his own part of the work, desired to display in
addition his literary powers, and wrote a description to
accompany his first plate, St. Michael's Mount. This met
with scathing criticism from Combe the editor, who de
scribes it in a letter to Cooke 'as" the most extraordinary
1 Thornbury, second edition, pp. 189-90.

INTRODUCTION TO THE

composition he had ever read"; but on receiving the
latter's orders to suppressit,he suggests the compromise of
incorporating a part with his own article; and, evidently
knowing the painter's irascibility, adds: "if you do not
wish to drive Mr. Turner stark staring mad, you had
better get two uncorrected sheets from the printer and
send them to him." Turner's proffered contribution how
ever, was entirely suppressed; yet despite this chilling
reception of his first attempt at literature, he continued
to write poetical notes as he travelled round the coast
making drawings, and allusions to many of the places
which he then visited will be recognized in the long poem
which was found written in his sketch-books of the tour.1
Strange and disjointed as this is, in common with the
numerous other poetical effusions which Turner continued
to produce to the end of his life, it is not devoid of merit,
and there are passages in which may be seen, despite
the awkward diction, the same vein of romantic imagina
tion which found a happier expression through the medium
of his brush.
' The Southern Coast ' continued to appear at long inter
vals over no less than twelve years. Although it has not
the imaginative beauty of the ' Eichmondshire ' which fol
lowed it, nor the breadth and range of the still later
' England and Wales,' it nevertheless takes an important
place in the engraved work of Turner. The drawings,
which are all small and highly finished, are mostly simple,
carefully composed, often striking in their atmospheric
effects, and generally extremely beautiful in colour. The
majority are now sadly faded, but amongst those which are
still intact, Clovelly Bay? St. Mawes,3 and Lulworth Cove1
may be cited as typical examples of Turner's finished
1 Printed in Thornbury's Life, 2nd ed., pp. 205-17.
2 In the National Gallery of Ireland.
3 Lately in the Stevenson collection.
* In the writer's possession.

ENGRA VED WORK OF J. M. W. TURNER, xxxi
water-colours of his early middle period. Their chief
fault — which is still more noticeable in the engravings —
is the tendency to the overcrowding of small lights and
foreground details. This may be observed occasionally in
his earlier prints, but it became from this time onwards,
more and more marked in Turner's engraved work.
It has been suggested that this tendency was coincident
with his return from his first visit to Italy in 1819, and
that it was one of the results of that visit. But it must be
pointed out that it is clearly visible in the drawings and
engravings of ' The Southern Coast ' before the Italian
journey — in Falmouth, for instance, published in 1815.
It can be seen in fact even as far back as the beginning
of the ' Liber Studiorum ' — in Jason, published in 1808, in
The Clyde (1811), and it is still more marked in The
Source of the Arveron, and Mill near the Grand Chartreuse,
both dating from 1816. Another theory 1 is that it arose
from Turner's abandoning the mezzotint process which
he had been using in his ' Liber Studiorum ' and revert
ing to line engraving in ' The Southern Coast ' and sub
sequent works; the increasing number of lights and
details which he put into his drawings — especially into
those intended for engraving — being due to his idea of
what was necessary for the requirements of the burin
engraver, as compared with the broader effects of the
mezzotinter. But it must be remembered that Turner
had been employing line engraving continually for twenty
years, and although an increasing use of that process
might involve some corresponding modification in his
drawings, yet, as has been pointed out above, the tend
ency in question had appeared much earlier, and had
continued to show itself from time to time. My own
view is that it was due to a defect inherent in Turner's
nature, which grew upon him as he got older. The
1 Sir W. Armstrong, ' Life of Turner,' 1902.

INTRODUCTION TO THE

Trial Proofs of ' The Southern Coast ' show that in many
cases, lights and details were added during the progress
of engraving, and there can I think be little doubt that
these were the result of the belief which Turner is said
to have expressed, that "the public wanted sparkle."
Whether or not he was right in that belief, ' sparkle ' he
gave them in ' The Southern Coast,' only too freely.
To a graver defect is I think to be attributed that licence
in dealing with his figures, which begun about this time
and increased towards the middle and end of his career,
so often to the disfigurement of his finest pictures and
drawings, and still more of his prints. With the two
former, the figures were frequently valuable as spots of
brilliant light or colour, but their vulgarity became all
too apparent when reduced to black-and-white.
Turner was, it seems to me, a striking example of a dual
nature. He was a man of strong intellect, and although
he had had no education worthy the name, he was a
reader of good literature, a student of classic story, and a
voluminous writer of poetry. And when Nature was con
cerned, his eye and his mind were always full of poetic
vision, and his brush always cunning to depict her every
mood and charm. But in things human his tastes were
often coarse, his actions sometimes even sordid. And
this could not but have affected his art — as it did I be
lieve, in the matter in question.
' The Southern Coast ' was mainly engraved by the
brothers Cooke, and their work, although different in char
acter from the later 'Eichmondshire ' and 'England and
Wales,' has a style and distinction of its own. The hand
ling is quite unlike that of Pye and his followers, but it is
clear, crisp, and well-accented. George Cooke's force in
the impressive plate of The Land's End, and his luminous
delicacy in Poole Harbour and Teignmouth are especially
noteworthy; while the brilliant, decisive touch of the

ENGRA VED WORK OF J. M. W. TURNER, xxxiii
elder brother in Lyme Regis, The Mew Stone,Bridport, and
llfracombe, admirably renders Turner's unrivalled draw
ing of the sea. In their skies, however, the Cookes were
less successful, as, like Woollett, Basire, and the older
school, they depended too much on cross-hatching for
their modelling of clouds. Much of the effectiveness of
the plates is due to the masterly use of deeply-bitten
Etching over the burin work, giving accent and light-and-
shade, which could not have been obtained by Line En
graving alone. This added Etching was mainly employed
in the foregrounds, and the effects of distance are greatly
enhanced by its means; but, like all superadded work in
engraving, it soon wore away in printing, and the beauty
and distinction of the plates can only be really seen in
the early impressions.
Three other of Turner's most distinguished engravers
were employed on ' The Southern Coast.' Goodall was
eminently successful in Boscastle, Miller's beautiful Clo-
velly Bay was his first commission from the painter, as
also was Wallis's Ramsgate. In these plates, all of which
appeared towards the end of the work, the influence of
Pye is apparent. Throughout, Turner bestowed his usual
minute supervision over every detail of the engraving, as
is shown by the extraordinarily large number of Trial
Proofs which have survived, many of which are of the
highest interest.1
There had been troubles between painter and publisher Quarrel
all along. The original price of the drawings had been Cooke.
fixed at £1 10s. each, and this, soon after starting, had
been raised to £10 10s. Later on, towards the end of the
work, Cooke had further agreed to pay Turner twelve and
a half guineas apiece for forty drawings of ' The Northern
1 The late Lord Tweedmouth possessed nearly a hundred trial
proofs of ' The Southern Coast,' many of them touched and written
on by Turner. They are now in the collection of Mr. C. Mallord
Turner.

INTRODUCTION TO THE

Coast ' which was to follow. On the strength of this second
advance, Turner demanded the extra two and a half
guineas not only on such of ' The Southern Coast ' draw
ings as had still to be delivered, but also on those already
paid for. Cooke naturally objected and a long and angry
correspondence ensued, followed by a threat from Turner
to bring out a ' Northern Coast ' of his own, if his demands
were not complied with. There had also been friction
between Turner and the engravers, owing to his claiming
as hiB property all the trial proofs which they brought to
him for correction; these they had hitherto regarded as
their own perquisites. Eventually matters were brought
to a climax by his demanding, in addition to his re
muneration for the drawings, twenty-five India proofs
of each plate. This was most unreasonable, as the num
ber of really fine impressions yielded by copper-plates
such as those of ' The Southern Coast ' must necessarily
have been very limited. The much-tried Cooke could bear
it no longer, and in 1827 all connection between him and
Turner was broken off.
So far as can be judged from the correspondence, Turner
was clearly in the wrong. No doubt like other great artists,
he was often illogical and unbusinesslike. As Mr. Hamer-
ton remarks,1 " His mind was subject to confused changes
and irregularities about all transactions, owing to its want
of method and clearness." No doubt also, even twelve
guineas was a small sum for a finished drawing by an
artist of Turner's standing in 1827, but in 1811, when the
bargain was made, the £1 10s. originally agreed on (which
was soon after raised to £10 10s.) probably represented
his ordinary price for works of that size. But it must be
admitted that he attempted to upset a perfectly legal agree
ment upon which the subscription price of the work had
been fixed, which agreement had already oncebeen modified
1 Hamerton's ' Life of Turner,' p. 214.

ENGRAVED WORK OF J. M. W. TURNER, xxxv
in his favour. Moreover the profits had not been large,
and of these he had voluntarily been given a share.
Judging from Cooke's final letter,1 which is both reason
able and dignified, there is I fear but little doubt that on
this — as indeed on other occasions — Turner displayed a
grasping, if not an actually dishonest spirit, in dealing
with his engravers and publishers.
In severing his connection with the Cookes, the loss ' Views in
was on Turner's side. During the fifteen years in which Sg?sex'' f
they had been associated, Cooke had commissioned from Devon,'
him a large number of drawings besides those of ' The 1816"182:1-
Southern Coast.' Many of these had been engraved, some
— the 'Views in Sussex' and 'The Eivers of Devon,' especi
ally — with pecuniary loss to the publisher. Cooke had also
published, probably partly if not entirely at his own risk,
Turner's ' Eivers of England,' the first landscape mezzo
tints engraved on steel, and he had held three exhibitions
at his rooms in Soho Square in which a prominent place
had been given to Turner's drawings and the engravings
from them. He had been in fact throughout a liberal
patron of the painter. It may be added that he bore a
high character for integrity as well as for enterprise.

During the progress of ' The Southern Coast,' in addition Whitaker's
to the three series just named, two of which had been (^j,\*enandf
abandoned before completion owing to want of public Leeds.' Sur-
support, Turner had been occupied with other work for ^am^l816^
the engravers. He had contributed plates to Dr. Whit- 1823.'
aker's ' History of Craven ' and ' Loidis and Elmete ' (a
History of Leeds), as well as to Surtees's ' History of
Durham,' in addition to various single prints. In 1818 he
undertook to illustrate for an Edinburgh publisher ' The 'Provincial
ProvmcialAntiquities of Scotland,'forwhich Scott, then in ^reStS*
 1819-1826. '
1 Printed in Thornbury's Life, 2nd ed., pp. 186-7.

INTRODUCTION TO THE

the height of his Waverley fame, had agreed to write gra
tuitously a series of descriptive and historical essays. Sir
Walter wished the illustrations to be given to the Eev.
Mr. Thompson of Duddingstone, a Scotch amateur painter
of unusual merit, whose landscapes, little known south
of the Tweed, have in some instances so strong a likeness
to Turner's early works in oil as not unfrequently to be
mistaken for them. But the publishers represented that
Turner was the artist in vogue with the public, and Scott
consented to the commission being divided. Accordingly,
the painter went to Scotland, his subjects — all south of the
Grampians — being selected for him. He does not appear
at that time to have made Scott's acquaintance. The
engravings were well executed — Roslyn Castle, Tantallon
Castle, and three of the Edinburgh views being especially
attractive. The drawings were afterwards presented by
the publishers to Sir Walter in recognition of his share
in the success of the work, and they remained at Abbots-
ford until a quite recent date.
Hakewill's About the same time (1818-20) he received a commis-
1820 1818" s*on fr°m Murray, the publisher, to make eighteen draw
ings from camera-obscura sketches in pencil by Hakewill,
an architect, to illustrate the latter's ' Picturesque Tour in
Italy,' which was about to be published. Turner's draw
ings, although thus produced at second hand and from
pencil sketches, were highly finished and extremely
beautiful. They have obtained perhaps higher praise
from Mr. Buskin than any other series except the * Eich-
mondshire,' and he retained many of them in his pos
session up to his death. The engravings necessarily
miss the exquisite colouring which is one of the chief
charms of the drawings, but they are carefully, if not
brilliantly, executed. La Riccia, Florence from Fiesole,
and Turin from the Superga, are amongst the most
interesting.

ENGRAVED WORK OF J. M. W. TURNER, xxxvii
The year 1818 also saw the commencement of one of ' History of
Turner's most brilliant successes in book illustration — the ^[^isis.
far-famed ' History of Eichmondshire.' This was another 1823. '
of the many topographical and antiquarian works of
Dr. Whitaker, the author of the histories of ' Whalley,'
'Craven,' and 'Leeds,' upon which Turner had previously
been employed. The ' History of Eichmondshire ' deals
with that romantic district in the North Eiding of York
shire, on the borders of Westmoreland and Lancashire, of
which the town of Eichmond is the centre. It contains
most of the highest Yorkshire hills, the beautiful valleys
of Swaledale, Mossdale,Eibblesdale, and Wensleydale, and
the sources and upper waters of the Ure, the Swale, the
Greta, the Tees, and the Lune.
The book was intended by Dr. Whitaker to be his
magnum opus, and the publishers, Messrs. Longman,
spared neither pains nor expense in producing it in the
most sumptuous form, the total cost having been not far
short of ten thousand pounds. This large sum they barely
recouped, although the work achieved a marked success
at the time, and has always kept a high place in public
esteem. Notwithstanding Turner's fame, it appears to
have been thought desirable to appoint a small committee
of local gentlemen to choose the subjects which he was to
illustrate, and, so far as is known, he acquiesced in their
selection. Certainly more beautiful spots than those re
presented could hardly have been found, even in that
romantic country. He was paid twenty-five guineas each
for his twenty drawings, some of which are among the
finest he ever executed. They are simple in style, and
they have not the elaboration or the rich colouring of the
'Eivers of England,' 'England and Wales,' and other
works in water-colour which immediately followed them;
but they are masterly in composition, and their dainty
harmonies of blues and greens, exquisitely contrasted
with rich golden browns and ambers, render them extra-

INTRODUCTION TO THE

ordinarily attractive.1 Above all, they possess that in
definable poetical charm of which Mr. Euskin thus
admirably writes : 2
" Of all [Turner's] drawings I think those of the Yorkshire
series have the most heart in them, the most affectionate,
simple, unwearied serious finishings of truth. There is in
them little seeking after effect, but a strong love of place;
little exhibition of the artist's own powers or peculiarities,
but intense appreciation of the smallest local minutiae. These
drawings have unfortunately changed hands frequently, and
have been abused and ill-treated by picture-dealers and clean
ers ; the greater number of them are now mere wrecks. I name
them not as instances, but proofs of the artist's study in this
district ; for the affection to which they owe their origin
must have been grounded long years before. ... It is, I believe,
to these broad, wooded steeps and swells of the Yorkshire
downs that we, in part, owe the singular massiveness that
prevails in Turner's mountain drawing, and gives it one of its
chief elements of grandeur. ... I am in the habit of looking to
the Yorkshire Drawings as indicating one of the culminating
points of Turner's career. In these he attained the highest
degree of what he had up to that time attempted, namely,
finish and quantity of form, united with expression of atmo
sphere, and light without colour. His early drawings are
singularly instructive in this definiteness and simplicity of
aim." The engravings of the ' Eichmondshire ' are all in Line,
and on copper. Although they hardly reach the standard
of the later ' England and Wales,' they are still finely
executed. Of course no black-and-white could ever repro
duce the delicate harmonies of colour which make the
drawings so attractive. Twelve engravers were employed
on the work. Six of them — Heath, Eawle, Scott, Le
1 Many alas are now completely faded owing to constant exposure
to light, but a few still remain in almost their pristine condition.
2 ' Modern Painters,' vol. i, pt. ii, sec. i, ch. vii, § 39.

ENGRA VED WORK OF J. M. W. TURNER, xxxix
Keux, Pye, and Middiman — had already been working
under Turner, whilst the names of Archer, Higham, Ead-
cliffe, W. E. Smith, and Varrall — all frequently to be met
with afterwards — appear here for the first time. Pye was
especially successful in Hardraw Fall and Wycliffe ; Eawle
in Brignall Church and Le Keux in St. Agatha's Abbey
and Simmer Lake — to mention only a few.

During the period which has recently been under Introduc-
review— 1812-1827— it will be observed that by far the ^ of .steel
J plates for
greater part of Turner s engraved work was executed in engraving,
Line and on copper. His experience with the ' Liber Studi- 1820-1824-
orum ' had doubtless shown him that Mezzotint — notwith
standing its value where breadth of effect is desired, and
its greater rapidity and consequent greater cheapness in
execution — deteriorated so quickly in printing as to render
it quite unsuited for the book illustrations upon which
he was mainly engaged. But the discovery, about 1820,
that plates of soft steel could be Used in place of copper,
gradually effected great changes in engraving. Even a
comparatively small number of impressions taken from a
copper-plate soon tell on its more delicate lines, the edges
of which are broken down in the processes of ' wiping '
and printing; consequently the clear white spaces between
those lines become gradually suffused with ink, and the
luminousness of the print suffers. The dark parts also,
which are produced by thick ridges left purposely on the
copper, lose their richness and their sharpness of outline,
owing to the flattening of those ridges in printing. The
balance of the print is thus doubly affected, the light
parts becoming darker and the dark parts lighter; the
first brilliancy disappears, the plate gets duller and
duller, and retouching and repairing soon become neces
sary. But these are short-lived remedies; the first
luminousness and freshness are never really regained;

xl INTRODUCTION TO THE
the new work added on the worn plate soon disappears,
and all engravings on copper rapidly deteriorate when
once wear has begun.
With steel all this is changed. The late Mr. Prior, one
of Turner's engravers, told me that fifty to a hundred
fine impressions, according to the quality of the copper
and the nature of the engraving, were all he could hope
for from a copper-plate, whilst with steel many hundreds
could be taken before any sign of wear could be detected.
His experience tallies with that of other artists who had
worked on both metals.
At first the introduction of the new metal was strongly
opposed by the engravers, who objected to the greatly
increased manual labour and the rapid wear of their tools
which it involved. Line engraving, even on copper, is a
tedious process, but with steel the difficulties are enor
mously enhanced. Turner also was at first opposed to its
use, dreading lest the multiplication of copies of his
prints should lessen their value. Sir Thomas Lawrence
(then the President of the Eoyal Academy) once expressed
to him his surprise that he still employed copper, and
Turner retorted that " He did not choose to be a basket
engraver." On being asked to explain his meaning, he
replied: " When I got off the coach at Hastings the other
day, a woman came up with a basket of your Mrs. Peel
[a well-known Lawrence portrait] and wanted to sell me
one for sixpence."
Turner Eventually however, the advantage of the harder
nUtPP*S 1 8301 metal became so manifest that, after 1830, Turner
employed it for all his smaller prints, with the exception
of his ' England and Wales,' for which only copper-plates
were used. Nearly all the large line engravings also, even
up to as late as 1845, were on copper. After that date
the use of steel became universal.
So far as Line Engraving goes, it appears to me that
the substitution of the harder for the softer metal has

plates, 1830.

ENGRAVED WORK OF J. M. W. TURNER, xii
been an almost unqualified gain. For Mezzotint and
Etching however, steel is less suited, as the softness of
the copper gives a freedom of handling which is essential
to the artistic treatment of both those processes; but for
the line engraver, whose work is altogether more mechan
ical in its nature, no such freedom is required. It is
probable that for extremely delicate engravings, such as
the vignettes which were such an important feature in
Turner's later work, steel, apart from its superior dur
ability, is even better than copper, as a finer and more
certain line can be obtained. It is doubtful if the ethereal
beauty and delicacy of the famous illustrations to Rogers's
Poems and Italy could have been obtained from copper.
Certainly they would have vanished with the first few
impressions printed.
The improvements which were introduced from time to Steel plates
time in the softness and evenness of quality of the steel, fm^jJz^o.
led to that metal being tried also for Mezzotint. In 1823 tintengrav-
Thomas Lupton engraved a small plate from Girtin's inS>1823-
drawing of The White House, Chelsea, and Turner, in the
following year, also experimented with it. In 1824, whilst
Turner was still associated with the Cookes, a work illus- Turner's
trated with small mezzotint plates on steel was planned England
and carried out in conjunction with them — ' The Eivers of 1824.
England,' or ' Eiver Scenery of England,' as it was after
wards called. In the advertisement issued by Cooke,
special attention is drawn to the new medium in which
the prints were to be engraved, and it is described as being
" peculiarly adapted to the powerful effects of light and
shade in the varieties of twilight, sunrise, midday and
sunset, represented in the masterly productions of Turner
and Girtin."
But although Charles Turner, Lupton, Say, and other
experienced mezzotint engravers were employed, the new
metal proved refractory at starting; the first three plates
broke down in printing, and had to be re-engraved. Ultim-
i. d

xiii INTRODUCTION TO THE
ately however, the difficulties were overcome, and about
twenty engravings, two of which were from drawings by
Girtin, were issued in serial form between 1823 and
1827. ' The Eivers of England,' like many other works of
Turner, is open to criticism as to its title. As Mr. Euskin
has remarked : x
"Among the many peculiarities of the late J. M. W. Turner
. . . were his earnest desire to arrange his works in connected
groups, and his evident intention with respect to each draw
ing, that it should be considered as expressing part of a con
tinuous system of thought. The practical result of this feeling
was that he commenced many series of drawmgs — and if any
accident interfered with the continuation of the work, hastily
concluded them — under titles representing rather the relation
which the executed designs bore to the materials accumulated
in his own mind, than the position which they could justifi
ably claim when contemplated by others. ... It [' The Eivers
of England '] is without a single drawing of a rapidly running
stream; very few of the great rivers of England are repre
sented in it, and the interest of many of the subjects lies in
their architectural landscape surroundings than in the streams
themselves." Yet the Series is a very beautiful one ; the engraving
is of the finest quality, although, as is inevitable with
mezzotint, its general effect is dark as compared with
line engraving. Many of the subjects are extremely at
tractive; Arundel Castle, More Park, Stangate Creek, and
Norham Castle, will compare even with the great mezzo
tints of the ' Liber Studiorum.' In some plates no doubt,
Turner's habit before alluded to, of multiplying small
lights and overcrowding foreground detail, is notice
able ; but this occurs only in a few instances, and as has
1 Preface to 'The Harbours of England,' by J. M. W. Turner, R.A.
Gambart, 1856.

ENGRAVED WORK OF J. M. W. TURNER, xliii
been already pointed out, it is more or less characteristic
of all his engraved work from 1811, or even earlier, to
the end.
' The Eivers of England ' was probably successful com- The 'Ports
mercially, as during its progress an announcement was bo^^f "
made that it would be followed by a companion series, to England,'
be entitled ' The Ports of England.' This appeared in 1826, 1826'
and was mainly the venture of Lupton, the engraver.
But although, as the prospectus stated, it was "Dedi
cated to and under the patronage of His Most Gracious
Majesty George IV," and appealed for public support on
the ground of " Englishmen's Pride of the Sea and its
Naval Heroes," ' The Ports of England ' failed to attract
subscribers, and was abandoned when six plates had been
published, and a further six nearly completed. After Tur
ner's death, the steel plates and the remaining impressions
were bought by Messrs. Gambart and re-issued by them in
1856 under the title of ' The Harbours of England, by
Turner and Buskin.' The latter contributed a brilliantly
written introduction, together with notices of each plate,
among which are some of his finest and most illuminating
passages on the work of Turner.
With ' The Ports of England,' two plates of a further- Turner
planned series of ' Marine Views,' and one or two small me^otint
prints, Turner's employment of Mezzotint virtually ended. 1826.
Probably he found that even with steel the number of
good impressions yielded was not sufficient to be com
mercially profitable; possibly he may also have felt that
for landscape such as his, the process inherently tended
to be too black, and that it unavoidably missed the
brilliance and luminousness which were his constant aim
in his engravings. Whatever may have been the cause,
with the exception of a few large and unsatisfactory plates
which were never published, he hardly used Mezzotint
after 1826.

xliv INTRODUCTION TO THE
The so- Before abandoning it, however, he would appear, prob-
"Sequels to aDly somewhere about 1826, to have made an extremely
the Liber f interesting series of experiments with it himself, the
u lorum. history an(j intention of which is wrapped in mystery.
Eleven small plates, all engraved in pure Mezzotint, some
on copper and some on steel, and all evidently by Turner's
own hand, were found in his house at his death. A few
unfinished trial proofs — probably purloined — were pre
viously known to collectors, but they were of the greatest
rarity, and, so far as I have been able to ascertain, he
had never mentioned the existence of the series to
Griffiths his accredited agent, to Mr. Stokes of Gray's
Inn, the great contemporary collector of his works, nor
to any of the dealers in his engravings.
Some of these small mezzotints are finished and others
only partly completed; all are extremely beautiful, all
show a master's hand. Owing to their incompleteness, it
is impossible to speak with certainty as to Turner's in
tention in them, but I think they may possibly have
started as a series of studies of effects of moonlight under
various conditions of weather, atmosphere, and surround
ings. This mystery as to their intention, indeed, adds to
their great intrinsic charm. They are sometimes known as
' The Sequels to the Liber Studiorum,' but although the
fact of a few being on steel proves that they must have
been executed subsequently to the Liber — steel was not
introduced till after 1820 — I know of no reason what
ever for connecting them with that work. Probably they
represent a passing idea in Turner's mind which was taken
up and dropped, as were many others of a similar nature.
Certainly they were the last of the very few engravings
which he executed with his own hand. The copper and
steel plates were sold at Christie's in 1873-4, along with
Turner's vast hoard of engravings; unfortunately at
that time the art of printing pure mezzotints had
been so long in abeyance that it had been lost, and the

ENGRAVED WORK OF J. M. W. TURNER. xiv
printers into whose hands most of them subsequently
fell, produced only the most unsatisfactory impressions,
although the copper plates, if not the steel, were in ex
cellent condition.
Meanwhile Turner continued to be constantly in re- Proposal for
quest by the publishers for illustrations of their books, engravings
and three of his larger engravings, the Cologne, the Tivoli, 1828.
and The Temple of Jupiter in the Island ofEgina, appeared
between 1824 and 1828. A proposal of a more ambitious
character had also been made to him in 1822 by Hurst
and Eobinson, a city firm of printsellers, to paint for
them three or four important pictures to be engraved on
a large scale. Turner entertained the project, as will be
seen from the letter1 below, but it ultimately fell through,
owing to the terms offered not being high enough to tempt
him. The letter — ungrammatical and confused as was
usual with him — is specially interesting as showing the
keen rivalry with other artists which characterized him
throughout his life. The pictures of Eichard Wilson
had probably had a greater influence on his early career
than those of any other painter, and the desire to pit
himself against the artist whom he most admired, as
well as against his equally distinguished engraver Wool-
lett, was evidently strong. " June 28th, 1822.
" Friday morning.
" My Deab Sir,
" In the conversation of yesterday respecting prints. . . .
If you really meant the said offer for me to think of, it appears
to me that my scheme, which I mentioned to you in confid
ence, would hold — viz., four subjects to bear up with, the
" Niobe," " Ceyx," " Cyledon " [Celadon] and " Phaeton " [all
1 Thornbury, second edition, p. 342.

xlvi INTRODUCTION TO THE
titles of Wilson's pictures] (in engraving as specimens of the
power of the British school). Whether we can in the present
day contend with such powerful antagonists as Wilson and
Woollett would be at least tried by size, security against risk,
and some remuneration for the time of painting. The pictures
of ultimate sale I shall be content with ; to succeed would
perhaps form another epoch in the English school; and if
we fall, we fall by contending with giant's strength.
" If the " Hannibal," or " The Morning of the Chase " [pic
tures already painted] be taken, the first plate would stand
thus : — 1, Plate in two years,
2, Picture to be painted, three years,
3, Ditto and two years longer, fourth
4, Ditto and ditto — five years the four plates.
Or if all the pictures are painted, if thought more desirable,
then take the pictures now done, " Carthage " excepted; one
year more must be added, making six years, which allows one
year for painting each picture, and two to engrave it, and put
into the hands of different engravers immediately. Mr. Pye
to engrave one or more if your arrangement with him would
not be interrupted thereby, or the general arrangement of time
not broken in upon, for six years added to forty-five is not
a trifle [this doubtless refers to his own age, but according
to the usually received dates Turner was forty-seven in 1822],
" Yours most truly,
" J. M. W. TlTKNEB.
" P.S. This is private; if not to be thought of, burn it im
mediately," etc.

' The An- From 1826 to 1828 Turner's work for engraving was
18281S' 1826" mamly concerned with prints of a very small size, to
adorn the ephemeral ' pocket ' literature then so much in
vogue— the ' Literary Souvenir,' ' Talisman,' ' Keepsake,'
and similar productions usually known as 'Annuals.'
Some of these tiny engravings are charming, but the

ENGRAVED WORK OF J. M. W. TURNER, xlvii
straight lines and right angles are too much in evidence
in the landscape when the scale is so small, and they
often interfere with the design. The vignette form which
Turner shortly afterwards adopted for nearly all his small
prints, gives far greater freedom.
In 1826 Turner, now fifty-one years old, commenced 'England
what may be regarded as his central and most ambitious i827-183\eS
work in black-and-white — the ' Picturesque Views in Eng
land and Wales.' This undertaking was originally the
venture of Charles Heath, an engraver, in conjunction
with Jennings and Co., a City firm of printsellers, but
during its chequered career of ten years it passed through
several publishers' hands. It was to be in serial form,
and to consist of a hundred and twenty engravings of
medium size, the subjects of which were to be taken from
English cities, country towns, seaports, cathedrals, castles,
abbeys, lakes, and rivers.
Turner's drawings for these were in nearly every case
elaborate and highly finished. Many were founded on
previous sketches and studies in pencil or colour, a vast
stock of which he had now accumulated; others were
made specially for the work. All represent his water-
colour art in its central period of masterly composition,
high finish, and full, rich colour ; they are very varied in
subject, and generally highly poetical in treatment.
Although the old tendency to the multiplication of lights
and foreground detail is often noticeable, and the figures
at times more than ever unpleasing, there can be no
doubt but that in many of the 'England and Wales ' draw
ings Turner reaches his highest level. He received sixty
to seventy guineas apiece for them — their value now
ranges from £600 to £2,000 or more each!
The translation of the drawings into black-and-white
was carried out mainly by the engravers who had been
working under him for the last ten or fifteen years, aided

xlviii INTRODUCTION TO THE
by several new and able recruits who were continually
joining the band. Their trial proofs (many of which are
in the Print Eoom of the British Museum), the margins
covered with notes and instructions, show the close super
vision which Turner gave to the work, which may safely
be said to be the most brilliant and finished piece of
landscape engraving which up to that time had ever
been produced. Yet the 'England and Wales,' notwith
standing its masterly design and fine execution, and not
withstanding Turner's commanding place in public esteem,
was pecuniarily a complete failure. There were few sub
scribers or purchasers, and three eminent firms of pubi
lishers in succession took up and abandoned the enter
prise. Possibly the public had seen too many Turner
prints during the last twenty years; possibly they were
tired of the irregular and unpunctual appearances of his
previous serial issues. Anyhow they declined to buy.
The expenses of the work had necessarily been con
siderable. In addition to the cost of the drawings, the
engravers had received £80 to £100 for each copper-plate.
Heath was ruined and became bankrupt in health and
pocket, and in 1838 the plates and the large unsold stock
of engravings were put up for auction by his trustees.
To every one's surprise Turner appeared at the sale and
bought the whole at the reserve price of £3,000. Bohn,
the cheap book and print publisher, who had been an
intending purchaser, endeavoured to induce Turner to
resell all or part to him, but the painter required too
high a price for the prints, and refused to sell the copper
plates at all, declaring that he would not allow his
engravings to be hawked about, or his plates to be printed
from until they became wrecks — as would undoubtedly
have been their fate if they had passed into Bohn's hands.
Accordingly both prints and plates remained in the
painter's possession until his death; the former were
sold at Christie's in 1873-4 along with the rest of his

ENGRA VED WORK OF J. M. W. TURNER, xlix
engravings, and the latter were broken up before the
Sale. What perhaps most impresses one in the ' England and
Wales ' is the poetical, imaginative, treatment of the sub
jects represented. There is no attempt at topographical
accuracy — "mere map-making," as Turner contemptu
ously termed such art. Hills are raised and valleys deep
ened; spires and castles are placed, not on the exact spots
on which they will be found on an ordnance map, but
where they tell most effectively in the composition, and
best conduce to the general effect. Yet, notwithstanding
this freedom, which Turner, in common with other great
masters in every branch of art allowed himself, the spirit
of the place represented is rarely missed. The details
may not be exact or even approach exactness, but the
impression is true. And it is the impression of each place
at its best and choicest moment, seen in the mental
"vision of a poet, and recorded by the hand of a master of
his craft.
There is, however, one point in which Turner, whilst
always varied, is yet always true to nature — namely, in
his rendering of light, of sky, of cloud, of atmosphere.
As Monsieur de la Sizeranne has remarked: *
" Turner is, in one respect, absolutely realistic: in his skies.
He has transformed the trees, reconstructed the towns, upset
rivers, arbitrarily raised or demolished mountains; he has
faithfully reproduced skies. No one among the most realistic
has given a more correct presentment of them."
In the ' England and Wales ' every hour is represented
— dawn, sunrise, midday, afternoon, sunset, twilight,
moonrise, full moon. So is also every phase of weather,
every passing atmospheric effect. All are depicted with
the profound and accurate knowledge which he had
1 'The Studio,' Winter Number, 1903, p. xvi.

INTRODUCTION TO THE

gained during forty years of the closest observation, and
had stored in thousands of sketches. All are controlled
by his unerring instinct of composition, and endowed
with a splendour and subtlety of colour which has
never been surpassed. Still more, nearly all are suffused
with that mysterious, indefinable, charm which we call
' poetry.' Alas that landscape art so perfect should have
been marred by the banal and ill-drawn figures which
too often he added at the last I
Among the finest plates of the ' England and Wales,' of
the castles may be mentioned Kilgarren, high above its
dark woods and shining river; Windsor, steeped in after
noon sunshine; Kenilworth, wan and solitary at moonrise;
Alnwick, massive and solemn beneath the full moon. Of
the cathedrals, Durham, Ely, and Salisbury. Among
English towns, Dudley, with its ancient, deserted castle
high above the forges and chimneys which are pouring
out their flames and smoke, vividly suggests, as Turner
intended, the contrast between the departed feudal age
and the rushing industrial life of to-day. How peaceful
and beautiful are the ruins of Rivaulx, Valle-Crucis,
Malmesbury, and Llanthony abbeys. For natural effects,
notice the shining reaches of Winandermere, the rainbow
on Keswick Lake, the sunny shores of Flint, the clear, fresh,
evening sky and crescent moon of Cowes. For moorland
grandeur, The Chain Bridge over the Tees cannot be sur
passed, and no hand but Turner's could have rendered the
sweep and fury of storm and sea as in Lowestoffe, and The
Longships Lighthouse. Is it too much to say that any one
of these plates would have been sufficient to have made
the fame of a landscape-painter?
'Rogers's During theprogress of the 'England and Wales,' another
'Italy '1830- engraved work of Turner's, very different in scale and
1834. character, achieved a striking success. About 1830 he was
commissioned by Samuel Eogers, the banker, connoisseur,

ENGRAVED WORK OF J. M. W. TURNER. Ii
and poet, to furnish a series of illustrations to an edition
de luxe of his poems. The plates were all to be in vignette
form, and Stothard, who contributed some of his most
dainty and charming figure subjects, was allied with
Turner. The drawings for ' Eogers's Poems ' and ' Italy,' not
withstanding the poetical feeling and imaginative power
which they display, seem to me as a whole less beautiful
than the engravings from them. Many are so unnatural
or exaggerated in colour that they strike an unpleasant
note. It was probably some reason connected with the
engraving which led Turner thus to falsify his colouring,
as his ordinary water-colours of the same period — the
' England and Wales ' drawings for instance — show no
signs of it, whilst it is more or less present in nearly all
those intended for vignettes. In his ' Eivers of France' of
a year or two later, where the engravings were to be of
the ordinary shape, it rarely appears, but in the almost
contemporary vignettes to 'Campbell's' and 'Milton's
Poems ' it is very marked. It is difficult, however, to
divine in what way this forced colour could have helped
the engraver, but it is evident that Turner was content so
long as he obtained the light and shade, the atmospheric
effects, the sentiment, and the mystery which he desired;
truth of colour being often entirely sacrificed.
No expense was spared in the production of the two
volumes, which, thanks to Turner's illustrations, were
to immortalize the poetry of Eogers. The painter was
to have received fifty pounds apiece for the drawings, but
when it was found that the total cost of the work would
be not much short of fifteen thousand pounds, and that
a serious loss might be possible, he agreed to take them
back, and to lend them at a charge of only five pounds
each. This was liberal on his part, but he was now a
rich man, and, apart from his satisfaction with the
ideal perfection.in design and execution which was aimed

Iii INTRODUCTION TO THE
at, he no doubt appreciated the association of his name
with that of a man as high in the social and literary world
as Eogers then was. The majority of the drawings re
mained in his possession until his death, and are now in
the National Gallery.
The engravers were paid thirty to forty guineas apiece
for the vignettes, all of which were on steel. The larger
number were engraved by Goodall, the father of the late
Mr. F. Goodall, E.A. The latter told me that in his
youth he was accustomed to take his father's trial proofs
backwards and forwards to Turner for his criticism, and
that not unfrequently the painter left the engraver to put in
the figures. His father kept in his studio for that purpose
casts both of the human body and of animals. In one of
the most beautiful of the vignettes, The Alps at Daybreak,
the chamois in the foreground were a great trouble to
Turner, and were entirely re-drawn by Goodall.
Engraving on steel on this delicate scale was a work
of no little difficulty. The usual preliminary etching had
to be made, and the ' biting in ' involved the utmost
skill and care lest the acid should penetrate outside
the minute lines which the etching- needle had traced,
and so spoil the plate. After the etching, extreme care
was again necessary in finishing with the burin and dry-
point, as with lines so delicate, faults could be corrected
only with the greatest difficulty. The ' Eogers ' vignettes
were however eminently successful, both the painter and
the engravers are seen at their best, and Mr. Euskin is
probably right in describing them as " the loveliest en
gravings ever produced by the pure line." x It is diffi
cult to select for praise where all are beautiful, but as
examples of Turner's imaginative power, Leaving Home,
The Alps at Daybreak, The Vision of Columbus, and
Datur Hora Quieti, can hardly be surpassed; nor for
1 Catalogue of Turner Drawings at the National Gallery, 1881.

ENGRAVED WORK OF J. M. W. TURNER, liii
poetical treatment of natural scenery, Loch Lomond,
Tornaro's Brow, The Lake of Como, and St. Herbert's
Chapel. Mr. Hamerton has written so admirably of these
vignettes l that I am tempted to quote from him at
length :
"Turner has seldom been so perfectly the poet as in the
illustrations to Eogers. ... Of all artists who ever lived I
think it is Turner who treated the vignette most exquisitely,
and if it were necessary to find some particular reason for this,
I should say that it may have been because there was nothing
harsh or rigid in his genius, that forms and colours melted
into each other tenderly in his dream-world, and that his
sense of gradation was the most delicate ever possessed by
man. If you examine a vignette by Turner round its edges,
(if you can call them edges), you will perceive how exquisitely
the objects come out of nothingness into being, and how
cautiously, as a general rule, he will avoid anything like too
much materialism in his treatment of them until he gets well
towards the centre. . . . Even the least poetical are still very
far removed from the prose art, whilst it is simply impos
sible to find in them any careless neglect of those subtle
artifices of arrangement which Turner understood better than
any other landscape painter. . . . Stothard's contribution to
the illustrated edition of Eogers, though often graceful and
charming, look like patches on the page, and the patches are
sometimes awkwardly shaped, whilst Turner's never seem to
be shaped or put on the paper at all, but we feel as if a portion
of the beautiful white surface had in some wonderful way
begun to glow with the light of genius. . . . Turner's vignettes
. . . may be divided into landscape subjects, marines, architec
ture, and supernatural inventions. The vignette of Derwent-
water is one of the best of the pure landscapes. The sky, with
great pale clouds and the sun in its splendour lighting their
edges, is one of the most perfect of all Turner's skies for its
delicate truth of pale tones. . . . The bits of Alpine scenery in
1 Hamerton's ' Life of Turner,' pp. 227-229.

liv INTRODUCTION TO THE
'Jacqueline' and 'The Alps at Daybreak,' are especially
admirable for the expression of that shadowy vastness which
so strongly impresses us in the loftiest ranges. I have heard
artists affirm that even a large picture can give no idea of
a lofty mountain, yet the vignette of the G-aronelle, with the
Alps of Piedmont in the distance, gives me such an idea quite
perfectly, and it is only three inches high. This is due, not to
truth of portraiture, which Turner always neglected, but to
his knowledge of mountain structure and effect. Anyone who
knows the Alps can see at once that these really are Alps,
twelve thousand feet high at least, though a Cumberland
hill seen near would have its sky line quite as high on paper.
One of the finest of the marine subjects is ' Columbus Dis
covering Land,' and here again we have clear evidence that a
great scale is not necessary to the production of a great effect.
The line of sea horizon is only about an inch and a quarter
long in the engraving, yet from the effect chosen in water and
sky it conveys an awful idea of the vastness of the deep. The
figure in its simple grandeur, with the old ship for a pedestal,
is one of Turner's rare successes in figure conception. There
are two particularly successful instances of the treatment of
architecture: one a building seen from outside, ' Greenwich
Hospital'; the other the interior of an imaginary G-othic
Chapel with banners and tombs. The Greenwich is another
excellent instance of largeness expressed on a small scale. The
vastness of the building is intentionally exaggerated, and it is
made to look prodigious. Who would believe that the twin
towers, with the domes, are only an inch high on the paper?
. . . Within that little space you have columns on columns,
cornices, architraves, attics, dome, and lantern, all drawn with
the most exquisite care, and there is a delicate play of light
and shadow along the whole front of the building.
" A very grand bit of supernaturalism is that of the armed
phantoms passing across the sky after sunset.
Slowly along the evening sky they went,
As on the edge of some vast battlement,
Helmet and shield and spear and gonfalon ;
Streaming a baleful light that was not of the sun !

ENGRAVED WORK OF J. M. W. TURNER. Iv
The verses are impressive, but the drawing is much more
impressive than the verses. The last rays of the afterglow are
in the sky; the ships are motionless on the dark ocean; on the
high poop of one of them stands a little human figure, and
before him passes the strange procession of giant shapes, half
mingled with low vapour, through which a solitary star shines
dimly. The superiority of the drawing to the verses is due, I
believe, to the greater resources of mystery which the painter
had at his disposal. The sense of mystery can be conveyed in
words, but not easily in a few lines."
Other books with illustrations by Turner, many of them ' The Rivers
vignettes, and all on a small scale, followed one another Sf^UJK6'
in rapid succession between 1830 and 1837. During
those years, in addition to painting a large number of
sketches and pictures in oil, he must have made over
three hundred drawings for engraving — most of them
highly finished — and have directed and corrected with the
minutest care, the engraving of each one. Such an
' output ' must, I imagine, be a record.
The best known and probably the finest series of these
small prints is ' The Eivers of France,' which was first
published in three successive volumes under the title of
' Turner's Annual Tour — Wanderings by the Loire and
the Seine,' 1833, 1834, 1835. The drawings are on grey
paper, and mainly in body-colour. Most of them are now
in the National Gallery.1 The finest, such as Chateau
Gaillard, Caudebec, Rouen from St. Catherine's Hill,
Jumieges, and St. Denis are superb, and probably reach
the highest point ever touched in body-colour. Others
are slighter in execution, and some few are a little exag
gerated in colour. The engravings, which are of the same
size as the drawings, are finely executed, but they suffer
1 Turner one day brought the whole series to Buskin in a dirty
piece of brown paper and offered them to him, unbroken, for
twenty-five guineas apiece. To Buskin's grief he could not induce

Ivi INTRODUCTION TO THE
from the rigid containing lines and angles — how greatly,
can be seen by comparing the ordinary subjects with
the two frontispieces — Chateau GaiUard and' The Light-
Towers of the Heve — both of which are in vignette form.
Still, Beaugency, Amboise, and Clairmont in the Loire
series, and Caudebec, Chateau de la Maillerie and St. Denis
in the Seine — to name only a few — are masterpieces of
poetical design and brilliant execution.
Mr. Hamerton, writing with intimate knowledge of
French rivers and French scenery, devotes an extremely
interesting chapter J to ' The Eivers of France.' One of
his remarks is very true, not only of it, but of Turner's
works generally. He says:
" One of the first things that strikes us on looking through
the ' Eivers of France ' is, how much less Turner seems to
have cared for the rivers themselves than for the human
works whieh are connected with them. . . . There are sixty
plates in all, and among these sixty I find fifteen with castles
or chateaux, fifteen with cathedrals or important churches,
twenty-two with at least one bridge and six with two bridges.
There are also half a dozen subjects of seaports . . . and the
same number of compositions without either water or land
scape, the river being out of sight and the land covered with
buildings." He goes on to quote a letter from Byron, showing that
the poet also held that it is the works of man — his
castles, temples, ships, and other artificial objects — which
so greatly enhance, if indeed they are not actually neces
sary to the poetical effect of natural scenery :
"Am I to be told," Byron asks, " that the nature of Attica
would be more poetical without the art of the Acropolis? of
his father to spend the money. In later years he had to pay £1,000
for the seventeen which he gave to Oxford, and these would now
(1908) probably be worth at least £3,000 !
1 Hamerton's ' Life of Turner,' ch. xii, p. 239.

ENGRAVED WORK OF J. M. W. TURNER. Ivii
the temple of Theseus? and of the still all Greek and glorious
monuments of her exquisitely artificial genius? Ask the
traveller what strikes him as most poetical — the Parthenon
or the rock on which it stands? the columns of Cape Colonna
or the Cape itself ? . . . There are a thousand rocks and capes
far more picturesque than those of the Acropolis and Cape
Sunium in themselves ; what are they to a thousand scenes in
the wilder parts of Greece, of Asia Minor, Switzerland, or even
of Cintra in Portugal, or to many scenes of Italy and the
Sierras of Spain? But it is the art, the columns, the temple,
the wrecked vessels, which gives them their antique and their
modern poetry, and not the spots themselves. Without them
the spots of earth would be unnoticed and unknown."
This it seems to me is the spirit with which, consciously or
unconsciously, Turner was animated throughout his life.
During the same period as Turner was engaged on ' The Murray's
Eivers of France,' he contributed twenty-six small plates ifs^igjfo.
to a new issue by Murray of the Life and Works of Byron.
The drawings for these were taken mainly from sketches
by various artists, in Greece and other countries which
Turner had never visited. As might have been expected,
they are as a rule less interesting than the illustrations
drawn by him at first hand. One vignette, however,
The Plains of Troy, is well-known as a marvel of design
and execution; The Acropolis at Athens also is fine and
poetical. The * Byron ' illustrations were followed by plates for Scott's
Cadell's edition of ' Scott's Poetical and Prose Works,' ^Profe
which appeared between 1834 and 1836. For these Works,'
Turner in 1831 had made a special journey to Scotland, 100*"10,5D-
where he was the guest of Sir Walter, and under his
guidance had visited all the most interesting spots on the
Tweed and the Border. In one of the most charming
plates — Melrose — he is depicted in the foreground with

lviii

INTRODUCTION TO THE

Scott and Cadell, picnicking on a height overlooking the
river and the Abbey. The illustrations to the ' Poetical
Works ' were taken from nature and from Scotland, and
nearly all are beautiful — Ashestiel, LochAchray, Dryburgh
Abbey, Staffa, and Loch Coruiskin, strikingly so. The sub
jects of the ' Prose Works ' are more varied, and perhaps
as a whole less interesting, but Brienne, Calais, Simplon,
Malmaison and many others, are very attractive.

Finden's
Bible, 1835-
1836.

To the ' Byron ' and ' Scott ' series, succeeded, in 1835,
thirty plates for Finden's 'Landscape Illustrations of
the Bible.' Although all these, like many of the ' Byron '
plates, were taken at second hand from drawings on the
spot by other artists or by amateurs, they were trans
formed by Turner, and are strikingly poetical in treat
ment ; notably Egypt, Nineveh, Solomon's Pools, and the
beautiful unpublished Jerusalem from the Latin Convent.

Moxon's Milton, 1835.

After the ' Bible ' series came, in 1835, seven illustra
tions to Moxon's edition of 'Milton's Poems.' Here
Turner's imagination had full scope, and his Mustering
of the Warrior Angels and The Fall of the Rebel Angels are
magnificent in conception. But, as was so often the case
with Blake in his treatment of similar subjects, small
faults of taste or of drawing in the figures greatly detract
from their impressiveness. The otherwise fine Temptation
on the Pinnacle is spoiled by the appearance of balancing
in the central figure ; in The Expulsion from Paradise the
design is beautiful, and the vista of the Garden exquisite,
but again the figures are unsatisfactory. Still, as works of
high imaginative power, the ' Milton' plates seem to me to
deserve a higher place than Mr. Buskin and others have
accorded them. Especially it should be borne in mind
that it is by the engravings rather than by the drawings,
that all Turner's vignettes should be judged.

ENGRAVED WORK OF J. M. W. TURNER, lix
Moxon's edition of ' Campbell's Poems,' published in ' Campbells
1837, was the last important work illustrated by Turner, '
who contributed to it twenty-four vignettes. Some un
usual transaction took place with regard to the drawings,
two versions of which are given by Thornbury.1 Neither
of them, however, agrees with the following interesting
account which I had direct from the late Mr. Goodall,
E.A., whose father was the engraver employed. As his
story is so circumstantial, and he himself was present on
the occasion, I find it difficult to think that his memory
could have deceived him. He told me that Moxon the
publisher had agreed with his father, the engraver, that
Turner should be given a commission for twenty or more
drawings, for which he was to receive thirty pounds
apiece, or somewhere about £700 in all. Goodall was
to engrave the plates, and instead of being paid for them
in the usual way, he and Moxon were to divide all the
costs and risks, and to share the profits equally. A draft
agreement to that effect was shown by Moxon to Goodall,
and later on, the latter signed the document without
reading it. Afterwards he discovered that it differed
materially from the original proposal as he had under
stood it, and that it would probably mean a very
serious loss to him. For several weeks the household
were in great anxiety, and Goodall, who was on very
friendly terms with Turner, was advised to ask the
painter to cancel the commission for the drawings.. He
did so, but at first met with a refusal; shortly afterwards,
Turner called at Goodall's house late one night, and
would come no further than the hall. On Goodall's going
to him, he said : " You ask me too much — see what a sum
I lose! " Goodall replied: " You could always get equally
good pay for your time, Mr. Turner." Turner said: " He
did not see that he could be expected to forego such a
1 ' Life of Turner,' second edition, pp. 232-3.

Ix INTRODUCTION TO THE
sum." Then Goodall's little daughter happened to come
into the hall, and going up to Turner asked him, " if he
was the great Mr. Turner?" Turner was pleased and
said: "I am Mr. Turner, don't know about great Mr.
Turner," and patted her head. Finally he agreed to give
up the commission, and said : " This is the greatest act
of generosity I have ever done in my life." In the end he
made the drawings, charged the publisher £5 each for
the loan of them, and retained them in his possession
until his death.
The execution of the ' Campbell ' vignettes is fine. Some
— such as A Summer's Eve, The Andes Coast, A Swiss
Valley, and Wyoming — will bear comparison even with
the ' Eogers ' plates, but others are very forced and melo
dramatic in treatment.
After the ' Campbell's Poems,' Turner, who was now
sixty-two years old, illustrated no further books of
importance. He contributed in 1837 six plates to ' White's
Views in India,' and in 1840, a few tiny but exquisite en
gravings, all taken from his earlier pictures or drawings,
appeared in ' The Book of Gems,' and in 'Art and Song.'
These were his last book illustrations.
The large There remain still to be noticed the important large
cravings. Line Engravings by which Turner is so well known.
These appeared at different periods in his career — the
majority towards its close. They were mainly the ven
tures of various printsellers, and were mostly published
by subscription. The earliest and one of the best is the
High Street, Oxford, of 1812, which has already been
alluded to.1 It was followed by the Cologne in 1824, the
fine Tivoli in 1827, and The Temple of Jupiter in the
Island of Angina in 1828.
From 1838 to 1851 (the year of his death), a succes-
1 Ante, pp. xxvi-xxviii.

ENGRAVED WORK OF J. M. W. TURNER. Ixi
sion of large engravings appeared at intervals; most of
these were taken from his important and well-known oil
pictures. Among the best are Crossing the Brook; Mercury
and Argus; Mercury and Herse ; The Grand Canal, Venice;
Caligula's Palace; Ancient Italy; and The Fighting
Temeraire. Proofs of the nearly completed pair of Dover
and Hastings were brought to him on his death-bed to
touch, but he was too ill for the task. Characteristically
however, he stipulated even then, that if he should be
able to undertake it he should receive his usual fee and
fifty India proofs of each plate.
Most of the large prints were engraved on copper — even
those published as late as 1845 — although by that time
the use of steel had become universal for all ordinary
work. Turner's engravers, skilful as they were, greatly
preferred the softer metal, and dreaded the enormous
labour which steel involved on prints of so large a scale,
as well as the difficulty of correcting faults. Even with
copper, each large engraving required two years, and
often more, of almost continuous work.
Some important plates which had been planned or Engravings
commenced before Turner's death in 1851, were com- ?«gr Tur
pleted and published afterwards; others from the hands ner's death
of his old engravers, appeared at intervals up to as late
as 1874. Amongst these is Wallis's beautiful Approach
to Venice (1859). Willmore's Temple of Minerva, Cape
Colonna (1854), Miller's Bell Rock Light House (1862),
and Chapman's Sun Rising in a Mist (1874), all also show
that although the engravers had no longer Turner's keen
eye and expert hand to direct and correct them, their
long experience under him enabled them still to reproduce
the spirit of his pictures, even although the loss of the
controlling eye and hand are here and there visible. The
only smaller engravings of any importance were the sixty
plates o^ ' The Turner Gallery,' which appeared in 1861.

INTRODUCTION TO THE

These were taken almost entirely from his. oil pictures of
various periods. Many were the work of his old engravers,
and the general standard of execution may be said to be
high; but they are too uniformly smooth and facile in
effect, and they lack the clearness, force, and accent which
he would have given them.

Etchings,
Aquatints, and Litho
graphs.

Comparison of Line En
graving with other
methods.

Of the methods other than Line Engraving which were
employed by Turner, the most important, Mezzotint, has
already been dealt with.1 Etching, i.e., ' Painters' Etch
ing,' he never practised for its own sake, although the
etchings of the ' Liber Studiorum ' — all of which were the
work of his own hand — show that, so far as the organic
lines of a picture go, he was master of that process as
he was also of Mezzotint. Aquatint he made use of in a
few cases as a basis for colour prints; these however, with
the exception of one series, are unimportant. Lithography
he employed on one occasion only, but soon after his death,
several fairly successful reproductions from his pictures
were made in the then newly-discovered Chromo-Litho-
graphy, some of which are probably among the best of
their kind ever produced in England.
It is, however, chiefly by his Line Engravings that
Turner's work in black-and-white must be judged, and it
is doubtful if any of the other methods of reproduction
then practised would equally well have rendered the spirit
of his art. Turner was before all things a colourist — he
expressed himself as instinctively in colour as Baphael
did in line and Eembrandt in light-and-shade. He was
also pre-eminently a painter of light, of the sky, of fleet
ing effects of atmosphere and weather, of the sea in its
varying moods— all more or less interfused with poetry
and mystery. All these, Line Engraving, by its inherent

1 Ante, p. xliii.

ENGRAVED WORK OF J. M. W. TURNER. Ixiii
delicacy, its luminousness, its serenity, seems more cap
able than any other process to interpret. Mezzotint,
although effective for breadth and mass, appears essen
tially too black to translate colour, especially colour as
subtle and varied as Turner's. Etching is so scratchy — the
line is so constantly in evidence — for the rendering of
pictures in which sun, sky, and delicate atmospheric
effects play so large a part. Even so able an artist as the
late Monsieur Brunet-Debaines can hardly be said to have
succeeded in the translation of Turner's works, greatly
as he, in common with the other French etchers, was
impressed by them. It was the luminousness which Turner
saw was possible with Line Engraving that from the first
he strove for; this, once obtained, he instantly fastened
on and triumphantly carried to heights unknown before.
" You can see the lights," he wrote in 1810 to Pye, the
new engraver,1 " had I known there was a man who could
do that, I would have had it done before." It was this
quality, which in spite of the drawbacks inseparable from
the more or less mechanical nature of the process, ren
dered the latter probably the most faithful as well as the
most decorative medium that he could have employed.
Of course, however fine the engraver's work may be,
if a Turner print is compared with the drawing from
which it is taken,' it is apparent in all but a few excep
tional cases (such as the vignettes) how utterly inferior
to the original is even the best reproduction. Yet with this
reservation — which holds good of the work of every great
artist — it will be observed that the pictures of Turner,
great and subtle colourist as he was, as a rule translate
extremely well into black-and-white. This is due to
several causes. Probably no painter before him — unless
possibly Eubens — ever so completely controlled the en
graving of his own pictures, or ever so set himself to
1 Ante, p. xxvi.

lxiv INTRODUCTION TO THE

educate the engravers who worked for him; certainly
none ever bestowed the same infinite pains on every detail
of every plate.1 Then, from an early period of his career
he was familiar with the technique, the capabilities, the
limitations of every engraving process; consequently not
only was he always able to design with a view to success
ful reproduction, but he knew also exactly how to direct
his engravers during the progress of their plates. He had
also an unerring eye for composition, and an extraordin
arily fine sense of the balance of light and shade in his
works. During the progress of his engravings, especially
those from his oil pictures, if he found that the composi
tion or chiaroscuro were affected by the absence of colour,
he would change the positions and relations of the lights
and darks, or add either where they had not existed in
the original.
No doubt, as has been already pointed out, his keen
desire for brilliance in his engravings, — ' sparkle ' he
termed it — led him at times unduly to multiply small
lights, and in so doing to sacrifice not unfrequently much
of the original breadth and unity of effect. Yet in spite
of this and other defects, there can I think be little
doubt that the engraved work of Turner, regarded as a
whole, represents the highest point yet reached in the in
terpretation of landscape. Mr. Hamerton well sums it up : 2
" Some [of his plates] were in mezzotint, but the majority
were in that modern style of landscape engraving which is
familiar to every reader, and which, with all its faults, un
questionably marks the highest point of perfection attained
hitherto in the complete interpretation of landscape art on
metal. It is not pure burin-work, but a mixed style, including
a great deal of etching, much work with the point, and not a
little ruling; but taken as a whole, in the hands of the mar-
1 At the end of this Introduction will be found some examples
of his instructions to his engravers.
* Hamerton's ' Life of Turner,' p. 210.

ENGRAVED WORK OF J. M. W. TURNER. Ixv
vellously skilful men who used it ... it interprets landscape
painting more completely than any other method. Mezzotint
can render the tones of light and shade with unsurpassable
accuracy, but it is never so lucid and luminous as engraving,
and consequently its effects of atmosphere can never be so pure.
Independent etching may suggest delicate distinctions of tone,
but does not so surely render them as engraving does, and is
therefore not so well adapted for the interpretation of skies."
And in another passage : 1
"The engravers who interpreted Turner, and interpreted
him on the whole so astonishingly well, were a school which
had its methods in common. Take the volume of the ' Eivers
of France ' and try to guess who engraved each plate, without
looking at the engraver's name in the corner. Those plates
were done by twelve different engravers ; can you recognize
them by their work? No, you cannot; the book is so homo
geneous that it looks as if the designs had been all engraved
by one person. Exactly the same methods of interpretation
have been employed throughout. And yet what consummate
skill! What admirable precision in dealing with the most
subtle distinctions of tone in those skies and water-surfaces
of Turner! Here is a kind of engraving which, without being
personal, since twelve men could do it, is still more useful
and valuable, for it has rendered with exquisite delicacy the
work of a great genius, and multiplied it by thousands."
It is to be regretted that amongst all the engraved work
of Turner there are no reproductions of those beautiful
late sketches and studies which, to some of us, represent
the last and highest expression of his water-colour art.
But they would not have been to the taste of his genera
tion, and it is doubtful if even to-day they would have a
very wide appreciation, judging from the relative value
which the finest of such sketches command, as com
pared with his more highly-finished drawings.
1 ' Etching and Etchers,' 3rd ed., p. 289.

lxvi INTRODUCTION TO THE
Turner's finest Line Engravings will I believe be sur
passed only when the accurate reproduction of the most
delicate colours can be obtained by processes or methods
primarily mechanical, yet capable of perfect artistic direc
tion and control. Towards this much-to-be-desired goal,
the art of photographic colour-printing seems daily to be
making rapid strides.

Turner If time and space permit, I may be able hereafter to
eneT1"8 s a(^ some notices of the engravers to whose skill — itself
largely due to his training and influence — Turner's en
gravings testify. They were more than eighty in number,
and amongst so many, it is difficult to classify in order of
merit. A contemporary engraver, now dead, told me that
on Turner's being once asked to name the six whom he
considered the best, he selected Miller, Willmore, Goodall,
Brandard, Pye, and Wallis. After these I would place —
from the earlier men, the brothers Cooke, Eawle and Le
Keux — and from the later, W. B. Smith, J. B. Allen and
J. Cousen. The latter's vignettes and small plates cannot
be surpassed.
The engravers worshipped Turner as a great genius,
but they stood in great dread of him. Although at times
he could be kind even when he was rough, generally
speaking he was a hard master, imperious and exacting,
and they were terrified of being sent for by him to com
plain of their work. There were also perpetual feuds on
the question of the trial proofs which from time to time
they brought to him to be touched; these, which they
had hitherto regarded as their perquisites, he claimed as
his property. Some engravers submitted, but others to
the last refused to give them up, and quarrels were fre
quent and sometimes furious.
In the same way, from about 1820 onwards, he claimed
from the publishers of his engravings a continually in
creasing number of early proofs of each plate; beginning

ENGRAVED WORK OF J. M. W. TURNER, lxvii
with eight, he advanced to fifteen, then to twenty-five,
and finally, when the use of steel had become general,
he demanded, and generally obtained, fifty. Shrewd as he
was, he was sometimes outwitted over these. He stipulated
that he should receive only the finest impressions, but
when as occasionally happened, a plate seemed likely to
yield fewer than usual, all that were wanted for sale were
printed first, and Turner's afterwards; even although by
that time deterioration had begun.
All these proofs, together with many unfinished or un
published copper and steel plates, he stored at his house
in Queen Anne Street, where they were found at his
death.1 The vast hoard remained untouched during the
long litigation over his will, until by order of the Court of
Chancery, it was dispersed at Christie's in 1873 and 1874,
the Sales occupying twenty days and realizing over forty
thousand pounds.
Turner and his engravers have all long since passed
away, and photography has killed the beautiful art of
Line Engraving — in England at all events. The following
passage, written by an artist 2 who lived and worked among
the men whose business it was to translate into black-
and-white and so place within reach of the public, the
pictures of their day, gives a vivid, although also a some
what pathetic picture of the life of a line engraver of that
time. Writing probably somewhere in the sixties, he says :
" With few exceptions, engravers find it hard to make a
bare living by their art, and the chances offered by the pro
fession are not sufiicient to tempt young men of ability, and
1 An extremely interesting letter from Mr. Buskin senior to his
son, describing his visit to Turner's house soon after his death will
be found (p. xxvi) in the Introduction to Vol. XIII of the recent
Library Edition of Buskin's Works.
2 The late C. W. Badclifle. Quoted in the preface to the Catalogue
of the Exhibition of Engravings by Birmingham Engravers held
at Birmingham in 1877, pp. 5-0.

lxviii INTRODUCTION TO THE
of real artistic power, to enter it. The work is too slow to
allow the engraver to realize, in even the most moderate pro
portion, the gains obtained by other artists ; the conditions of
it are especially self-denying and severe; and the public
appreciation of the artist is not sufficiently high to compensate
by fame the lack of substantial reward. Yet, the line engraver
¦ — one worthy of being ranked in the highest class — is an
artist deserving of special honour, for it is by his mind and
hand alone, that pictures owned by the few can be multiplied
for the many, and can, indeed, in many cases be interpreted
even for those who are privileged to possess them. The en
graver has not only to work for but with the painter. Turner
understood this, for there were few, if any, of the plates
engraved from his works upon which there are not traces of
his own hand — changes in colour, and form, and effect; happy
suggestions — a bit of dark, a point of light, a new sweep of
line, an alteration of mass of light and shade — worked out in
consultation with the engraver, and by him translated from
rough hints into effective and intelligible shape. . . .
" I should like to say one word for engraving and its diffi
culties, that is, in the rendering of colour into black and white.
Take a picture or drawing by Turner in his latter time, full of
mystery, and apparently with no accurate drawing in it. First,
a reduction has to be made to a scale. The original may be full
of the most delicate architectural work, crowded perhaps, with
figures — all, at first glance, a shapeless mass, but all requiring,
for the engraver's purpose, to be put into order, and to be sub
mitted to Turner's critical eye. When the plate gets well into
progress, then comes the question of colour — a bit of bright
orange, or scarlet, or blue; how shall it be rendered in black,
or white, or gray ? Turner knows ; but the engraver dare not ask
him until the plate is in such a condition as to require touch
ing. I have seen engravers perfectly bewildered as to what
they should do in such cases. All who have studied Turner's
work will feel the immense difficulty in translating them into
black and white; remembering that during the painter's life
each plate had to go through the ordeal of his examination,
his criticism, and his alterations. . . . And yet with such
qualities necessary to their Art, few men have more lacked the

- ENGRAVED WORK OF J. M. W. TURNER, lxix
sympathy and appreciation of the public than engravers; few
men have been less known, few have lived more solitary or
more laborious lives. Bending double all through a bright
sunny day, in an attic or close work-room, over a large steel
plate, with a powerful magnifying glass in constant use; care
fully picking and cutting out bits of metal from the plate,
and giving the painfully formed lines the ultimate form of
some of Turner's most brilliant conceptions ; working for
twelve or fourteen hours daily, taking exercise rarely, in early
morning or late at night; 'proving' a plate, only to find that
days of labour ha^e been mistaken, and have to be effaced,
and done over again; criticized and corrected by painters, who
often or always look upon engravers — to whom they owe so
much — as inferior to themselves; badly paid by publishers,
who reap the lion's share of the value of their work; and
treated with indifference by the public — such is too com
monly the life of an engraver. . . ."
I cannot close these introductory remarks without
saying that, leaving Turner's oil pictures apart, I am
convinced that no one can make a study of his engraved
work — and still more of the hundreds of drawings and
thousands of sketches on which that work was founded
— without being profoundly impressed with the sense of
his power. Notwithstanding occasional faults of taste
apparent to every one, his work is stamped with those
rare qualities of ' infinity,' of poetry, of mystery, of
mastery over every form and aspect of Nature, which are
to be found in conjunction, only in the very greatest
artists of all times and all schools.

The following examples show how Turner, when correct
ing his engravers' Trial Proofs, took pains to let them
understand his reasons for the alterations which he re
quired, and in so doing, educated them to a knowledge of
his aims and methods. Many similar will be found in the
Catalogue.

Ixx INTRODUCTION TO THE
(1) His earliest written instructions known to me are
on a trial proof of Christ Church Cathedral (' Oxford Al
manacks,' 1811) in my possession. Turner has added in
ink, crockets on the angles of the cupola of ' Tom ' tower,
and has drawn a sketch of it on the back of the proof,
against which he has written:
" Tom is not like. Get Dayes' or Booker's or Delamotte's
[other artists who had drawn it in previous Almanacks] to
look at. It has Crockett's [sic] at the angles up to the sets
[?] of the lead work."
The sky is also touched extensively in white, to indicate
that the clouds should be much lightened, and rays of
sunshine are added, coming through the trees on the left.
(2) On a proof of Lyme Regis (' Southern Coast,' 1814),
in the Print Boom of the British Museum, he has drawn
pencil lines across the cliffs on the right and the storm
clouds above them, adding:
"You will perceive by the lay of the lines which I have
added how I think they should be placed to counteract the
sweeping lines of all the hills; and the dots do pray mind, to
prevent the bald appearance it now has. The lights I want
had better be reserved until the next proof."
A later proof has no further remarks by him, but bears
the following interesting note by Cooke, the engraver :
" On receiving this proof," writes Cooke, " Turner expressed
himself highly gratified — he took a piece of white chalk and a
piece of black, giving me the option as to which he should
touch it with. I chose the white; he then threw the black
chalk to some distance from him. When done, I requested he
would touch another proof in blade. ' No,' said he, ' you have
had your choice and must abide by it.' How much the com
parison would have gratified the admirers of this great and
extraordinary artist! "
Cooke's meaning here I imagine to be that Turner was
ready to correct his engravings by either of two methods

ENGRAVED WORK OF J. M. W. TURNER, lxxi
— i.e., by touching (a) the darker parts with white chalk,
for lightening, or (b) the lighter parts with pencil, for
darkening; his aim in both cases being to obtain the
right balance of light and shade.
(3) On a proof of Corfe Castle (' Southern Coast,' 1814),
in the collection of the late Lord Tweedmouth :
" This hill you had, I think, far better take out, and place
the lines as marked and keep it lighter, for it takes away now
the conical shape of the Castle Hill. As to the cross lines
which you propose doing over the sky in your note, I feel
doubtful about all strengths ; about the towers may be cross
lines, for they are too smooth, and the perpendicular tone
prevails too much throughout the plate. The linen on the hill
[laid out to dry] much lighter."
(4) On one of Teignmouth (' Southern Coast,' 1815),
in the same collection :
" Dear Sie. — As so much depends upon what effect your
brother [George Cooke] intends to bring the sky up to, I have
not touched upon it, but could wish to see a proof when he
thinks he has done all he can to correspond with the drawing,
but would advise him not to do anything to the water or fore
ground for the present, but to get richness, lightness, and clear
ness to the sky and the light flittering [? flickering] clouds,
particularly in the upper part."
And on a later proof of the same plate :
"The tone of the church requires a little more solidity
about the upper part, but take care of blackness. One of the
figures standing on the shore in the middle distance is too
much a Falstaff, the other Master Slender. Make the sun, if
you can, more visible as to disk [here a sketch] at the upper
most side, and then the plate will do. The boat's foremast has
no bottom to it, burnish one in, and make a shadow."
(5) On one of Edinburgh from the Calton Hill (' Provin
cial Antiquities of Scotland,' 1820), in the possession of
Mr. Francis Bullard, Boston, U.S.A.:

lxxii INTRODUCTION TO THE
[Turner indicates with marks, places that he wishes] " to
be burnished horizontally to make the town darker." [Another
series of marks] " Burnished, to make the cross bank more
solid, and the buildings, and lighter than 2 and 3 [pencil
numbers on the proof] X [indicates] blunder, keep House
light. . . . Don't fear the number of windows, for those at 3
[number in margin], are 14 floors high on the side of Castle
ditch, 7 in the High St. I have kept all your forms, so follow
all my marks particularly in the Houses, to obtain the ' Look '
of Edinbro which these touches will give. I am sorry to make
the alteration at the Castle Entrance [lights here picked out
with a pen-knife], but there is a House which must come out;
the Entrance is thus [here Turner has made an elaborate sketch
of the Castlerock and Castle. The hidden approach is in
dicated with the words • rock,' ' parade,' ' battery,' ' Eock on
which the Half moon Battery is built '] if you can make the
figures lighter crossing the bridge they will be better. Make
the Old Woman's Hands & Feet more marked and then
finis." The "Look of Edinbro" quoted above is eminently
characteristic of Turner. With all the liberties which,
for the sake of composition or effect, he allowed himself
to take with the topography of a city or a landscape, he
rarely failed to aim at giving the essentials of its " Look."
(6) On one of Hythe (' Southern Coast,' 1824), in the
same collection:
" You ask me for my opinion ; first, I shall say in general
very good; secondly, the figures at Barracks excellent, but I
think you have cut up the bank called Shorncliff [sic] too much
with the graver, by lines which are equal in strength and
width and length, that give a coarseuess to the quality, and do
not look like my touches or your work, like hooks to the good
part over which they are put. The marsh is all swamp; I
want flickering lights upon it up to the sea, and although I
have darkened the sea in part, yet you must not consider it to
want strength, but that the whole marsh and sea down to the

ENGRA VED WORK OF J. M. W. TURNER. Ixxiii
canal before the Barracks lies dark and not clear; get it into
one tone, flat by dots or some means, and let the sea and
water only appear different by their present lines. [Signed],
J. M. W. Turner."
(7) On one of Clovelly (' Southern Coast,' 1824), in
the possession of the writer:.
" Mr. Miller, soften down the Edges of the clouds generally
between the shadows an half-tones, and as a word of advice
aim at softness or union of the lines a little more. The Eocky
bank above and East side of the Town and to the point X
[pencil mark on proof J thick wood down to the Edge of silvery
tone below the precipice to the Sea. [Illegible] foreground
[illegible] the only place behind it, Lundy Island too high.
Make the lights in the Clouds scratched out, brilliant. . . .
J. M. W. T."
(8) On a proof of the vignette of Hotel de Ville, Paris
(Scott's Prose Works, 1834-5), in the possession of the
writer :
"The sky must be all made flat; the white paper taken
away and the white reduced to a light tone, it doth [sic] no
good to the Building but harm in its present state, and the
whole of the Building not rich enough of Ornament (it looks
in Nature like Lace), niches and figures between on the
Second Story. Window dressings, tops [here is a sketch] and
upper or garrett windows particularly rich, loaded with small
ornaments and f oliage ; Large figures supported by the Clock,
Sun-dial and Globe above. In short your building is too
much cut up by lines [thus], too much architecture made out
which makes it look poor instead of Eich. ... I fear I must
trouble you to send it to me again. [Signed] J. M. W. T."
(9) On one of Durham Cathedral ('England and Wales,'
1836), in the Print Eoom of the British Museum:
" All the Bank covered with Trees down to the Eiver Edge.
I want [illegible] Large Trees to be made out. Excuse my
saying everything you try to [make] out by single line only,
"l- /

Ixxiv ENGRA VED WORK OF J. M. W. TURNER.
and that way too frequently done without Form, has nothing
characteristic of light and shadow. I must beg [you] to see
[me] with this again."
(10) The following is interesting as showing the care
which Eogers himself took over the illustrations to his
Poems. On the margin of a trial proof of St. Anne's Hill
in my possession, Turner has written to the engraver,
Goodall :
" Mr. Eogers brought me this, wishing it to be made richer
of flowers. I therefore sent for the Drawing tho' I suppose you
have not done all you intend by [your] not having sent this
to me. N.B. Make the trellis work thicker, the large Tree
more made out by work thus [here is a pencil sketch], light
not heavy."
Bound the arbour Turner, following Eogers's sugges
tion, has added in pencil: "Many more roses."

EXPLANATOKY NOTES

EXPLANATORY NOTES.
The Catalogue which follows embraces all the engravings by and
after Turner which were published or projected in his lifetime,
together with certain others which were executed not long after his
death, mainly by engravers who had worked under him.
They are arranged under the following heads :
Part I. LINE ENGEAVINGS.
Part II. MEZZOTINTS.
Part III. AQUATINTS, PLAIN AND COLOUEED.
Part IV. LITHOGEAPHS AND CHEOMO-LITHOGEAPHS.
Descriptions. — A detailed description is given of each engrav
ing along with (a) its dimensions; (6) the name of its engraver;
(c) the date of publication; (d) the distinguishing marks of its various
' States ' ; and (e) the present whereabouts of the Picture or Draw
ing from which it is taken, so far as this is known to the writer.
In some instances, notes are added as to the history, intention, or
points of interest connected with the print.
Order. — The order of arrangement is as far as possible chrono
logical. In the case of serial issues of books or prints extending
over several years, the date of publication of the first plate usually
fixes the place of the series. This should be borne in mind, as other
wise works of different character and date will seem to overlap one
another. In several serials — ' The Southern Coast ' for example —
the plates were first issued in the order in which they happened to
be engraved, independently of topography, but on the completion of
the work were re-arranged in geographical order. In this instance it
seemed best to adhere to the original, chronological numbering, but
lxxvii

Ixxviii ENGRA VkD WORK OF J. M. W. TURNER.
in the majority of cases, where the differences in date between the
original and the re-arranged order were trifling, it appeared more
convenient to number the plates as they were finally published.
Titles. — The original titles are adhered to throughout.
Dimensions. — The large majority of Turner's landscapes being
oblong in shape, the figures of the width (or length) always precede
those of the height. The measurements given are those of the
innermost plate line. In the case of Vignettes, they represent ap
proximately the greatest width and the greatest height.
Point of View. — The point of view is always that of the spec
tator. What he sees to his right or his left will be described in
every case as ' right ' or ' left.'
Engraving Processes and Terms. — The methods employed
in Line Engraving and Mezzotinting, and the tools used in each
process are described in the Introduction (pp. 3-9). For similar in
formation as to Aquatint, Etching, Lithography, andChromo-Litho-
graphy, the reader is referred to ' Hamerton's Graphic Arts,' and
other works on engraving.
' Engraving,' ' Print,' and ' Plate,' how used. — To avoid
constant repetition it has been necessary to employ these three
words continually and interchangeably in their general sense, i.e.,
to denote any kind of engraving, at any stage. For the use of the
word ' Print,' in its technical sense, see a later paragraph.
'Proofs ' and ' States.' — Owing to there being no recognized
universal system of nomenclature for the various stages of an
engraving, the word ' Proofs ' has been and still is used with so
many different meanings, that it is difficult to give a clear explana
tion without appearing unduly prolix: —
Primarily, a ' Proof ' meant an impression taken by or for the
engraver of a plate, at any stage during its execution, to prove (or
show) how far his work had progressed, and whether or not it
satisfied him. Such impressions are still rightly known as ' Trial
Proofs,' or ' Progressive Proofs.' Sometimes also they are called
' Engravers' Proofs,' but this term is frequently also specially
applied to the impressions taken immediately after the completion

EXPLANATORY NOTES. lxxix
of a plate. A certain number of these — usually about eight — have
always been the recognized perquisites of the engraver; they were
often called ' Presentation Proofs,' as it was customary among the
old engravers to exchange them amongst themselves or present
them to friends.
In Turner's later time, the first issue of an engraving usually
went by the name of ' Artist's Proofs,' each copy often being signed
by the artist (who received a fee for every signature), as well as
by the engraver; these were always of high quality. Sometimes
again they were known as ' Subscribers' Proofs,' subscriptions
having been obtained for them before publication. This first issue
(which was generally a very limited one) was often followed by
another called ' Proofs before Letters ; ; these bore both the
painter's and the engraver's names, but neither the Title, Dedication
nor Publication lines had as yet been added. Again, the first
impressions of a plate were often printed on a very fine paper made
in Japan, which, having been introduced into Europe by way of
India had become known as 'India Paper,' and the impressions
taken on it were called ' India Paper Proofs,' or ' India Proofs.'
It will be readily seen that all these varied applications of the
word ' Proof ' have destroyed the original, definite meaning named
above. And further, the terms ' Proofs ' and ' Engravers' Proofs '
have for a long time been confused in ordinary use, mainly owing
to the following reasons: —
From the first, early impressions from engraved plates have
been keenly sought for by connoisseurs and collectors, on account
of their great superiority to all those which follow. No doubt the
earliest Trial Proofs are frequently imperfect, and, especially in the
case of Mezzotints, often so heavily charged with ink as seriously
to impair their effect; yet, with all engravings on copper, when
once a plate is fairly advanced under the engraver's hand, the im
pressions taken from it just before and just after completion, have
an interest and a quality which distinguish them from all later
ones. This is peculiarly the case with Mezzotints, as the last
delicate, all-important touches of the engraver on the light parts,
and the rich, velvety effect of the darks — which together give what
is known technically as the ' bloom ' — both wear away with extra
ordinary rapiditv in printing, owing to the softness of the metal.

Ixxx ENGRA VED WORK OF J. M. W. TURNER.
With Line Engravings, the deterioration is slower and less
marked, but none the less certain. The earliest impressions pos
sess a luminousness, a ' silveriness,' which soon disappear as print
ing goes on. In both cases the cause of deterioration is obvious.
With a Mezzotint, the friction of the printing wears away the minute
raised points on the copper which catch the ink. With a Line
Engraving, it breaks down the edges of the furrows cut in the
copper, and the lines on the print consequently cease to be sharp
and clear; the ink also, no longer confined in the furrows, gradu
ally spreads over their edges on to the hitherto clear, white spaces
between the lines. It is to these clear, white spaces and sharp lines,
that the ' silveriness ' and luminousness of the engraving are
due. It is not difficult, therefore, to understand the demand which has
always existed for ' Early Proofs ' of all engravings on copper.
The true connoisseur recognizes not only their intrinsic beauty, but
also the fact that they and they alone display the handiwork of the
artist-engraver in its pristine condition. Accordingly he is willing
to pay what may seem a high price for them; not, as is sometimes
supposed, on account of their mere rarity, but because to his trained
eye, one such impression gives higher pleasure than a score of
ordinary ones.
But, as usual, demand creates supply. Often large numbers of
impressions were printed from a plate straight away, all to be sold
as ' Proofs ' or ' Engravers' Proofs.' At other times, when not only
the good, but even the ordinary impressions of a print were ex
hausted, if the demand for ' Proofs ' still continued, unscrupulous
dealers erased from the copper-plate the lettering or other marks
denoting its real ' State,' and issued ' False Proofs,' from plates
which were more or less worn out. So frequent did this become,
that in 1847 the leading printsellers of the United Kingdom formed
themselves into a ' Printsellers' Association,' the members of which
undertook for the future to issue only a definite number of Proofs
of each plate published by them, which number was in every case
to be declared on the registration of the plate with the Association.
All such Proofs were required to be stamped with the seal of the
Association, and the members bound themselves henceforward to
deal in no new engravings which did not bear that stamp. By this

EXP LA NATORY NO TES. lxxxi
means they soon succeeded in putting an end to a large amount of
roguery. It should be added that the above remarks do not apply to en
gravings on Steel. Here the conditions are entirely different. The
metal is so hard that often hundreds of impressions can be printed
before any appreciable deterioration can be detected.
The word ' States,' like ' Proofs,' is also used with different
meanings. Sometimes — as in the case of Eembrandt's Etchings —
it denotes the actual order of each impression taken from a plate ;
the earliest Trial Proof being the ' First State,' the next the
' Second State,' and so on. This however is apt to lead to a need
less multiplication of ' States,' often with very trifling differences
between them. In other cases, the ' States ' of a plate begin only
when it is completed, all impressions previously taken being con
sidered as ' Trial Proofs ' or ' Engravers' Proofs.'
Principle adopted in the present Catalogue. — To avoid
the confusion referred to above, I have followed the system which
I believe was first introduced in my ' Catalogue of Turner's Liber
Studiorum,' and which has since been adopted by other writers.
It is simply that all impressions taken from a plate before publica
tion are classed as ' Engravers' Proofs' and, as such, described in
their order. Then comes the ' First Published State,' followed by
the Second, and, where they exist, the later ' States.' I think this
method will be found as clear and simple in working as any.
' Prints,' ' Late States,' and ' Reprints.' — When an en
graved plate begins to show signs of wear, it is at once re-touched
or repaired by the engraver, and often in this, its ' Second State,'
and even in later States, it is still a creditable work of art. In
Turner's time, the impressions of the Second or sometimes of later
States were usually termed 'Prints.' But the majority of his
engravings were illustrations to books, some of which went through
many editions after the plates illustrating them had become quite
worn out. The latter were re- worked from time to time, to keep as
far as possible some semblance of their original appearance, but
not infrequently they passed finally into the hands of publishers
who used them long after they had become mere wrecks. In many
cases, the original lettering was allowed to remain unaltered;

lxxxii ENGRA VED WORK OF J. M. W. TURNER.
consequently quite worthless impressions are at times to be met
with bearing apparently the marks of States which were originally
good, and may be described as such in this Catalogue. Against
these, the collector's eye is his only protection.
The Preliminary (or ' Open ') Etchings. — In the case of
the very early prints after Turner, so few of the ' Open Etchings '
have survived, that I have thought it desirable to mention the
instances known to me. But from ' The Southern Coast ' onwards
— say from 1812 — they appear to have been printed in considerable
numbers, and often to have been issued along with the First Pub
lished State. As they are usually of little interest (see Introduc
tion, pp. xii, xiii), I have not thought it necessary after that date to
allude to them, and their existence will always be assumed. There
is, however, one difficulty in dealing with them. Whilst with every
plate there must always be a definite point where the ' Open Etch
ing ' ends and the ' Engraver's Proofs ' begin, i.e., before the en
graver has commenced to work with his burin or dry-point — yet
impressions are continually to be met with in which the amount
of that work is so very slight, that although, strictly speaking,
they are ' Engravers' Proofs,' they still do not merit notice. So
great indeed was the number of Proofs which Turner usually
required from his engravers before he was satisfied with their
work, that the limits of time and space prevent my describing any
but the most important.
Previous Lists of Turner Prints. — The only virtually con
temporary list is that drawn up by the late Mr. Charles Stokes of
Gray's Inn, the painter's stockbroker and friend, who was an inde
fatigable collector of his engravings. This list is printed in an
Appendix to Thornbury's ' Life of Turner,' ' and although it contains
several inaccuracies and a few omissions, it is fairly complete. A
Catalogue, chiefly founded on it, has recently (1906) appeared in the
' Handbook to an Exhibition of Line Engravings after Turner
held in the Fogg Art Museum of Harvard University, Cambridge,
U.S.A.' This Exhibition was arranged by Mr. Francis Bullard, of
Boston, U.S.A., who compiled the Handbook and contributed to it
an interesting Introduction and many valuable notes.
1 For remarks as to this book see Introduction, p. xxvii.

EXPLANATORY NOTES. lxxxiii
Engravings erroneously ascribed to Turner. — There are
a few prints, mostly small and unimportant, which pass as being
after Turner, but, in the writer's opinion, incorrectly. A list of
these will be appended at the end of the Catalogue.
Owners of Drawings. — Many of these are taken from Mr.
Edward Dillon's excellent list at the end of Sir Walter Armstrong's
' Life of Turner.' It is needless, however, to add that the drawings
are continually changing hands, and from this and other causes,
it is impossible to be more than approximately correct.
Collections. — The initial letters below denote the various cok
lections which will be referred to in the course of the Catalogue.
There are doubtless others unknown to me.
B. Mr. Francis Bullard, Boston, U.S.A.
BM. British Museum (Print Eoom).
MT. Mr. C. Mallord Turner.
E. The Writer's collection.
T. The Trustees of the late Mr. John Edward Taylor.
Th. Mr. H. S. Theobald, K.C.
TW. The late Lord Tweedmouth. (This collection has recently
passed into the possession of Mr. C. Mallord Turner.)
Abbreviations. — 'B.a.l.' — before or without any letters.
Eom.' — Eoman (type). ' Caps ' — capitals. ' Pub.' — published.

LIST OF ENGEAVINGS AFTEE
J. M. W. TUBNEB, E.A.
PUBLISHED OR PROJECTED DURING HIS
LIFE-TIME,
TOGETHEE WITH OTHEES PUBLISHED AFTEE HIS DEATH
BUT EXECUTED MAINLY BY ENGEAVEES
WHO HAD WOEKED UNDEE HIM

PAET I. LINE ENGEAVINGS.
Sect. A. Line Engravings on Copper.
Sect. B. Line Engravings on Steel.
Sect. C. Line Engravings or Late Date and mostly
or Large Size; some on Copper and some
on Steel.
Sect. D. Line Engravings on Steel executed after
Turner's Death, mainly by Engravers
who had worked under him.
PAET II. MEZZOTINTS.
PAET III. AQUATINTS.
PAET IV. LITHOGEAPHS AND CHEOMO-LITHOGEAPHS.

PART I.— LINE ENGRAVINGS
Section A. — Line Engravings on Copper

DATE.

SIZE.

1794

6ix4|

1794

6ix4§

1795

6£x4i

1795

6fx4f

1795

6fx4J

1795

6Jx4i

1796

6fx4|
6|x4§

1796

1797

6fx4f

1797

6fx4j|

1797

6ix4§6|x4J

1797

1797

6Jx4i

1798

6Jx4i

1798

6|x4}

1797

6Jx4a

1795

4ix2f

1795

4ix2f

1795

4jx2J

1795

4£x2§

1795

4i x 2 J

1795

4|x2f

1795

4l*2i

1795

4ix2|

1795

4£x2f

1795

4Jx2i

1795

4Jx2f

1795

4ix2f

1795

4Jx2f

1795

4ix2f

1796

4§x2f
4x2|

1796

2
3456 7
89
10 11
12131415
15a

161718
19
20 21
222324
25262728
293031

I. 'The Copper-Plate Magazine' and 'The
Itinerant,' 1794-1798
Rochester 
Chepstow 
Nottingham 
Bridgenorth 
Matlock 
Birmingham 
Chester 
Peterborough 
Ely 
Westminster Bridge 
Flint, from Parkgate 
Hampton Court, Herefordshire 
Carlisle 
Wakefield 
Sheffield 
Elgin Cathedral 
II. ' The Pocket Magazine,' ' Ladies' Pocket
Magazine,' and ' Pocket Print
1795-1796
The Tower of London 
Chelsea Hospital 
Oxford 
Cambridge 
Windsor  ¦ 
Flint 
Bath 
Worcester 
Wallingford 
Tunbridge 
Swansea 
Guildford 
Neath 
Staines 
Bristol 
Northampton  lxxxvii

Walker and
Storer
StorerJ. Walker
J. Walker
J. Widnell
StorerJ. Walker
J. Walker
J. Waller
J. Walker
J. Walker
J. Walker
J. Walker
J. Walker
J. Walker
J. Walker

T. Tagg
StorerT. Tagg
T. Tagg
RothwellT. Tagg
G. Murray
Rothwell
T. Tagg
G. Murray
RothwellRothwellG. Murray
G. Murray
T. Tagg
T. Tagg

Ixxxviii

LINE ENGRAVINGS ON COPPER.

ENGRAVER.

3233

34353637

38 39
40 41
4243 4445464738a to
47a

4849 50

51

5253545556

III. Howlett's 'Selection of Views in the
County of Lincoln,' 1797-1801
Grantham Church 
Sleaf ord Church 
IV. Isle of Wight Series, 1799
Orchard Bay 
Freshwater Bay 
Alum Bay, Isle of Wight  
Alum Bay and the Needles 
V. Oxford Almanacks, 1799-1811
South View of Christ Church, etc., from the
Meadows  
View of the Chapel and Hall of Oriel College
Inside View of the East End of Merton College
Chapel 
A View of Worcester College, etc 
A View from the Inside of Brazen Nose College
Quadrangle 
View of Exeter College, All Saints' Church, etc.,
from the Turl  
Inside View of the Hall of Christ Church
View of Oxford from the South side of Hed-
dington Hill 
View of the Cathedral of Christ Church and
part of Corpus Christi College 
Part of Balliol College Quadrangle 
Va. The Small Replicas of the foregoing in
Skelton's ' Oxonia Antigua Restaurata,'
1820-1823 ... 
VI. Views of Dunster Castle, Somersetshire,
1800
Dunster Castle, Somersetshire, North-East View
Dunster Castle, Somersetshire, South- West View
Dunster Castle (Small plate) 
VII. Some Book Unknown, 1800
Winchester Cross 
VIII. Whitaker's ' History of the Parish of
Whalley,' 1800-1801
Seals of Whalley Abbey 
Ancient Crosses at Whalley
Distant View of Whalley Abbey
Cloisters of Whalley Abbey
Whalley Abbey (Nearer View) . . .

179718011799

17991801180218041805 1806180718081811
1809

18001800 p

1800

1800
18001800 18001800

7 x 5}
7*x 5

10 x 7f
10 x 7
10 x n
10 x 7i

17fxl2f17fxl2|17|xl2|17|xl317fxl2f17fxl2f17|xl3i17|xl2f 17fxl2f17|xl2f

about 9x7

14fx 9f
1Q x 9|
6|x 4

6i x

9 xl2
8 xlOJ
10i x 7!
10i x 7
10 x 7

B. Howlett
B. Howlett

J. Landseer
J. Landseer
J. Landseer
J. Landseer

J. Basire
J. Basire
J. Basire
J. Basire
J. Basire
J. Basire
J. Basire
J. Basire
J. Basire
Storer

J. Skelton

S. Rawle
S. Rawle
S. Rawle

J. Powell

J. Basire
J. Basire
J. Bashe
J. Basire
J. Basire

LINE ENGRAVINGS ON COPPER.

lxxxix

ENGRAVER.

57585960 61

62

63

64

65
66 6768
69 7071

72

737475

76

77

78

Clitheroe from Eadsford Bridge
Browshohne 
Townley Hall  
Stoneyhurst 
Sherburne Chapel in Mitton Church

IX. Angus' ' Seats of the Nobility and Gentry,'
1798-1810
Fonthill House, Wiltshire 
X. Britton and Brayley's 'Beauties of Eng
land and Wales,' 1801-1816
Hampton Court, Herefordshire 
XI. Wharton's 'Essays on Gothic Architec
ture,' 2nd Edition, 1802
Durham Cathedral, Interior 

XII. Byrne's 'Britannia Depicta,' 1803-1810
Wiekham, from the Marlow Road . . .
Eton, from the Slough Road 
Abingdon, from the Thames Navigation
Newbury, from Speen Hill 
Donnington Castle 
Distant View of Chester 
Part of Chester Castle 

XIII. Storer and Greig's 'Select Views of
London and its Environs,' 1804-1805
Windsor from the Forest, Berks 
XIV. Mawman's ' Excursion to the Highlands
of Scotland and the English Lakes,' 1805
Inverary 
Loch Lomond 
Patterdale 
XV. Britton's 'Fine Arts of the English
School,' 1811
Pope's Villa 
XVI. Whitaker's 'History of Craven,' 2nd
Edition, 1812
South Transept of Fountains Abbey, Yorkshire
XVII. 'British Gallery of Pictures— Stafford
Gallery,' 1808
A Fishing Smack with a Boat (' Dutch Boats
in a Gale ') 

18001800180018011801

1800

1801

1802

1803180318051805180518101810

1804

180518051805

1811

1812

1812

10 x
10* x
10 x
101 x 6i
10i x 6|

f6&

7fx 5£

6x4

4ix 6|

tyx 8|x
Six8|x 8ix

8fx

J. Basire
J. Basire
J. Basire
J. Basire
J. Basire

W. Angus

J. Storer

S. Porter

W. Byrne
W. Byrne
W. Byrne
W. Byrne
W.& L.Byrne
W. Byrne
W. Byrne

5fx 7*

6 x
6 x

6 x 4i

9 x 6J

10 x 71

9 x 6£

J. Greig

J. Heath
J. Heath
J. Heath

Pye & Heath
J. Basire
J. Fittler 9

LINE ENGRAVINGS ON COPPER.

NO.

DATE.

SIZE.

1812

23|xl6

1828

HJx n

1818

23ixl5f

1814

5 x 3|

1814

8 x 5f

1816

Hfx 8|

1816

c. 7 x 5J

1816

10 x 7

18161816

9fx 6f
llfx 7f

1814 18141814181418141814181418151815

8fx 5|
8|x 5|
8fx 5|
8|x 5f
8ix 5f
8^x 5|
8Jx 5|
9x68i* 5f

18161816

9£x 61
9*x 61

181618201817

9fx 6f
9 x 6|
9|x 6 J

18171817181718181818

9fx 61
9Jx 61
C. VX 41
91 x 6|
n>< 61

79
79a 8081 8283
/84 85 8687

8889 9091
92 939495 96
97 98

99a 100 101
102103
104105

XVIII. Single Plate
High Street, Oxford (The Large Plate) 
High Street, Oxford (The Small Replica)
XIX. Single Plate
A View of Oxford from the Abingdon Road . . .
XX. 'The Lady and Gentleman's Annual
Pocket Ledger,' 1814
RedclifEe Church, Bristol 
XXI. Britton's ' Architectural Antiquities of
Great Britain,' 1805-1826
Crypt in Kirkstall Abbey, Yorkshire 
XXII. Whitaker's 'Loidis and Elmete,' 1816
Harewood House 
Flower-garden Porch at Farnley (Vignette
Etching) 
Gateway to the Flower-garden Porch at Famley
(Etching) 
Bay Wmdows in the Flower Garden at Farnley
(Etching) 
Gledhow 
XXIII. Cooke's 'Picturesque Views of the
Southern Coast of England,' 1814-1826
St. Michael's Mount, Cornwall
Poole, Dorsetshire 
Land's End, Cornwall 
Weymouth, Dorsetshire
Lulworth Cove, Dorsetshire
Corfe Castle, Dorsetshire
Lyme Regis, Dorsetshire
Teignmouth, Devonshire
Dartmouth, Devonshire
The Mew Stone at the Entrance of Plymouth
Sound, Devonshire 
Falmouth Harbour, Cornwall
Plymouth Dock from Mount Edgecomb, Dev
onshire 
Ditto (Replica) 
Plymouth, with Mount Batten
Pendennis Castle and the Entrance of Fal
mouth Harbour, Cornwall 
Bow and Arrow Castle, Isle of Portland 
Martello Tower at Bexhill (Vignette) 
East and West Looe, Cornwall 
Ilf racomb, North Devon 

Middiman,
Pye, & Heath
W.E.Albutt

Pye & Heath
J. Pye
J. Scott
J. Scott
UnknownUnknownUnknown G. Cooke

B. Cooke
Cooke
Cooke B. Cooke
B. Cooke
Cooke B. Cooke
Cooke B. Cooke

W. B. Cooke
W. B. Cooke
W. B. Cooke
W. Miller
W. B. Cooke
G. Cooke
W. B. Cooke
W. B. Cooke
W. B. Cooke
W. B. Cooke

LINE ENGRAVINGS ON COPPER.

NO.

ENGRAVER.

106107108 109110111112 113114115116
117 118119120 121
122123 124125126127

128 129130131 132133134135136

137138139140

141142 143

144
145

Tintagel Castle, Cornwall 
Watchet, Somersetshire 
Bridport, Dorsetshire 
Entrance of Fowey Harbour, Cornwall
Lulworth Castle, Dorsetshire 
Torbay from Brixham 
Minehead and Dunster Castle, Somersetshire
Margate, Kent 
Rye, Sussex 
Clovelly Bay, Devonshire 
St. Mawes, Cornwall 
Ramsgate, Kent 
Hythe, Kent 
Comb Martin 
Portsmouth, Hampshire 
Boscastle, Cornwall  ,.
Brighthelmstone, Sussex 
Folkstone, Kent 
Deal, Kent 
Mount Edgecomb, Devonshire 
Dover from Shakespeare's Cliff
Whitstable, Kent 
XXIV. Cooke's ' Views in Sussex,' 1816-1820
Emblematical Frontispiece on Wrapper of
Part I (Etching) 
Battle Abbey, the spot where Harold fell
Brighthng Observatory, from RosehUl Park
The Vale of Ashburnham 
Pevensey Bay, from Crowhurst Park
The Vale of Heathfield 
Bodiham Castle, Sussex 
Hurstmonceux Castle (Open Etching only)
Winchelsea (Ditto)
XXV. Cooke's 'Rivers of Devon,' 1815-1823
Plymouth Citadel 
Plymouth Sound 
Ivy Bridge, Devonshire 
Source of the Tamar and Torridge 
XXVI.Surtees"HistoryofDurham,'1816-1823Hylton Castle, co. of Durham 
Gibside, co. of Durham 
Raby Castle 
XXVII. Hakewill's 'Picturesque Tour in
Italy,' 1818-1820
The Rialto, Venice* 
Cascade of Terni * 

181818201820 1820182118211821182418241824182418241824 182518251825 182518261826182618261826

1816 1819
18191816 18161818 1817
18201817

1815 181518161816

1820
18191820

9i x 61
9§x 6£
9i x 6|
91 x 6i
91 x 61
9*x 6-l!
8|x 6ij
9£x 6l!
91 x 5fj
8|x 5^j
8|x 5|
9ix 6
9Jx 5|
9i x 6
91 x 61
91 x 5|
9£x 6
9|x 5£
91 x 5|
9^x 6|
91 x 64

7 x
91 x
11 x
11 x
11 x
llixHlx
114 x
88x

n

ni.. ...
lllx 71
Uix 8J
12£x 8i

11 x 7$
11 x 71
H x 7|

1820 8|x 5£
1819 51 x 8|

G. Cooke
G. Cooke
W. B. Cooke
W. B. Cooke
G. Cooke
W. B. Cooke
W. B. Cooke
G. Cooke
E. Goodall
W. Miller
J. C. Allen
R. Wallis
G. Cooke
W. Miller
W. Miller
E. Goodall
G. Cooke
R. Wallis
W.Radclyffe' E. Goodall
G. Cooke
Horsburgh

? Turner
W. B. Cooke
W. B. Cooke
W. B. Cooke
W. B. Cooke
W. B. Cooke
W. B. Cooke
W. B. Cooke
W. B. Cooke

W. B. Cooke
W. B. Cooke
J. C. Allen
W. B. Cooke

S. Rawle
S. Rawle
S. Rawle

J. Pye
J. Landseer

LINE ENGRAVINGS ON COPPER.

ENGRAVER.

146147148149 150151152153154155156157158159160161

162

163 164

165166167168
168a

169
170171172173174175176
177178179180

XXVII. Hakewill's ' Tour in Italy ' — continued
Bridge at Narni 
Rome, Bridge and Castle of St. Angelo
The Roman Forum from the Capitol
The Forum Romanum * 
Rome, from the Farnese Gardens
Rome, from the Monte Testaccio
Rome, from Monte Mario 
Rome, Tomb of Cecilia Metella
La Riccia 
Lake of Nemi 
Naples, from the Mole * 
Florence, from the Ponte AUa Carraia
Florence, from the Chiesa al Monte
Florence from Fiesole * 
Isola Bella, on the Lago Maggiore . . .
Turin from the Portico of the Superga Church
* For the Small Replicas of these, see
XLIId, XLHg, XLIIh, XLIIl, ' Annuals.'
XXVIII. AUason's ' Antiquities of Pola,' 1819
Antiquities at Pola (Frontispiece) 
XXIX. Catalogue of Mr. Fawkes' Gallery,
1819-1820
Mr. Fawkes' Gallery 
Frontispiece (Vignette Etching) 
XXX. Five Engravings on Copper, of Un
known Date and Origin
Parnassus 
Little Devil's Bridge (Copy of the Liber plate)
View of a Country House 
Arthington Mill on the Wharf e. Unfinished . . .
Sheerness and Isle of Sheppey (Ditto)

XXXI. Whitaker's 'History of Richmond
shire,' 1818-1823
Richmond, Yorkshire 
Richmond Castle and Town
St. Agatha's Abbey, Easby
Aske Hall 
High Force, or Fall of the Tees
Egglestone Abbey, near Barnard Castle. . .
Junction of the Greta and Tees at Rokeby
Brignall Church 
Wycliffe, near Rokeby 
Merrick Abbey, Swaledale 
Aysgarth Force 
Simmer Lake, near Askrigg

18191818181818201820181918201819 181918191820
1818 1820181918181820

1819

18191820

1819182018221820
1822 1822
18191822
1823182218201822

8fx 5*
8|x 51.
8fx 5i
82 x 5f
8£x 5 1.
8*x 51
81 x 51.
8ix 5£
8fx 5|
8|x 5|
8J x 5£
8|x 5£
8fx 51
8J x 5|
81 x 51
8|x 5*

S. Middiman
G. Hollis
G. Cooke
Hollis & Mitan
J. Le Keux
J. Byrne
J. Byrne
J. Byrne
J. Pye
Middiman &Pye
G. Cooke
S. Rawle
G. Cooke
W. R. Smith
J. Fittler
J. Mitan

lOfx 7J G.Cooke

8fx 61 H.Moses
c. 61x41 F.C.Lewis

4£x3
6^x4 7fx5&7ix5Ja
14*8£

10£ x
11 x
lllx
11 x
lOfx
10fx

W. B. Cooke
Unknown J. Basire
J. C. Allen
J. Fisher

W. R. Smith
J. Archer
J. Le Keux
J. Scott
J. Landseer
T. Higham
J. Pye
S. Rawle
J. Pye
J. C. Varrall
J. Scott

7| H. Le Keux

LINE ENGRAVINGS ON COPPER.

ENGRAVER.

181 182183184 185186187188

189190191 192193194 195
196 197 198
199200

201

202

203

204

205
206

207

Moss Dale Fall 
Hardraw Fall 
Crook of Lune, looking towards Hornby Castle
Ingleborough, from Hornby Castle Terrace . . .
Hornby Castle, from Tatham Church 
Kirhy Lonsdale Churchyard 
Heysham and Cumberland Mountains 
Weathercote Cave 
XXXII. 'Provincial Antiquities of Scot
land,' 1819-1826
Edinburgh Castle (Vignette Title to Vol. I) ...
Crichton Castle * 
Borthwick Castle 
Edinburgh, High Street 
Edinburgh from the Calton Hill 
Edinburgh from Leith Harbour (Vignette
Title to Vol. II) 
Heriot's Hospital, Edinburgh 
Roslyn Castle * 
Dunbar 
Tantallon Castle * 
Linlithgow Palace 
Bass Rock 
* For the Small Replicas of Nos. 190, 196,
and 198, see XLIX, ' Tilt's Illustrations to
Scott'
XXXIII. Stevenson's 'Account of the Bell
Rock Lighthouse,' 1824
Bell Rock Lighthouse (Frontispiece) 
XXXIV. Single Plate
Ehrenbreitstein, during the Demolition of the
Fortress 
XXXV. Single Plate
Cologne 
XXXVI. Hoare's ' History of Modern Wilt
shire'
Wilton House 
XXXVII.The Custom House 
Old London Bridge and Vicinity (Companion
Plate) 
XXXVIIL Single Plate
Tivoli, a Composition 

182218181821
1822182218221822 1822

1826
1819 181918191820 1826 182218221824 182218221826

lOfxlOfx 11 x
lOfxlOfx11 x
10|x101 x

,5x 6
9fx 6%
9fx 6f
9|x 61
10 x 6J
c.71x 7i
9£x 6f
9|x 6]
10£x 6(
91 x 6|
91 x
10 x

S. Middiman
J. Pye
J. Archer
C. Heath
W.Radclyffe C. Heath
W. R. Smith
S. Middiman

G. Cooke
G. Cooke
H. Le Keux
Le Keux & Cooke
G. Cooke
R. Wallis
H. Le Keux
W. R. Smith
J. C. Allen
E. Goodall
R. Wallis
W. Miller

1824 1824 1824
1825182718271827

8fx 5

lit x 71.
18fxl31 9 x6f
9fx5J10Jx7
23fxl5£

J. Horsburgh
J. C. AUen
E. GoodaU
T. Higham
J. C. AUen
E. Goodall
E. GoodaU

LINE ENGRAVINGS ON COPPER.

ENGRAVER.

208

209210211212213214215216
217218 219
220 221
222223224225226227228229
.230 231232 233234
235 236237238239240241242243244245
246 247248249
250251

XXXIX. Single Plate
The Temple of Jupiter PanheUenius in the
Island of Egina 
XL. 'Picturesque Views in England and
Wales,' 1827-1838
Rivaulx Abbey, Yorkshire 
Lancaster, from the Aqueduct Bridge
Dartmouth Cove 
Bolton Abbey, Yorkshire
Colchester, Essex 
FaU of the Tees, Yorkshire
Richmond, Yorkshire ...
Launceston, CornwaU . . .
Barnard Castle, Durham
Saltash, CornwaU 
Aldborough, Suffolk ...
Orford, Suffolk 
Straits of Dover 
Prudhoe Castle, Northumberland ...
VaUe Crucis Abbey, Denbighshire . . .
Buckfastleigh Abbey, Devonshire . . .
Entrance to Fowey Harbour, CornwaU
Okehampton, Devonshire 
Lancaster Sands 
Knaresborough, Yorkshire 
Malmsbury Abbey, Wiltshire 
Kilgarren Castle, Pembroke 
Exeter 
Richmond, Yorkshire [From the Moors]
Louth, Lincolnshire 
Great Yarmouth, Norf oik 
Stone Henge, Wiltshire 
Hampton Court Palace 
Devonport and Dockyard, Devonshire
Dunstanborough Castle, Northumberland
Carisbrook Castle, Isle of Wight
Cowes, Isle of Wight 
Stamford, Lincolnshire 
Alnwick Castle, Northumberland
Holy Island, Northumberland ...
Stoneyhurst, Lancashire 
Winchelsea, Sussex 
Trematon Castle, CornwaU
St. Mawes, CornwaU 
Walton Bridge, on Thames, Surrey
Ludlow Castle, Shropshire
Folkestone Harbour and Coast to Dover
Tynemouth, Northumberland

252 : Gosport, Entrance to Portsmouth Harbour

1828

18271827182718271827182718271827182718271827
1827 1828182818281828
1829 182818281828182918291829182918291829182918291830183018301830183018301830183018301830
1830 1830
183118311831 1831

22fxl5

9ft x 6ft
9£x4
9 x 61.
9 x6l
9 x6ft
8*fx6A 9| x 6|
9ft x 6ft
9| x 6|
9£x6ft 9| x 6i
9ftx6|10 x6if
9ftx6£ 9£x6ft9£x6ft
9ft x 6ft
»ft x 6ft
91x61. 9 x 6f
9*x6A
9ftx6£
9ft x 6ft
9ft x 6ft
91. x 6i
10 x7ft
91x61
9ft x 6ft
9tx6ft
9ix6|

9f x 61.
9ft x 6ft
91 x 6f
9| x 61.
9|x6J 9f x6ft
9|x6ft9| x 6i
9fx6^ 91 x 6ft
9ft x 6ft
9ft x 6ft
9 x 6i
9ft x 6f

J. Pye

E. GoodaU
R. Wallis
W. R. Smith
R. Wallis
R. Wallis
E. Goodall
W. R. Smith
J. C. Varrall
R. Wallis
W. R. Smith
E. Goodall
R. Brandard
W. MiUer
E. GoodaU
J. C. VarraU
R. Wallis
W. R. Smith
WiUmoreR. Brandard
T. Jeavons
J. O. VarraU
WiUmoreT. Jeavons
WiUmore
W.Radclyffe W. MiUer
R. Wallis
C. Westwood
T. Jeavons
R. Brandard
C. Westwood
R. Wallis
W. MiUer
WiUmore
Tombleson J. B. AUen
J. HenshaU
R. Wallis
J. H. Kemot
J. C. VarraU
R. WaUis
J. Horsburgh
W. R. Smith
R. Brandard

LINE ENGRAVINGS ON COPPER.

xcv

ENGRAVER.

253
254255256257258259260261262
263
264 265
266267 268269270
271272273
274 275
276
277278279280281282283284285286
287288
289290 291
292293294
295 296297
298 299
300301

XL. ' England and Wales ' — continued.
Windsor Castle, Berkshire 
Eton CoUege, Berkshire  ... .
Bedford, Bedfordshire 
Pembroke Caatle, Wales  „ 
Richmond HiU and Bridge, Surrey ... .
Malvern Abbey and Gate, Worcestershire .
Plymouth, Devonshire 
Salisbury, WUtshire 
St. Catherine's Hill, near GuUdford, Sun-ey
Chatham, Kent 
Margate, Kent 
Ashby de la Zouch, Leicestershire 
Warwick Castle, Warwickshire 
KenUworth Castle, Warwickshire 
Brinkbum Priory, Northumberland ... .
Tamworth Castle, Staffordshire 
Ely Cathedral, Cambridgeshire 
Blenheim, Oxfordshire 
Castle Upnor, River Medway 
Laugharne Castle, Oaermarthenshire ... .
Coventry, Warwickshire 
Nottingham, Nottinghamshire 
Carew Castle, Pembroke 
Penmaen-Mawr, Caernarvonshire 
Christ Church CoUege, Oxford 
Arundel Castle and Town, Sussex 
Llandberis Lake, Wales 
Leicester Abbey, Leicestershire 
Caernarvon Castle, Wales 
Dudley, Worcestershire 
Boston, Lincolnshire 
UUswater, Cumberland 
Powis Castle, Montgomery 
Worcester, Worcestershire 
Llanthony, Monmouthshire 
Longships Lighthouse, Lands End ... .
Beaumaris, Isle of Anglesea 
Lyme Regis 
Harlech Castle, North Wales 
Flint Castle, North Wales 
Lowestoffe, Suffolk 
KidweUy Castle, South Wales 
Keswick Lake, Cumberland 
LlangoUen, North Wales 
Durham Cathedral 
Winander-mere, Westmoreland 
Whitehaven, Cumberland 
Crickieth Castle, North Wales 
Rochester, Stroud and Chatham, Medway, Kent

1831
18311831183118321832
183218301832183218321832183218321832183218331833
1833 18331833
1833 183418341834
183418341834
183518351835
1835 18361835
183618361836183618361836
18371837
1837183718361837
183718371838

9Jx6|
9$ x 6|
9ftx6|
9ft x 6ft
9 x 61
9| x 64
9i x 6ft
9Jx6ft
9ftx61 91 x5if
9f x6}
9ft x 6ft
9ft x 6ft
9ifx6ft 9f xf
9f x6ft
9Jx5if9fx6ft9f x6ft
9ijx 6i
9| x 6f
9ft x 6ft
8ifx6ft
8ifx6i9ft x 6ft
H x6ft
9ftx5if 9Jx6J9f x 6|
9^x6f9§ x 6i
9Hx6i 9f x6ft
9§ x 6f
9*4 x 6ft
9£x6ft
10ft x 6§
9ftx6| 91 x 6ft
9f x 6J
9|x6ft9| x 6
10ft x 6ft
9ft x 6ft
9f x 61
9ifx 6|
9ft x 6ft
9ft x 61

W. MiUer
W.Radclyffe WiUmoreT. Jeavons
W. R. Smith
J.Horsburgh W. J. Cooke
W.Radclyffe J. H. Kemot
W. MiUer
R. WaUis
W.Radclyffe R. WaUis
T. Jeavons
J. C. VarraU
WiUmore T. Higham
W.Radclyffe J. B. Allen
J.Horsburgh S. Fisher
W. J. Cooke
W. MiUer
WiUmore J. Redaway
T. Jeavons
WiUmore
W. R. Smith
W.Radclyffe R. WaUis
T. Jeavons
WiUmore
WiUmore T. Jeavons
WiUmore
W. R. Smith
W. R. Smith
T. Jeavons
W. R. Smith
J. H. Kernot
W. R. Smith
T. Jeavons
W.Radclyffe WiUmore W. MiUer
WiUmore
W. R. Smith
S. Fisher
J. C. VarraU

LINE ENGRA VINGS ON COPPER.

ENGRAVER.

302
303 304

305306
307308309
310311312

XL. ' England and Wales ' — continued.
Chain Bridge over the River Tees 
Richmond Terrace, Surrey 
Mount St. Michael, CornwaU 
XLI. The so-called " HoUoway's Continuation
of ' England and Wales ' " (Unpublished)
Lowestoffe Lighthouse (Vignette) 
Harborough Sands (Vignette) 
Orford Castle and Church (Vignette) 
Aldborough 
Dunwich (caUed in error Dymchurch) 
Orfordness 
Lowestoffe (Open Etching only) 
Whitby (Ditto) 

183818381838

9f x 61
9igx6X "i x r

x6ftx6fx 54.
x6«x6j^x 7
x 7
x7J

W. R. Smith
WiUmore
S. Fisher

J. C. Allen
J. C. AUen
J. C. AUen
J. C. AUen
J. C. AUen
J. C. AUen
J. C. Allen
J. C. AUen

Section B. — Line Engravings on Steel

313

314 315
316317318

319320321322
323324 325326327328329330

XLII. Various ' Annuals,' 1826-1837
N.B. — It is possible that some of these were en
graved on Copper, but the majority were on Steel.
XLEU. 'The Bijou,' 1826
Mount Blanc 
XLIIb. 'The Literary Souvenir,' 1826-1831
Richmond HiU (See also ' The Amulet,' XLIId)
Bolton Abbey, Wharfdale 
Buckfastleigh Abbey 
Norham Castle 
The Tower of London (See also ' How's Lays
and Legends,' XLHl) 
XLIIc. 'The Keepsake," 1828-1837
Florence (See also ' Heath's GaUery,' XLIIk)
Lake of Albano (Ditto) 
Lago Maggiore 
Virginia Water, No. I (Ditto) 
Virginia Water, No. II (Ditto) 
Saumur 
Nantes 
St. Germain-en-Laye 
Marly (See also ' Heath's GaUery,' XLIIk) ...
Ehrenbreitstein (Ditto) 
FaUs of the Rhine 
Havre 

1826

1826
1826
182718271831

1828182918291830
1830 1831183118321832183318331834

3tfx2i

4fx2H
4ftx21,4ftx2£
4*fx3f 4ftx3 5*x3ft51 x 3ft
5**3ft
5ftx3f
5ftx3f5ftx3}4. 5ftx3f 5f x 3f
Sftx3f 5| x3ft
5ftx3tt 5J x 3|-

Davies

E. GoodaU
E. Finden
R. WaUis
P. Heath
W. Miller

E. GoodaU
R. WaUis
W. R. Smith
R. WalliB
R. WaUis
R. WaUis
WiUmore R. WaUis
W. MiUer
R. WaUis
J. B. AUen
R. WaUis

LINE ENGRAVINGS ON STEEL.

xcvii

331 332333334335

336 337

338

339

340

341

342343344345 346347

Palace of La BeUe GabrieUe (See also ' Heath's
GaUery,' XLIIk)  ...
Burning of the Houses of ParUament (Vig
nette)  
Fire at Sea (Vignette) 
The Wreck (Vignette) 
The Sea! The Sea! (Vignette) 
XLIId. 'The Amulet,' 1829-1831
Ehrenbreitstein 
Florence from the Chiesa al Monte 
Richmond HUl (See ' Literary Souvenir,' No. 314)
XLIIk ' The Anniversary,' 1829
FonthiU 
XLIIf. ' Friendship's Offering,' 1830
Vesuvius in Eruption 
(See also same Plate under Title 'Bay of
Naples,' No. 346.)
XLIIo. ' The Remembrancer,' 1831
The Forum Romanum 
XLIIh. 'The Talisman,' 1831
Barnard Castle 
Forum Romanum (See 'Remembrancer,' No.340)
XLIIr Some Annual or Annuals Unknown
The Rialto, Venice (SmaU RepUca of No. 144)
Cascade of Terni (Ditto of No. 145)
Naples from the Mole (Ditto of No. 156)
Florence from Fiesole (Ditto of No. 159)
Bay of Naples (See 'Friendship's Offering,'
No. 339) 
Temple of Egina 
XLIIk. Heath's ' Gallery of British Engrav
ings,' 1836
Lake of Albano (See ' Keepsake,' No. 320)

Florence Virginia Water, I
Virginia Water, II
EhrenbreitsteinPalace of La BeUe GabrieUe
Marly

(Ditto No. 319)
(Ditto No. 322)
(Ditto No. 323)
(Ditto No. 328)
(Ditto No. 331)
(Ditto No. 327)

183418351835
1836 1837

1828
1831

1829

1830

1831

1831

18301830182718301830 ?

1836

5ix3if
3ftx4f 3| x 4£
3ftx4J3Hx4if

41x2|

5ftx3ft

4fx22

4ifx3ft

4Jx3ft

4f x 2£
2!fx4ft
4ftx2!i.4ftx2ft 4|x2f
4#x3

W. MiUer
WiUmoreWiUmore
H. Griffiths
WiUmore

J. Pye
E. GoodaU

T. Crostick

T. Jeavons

J. Henshall

Willmore

H. Adlard
H. Adlard
H. Adlard
H. Adlard
H. Adlard
T. KeUy

XLHl. How's ' Lays and Legends,' 1843
Tower of London (See 'Literary Souvenir,'
No. 318) 

1843

LINE ENGRAVINGS ON STEEL.

ENGRAVER.

348349
350351 352
353354355356
357358359360361362363364365366367368
369370 371372

373374375376377
378 379
380381382383384385386387
388389390391392393

XLIII. Rogers's ' Italy,' 1830 (All Vignettes)
The Lake of Geneva 
William TeU's Chapel 
St. Maurice 
Hospice of the Great St. Bernard (I)
Hospice of the Great St. Bernard (II)
Marengo 
Aosta 
Martigny 
Hannibal passing the Alps
Lake of Como (I) 
Venice 
Florence 
GalUeo's ViUa 
ViUa Madama — Moonlight
Rome, Castle of St. Angelo
The Forum 
The Campagna of Rome
TivoU
PerugiaBandittiNaplesPaestum
Amalfi A ViUa on the Night of a Festa di BaUo
A FareweU — Lake of Como (II) 

XLIV. Rogers's ' Poems,' 1834 (All Vignettes)
A Garden 
A Village — Evening
The Gipsy 
Leaving Home
Greenwich Hospital
Keswick Lake
St. Herbert's Chapel
An Old Manor House .
Tornaro 
A ViUage Fair
Traitor's Gate — Tower of London
St. Anne's HUl (I) 
A Hurricane in the Desert
Venice, The Rialto — Moonlight
Valombre 
St. Pierre's Cottage .
Ste. JuUenne's Chapel.
Captivity 
An Old Oak 
Shipbuilding (An Old Oak Dead)
The Boy of Egremont 

1830

1834

3f34
3i3i4
3ft x
3f x
§4

31 34
34 3
3&313f343|23

?i

fI?1

xxXXXX
XX
XXX
24xl|
34x2|3i x 3
31x3n x2f

3f x31
31 x 2i
3ix2|3|x2f34x2i 31x2^
31x2f
34 x 34
31 x 3f
x 3J
x

E. GoodaU
R. WaUis
R. WaUis
W. R. Smith
W. R. Smith
E. GoodaU
H. Le Keux
W. Cooke
W. R. Smith
E. GoodaU
E. GoodaU
E. Goodall
E. GoodaU
H. Le Keux
R. WaUis
E. GoodaU
E. GoodaU
J. Pye
E. GoodaU
R. WaUis
E. GoodaU
J. Pye
R. WaUis
E. GoodaU
R. WaUis

W. MiUer
E. GoodaU
E. GoodaU
E. GoodaU
E. Goodall
E. GoodaU
H. Le Keux
W. MiUer
R. WaUis
E. GoodaU
E. GoodaU
E. GoodaU
E. GoodaU
W. MiUer
E. GoodaU
E. GoodaU
E. Goodall
E. GoodaU
E. GoodaU
E. GoodaU
E. GoodaU

LINE ENGRAVINGS ON STEEL.

DATE.

SIZE.

1834

34x2f

JI

3^x3

,

3fx21

»

21 x 2f

3§ x 34
j
34x2|
,
3Jx2|
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3 x 3|
3? x 24
9
4 x31
34x3|
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34x21.
1832
6|x8ft
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5| x 3f
5|x3f
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5f x3H
51x4
1833
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1834
54x3f
1832
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5fx3|
ENGRAVER.
394395396 397398399 400401402403404405
406 407408
409410 411412413414415416417418419 420421 422423424425426427428429430431
432433
Bolton Abbey 
The Alps at Daybreak 
Loch Lomond 
St. Anne's HiU (II) 
Columbus and his Son 
Columbus setting Sail 
The Vision of Columbus 
Land Discovered by Columbus . . .
The Landing of Columbus 
A Tempest — Voyage of Columbus
Cortes and Pizarro 
Datur hora quieti 
XLV. 'Byron's Life and Works' (Murray
Edition), 1832-1834
Gibraltar 
Malta 
The AcropoUs of Athens 
Temple of Minerva, Cape Colonna
Tomb of Cecilia MeteUa 
Rhodes 
Drachenfels 
Cephalonia  ,
Negropont 
Santa Maria della Spina, Pisa . . .
Gate of Theseus, Athens 
The Plain of Troy 
Bacharach on the Rhine 
The Castle of St. Angelo 
Corinth from the AcropoUs
The Bridge of Sighs, Venice . . .
The Bernese Alps 
The WaUs of Rome (Tomb of Caius Sestus)
Parnassus and Castalian Spring 
The Field of Waterloo (from Hougomont)
Scio (Fontana de Melek, Mehmet Pasha)
Genoa 
Cologne 
Santa Sophia, Constantinople
The School of Homer, Scio
The CasteUated Rhine
XLVI. 'The Rivers of France,' 1833-1835:—
XL VIa, ' Turner's Annual Tour— The Loire,'
1833
Nantes (Vignette Title) 
Orleans 
R. WaUis
E. GoodaU
W. MiUer
E. GoodaU
E. GoodaU
E. Goodall
E. GoodaU
E. GoodaU
E. GoodaU
E. Goodall
E. GoodaU
E. GoodaU
E. Finden
E. Finden
J. Cousen
E. Finden
E. Finden
W. Finden
W. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
E. Finden
W. MUler
T. Hisham
LINE ENGRAVINGS ON STEEL.

ENGRAVER.

434435436437438439440441442443444 445446
447 448449450451452

453454 455456457458459460461462463464 465
466467468469470471472

473474

XLVI. ' Rivers of France ' — continued.
Beaugency  , 
Blois 
Palace at Blois 
Amboise 
Chateau of Amboise 
Canal of the Loire and Cher, near Tours
Tours 
St. Julian's, Tours 
Tours — Looking Backward 
Saumur 
Rietz, near Saumur 
Montjen 
St. Florent 
Between Clairmont and Mauves ... .
Chateau Hamelin 
Scene on the Loire 
Clairmont 
Ooteaux de Mauves 
Chateau de Nantes 

XLVIb. * Turner's Annual Tour— The Seine,'
1834
Light Towers of the Heve (Vignette Title)
Havre  
Havre, Tower of Francis I 
GraviUe 
Harfleur 
TancarvUle 
Chateau de TancarvUle, with Town of QuILta
boeuf 
LiUebonne, Chateau and Tower
LUlebonne, Chateau 
Caudebec 
Jumieges 
La Chaise de Gargantua, near Duclair
Rouen, looking up the River 
Rouen, looking down the River"
Rouen Cathedral 
Rouen, from St. Catherine's HUl . . .
Chateau de la MaiUeraie 
Between QuUleboeuf and VUlequier
QuiUeboeuf 
Honfleur 
XLVIc. ' Turner's Annual Tour— The Seine,'
1835
Chateau GaiUard, from the South (Vignette
Title)  .!. ...
Chateau GaiUard, from the East 

1833

1834

5ft x Sf
5ft x 344
5ftx3+£5ft x<f
544x311
4x3f5|x3«
5H x Sf
5§ x3i|
5§ x 34
5|x3iJ5f x 3|
5ftx Sf
54x3f
544 x 3§
lx3f
544x3* 5ftx3f

5ftx3if x3if

It

1835

5| x 4
5ftx3f 5|x3il5f xSM
5ftx3l 5|x3if 54x3^
5ftx3f 4x3iS
54x31|

34x415|x4ft

R. Brandard
R. Brandard
R. WaUis
W. R. Smith
J. B. AUen
T. Jeavons
R. Brandard
W.Radclyffe R. WaUis
WiUmore
R. Brandard
WiUmore R. Brandard
W. Miller
R. Brandard
R. WaUis
WiUmoreR. WaUis
W. MUlei

J. Oousen
J. B. AUen
R. WaUis
R. Brandard
J. Cousen
WiUmoreR. Brandard
T. Jeavons
WiUmore J. B. AUen
Armytage R. Brandard
R. Brandard
W. MiUer
T. Higham
W. MiUer
R. Brandard
R. Brandard
R. Brandard
J. Cousen

J. Cousen
J. Smith

LINE ENGRAVINGS ON STEEL.

ENGRAVER.

475 Vernon 
476 Pontdel'Arche 
477 View on the Seine, between Mantes and Vernon
478 Mantes 
479 Bridge of Meulan 
480 St. Germains 
481 Saint Denis 
482 Bridges of St. Cloud and Sevres 
483 The Lanterne of St. Cloud.. 
484 Bridge of St. Cloud from Sevres 
485 Paris, from the Barriere de Passy 
486 Pont-Neuf, Paris 
487 Marche aux Fleurs and the Pont au Change...
488 H6tel de ViUe and Pont d'Arcole 
489 Boulevards, Paris 
490 Confluence of the Seine and the Marne 
491 Melun 
492 Troyes 
XLVII. 'Scott's Poetical Works' (Cadell),
1834
493 Carlisle 
494 Smailholme Tower (Vignette) 
495 Jedburgh Abbey 
496 Johnnie Armstrong's Tower (Vignette) 
497 Kelso 
498 Lochmaben Castle (Vignette) 
499 Caerlaverock Castle 
500 Hermitage Castle (Vignette) 
501 Dryburgh Abbey 
502 Bemerside Tower (Vignette) 
503 Melrose 
504 Newark Castle (Vignette) 
505 Edinburgh from Blackford HUl 
506 Ashestiel (Vignette) 
507 Loch Katrine 
508 Loch Achray (Vignette) 
509 Junction of the Greta and the Tees 
510 Bowes Tower (Vignette) 
511 Loch Cariskin 
512 Fingal's Cave, Staff a (Vignette) 
513 SMddaw 
514 Mayburgh (Vignette) 
515 Berwick-upon-Tweed 
516 Abbotsf ord (Vignette in framed border) 
XLVIII. 'Scott's Prose Works,' 1834-1836
517 Dryden's Monument (Vignette) 
518 • Dumbarton Castle (Vignette) 

1835

1834

5ftx45ft x3|
54 x 3f
5| x 3|
51x3i|51 x 3f-
5| x 3J-I
5ft xSJf
5ft xSH
5ft x3W
54 x 4
51x3U5£x3if5IX3M 5? x 4
BfxStf51x31.
5ftx4

WiUmore WiUmoreR. Brandard
W.Radclyffe J. Cousen
J. B. AUen
S. Fisher
J. Radclyffe
WiUmore S. Fisher
WiUmoreW. MiUer
W.Radclyffe T. Jeavons
T. Higham
Armytage W. MiUer
Armytage

31

1834- 1836

5f x5ft
31 x 41
544x3| 31 x 4
541 x
Sf x
5| x
3f x
541 x
3ftx 5f x3ft
Sf x4ft
5f x3f
3ft x 4
5fx3ft31x3i 5Jx 31
31 x 54
54 x 3ft
3ftx4f 5f x 3|
3i x 3i
5f x31
34fx3i

2| x 41
34 x 3i

E. GoodaU
E. GoodaU
R. Brandard
E. GoodaU
R. WaUis
WiUmoreE. GoodaU
R. WaUis
W. MiUer
J.Horsburgh W. MiUer
W. J. Cooke
W. MiUer
J.Horsburgh W. MiUer
W. MiUer
J. Pye
E. Webb
H. Le Keux
E. GoodaU
W. MiUer
J. Horsburgh
W. MiUer
H. Le Keux

J.Horsburgh W. MiUer

LINE ENGRAVINGS ON STEEL.

ENGRAVER.

519520521522523524
525
526527528529530531
532 533
534535536
537 538
539 540
541542 543
544545
546547548549
550551552553 554
555
556

557 558
559

560561

XLVIII. ' Scott's Prose Works ' — continued
Brussels — Distant View 
Hougoumont (Vignette) 
New Abbey, near Dumfries (Vignette) 
Norham Castle — Moonrise 
Jerusalem 
Shakespeare's Monument (Vignette) 
Hotel de VUle, Paris (Vignette) 
Napoleon's Logement, Quai Conti (Vignette)
Brienne 
Venice — The CampanUe (Vignette) 
Placenza 
Verona 
Vincennes (Vignette) 
St. Cloud 
Mayence (Vignette) 
Milan 
The Simplon (Vignette) 
Paris from Pere-la-Chaise 
Malmaison (Vignette) 
Fontainebleau (Vignette) 
Field of Waterloo (with lightning) 
The BeUerophon, Plymouth Sound (Vignette)
Chief swood Cottage (Vignette) 
The Rhymer's Glen 
Edinburgh from St. Anthony's Chapel 
DunfermUne (Vignette) 
Stirling 
CraigmiUar Castle (Vignette) 
Dunstaffnage 
Linlithgow (Vignette) 
Glencoe 
KUhecrankie (Vignette) 
Inverness 
Fort Augustus (Vignette) 
Rouen — Distant View 
Calais (Vignette) 
Chateau D' Arc, near Dieppe 
AbbeviUe (Vignette) 
XLIX. Tilt's 'Hlustrations to Scott's Poet
ical Works,' 1834
Roslin Castle (SmaU RepUca of No. 196)
Crichton Castle (Ditto of No. 190)
TantaUon Castle (Ditto of No. 198) 
L. ' Fisher's Illustrations to Waverley No
vels,' 1836-1837
Edinburgh — March of the Highlanders 
Col. Mannering, Hazlewood, and Smugglers . . .

1834- 1836

1834

1836

54x31
34 x 4
31x4£
5i x 3ft
54 x3ft
3ftx4|2f x4f

5*-- ,
3ftx4ft 5|x3]
544x3| 31 x 3ft
54 x 3ft
34x3154 x3ft
34 x4ft
4f x3ft
31 x 41
3 x 3|
5ft x 3£
f x4f
!-x4ft
3ft x

. x 4
5ix3f
3ft x 3ft
5|x3ft
3ftx4 5f x3J
3ftx4J 5f x31
244x41 5 x3ft
3ix3|

4ift x 3ft
4f x 3
44x3

51 x 3ft
51 x 31

W. MiUer
W. MiUer
W. MUler
W. MiUer
W. MUler
J.Horsburgh W. MiUer
J.Horsburgh W. MUler
W. MiUer
W. MiUer
W. MUler
W. MiUer
W. MiUer
W. MUler
J.Horsburgh W. MUler
W. MiUer
W. MiUer
W. MUler
W. MiUer
E. GoodaU
W. MUler
W. MUler
W. MUler
J.Horsburgh W. MUler
W. MiUer
W. MUler
W. MiUer
W. MUler
W. MUler
W. MUler
W. MUler
Richardson
J.Horsburgh W. Forrest
J.Horsburgh

W. R. Smith
W. B. Cooke
W. B. Cooke

T. Higham
W. Finden

LINE ENGRAVINGS ON STEEL.

ENGRAVER.

562 563564565

566 567568

569

570 571

572 573
574 575576577578579580581582583584585586587588589590 591

BaUy-burgh Ness 
" It's Auld AUie herseU"
Wolf's Hope 
Loch Leven Castle

LI. Lockhart's 'Life of Scott,' 1839
Sandy Kiiowe (SmaiUiolme Tower), Vignette
to Vol. II 
Scott's Birthplace, No. 39, Castle Street,
Edinburgh (Vignette) 
Abbotsford from the Northern Bank of the
Tweed (Frontispiece to Vol. VIII) 

LII. 'Scott's Poetical Works' (Library Edi
tion), 1841
Abbotsford (The Large Square Vignette)

LIII. ' The Gallery of Modern British Art
ists,' 1834-1836
Fish Market, Rotterdam 
Rievaulx Abbey (the SmaU plate, with the
Bridge) 

LIV. Finden's 'Landscape Illustrations to
the Bible,' 1836
Mount Moriah 
The Red Sea at Suez 
Encampment of IsraeUtes, Mount Sinai
The Desert of Sinai 
Jericho 
The Dead Sea, Jericho, and Mouth of Jordan
Wilderness of Engedi and Convent of Santa
Saba 
Joppa 
Solomon's Pools 
Ramah and Rachel's Tomb
Babylon 
Egypt, the Pyramids of Ghizeh 
Mount Lebanon and Convent of St. Antonio
Nineveh, Moussul on the Tigris 
Lebanon, from TripoU 
Jerusalem from the Mount of OUves
Bethlehem 
Nazareth 
Jerusalem, with the Walls 
Jerusalem ; Pool of Bethesda 

1836

5ft x 31

»

51 x 31

)»

5ft x 3ft

»

5ftx3i

1839

34x44

tt

3f x4|

tt

5ft x3|

1841

4i.x5

1834

54 x 44

1836

6ft x 344.

1836

51x3f

54x34;

5f x3ft
5f x 4

5ftx3|
4x3|
5ftx4
5ft x 3ft
54x3i4
5|x3i|
54x3f
5|x32
5ftx3!f
4x3f
54x3J
5ft x3H
4x3f
54x3f
5Jx3H
5f x 3f
E. Finden
Armytage J. H. Kernot
J. B. AUen
W. MiUer
W. MUler
W. MUler
W. MUler
W. Floyd
J. C. Bentley
E. Finden
E. Finden
J. B. AUen
E. Finden
W. Finden
E. Finden
J. B. AUen
E. Finden
Stephenson
W. Finden
J. Cousen
E. Finden
W. Finden
W.Radclyffe E. Finden
J. B. AUen
E. Finden
E. Finden
W. Finden
E. Finden
LINE ENGRA VINGS ON STEEL.

592593594595
596597

598599600
601602603604

605

606607
608609
610611
612

LIV. 'Landscape Illustrations to the Bible '
— continued
VaUey of the Brpok Kedron 
Corinth (Cenchrea) 

1836

Rhodes 
Sidon 
Jerusalem from the Latin Convent. (Unpubd.)

LV. 'Milton's Poetical Works' (Macrone),
1835. (All Vignettes.)
Mustering of the Warrior Angels 
The FaU of the Rebel Angels 
The Expulsion from Paradise 
The Temptation on the Mountain 
The Temptation on the Pinnacle 
St. Michael's Mount — Shipwreck of Lycidas . . .
Ludlow Castle — Rising of the Water- Nymphs

LVI. Fisher's 'Pilgrim's Progress,' 1836
Frontispiece (Vignette) 

LVH. 'White's Views in India,' 1836-1837
The Ghaut at Hurdwar 
Mussooree from Landour 
Snowy Range from Tyne or Marma
View near Jubbera 
FaUs near the Source of the Jumna
VaUey of the Dhoon 
Rocks at Colgong on the Granges 

1835

LVIIL 'CampbeU'sPoeticalWorks'(Moxon),1837. (AU Vignettes.)
613 Summer Eve — The Rainbow ... .
614 The Andes Coast...
615 Prague — Kosciusko
616 "Sinai's Thunder"
617 Swiss VaUey 
618 O'Connor's ChUd...
619 Lochiel's Warning
620 Battle of the Baltic
621 HohenUnden 
622 Lord UUin's Daughter
623 The Soldier's Dream
624 The Last Man ...
625 I Gertrude of Wyoming— The Valley

1836

1836

1837

5ix3f
5|x3|
5ftx3f
5ft x 344
5ftx3| 51 x 3ft

31x3f34 x4ft
31x4|3} x 34
2| x4|
3l x4|

34

x4J

4 x6ft

7ftx4i|
8ftx£8ftx4if
8ft x 5ft
8ftx5ft 8 x5ft
8ft x 5ft

3ft x 3ft
2^x3J
3ft x 31
24 x 4
2f x 3
34x3|21x3^24 x 3f
2|x3f

E. Finden
E. Finden
W. Finden
S. Fisher
W. Finden
J. Cousen

R. Brandard
E. GoodaU
E. GoodaU
J. Cousen
F. Bacon
W. MiUer
E. GoodaU

E. GoodaU

T. Higham
J. B. AUen
E. GoodaU
J. Cousen
J. Cousen
W. Floyd
E. GoodaU

GoodaUGoodaUGoodaUGoodaU
GoodaU Goodall
GoodaU
GoodaU WaUisWaUis
GoodaU GoodaU
Goodall

LINE ENGRAVINGS ON STEEL.

NO.

ENGRAVER.

626
627 628629 630631632633

634635636637

638
639 640641642 643

644

645 646647

Gertrude of Wyoming — The WaterfaU
Rolandseck 
The Beech Tree's Petition ...
Camp Hill, Hastings 
The Death-Boat of HeUgoland
Ehrenbreitstein 
The Dead Eagle — Oran
The Drowning Slave (Unpublished Plate)

LIX. 'Moore's Epicurean' (Macrone), 1839.
(All Vignettes.)
The Garden 
The Ring 
The Nile 
The Chaplet 
LX. ' Dr. Broadley's Poems ,' Privately printed
about 1840. The plates afterwards pub
lished in ' Art and Song,' 1867
Lake of Nemi (Vignette)
Whitby 
The Abbey Pool ...
Tynemouth Priory
St. Agatha's Abbey
Folkestone 
LXI. 'The Book of Gems,' 1844
The Thames at Mortlake 

LXII. Sundry small Steel plates of Unknown
Origin
Birmingham, View of 
Dismantling of the Temple of Jupiter, iEgina
Okehampton (SmaU RepUca of the E. and W.
plate, No. 226) 

1837

1839

1840

1844

1832 1835 n.d.

2fx3
2ftx3i
2|x3|2ix3i2fx3 2fx24
34 x 3f
3ft x3|

3f x 3
31 x 4
3^x4,,3ftx4ft

344x44
3ft x 2ft
34x213-
34ft x2f
3|x2i|
34x2|

3ft x 2|

5ftx3|
9ft x 54J
6ft x 4ft

E. Goodall
E. GoodaU
E. GoodaU
E. GoodaU
E. GoodaU
E. GoodaU
W. MUler
R. Brandard

E. GoodaU
E. Goodall
E. GoodaU
E. GoodaU

E. GoodaU
J. Cousen
J. Cousen
W. MUler
J. Cousen
J. Cousen

W. J. Cooke

E. Radclyffe
R. Brandard
WiUmore

LINE ENGRAVINGS OF LATE DATE.

Section C. — Line Engravings of Late Date and mostly of Large
Size; some on Copper and some on Steel
(The initial C signifies Copper; S, Steel.)

649650651652653
654655 656
657653
659660661662663664
665666 667668669670
671672673674

LXIII. Single Plates. 1838-1854
C. The Grand Canal, Venice 
C. Ancient Carthage — The Embarcation of
Regulus 
S. Mercury and Argus 
S. Oxford from North Hinksey 
C. Dido and -lEneas; the Morning of the
Chase 
C. CaUgula's Palace and Bridge 
C. St. Mark's Place, Venice — Juliet and her
Nurse 
C. Mercury and Herse 
C. Crossing the Brook 
C. Ancient Italy 
C. Modernltaly 
S. Nemi 
S. Oberwesel 
S. The Fighting Temeraire 
C. Ehrenbreitstein 
S. Heidelberg from the opposite bank of the
Neckar 
S. KUchurn Castle, Loch Awe 
S. Hastings 
S. Dover 
S. FetchamPark 
S. Venice — Bellini's pictures being earned to
the Church of the Redentore 
S. The Rhine — Osterspey and Feltzen 
S. The Rhine — Neuwied and Weissenethurm
S. Lake of Lucerne 
S. Zurich 
S. Temple of Minerva, Cape Colonna 
S. The Piazzetta, Venice 

1838 1840
18411841
1842184.2
1842 1842
184218421842184218441845
1845184618471851
1851 18511852
18521853 18541854
1854 1854

22| x 14f
221x151154 x 204
18J x 12J

201 x 164

23|x 17
24 x 17
131 x 9f
13i x 8|
14|x 11
151 x 11
211x14ft204 x 134
23ft x ISf
23J x 16
16 x 3!

24 x 151
Hftx 71
llftx 71
18} x 111
19i x llf
234 x 154
9f x 12

W. MiUer
D. WUson
WiUmoreE. GoodaU
W. R. Smith
E. GoodaU
G. Hollis
J. Cousen
R. Brandard
WiUmore
W. MUler
R. WaUis
WiUmore WiUmore
J. Pye
T. A. Prior
W. MUler
R. WaUis
WiUmoreWiUmore
WiUmoreW. MUler
R. Brandard
R. WaUis
T. A. Prior
WiUmore W. MUler

LINE ENGRA VINGS ON STEEL AFTER TURNER'S DEATH, cvii

Section D. — Line Engravings on Steel, executed after Turner's
death, mainly by Engravers who had worked under him

NO.

SUBJECT.

DATE.

SIZE.

ENGRAVER. ,

LXIV. Single Plates. 1853-1874

675
The Shipwreck 
1853
31f x 22
J. Burnet
676
Dutch Fishing Boats 
1853
311 x 21}
J. Burnet
677
The Golden Bough 
1856
23i x 15
WiUmore
678
Battle of Trafalgar, Nelson's Ship 
1858
31} x 22
23ft x 15ft
J. Burnet
679
The Approach to Venice 
Italy — ChUde Harold's PUgrimage 
1859
WUlmore
680
1861
26 x 15}
WiUmore
681
The BeU Rock Lighthouse 
1862
18 x 121
W. MiUer
682
The Straits of Dover 
1863
21} x 154
W. Chapman
683
Dido bunding Carthage 
1863
24J * i6i
T. A. Prior
684
St. Michael's Mount 
1866
15|xl2ft21| x 161
W. MUler
685
The Sun rising in a Mist 
1874
Chapman
and Prior
686
ApoUo and the Sibyl 
1873
24i x 15|
T. A. Prior
687
Wreck off Hastings (Private Plate) 
n.d.
Hftx 74
W. MUler
688
Feme Island (or Holy Island) — Shipwreck
-
(UnpubUshed) 
n.d.
9i x 6ft
WUlmore
689
Ilfracombe (UnpubUshed) 
LXV. 'The Turner Gallery,' 1859-1861
n.d.
1859-
144 x 91
W. Chapman
690
Portrait of Turner 
1861
4f x5if
W. Holl
691
Dutch Boats in a Gale (Bridgewater GaUery)
10ft x 71
Armytage
692
Calais Pier 
9} x 6}
J. Cousen
693
Fishing Boats ; a Coast Scene 
9} x 7
J. Cousen
694
The Shipwreck 
9f x 6ft
W. MUler
695
The Goddess of Discord in the Garden of the
Hesperides 
104 x 71
J. A. Prior
696
The Blacksmith's Shop 
10ft x 71
C.W.Sharpe
697
The Death of Nelson  
104 x 7ft
J. B. AUen
698
The Battle of Trafalgar 
101 x 7ft
W. MUler
699
Spithead 
10ft x 7ft
W. MiUer
700
Abingdon 
94f x 74,
C. Cousen
701
On the Thames 
llftx 6i
R. WaUis
702
ApoUo kUUng the Python 
lOf x 64
L. Stocks
703
Snowstorm; Hannibal crossing the Alps ...
m x 6|
J. Cousen
704
A Frosty Morning — Sunrise 
10| x 6£
R. Brandard
705
Dido and iEneas ; the Morning of the Chase
10ft x 61.
WUlmore
706
BUghSand 
10i x r\
R. Brandard
707
Crossing the Brook 
81 xlOft
Richardson
cviii LINE ENGRA VINGS ON STEEL AFTER TURNER'S DEA TH.

708709710711712713714715716717718719720721722723724
725 726
727728729 730731
732733 734
735
736 737738
739740741742
743744745
746
747
748749750

LXV. ' The Turner GaUery ' — continued
Dido buUding Carthage 
The Temple of Jupiter PanheUenius, Egina
The Decline of the Carthaginian Empire
Entrance of the Meuse — Orange Merchan
man going to Pieces 
View of Cologne from the River . . .
Norham Castle 
Rome from the Vatican 
The Arch of Titus, Rome 
The Bay of Baise — ApoUo and the Sibyl
Boats off Calais (Pas de Calais) . . .
Petworth Park 
The Chain-Pier, Brighton 
The Birdcage — Scene from Boccaccio
Ulysses deriding Polyphemus
The Loretto Necklace 
Regulus leaving Carthage 
View of Orvieto 
CaUgula's Palace and Bridge
Vessel in Distress off Yarmouth . . .
Italy — ChUde Harold's Pilgrimage
Line-Fishing off Hastings 
Grand Canal, Venice 
Venice — the Dogana 
The Golden Bough — Lake Avernus
Heidelberg Castle in the Olden Time
Mercury and Argus 
ApoUo and Daphne in the Vale of Tempe
Ancient Italy  ,..
Modern Italy 
Phryne going to the Bath as Venus . . .
The Fighting Temeraire 
The Prince of Orange landing at Torbay
Wreck off Hastings 
Bacchus and Ariadne 
Venice, the Bridge of Sighs 
Venice, "from the Canal of the Giudecca
Burial of Wilkie at Sea 
Snowstorm — Steamboat off a Harbour
The Opening of the WalhaUa 
The Approach to Venice .„ 
Rain, Steam, and Speed 
The Lake of Lucerne 
Whalers— the "Erebus" 

1859- 1861

104 x 7ft
10f x 64
m x 6ft

J*7ft 5ft
6ft 6f
6ft5|5,

10ft x 7ft
10ft x
10 x
10ft x
9| x
101 x
944 x
lP 7ft x
10ft x 64$
94ft x 6»
10ft x 74
104 x 7}
10ft x 7|
104 x 6|
10ft x 7|
10ft x 6|
10 x 6ft
10 x 64
10ft x 6}
x 10
10ft x 6f
94ft x 7ft
10ft x 7ft
7ft x8U
104 x 7
94ft x 7ft
Hftx 74
8| diam.
10ft x 6|
lOf x 7
744x744104 x 74,
104. x 5}
10ft x 6J
10ft x 7ft
10 x 6J
10ft x 7ft

E. GoodaU
J. B. AUen
J. B. AUen
R. WaUis
A. WUlmore
W. Chapman
A. WUlmore
E. ChaUis
R. Brandard
J. Cousen
J. Cousen
R. Wallis
C. H. Jeens
E. GoodaU
C. Cousen
S. Bradshaw
S. Bradshaw
E. Goodall
R. Brandard
WUlmoreW. MUler
R. Brandard
WUlmore
J. A. Prior
J. A. Prior
WUlmoreE. Brandard
WUlmoreW. MiUer
J. B. AUen
WUlmoreW. MiUer
W. MUler
C. Cousen
Armytage E. Brandard
J. Cousen
R. Brandard
C. Cousen
Armytage R. Brandard
R. WaUis
R. Brandard

PART II.— MEZZOTINTS

DATE.

SIZE.

1806-

1807

32f x 23f

1807-

1819

1823

84 x 6

1823

8ft x 64.

1824

8ft x 64.

1824

84. x 6

1824

8£ x 6

1824

8} x 61
8| x 6ft

1825

1825

8ft x 6ft

1825

8ft x 64

1826

8ftx 6f

1826

8ftx5if

1826

84ftx6ft

1827

8ft x 6ft

1827

9 x 6i

1827

9ft x 61

9 x6ft
9 x6ft
84 x 64.
1825
2x4}
1824
121 x 84
1825
12ft x 8ft
1829
444x3ft
4x 31
1834
ENGRAVER.
751
752
753754 755756
757758759760
761 762
763 764
765766767768
769
770
771772
773774
I. Single Plate
The Shipwreck . . .
II. The 'Liber Studiorum,' 1807-1819. See
separate volume, published [2nd ed.) 1906
III. ' The Rivers of England ' (also called
' River Scenery '), 1823-1827
Shields, on the River Tyne 
Newcastle-on-Tyne 
More Park, near Watford, on the River Colne
Rochester, on the River Medway 
Norham Castle, on the River Tweed 
Dartmouth Castle, on the River Dart
Okehampton Castle, on the River Okement
Dartmouth, on the River Dart 
Brougham Castle, near the Junction of the
Rivers Eamont and Lowther 
KirkstaU Abbey, on the River Aire 
Warkworth Castle, on the River Coquet . . .
Mouth of the River Humber 
Arundel Castle, on the River Aran 
KirkstaU Lock, on the River Aire 
Stangate Creek, on the River Medway
Totnes, on the Dart (CanceUed) 
Arundel Castle, with Rainbow (UnpubUshed)
Rochester Castle, with Rainbow (Unfinished)
IV. 'Marine Views,' 1824-1825
Neptune's Trident — Vignette on Wrapper
(Etching) 
The Eddystone Lighthouse (Plate I) 
Sunrise — Whiting Fishing at Margate (Pl.II)
IVa. The Small Replicas of the Foregoing
The Eddystone Lighthouse (the Small Plate)
Sunrise — Whiting Fishing at Margate (Do.)
C. Turner
Various
C. Turner
T. Lupton
C. Turner
T. Lupton
C. Turner
T. Lupton
C. Turner
Reynolds
W. Say
J. Bromley
T. Lupton
G.H.PhillipsGH.PhiUips
W. Say
T. Lupton
C. Turner
Unknown Unknown
UnknownT. Lupton
T. Lupton
T. Lupton
T. Lupton
MEZZOTINTS.

DATE.

SIZE.

ENGRAVER.

1825
P1825

7} x 5§
7ft x5ft

F. C. Lewis
F. C. Lewis

1825

7f x 5i

J. Young

1826
182618261827
18271828
1828

5 x 61
8ft x 7
8ft x 64.
9i x6ft
91 x 6i
9i x 6f
9ft x 6ft

Unknown T. Lupton
T. Lupton
T. Lupton
T. Lupton
T. Lupton
T. Lupton

9ft x 6ft
9 x 6i
9ft x 6ft
9ft x 6ft
91 x 6|
8ft x 6ft

T. Lupton
T. Lupton
T. Lupton
T. Lupton
T. Lupton
T. Lupton

321 x 23

T. Lupton

n.d.

32 x 23i

C. Turner

n.d.
182818301830

23 x 15
224xl4if 23 x 134
234 x 154

UnknownJ. B. QuUley
F. C. Lewis
W. Davison

18301830

161 x 221
124 x 81

J. B. Quilley
T. Lupton

84 x 6J
8t x 51.
8jx 6
8ft xW
8i x54|
81. x 61
8$ x 6

J. M.W. Turner
do.do. do.
do. do.do.

775776

777

778
779780781
782783784
785786787
788 789
790

791
792793794 795
796797
798

799
800801
802803804 805

V. Two Plates of Unknown Origin
Colebrooke Dale 
New Weir on the Wye 
VI. Young's ' Stafford GaUery ' (now Bridge-
water Gallery), 1825
Dutch Boats in a Gale 
VII. 'The Ports of England,' 1826-1828
(afterwards re-published as ' The Har
bours of England,' 1856)
Naval Design on Wrapper (Vignette Etching)
ScarboroughWhitby ...
Dover 
Ramsgate ...
Sheerness ...
PortsmouthMargate (Commenced in 1828, but Unpub
Ushed until 1856) 
Deal do. 
Sidmouth do. 
Plymouth do. 
Catwater, Plymouth do. 
Falmouth do. 

arriving

VIII. Sundry Single Mezzotints
Calais Pier — the English Packet
(Unfinished) 
The Burning Mountain (Coloured, privately
printed) 
The Goddess of Discord in the Garden of
the Hesperides (Unpublished) 
The Deluge (Unpublished) 
Field of Waterloo (UnpubUshed) 
The ' Pas de Calais ' (Unpublished) 
The Garden of Boccaccio — the Birdcage (Un
pubUshed) 
Folkestone (Unpublished) 
IX. The So-called 'Sequels to the Liber
Studiorum ' (UnpubUshed, and mostly
Unfinished)
Paestum 
The Evening Gun 
Shields Lighthouse 
St. Michael's Mount 
Ship in a Storm 
The Mew-Stone 
Catania, SicUy 

MEZZOTINTS.

ENGRAVER.

806 807808809

810 811

Study of Sea and Sky 
Bridge and Monument 
Ship and Cutter 
Gloucester Cathedral (also known as ' Boston
Stamp') 
X. Mezzotints executed after Turner's
Death
The Vintage at Macon (Single Plate) 
The Wreck of the Minotaur (Single Plate)

1856

8ftx6ft8ft x 6tf
844 x 64
8ft x 6fi

32ftxl94f321 x 23i

J. M.W. Turner
do.do.do.

Barlow, R.A.
Barlow, R.A.

PART III.— AQUATINTS (PLAIN AND
COLOURED)

812

813814815816

817

818819820821

822 823 824
825

826

827

828

I. Single Plate
The Mausoleum at Brocklesby (Plain)
II. Some Book or Serial Unknown— 1807-
1809
Christchurch Cathedral, Oxford (Coloured) . . .
Clare HaU, Cambridge (Coloured) 
Peterborough Cathedral (Plain and Coloured)
Malmsbury Abbey (Coloured) 
III. 'Aqua Pictura,' 1813
Autumn — Sowing Grain (Plain and Coloured)
IV. ' History of Cassiobury Park,' 1816 and
1837
Cassiobury, Hertfordshire — the seat of the
Earl of Essex (Plain and Coloured) 
West Front, Cassiobury (Plain)  ,.
North- West Front, Cassiobury (Plain)
The Great Cloister, Cassiobury (Plain)
V. Four Large Coloured Views in Sussex,
Privately Printed about 1818
RosehUl 
Ashburnham 
Beauport  „ 
Battle Abbey 
VI. ' The Northern Cambrian Mountains,'
1820
View near Plynlimmon (Coloured) 
VII. ' The Scenery of South Wales ' 1822-
1836
Llanthony Abbey, Monmouthshire (Plain and
Coloured) 
VIII. Single Plate
A Shipwreck (Plain and Coloured) 

about' 1804 23} x 17}

1807 114ft x 8|
1807"18091809

1813

1816

1818

1820

1823

H4ft x 9ft
H4ft x 9ft
114} x 9H

124 x 8|

11} x 7ift
8 x 9ft
nftx m
lift x ?H

22i x 15|
221 x 154
224 xl5ft
224 x 15f

9 x 5}

91 x 6

1825 2141 x 16

F. C. Lewis

H. Reeve
H. Reeve
H. Reeve
H. Reeve

J. HasseU

HaveU&SonsJ. HUl
J. HUl
J. HiU

J. C. Stadler
J. 0. Stadler
J. C. Stadler
J. C. Stadler

HaveU G.Hunt
T. Fielding

AQUATINTS.

ENGRAVER.

829

830

831832

IX. ' A Selection of Facsimiles of Water-
Colour Drawings by British Artists,'
1828-1836
Teignmouth (Plain and Coloured)' 
X. A Series of Large Sporting Plates '
Grouse Shooting — August (Plain) 
XI. Two Small Plates of Unknown Origin
Tours, looking backwards (Unfinished)
Promenade on the Ramparts at Nantes (Un
finished)  '. 

1836 1841 n.d. n.d.

14 xlOft
191 x 14f
74 x 54
74 x 4if

Hunt

Probably F. C. Lewis
Ditto

It is doubtful if this plate is after J. M. W. Turner, R.A.

PART IV.— LITHOGRAPHS AND CHROMO
LITHOGRAPHS
Section A. — Plain Lithographs

833
834835
836
837838

' Loidis and Elmete,' 2nd Edition, 1823
Leeds (Plain Lithograph) 
' Scotland DeUneated,' 1851-1852
Melrose Abbey from the West (Plain Litho
graph) 
Tummel Bridge (Plain Lithograph) 
Marvy's ' Landscape Painters of England,'
1852
Linlithgow Palace (Plain Lithograph with
added Etching) 
Chateau de la MaiUerie (Plain Lithograph) ...
Rouen, looking up the River (Ditto)

1823

18521852

1852
1855 p

17ixll|

164x131
17jxll

9ft x 6/,

10| x7
lift x 88

J. Harding

W. Simpson
J. Barnard

L. Marvy
R. C. Hulme
Himely

839840
841842

Section B. — Lithograplis Coloured by Hand
N.B. — I believe the following to be all Hand-Coloured, but it is difficult
to speak with certainty.
' Landscapes by Eminent English Masters,'
1852
The Water MU1 (Lithograph, Plain and Col
oured by hand)  1852
Hatfield Castle (Lithograph, Plain and Col
oured by hand)  1852

Sundry Coloured Lithographs
St. Donate Castle, Glamorganshire (Litho
graph, Plain and Coloured by hand) 
The Sun rising in a Mist (Lithograph, Plain
and Coloured by hand) 

1852

14ft x 104
Mfxllf 17fxll}
171x1211

W. Gauci
W. Gauci
Unknown
Unknown

LITHOGRAPHS AND CHROMO-LITHO GRAPHS.

DATE.

SIZE.

C.

1852

18ft x 14

15ft x 10|

,j

161 xlOf

161 x 101

,,

16 xlOf

ENGRAVER.

843844845846847

BUgh Sands (Lithograph, Plain and Coloured
by hand) 
Penmaenmawr (Lithograph, Coloured by hand)
' McQueen's Series,' PI. 5 
Durham Cathedral ('McQueen's Series,' PI. 6)
Kenilworth Castle ('McQueen's Series,' PI. 7)
KidweUy Castle 
(There are probably others of this Series.)

Unknown
UnknownUnknownUnknownUnknown

848
849850851
852853854
855856
857 858
859860
861862
863

Section C. — Chromo- Lithographs
Grouse Shooting (Published by Hogarth) ...
Woodcock Shooting (Ditto)
Rockets and Bluelights (Ditto Day and Sons)
Banks of the Tavy 
Cowes 
Whiting Fishing off Margate 
MoonUghi>-A Study at MUlbank (Pubd.
Moore, McQueen and Co.) ... 
Bay of Baiae, ApoUo and the Sibyl (Pubd.
J. McQueen and Co.) 
ChUde Harold's Pilgrimage (Pubd. J. Mc
Queen and Co.) 
Venice— the Bridge of Sighs (Pubd. Moore,
McQueen and Co.) 
Venice — the Dogana, etc., Canaletti painting
(Pubd. J. McQueen and Co.) 
The Approach to Venice (Pubd. J. McQueen
and Co.) 
Ulysses deriding Polyphemus (Pubd. Rowney
and Co.) 
Bacchus and Ariadne (Pubd. Gambart and
Co.) 
The Fighting Temeraire (Pubd. Gambart and
Co.) 
The Gothic Bridge at Eudes, Tours 

18521852
1852

19 x 134
19 x 13f
24f x 22|

IB. and G.
/ Leighton
R. Camck

1852 St
tt

13ft x 8f
16} x 11
15 x 104,

J. Coventry
Unknown
Unknown

J)

15ft x lOf

Unknown

1856

23ft x 14f

Unknown

J>

234fxl3if

Unknown

.,

17} x 11}

Unknown

tt

324 x 194

J. C. Ogle

t)

17| x 11$

Unknown

Jt

27 x 18

J. C. Ogle

tt

diam. 18J

Unknown

1858 "

20| x 16
12i x 8i

Unknown J. C. Ogle

PAET I.— LINE ENGRAVINGS
ON COPPER i
' THE COPPER-PLATE MAGAZINE ' and ' THE
ITINERANT,' 1794-1798
The history of this small Serial, in which are to be found the
earliest engravings after Turner, has already been given (Intro
duction, pp. xviii, xix). The naive prefaces to the second and three
succeeding volumes, in which the proprietors annually congratulate
themselves on the loftiness of their aim, the excellent value they
are giving their subscribers — the price of each number was only a
shilling — and the deservedly large patronage which is being accorded
to them, show that it must have been highly successful.
On the completion of the five volumes in 1798, the plates were
skilfully retouched, printed on better paper, and re-issued under the
title of ' The Itinerant,' by which the book is now more generally
known. This edition apparently also had a large sale. In 1853
(after Turner's death) the copper-plates were discovered at a marine
store dealer's, and were bought by Hogarth the printseller. He
had those after Turner and Girtin again retouched, and reprinted
them, with an extremely interesting preface and biographies of
both artists, under the title of 'Turner and Girtin's Picturesque
Views Sixty Tears Since.' The prints, although somewhat modern
ized by retouching, are still not without merit.
In 1873, twenty years later, the plates, now quite worn out, were
again reprinted, and published by Bentley under the name of
' Turner and Girtin's Picturesque Views a Hundred Tears Ago.'
The Drawings show strongly the influence of Hearne and Dayes
on Turner. Very few can now be traced, and most of these are faded.

ENGRAVED WORK OF J. M. W. TURNER.

1. EOCHESTEE.
Engraved by Walker and Storer. Size, 6^- by 4|.
The city in distance across the Medway. Bridge to right. In
foreground, two sailing barges moored by trees. Two men approach
ing from right, carrying oars.
The Open Etching. One impression. B. This is the only example I
have met with in the Series.
First Published State (' Copper- Plate Magazine,' Vol. II). Left,
" Plate 55, Engraved by Walker and Storer from an original
drawing by Turner." Eight, " Published May l8t 1794 by Harri
son & Co., 18 Paternoster Eow London." Title in Eoman capitals,
shaded.
Second State (' The Itinerant '). The plate number removed. " The
Itinerant" added at top to left, and the county [Kent in this
case] to right. Publisher's name altered to " J. Walker, No. 16.
Eosoman Street." There is a scarce large-paper (foUo) edition
of this State, with the letterpress below each plate, and the
ordinary (quarto) with the letterpress on separate pages.
Reprint A ('Turner and Girtin's Picturesque Views Sixty Tears
Since,' Hogarth, London, 1864). Inscription altered; in centre,
below plate-line, " Engraved by J. Walker from a Drawing by
W. Turner." Title in italics.
Reprint B ('Turner and Girtin's Picturesque Views a Hundred
Tears Ago,' Bentley, 1873). Lettering as in Eeprint A, but
plates worn out and worthless.
N.B. — As all the plates of the Series follow virtually the same
lines, the above descriptions of States will not be repeated; a few
trifling exceptions are noted.

2. CHEPSTOW.
Engraved by Storer. 6J by 4*§.
Euined castle on cliff above the Wye, which is crossed in centre
by wooden bridge. Sailing-boat ashore on left.
' Copper-Plate Magazine,' Vol. II, PI. 67. Date, Nov. 1, 1794.
I have seen an impression of this plate printed in two colours-
blue and brown. See also Carlisle (No. 13).
The Drawing was jn Sir Joseph Heron's Sale at Christie's in
1890.

LINE ENGRAVINGS ON COPPER.

Chepstow had a great attraction for Turner in the early part of
his career. He made four large drawings of it for Lord Harewood,
and it was the subject of two plates of the 'Liber Studiorum.'

3. NOTTINGHAM.
Engraved by J. Walker. 6\ by 4J.
The Castle on hill to left; town on right. Eiver in foreground
with barge lowering sail on entering lock.
' Copper-Plate Magazine,' Vol. II, PI. 75. Date, Feb. 28, 1795.
Publisher's address in this and the succeeding plates is altered
to " J. Walker, No 16 Eosomans Street, London."
An outline etching of this subject is given in ' Modern Painters,'
vol. iv, p. 29, where Mr. Euskin compares it with Turner's later
Nottingham in his ' England and Wales.'

4. BEIDGENOETH.

Engraved by J. Walker. 6| by 4|

Stone bridge on left with tall gate-house on it. Town to right
below hills. The Severn in front with many boats, from one of
which a man and woman are fishing.
' Copper- Plate Magazine,' VoL II, PI. 88. Date, August 1,
1795. This is perhaps the most attractive plate of the Series. The
composition is skilful and effective, and the old house on the
bridge extremely interesting. The Drawing is beautiful in colour,
and the broad yet delicate treatment of the broken surfaces of the
masonry very noticeable. I do not know where it now is.

5. MATLOCK.
Engraved by J. Widnell. 6-| by 4^.
In centre, stone bridge with four arches; houses to left and
right. High hills behind. Two horsemen by river in left fore
ground, 'Copper-Plate Magazine,' Vol. II, PI. 90. Date, October 1,
1795.

ENGRA VED WORK OF J. M. W. TURNER.

6. BIEMINGHAM.
Engraved by Storer. 6^ by 4J.
Town in mid-distance with conspicuous tall spire on left, and
tower on right. In foreground, cart drawn by two horses on bank
by stream.
' Copper-Plate Magazine,' Vol. II, PI. 91. Date, November 2, 1795.
The Drawing was at one time in the possession of Mr. W. Ward,
but he does not know its present whereabouts.
This view, doubtless a fairly accurate one, of the Birmingham of
1795, is interesting to contrast with the Midland metropolis of
to-day.
7. CHESTEE.
Engraved by J. Walker. 6f by 4|.
Brickfield in foreground with men wheeling barrows. Beyond it,
the river, and the walls and towers of the city and castle. Bridge in
right distance.
' Copper-Plate Magazine,' Vol. II, PI. 95. Date, January 1, 1796.
8. PETEEBOEOUGH.
Engraved by J. Walker. 6J by 4| .
The Cathedral seen from the north. Eoad in foreground with a
woman on horseback and two others on foot beside her.
' Copper-Plate Magazine,' Vol. Ill, PI. 103. Date, May 1, 1796,
" PL 103, Vol. Ill," in very small type at right top corner.
The Vol. and PI. Nos. appear similarly on all the succeeding
plates of the Series with the exception of Carlisle, No. 13.
The Drawing is in my possession, and is one of the few still
unfaded. It is very carefully executed, especially the dainty figures.
I have also a large-paper copy of the Engraving, coloured by hand
(probably by Turner), and closely following the Drawing.
9. ELT.
Engraved by J. Walker. 6f by 4|.
The Cathedral seen from the south, above houses. In foreground
a field, in which is a woman with milk-pails, and other figures.

LINE ENGRAVINGS ON COPPER.

• Copper-Plate Magazine,' Vol. Ill, PI. 123. Date, March 1, 1797.
The Drawing is in the possession of the Eev. W. Macgregor.

10. WESTMINSTEE BEIDGE.
Engraved by J. Walker. 6| by 4|.
Bridge on right; Abbey towers on left, across the river. Sailing
barges and wherries in front.
' Copper-Plate Magazine,' Vol. Ill, PI. 133. Date, August 1, 1797.
The Drawing, much faded, is in the National Gallery. It was in
W. B. Cooke's exhibition in Soho Square, in 1822. Probably Turner
bought it back later in life, at Christie's or some other sale, as he
often did.
The barges in the centre with their tall dark masts and sails, are
a singularly effective feature in the composition.
11. FLINT FEOM PAEK-GATE.
Engraved by J. Walker. 6£ by 4|.
A broad estuary in front. Town and castle in distance on the
farther side, below hills rising behind. In foreground, cornfield to
left and figures to right.
' Copper-Plate Magazine,' Vol. Ill, PI. 134. Date, August 1, 1797.
The Drawing, much faded, was at Christie's in 1877. Mr. W.
Ward had formerly the pencil sketch for it, on which Turner, with
his usual precision in details, had written notes as to the nature of
the foreground. Here was " fallow," and there " wheat."
FUnt was treated again in the ' Liber Studiorum,' and also in a
beautiful plate of the ' England and Wales ' ; in each case from a
different point of view. In the letterpress accompanying the present
plate, the artist is described as " the ingenious Mr. Turner "—the
only allusion to him in the book.
12. HAMPTON COUET, HEEEPORDSHIEE.
Engraved by J. Walker. 6| by 4£.
On left, large castellated mansion in park; hills behind. Three
anglers by lake in left foreground.

6 ENGRAVED WORK OF J. M. W. TURNER.
' Copper-Plate Magazine,' Vol. Ill, PL 135. Date, Sept. 1, 1797.
Another view of the same subject appears in Britton and Bray-
ley's ' Beauties of England and Wales,' Vol. VI.
13. CAELISLE. Engraved by J. Walker. 6| by 4|-.
City in distance across river; Cathedral high on left. Castle
nearer, on extreme right. Bridge in foreground with two men on
horseback crossing.
' Copper-Plate Magazine,' Vol. Ill, PL 137. Date, Oct. 2, 1797.
In this plate, the Vol. and PL No., usually in the right hand
corner, are omitted.
I have seen an early impression apparently coloured by hand, in
two tints, blue and brown. Probably this was an experiment by
Turner. See also Chepstow (PL 2) and Peterborough (PL 8).
N.B. — Some early copies pf the ' Copper-Plate Magazine ' have,
in place of this plate by Turner, an entirely different view of Car
lisle, which is described as " from a Drawing by E. Carlile."
14. WAKEFIELD.
Engraved by J. Walker. 6| by 4§-.
Eiver in front with town on further side; a conspicuous spire on
right. Three men in left foreground, one fishing.
' Copper-Plate Magazine,' Vol. IV, PL 153. Date, June 1, 1798.
15. SHEFFIELD. Engraved by J. Walker. 6| by 4J.
Town in distance in centre; a spire and a tower close together.
Hills behind. In foreground, man on horseback, and another on
foot beside him.
'Copper-Plate Magazine.' Date, August 1, 1798. "Vol. IV,
PL 157 " at right upper corner.
The Drawing, mueh faded, is in theEuskin Museum at Sheffield.
As m the case of Birmingham (PL 6), the contrast with the city of
to-day is striking.

LINE ENGRAVINGS ON COPPER.

15a. ELGIN CATHEDRAL, MOEATSHIEE.
Engraved by J. Walker. d>\ by 4f .
Euined west front of Cathedral in centre; remains of choir to
left. Two men in foreground on right.
' Copper-Plate Magazine,' Vol. Ill, PL 132. Date, July 1, 1797.
On left, " Engraved by J. Walker after an Original Sketch by Jas
Moore Esq, F.A.S."
The connection of Turner with this plate calls for explanation, as
it will be seen from the inscription above that it is attributed to
J. Moore. But in the Introduction to ' Turner and Girtin's Picturesque
Views Sixty Tears Since,' published in 1854, it is stated (p. xix) :
"In the original [sketch] made by Jas. Moore, Esq., F.A.S. [a
weU-known antiquary and amateur artist of the time] the windows
in the nave were closed, or built up, but in the drawing Turner
made, he left them open. On being spoken to about this a few
years since he said, ' They ought to have been open ; how much
better is it to see the light of day in God's house than darkness ! ' "
No doubt in this as in other cases, Turner was employed to touch
up and " put in effects " to the sketches of amateurs. Girtin
in a similar way adapted Moore's sketch of Glamis Castle for the
plate in Vol. IV of the ' Copper-Plate Magazine.'

II
'THE POCKET MAGAZINE,' 'THE LADIES'
POCKET MAGAZINE,' and 'THE POCKET
PRINT MAGAZINE,' 1795-1796
These small plates were probably issued first in monthly parts,
and afterwards as pocket volumes, by Harrison and Co., the pub
lishers of ' The Itinerant.' As a rule they are very poorly engraved,
but some of Eothwell's and Storer's plates, when seen in early im
pressions, are passable. None, however, can have done anything
like justice to Turner's Drawings, judging from the only surviving
example of the latter known to me — that of Bristol (No. 30) now
in the Bristol Municipal Art Gallery. This, though minute in size,

8 ENGRAVED WORK OF J. M. W. TURNER.
is of the highest artistic quality, a veritable gem of skilful com
position and delicate colour.
The plates were printed again and again, until they were worn
out. They appeared in the three publications named above, and,
finally, when mere wrecks, they were re-issued in 'England De
lineated,' published by Lackington and Allen, London, in 1804.
It is impossible in most cases to distinguish between the various
issues, except by the comparative freshness or the worn appearance
of each impression. Some of the earliest are printed in a shghtly
bluish or greenish ink. The latest of all are in a brown ink and on
thin paper; these are quite worthless.
16. THE TO WEE OF LONDON. (Vol. I. Date, January 1, 1795.)
Engraved by T. Tagg. 4| by 2|.
The Tower in centre, seen from river. Ships with tall masts
above and below.
As Published. Left, "W. Turner, del"; right, "T. Tagg, Sc."
Title in open caps. Above, " Pocket Magazine." Below, " Pub
lished by Harrison and C°, Jany 1st, 1795."
N.B. — The lettering on the remaining plates of the Series is
similar to the above, differing only in the engravers' names, and
occasionally in the absence of the magazine Title.
17. CHELSEA HOSPITAL. (Vol. II. Date, March 2, 1795.)
Engraved by Storer. 4J by 1\.
The Hospital seen from the river. Wherry to left with two pass- '
engers. 18. OXFOED. (Vol. IV. Date, June 1, 1795.)
Engraved by T. Tagg. 4| by 2|.
City in distance with towers and spires seen from hill. Eoad in
foreground; two men in academic costume on right.
19. CAMBEIDGE. (Vol. IV. Date, June 1, 1795.)
Engraved by T. Tagg. 4| by 2|.
King's College Chapel in centre. In right foreground, students
in caps and gowns playing cricket by river.

LINE ENGRA VINGS ON COPPER.

20. WINDSOE. (Vol. IV. Date, June 1, 1795.)
Engraved by Rothwell. 4| by 2f .
The Castle, with houses below, seen from river. Barge in front
with tall mast.
21. FLINT. (Vol. V. Date, July 1, 1795.)
Engraved by T. Tagg. 4f by 2f .
Two ruined towers of castle on the shore in foreground. Fisher
men hauling in boat. Sea to left.
22. BATH. (Vol. V. Date, August 1, 1795.)
Engraved by G. Murray. 4J by 2\.
Bath abbey in centre; houses in front and on hill behind. River
in foreground, with sailing-boat, and figures on bank.
23. WOECESTEE. (Vol. not known. Date, August 1, 1795.)
Engraved by Rothwell. 4|- by 2-jj-.
Cathedral in centre above river, trees and houses to left. Sailing
barges on river.
24. WALLINGFOED. (Vol. V. Date, September 1, 1795.)
Engraved by T. Tagg. 4| by 2|.
Thames in front; old bridge to left, with sailing barge. Church
spire in centre rising above houses.
25. TUNBEIDGE. (Vol. not known. Date, September 1, 1795.)
Engraved by Murray. 4| by 2\.
Eiver in front with bridge to left, over which a coach is passing.
Euined castle among trees on eminence to left. Old houses on
opposite bank of riven
26. SWANSEA. (Vol. not known. Date, September 1, 1795.)

Engraved by Rothwell. 4J by 2

Square keep of castle in centre; harbour and shipping below; hill
behind. Ferry-boat with men and horses in front.

10 ENGRAVED WORK OF J. M. W. TURNER.

27. GUILDFOED. (Vol. not known. Date, October 1, 1795.)
Engraved by Rothwell. 4£ by 2|.
Euined keep of Castle in centre above old houses and trees.
Eiver below with sailing boats. Men caulking boat in foreground.

28. NEATH. (Vol. not known. Date, October 1, 1795.)
Engraved by G. Murray. 4| by 2f.
Town in centre in sunlight, on bank of sharp curve of river; high
hills beyond. Men hauling boats ashore in foreground.
29. STAINES. (Vol. IV. Date, November 1, 1795.)
Engraved by G. Murray. 4^ by 2|-.
The Thames in front with sailing barge on right. In centre,
new bridge in construction. Coach crossing old bridge beyond.
In the letterpress accompanying this plate occurs the following
reference to Turner:
" The appearance of this bridge, as now building, with the con
trasted old one behind, faithfully delineated in the annexed view,
by the ingenious Mr. Turner, has a beautifully picturesque effect."
30. BRISTOL. (Vol. III. Date, January 1, 1796.)
Engraved by T. Tagg. 4| by 2f-.
City in mid-distance with group of towers relieved against
wooded hill behind. A bend of the Avon in foreground. Two
figures on bank in front.
The beautiful little Drawing for this plate is in the Bristol
Museum (see page 7). It is the only one of the Series that I
have ever met with.

31. NOETHAMPTON. (Vol. and Date not known.)
Engraved by T. Tagg. 4£ by 2J.
Market-place, with shops and houses on left; beyond, a church
with portico, tower, and cupola. Coach and four standing beside it.
N.B. — I have seen an allusion to a further plate of Southampton,
but I have never met with an impression.

LINE ENGRAVINGS ON COPPER. 11
III
HOWLETT'S 'SELECTION OF VIEWS IN THE
COUNTY OF LINCOLN,' 1797—1801
This was one of the many illustrated topographical works which
were published about the end of the eighteenth century, generally
in serial form and by subscription. Frequently, as in the present
case, the venture was the engraver's, and he was then usually the
publisher. During the progress of the work, somewhere about
1800, Howlett appears to have transferred it to a London publisher,
Miller of Bond Street, whose name appears on the completed edition
of 1801 and on all subsequent ones.
Schnebellie, whose name appears on the plate of Grantham
Church, was an architectural draughtsman much employed at that
time on works of this character.

32. GRANTHAM CHUECH.
Engraved by B. Howlett. 7 by 5 \.
Church in centre in graveyard, the tall spire to right. In right
foreground, man wheeling barrow, and woman beside him.
Engraver's Proof. Before Title and pub. line. Artists' names in
etched letters. Beckford Sale, 1817.
First Published State (Subscribers' Copies, on large paper). Left,
"Drawn by W. Turner, from a sketch by Schnebellie" ; right,
"Engraved by B. Howlett," both in italics. Title in centre in
italics. Below, "London, published March 1st, 1797, by B.
Howlett, Green Walk, Blackfriars Eoad."
Later States. The first complete edition was published in 1801,
and others followed in 1803, 1805, and probably later. The
lettering is always the same, but, after 1803, the plates are very
much worn.
33. SLEAFOED CHUECH.
Engraved by B. Howlett. 7| by 5.
Church in centre, on further side of market-place in which are
booths and many people, some seated on ground.

12 ENGRAVED WORK OF J. M. W. TURNER.
Engraver's Proof. As preceding plate. Beckford Sale. R.
First Published State (Subscribers' Copies, on large paper). Left,
" Drawn by W. Turner, A.E. A." ; right, " Engraved by B.
Howlett," both in italics. Title in centre in italics. Below,
" London. PubUshed by W. Miller, Old Bond S*. 1801."
Later States. As in preceding plate.
The Drawing was in the possession of the late Mr. Humphry
Roberts. There is a pencil sketch for it in the National Gallery.

IV
ISLE OF WIGHT SERIES (UNFINISHED), 1799
Nothing is known with certainty as to the following four plates,
but I believe they formed part of a work which was to have been
engraved and published by John Landseer (the father of Sir Edwin)
about 1799. The plates were to have been taken mainly from
drawings by Ibbotson, but four were contributed by Turner. Owing
to a quarrel, the work appears to have been stopped when Landseer
had commenced six plates, including the four Turners, and had
carried them only as far as the Open Etching. Original impressions
of these (distinguished by their being on old paper) are rarely to be
met with. Like most of John Landseer's work, they were inferior
in execution, and as they bear no painter's or engraver's name, they
have probably escaped notice or have been destroyed.
After John Landseer's death in 1852, the copperplates of the
four subjects by Turner appeared at his sale, and were bought by
Bohn the publisher. He had them finished by some inferior en
graver, and issued them somewhere between 1853 and 1855, along
with two others smaller in size, and different in style from Turner's,
in sets of six plates; Turner's name was attached to all the six, but
the two added were doubtless from drawings by Ibbotson. The
Series is entirely without interest.
34. OECHAED BAT.
Engraved by J. Landseer. 10 by 7f .
Small rocky bay to left. Three men hauUng boat on shore on
right. Other boats and lobster pots on beach.

\

LINE ENGRAVINGS ON COPPER. 13

35. FEESHWATEE BAT.
Engraved by J. Landseer. 10 by 7.
The bay to left; stakes in shallow water with net ropes attached.
Two men with dog in centre foreground.
36. ALUM BAT, ISLE OF WIGHT.
Engraved by J. Landseer. 10 by 7-|.
High cliffs to left; sea in front; two men with barrow at foot of
cliff by a boat; sailing boat beyond.
37. ALUM BAT AND THE NEEDLES.
Engraved by J. Landseer. 10 by 7^.
Low bank in foreground, sloping to beach on right; cottage
below, with woman beside it with child in her arms. Several
figures and boats. The Needles conspicuously white in distance.
*#* The two smaller plates (7| by 5|) issued by Bohn, of
Shanklin Bay and Cowes Castle are, as explained above, doubtless
after Ibbotson.

V
OXFORD UNIVERSITY ALMANACKS,
1799-1811
The history of these has already been given (Introduction, pp. xx,
xxi). Eeaders desiring fuller information will find it in an admirable
and exhaustive illustrated article by Mr. C. F. Bell in the 'Art
Journal ' of August, 1904.
The Drawings, which are well preserved, are all in the University
Galleries at Oxford. The first two engraved — Christ Church from
the Meadows, and The Chapel and Hall of Oriel College — are rather
colder in colour than the later ones. These, as Mr. Bell's re
searches bear out, were probably all done by Turner at about
the same time, the records showing that in 1804 he was paid for
seven at once. He received ten guineas apiece for them. Another,

14 ENGRAVED WORK OF J. M. W. TURNER.
The Front of Merton College, which was not engraved, is among the
Turner drawings in the National Gallery.
I have already alluded (Introduction, p. xx) to the action of
the Master of Balliol in requiring Turner's design for the Chapel
and Hall of that College to be altered to suit what was supposed to
be topographical accuracy. A similar liberty was taken with The
Interior of the Hall of Christ Church. Mr. Bell has discovered
among the archives of the University Press the record that " in 1806
the Board of Delegates felt itself constrained to commission a
Mr. O'Neill ' to sketch more correctly some parts of the inside of
Christ Church Hall for the use of the Engraver of the Almanack
for the coming year.' As the result of his alterations, the pictures on
the wall were made recognisable as individual portraits, instead of
being treated, as in Turner's Drawing, as patches of broken tone,
giving scale to the architecture . . . nor [although Turner was
then a full Academician] 'could they be brought to consider his
artistic licence as anything but topographical inaccuracy." In the
Print Eoom of the British Museum is a Trial Proof in the original
condition. I have spoken elsewhere of the fine quality of Basire's engraving
in these Almanacks. It can be well seen in the splendid series*
of Engraver's Proofs in the Print Eoom of the British Museum.
Early and well-preserved impressions are rare.
It may be interesting to add that the old form of the Almanack,
with its engraved heading and quaint seventeenth-century wording
" In the year of our Lord God," is happily still preserved.
38. CHEIST CHUECH FEOM THE MEADOWS. 1799.
Engraved by J. Basire. 17f by 12|.
Eiver in front; college beyond in centre, partly hidden by trees.
Meadows in foreground; man in academic costume handing lady
into boat.
Engraver's Proofs, (a) Early. Before burin work on sky, water,
etc., was completed. Left, " Drawn by William Turner"; right,
" Engraved by James Basire "; both in very light italics. Before
Title. BM. (6) Eather more advanced. Lettering same. R.
As Published. Artists' names in thicker italics. Title in centre,

LINE ENGRAVINGS ON COPPER. 15
" South View of Christ Church, etc., from the Meadows," in
shaded italic caps.
Later States. Many small differences will be found in the later im
pressions of this and the succeeding Almanacks, arising from
frequent retouchings and repairs; probably in some cases, a
fresh plate may have had to be engraved. I have noted some of
the more prominent of these variations, but it is impossible to give
details of all. The early or late state of the prints must be judged
from their greater or less brilliancy.
Some years ago (I believe somewhere about 1865) the whole
series of Almanacks from the commencement were reprinted from
the original copper-plates, and republished in a large volume. The
impressions were inlaid and bore no lettering, but there was a
prefatory list of titles, dates, and artists' names. The plates were
so worn as to be of little but antiquarian interest.
In this plate it will be observed how effectively the white figures
in the centre, focus and distribute the lighting.
39. CHAPEL AND HALL OF OEIEL COLLEGE. 1801.
Engraved by J. Basire. 17f by 12|.
The Chapel and Hall facing spectator; quadrangle in front with
academic figures. Greyhound on left. Square tower of Merton
College behind.
Engraver's Proofs, (a) Very early. Finial of gable on right under
tower, left white. B.a.l. BM. (b) Work advanced all through,
but before oriel windows in angle on right were darkened. B.a.l.
In margin, in pencil, apparently in Turner's writing, is a note
to printer: "Sponge Boiler Stone." R. (c) Considerably ad
vanced; oriel windows darkened all over; right side of quad
lightened. Touched aU over in white by Turner. Before artists'
names, but with Title as published. BM.
As Published. Left, "Drawn by W™ Turner. A."; right, " En-
grav'd by James Basire "; both in dark italics. Title, "A View
of the Chapel and Hall of Oriel College, &c," in shaded leaning
caps.
Later Impressions. Eetouched. Saltires on arms over doorway in
angle on right, lightened. The greyhound, which was previously
shaded, is now a high light.
The engraver here, foUowing Turner's instructions as indicated
by his touches of white over the latest Engraver's Proof (c), has

16 ENGRAVED WORK OF J. M. W. TURNER.
admirably rendered the reflected light on the college buildings to
the right. The satisfactory composition of the buildings, the balance
of light and shade, and the fine architectural drawing, make this one
of the most attractive of the Almanacks.

40. INSIDE VIEW OF MERTON COLLEGE CHAPEL. 1802.
Engraved by J. Basire. 17f by 12f.
Interior of Gothic Chapel looking towards East window. Two
figures on altar steps; lozenge pavement in foreground.
Engraver's Proof. Engraver's work completed, but before any
printed Almanack detail below. BM.
As Published. Artists' names as in the preceding Almanack. Title,
" Inside View of the East End of Merton College Chapel," in
shaded leaning caps.
The composition and the perspective are here again admirable.
The lozenges on the floor carry the eye on to the figures on the
steps, the altar, the tall candlesticks behind, and the stained glass
window above.

41. WOECESTEE COLLEGE. 1804.
Engraved by J. Basire. 17f by 13.
College in foreground on left^ wide roadway in front. Tower of
Clarendon Press in distance. Men with barrows, etc., and boys
playing, in road.
The Open Etching. BM.
Engraver's Proofs, (a) Early. Sky etc., quite unfinished. Touched
by Turner in white and pencil. B.a.l. BM. (b) Sky etc.
further advanced. Before men unloading cart defined. Left,
" Drawn by Wm Turner E.A." ; right, " Engraved by James
Basire," in very light italics. Before Title. BM. (c) Completed,
but before alterations to upper story and pediment of window of
tower in distance. Lettering as in (6). BM., R.
As Published. Left, "Drawn by J. M. W. Turner, E.A."; right,
"Engrav'd by James Basire," both in dark italics. Title, "A
View of Worcester College &c," in shaded upright caps.
Later Impressions. Eetouched. Bright spots of light added on
sleeve of man unloading cart, and on face of man against wall.
Effect dull throughout and the luminousness lost.

LINE ENGRAVINGS ON COPPER. 17
This is perhaps one of the least interesting of the Series, but in
the early Proofs, Basire's fine engraving, especially of the sky, gives
it extraordinary brilUancy.

42. INSIDE OF BEAZENOSE COLLEGE QUADEANGLE.
1805.
Engraved by J. Basire. 17| by 12§.
Three sides of a quadrangle; the College entrance in centre.
Statue on right on lawn. Dome of Eadcliffe Library behind, and
spire of St. Mary's to right.
The Open Etching. BM.
Engraver's Proofs, (a) Early, before garden roller darkened. B.a.l.
BM. (b) Later, roller darkened. Sky still unfinished. B.a.l. BM.
As Published. Left, "J. M. W. Turner, E.A., del'"; right, as in pre
ceding Almanacks. Title, " A View from the Inside of Brazen
Nose College Quadrangle," in shaded caps.
Turner's skilful composition is well rendered by the engraver.
It will be observed how carefully the light and shade are distributed,
and how effectively the half-light of the statue brings out and en
hances the brighter central facade. The dome of the Eadcliffe and
the spire of St. Mary's again balance one another and give symmetry
to the composition.

43. EXETEE COLLEGE FEOM THE TUEL. 1806.
Engraved by J. Basire. 17f by 12f.
College buildings in light on left of long straight street. Eoad-
way undergoing repair. Tall spire of All Saints' Church closes view.
As Published. Artists' names as in preceding Almanack. Title,
"View of Exeter College, All Saints Church, etc., from the
TurL", in shaded caps.
Another drawing of this subject by Turner, from almost exactly
the same point of view, but probably thirty years later and in the
very different style of that period, is in the National Gallery.
From its size and general appearance it would appear to have been
intended for his ' England and Wales,' but it was never engraved.
In it, as in the Almanack, the road is under repair. It is interest
ing to observe here, as in the Nottingham of the ' Copper- Plate
Magazine,' and many other instances, how Turner's first impression
i. c

18 ENGRAVED WORK OF J. M. W. TURNER.
of a place seems to have fixed itself indelibly in his mind, and to
have been almost invariably repeated by him if he drew the place
again, no matter how many years after. Mr. Ruskin has dwelt on
the subject in ' Modern Painters,' vol. iv, pt. v, ch. ii, § 19, and in
his pamphlet on ' Pre-Eaphaelitism,' §§ 49, 52 (vol. xii of the 1904
Library Edition).

44. INTEEIOE OF HALL OF CHEIST CHUECH. 1807.
Engraved by J. Basire. 17j by 13-|-.
Interior of wide vaulted Gothic Hall. Portraits round the walls.
Servants laying tables on dais at further end.
Engraver's Proof. Early. The features of the portraits on walls
only generally indicated; the two above dado on left are blank
white. B.a.l. BM.
As Published. Features of portraits all highly finished. Artists'
names as in the three preceding Almanacks. Title, " Inside View
of the Hall of Christ Church." in shaded caps.
This plate, in spite of the interference of the authorities men
tioned above (p. xx) is one of the most beautiful of the Series. The
engraver has well rendered Turner's fine drawing of the roof, and
his admirable perspective. The lighting by means of rays enter
ing from the left, has the characteristic charm of his architectural
interiors of this period.
45. OXFOED FEOM HEDDINGTON HILL. 1808.
Engraved by J. Basire. 17 J- by 12|.
The towers, spires, and domes of the city in distance among
trees. On right, in foreground, coach descending hiU. On left, a
harrow by the road.
The Open Etching. BM.
Engraver's Proofs, (a) Early. Sky very unfinished. Lower foliage
of tree on extreme right, light. "Oxford" on door of coach.
BM. (b) Much more advanced. Light edges to clouds. Foliage
on right darkened. " Oxford " still on coach door. Left,
"J. M. W. Turner, E.A. del"; right, "Engraved by James
Basire," both in light etched italics ; before Title. R. (c) Com
pleted, except that distant smoke over city is not defined as
white as in Published State. " Oxford " removed from door of
coach. Lettering otherwise as in (b). BM.

LINE ENGRAVINGS ON COPPER. 19
As Published. Artists' names in thick italics. Title, "View of
Oxford from the South Side of Heddington Hill," in shaded caps.
Distant smoke over city, clearly defined white.
This is an extremely clever piece of engraving. By a judicious
use of his Ughts and darks, Basire has — probably by Turner's in
structions — considerably improved on the Drawing, the composi
tion of which strikes one as somewhat involved. The lines of the
many walls are very skilfully used to carry the eye on to the domes
and towers in the distance.

46. PAET OF BALLIOL COLLEGE QUADEANGLE. 1809.
Engraved by Storer. 17-f by 12|.
Lawn in centre; chapel opposite in light. Tower to left with
entrance gateway, beside which are two figures in academic cos
tume. Basket and gardening tools in foreground.
As Published. Left, " Drawn by H. Neill [sic] " ; right, " Engraved
by Storer," both in italics. Title in shaded caps.
The history of this plate has already been given on p. xx. It
will be observed that it is not engraved by Basire, and the execution
is very inferior to his.
47. CHEIST CHUECH CATHEDEAL AND PAET OF CORPUS
COLLEGE. 1811.
Engraved by J. Basire. 17f by 12|.
Lawn in foreground with College buildings on right. Cathedral
on left among trees. Gardener with barrow in left foreground.
The Open Etching. BM.
Engraver's Proofs, (a) Early; sky unfinished; sleeve of gardener
on left, bench with flower-pots in distance, and tree-trunk on
right, all left bright white. B.a.l. BM. (b) Shading added on
all the above lights. B.a.l. R. (c) Crockets drawn in ink on
angles of leadwork of distant cupola. At back a sketch by
Turner in ink for the cupola and crockets, with the following in
his handwriting: "Tom is not like. Get Daye's or Rooker's or
Delamotte's [other artists who had drawn it in previous
Almanacks] to look at. It has Crocketts [sic] at the angles up to
the sets [?] of the leadwork." Clouds extensively touched in
white for lightening. Rays of light also indicated in white, strik
ing diagonally across foliage below Cathedral. B.a.l. R. (d) The

20 ENGRAVED WORK OF J. M. W. TURNER.
rays added; finials of pinnacles and windows below cupola con
siderably altered, but no crockets added as in the sketch. Clouds
lightened. B.a.l. BM. (e) Finished. Finial of window below
cupola altered to form seen in Published State. Artists' names
as in Published State, but before Title. BM.
As Published. Left, "J. M. W. Turner E.A.— P.P. del"'; right,
"James Basire, Sculpt."; Title, "View of the Cathedral of
Christ Church and Part of Corpus Christi College," all in
italics. Turner's note on Engraver's Proof (c) mentioned above, is the
first of his written instructions to his engravers which I have met
with. There are however earlier examples of Proofs — some in this
Series — touched by him for alterations.

Va
SKELTON'S SMALL REPLICAS OF THE
OXFORD ALMANACKS, 1820—1823
Engraved by J. Skelton. About 9 by 7.
Skelton, who followed Basire as Engraver to the University, re
produced Turner's Almanacks in a small size, as illustrations to his
' Oxonia Antiqua Eestaurata.' The engravings are well executed, but
being exact facsimiles, .they do not call for detailed notice. Proofs
before any letters are occasionally to be met with, but the ordinary
impressions bear Skelton's name both as engraver and publisher.
38a. CHEIST CHURCH FROM THE MEADOWS.
39a. CHAPEL AND HALL OF ORIEL COLLEGE.
40a. INSIDE VIEW OF MERTON COLLEGE CHAPEL.
41a. WORCESTER COLLEGE.
42a. INSIDE OF BEAZENOSE COLLEGE QUADEANGLE.
43a. EXETEE COLLEGE FEOM THE TUEL.
44a. INTEEIOE OF HALL OF CHEIST CHUECH.
45a. OXFOED, FEOM HEADINGTON HILL.
46a. PAET OF BALLIOL COLLEGE QUADEANGLE,
47a. CHEIST CHUECH CATHEDEAL AND PAET OF
COEPUS COLLEGE.

LINE ENGRAVINGS ON COPPER. 21

VI
VIEWS OF DUNSTER CASTLE, SOMERSET
SHIRE
These two plates of Dunster Castle were the first engravings
after Turner which were issued separately and not as book illustra
tions. Probably they were the venture of Eawle their engraver
and publisher. They are dedicated to Mr. J. Fownes Luttrell, M.P.,
the then owner of the castle, but Sir H. Maxwell-Lyte has kindly
searched the castle records for me and finds no mention of any
commission or payment for them. The prints (which are rare) are
well engraved, and compared with work previous to 1800, they
show a marked advance by Turner in breadth of composition, treat
ment of light and shade, and tree drawing. Dunster Castle is one
of the most beautiful places in the West of England.
The small plate (No. 50) is very similar to No. 48, but is taken
from a rather different point of view. It also is engraved by Eawle,
but I cannot discover where it appeared.

48. DUNSTEE CASTLE, SOMEESETSHIEE, NOETH-EAST
VIEW.
Engraved by S. Rawle. 14| by 9f .
Castle in distance on wooded hill; gate-house below to right.
High hills behind. Park in front with cattle and sheep.
Engraver's Proof. One, b.a.l., at Dunster Castle.
First Published State (Subscribers' Proofs). On India Paper. Title
in Roman caps, shaded. Left, " Drawn by W. Turner A " ; right,
" Engraved by S. Eawle." Below, Dedication, coat of arms, and,
in centre, "London published May 1 1800 by S. Eawle, No 3
Tottenham- Street. "
Second State. Usually on plain paper. The "A" after W. Turner
altered to "E.A." in italic caps.1
The Drawings for this and the following plate, both much faded,
were in the Hibbert Sale at Christie's, in May, 1886.
1 Turner was made a full R.A. in 1801.

22 ENGRAVED WORK OF J. M. W. TURNER.

49. DUNSTEE CASTLE, SOMEESETSHIEE, SOUTH-WEST
VIEW.
Engraved by 8. Rawle. 14| by 9|.
Castle in sunlight, seen across wide bowling-green. Chaise and
four horses at entrance. Gate-house to left. Sea in distance.
Published States. As in the preceding plate. I know of no En
graver's Proofs.
50. DUNSTEE CASTLE. (The smaU plate.)
Engraved by S. Rawle. 6^ by 4.
The Castle among woods on hill in centre, seen from park.
Houses below to right. In left foreground, gentleman pointing out
view to lady. High trees in park on right.
I know of one impression only. It bears no date or publication
line. Title in Roman caps, shaded. On left, in pencil, " Turner."
On right, " Engraved by S. Rawle ", in italics. T.

VII
51. WINCHESTER CROSS. 1800.
Engraved by J. Powell. 6\ by 8-J.
The Cross in centre, surrounded by old houses and shops. Over
one of the latter to right, is " Savage, grocer." Many figures on
and around steps.
The Open Etching. R., T.
Engraver's Proof. Unfinished; before Title. Left, "W. Turner
del'"; centre, "Publish'd Mar. 8, 1800"; right, "J. Powell,
sculp' " ; all in etched italics. R.
As Published. Title in centre in italics. Left, "W. Turner, A.
delt."; right, "J. Powell sculpt." Underneath, "London, Pub
lished July 30, 1800, by Wm Alexander, 42 Newman Street &
J. Powell, N° 6 Old Cavendish Street," all in itaUcs.
The Drawing was presented by the late Mr. J. E. Taylor to the
Whitworth Institute, Manchester.
I cannot discover in what work this plate appeared.

LINE ENGRAVINGS ON COPPER. 23
VIII
WHITAKER'S 'HISTORY OF THE PARISH OF
WHALLEY,' 1800-1801
An account of Turner's connection with this work, which was the
first of several local or county histories illustrated by him for their
author, Dr. Whitaker, vicar of the parish of Whalley on the borders
of Torkshire and Lancashire, will be found in the Introduction,
pp. xxii, xxiii.
Most of the plates, as is shown by their inscriptions, were con
tributed by neighbouring landowners at their own expense. Such a
practice was common at that period, owners being desirous that their
houses and parks should be represented in these county histories.
Mr. Hamerton, writing of Turner's work at that period, re
marks:1 Turner drew such mediaeval remains in a painstaking and prosaic way at
the beginning (Whalley for example), but as he improved in the knowledge
and treatment of landscape, he perceived more clearly how much might be
done with Gothic architecture as picturesque material, and he drew it better
in combination with the surrounding landscape, than any other artist of his
time. In this way he came to have a safe little professional speciality.
Whenever a publisher wanted a good drawing of an English abbey or castle
or cathedral he knew that " young Mr. Turner " would do it for him in a
satisfactory way, with all its landscape or street surroundings.
'The Parish of Whalley' has run through many editions (the
latest being in 1872), and the lettering of the plates has remained
unaltered, although their quality has of course deteriorated with
every successive printing. Only the impressions of the first and
second (1806) editions are of any value. These remarks apply to all
the plates.
52. SEALS OF WHALLET ABBET. (Vol. I, PL 3.)
Engraved by J. Basire. 9 by 12.
Fourteen seals of various shapes and sizes bearing figures of mitred
abbots, etc. Latin inscriptions above and below.
1 Hamerton's 'Life of Turner,' p. 62.

24 ENGRAVED WORK OF J. M. W. TURNER.
As Published. Eight lower corner, "J" Basire Sc"; below, in
centre, " Published Aug. 11, 1800 by J. Hatchard, Piccadilly."
Turner's name does not appear on this print, but his Drawing
for it is in the Fitzwilliam Museum at Cambridge. Euskin, in his
notes to the Catalogue, draws attention to it as " showing what
simple work Turner, who was already an Associate of the Eoyal
Academy, was willing to undertake " — and, it may be added, to
execute with the utmost care and precision.
53. ANCIENT CEOSSES AT WHALLET. (Vol. I, PL 4.)
Engraved by J. Basire. 8 by 1Q\.
Three carved stone crosses, two brasses, and three sedilia.
As Published. Left, " Drawn by Wm Turner, A. " ; right, "Engraved
by J" Basire." Date and Pub. line as in preceding.
The Drawing is in the collection of the late Mr. J. E. Taylor.
54. DISTANT VIEW OF WHALLET ABBET. (Vol. I, PL 6.)
Engraved by J. Basire. 10J by 7\.
The Abbey ruins seen across the river; on the bank, sheep feed
ing. Tree stumps on edge of river in foreground.
As Published. At top, "Locus Benedictus de Whalley." Artists'
names and Pub. Une as in preceding. Below, Dedication to
Baroness Howe, with arms.
The Drawing was at Christie's in the Harrison sale, 1881.

55. CLOISTERS OF WHALLET ABBET. (Vol. I, PL 7.)
Engraved by J. Basire. 10J by 7.
Two sides of an open ruined cloister. Boys playing marbles in
foreground. Engraver's Proof. One, nearly finished; before Title or Dedica-
tion. T.
As Published. At top, "Locus Benedictus de Whalley"; below,
Dedication to R. H. Beaumont, Esq., F.S.A., with arms. Artists'
names and Pub. line as in preceding.
The Drawing was at Christie's in the Harrison sale, 1881.

LINE ENGRAVINGS ON COPPER. 25
56. WHALLET ABBET (Nearer View). (Vol. I, PL 8.)
Engraved by J. Basire. 10 by 7|>
The Abbey buildings stretching across centre of plate. Eiver in
front with three boys fishing in foreground.
Engraver's Proof. Completed. At top, " Locus Benedictus de
Whalley." No other lettering. T.
As Published. Same inscription at top. Below, Dedication to Lord
Curzon. Artists' names and Pub. line as in preceding.
The Drawing was at Christie's in the Harrison sale, 1881.
57. CLITHEROE FEOM EADSFOED BEIDGE. (Vol. I, PL 11.)
Engraved by J. Basire. 10 by 6^.
Bridge to left over which soldiers are passing; trees behind.
Town on hill in distance.
Engraver's Proof. Completed. Artists' names in faintly etched
letters. Dedication to Lord Eibblesdale in open caps. BM.
As Published. At top, " Clitheroe from Eadsford Bridge." Below,
Dedication in shaded caps. Artists' names and Pub. line as in
preceding.I have seen the somewhat faded Drawing in recent years, but I
do not know where it now is.

58. BEOWSHOLME. (Vol. I, PL 12.)
Engraved by J. Basire. 10-| by 7.
An Elizabethan manor-house in the centre among trees. Lawn
in front with three men in foreground, one leaning on stick.
Engraver's Proof. Touched in white by Turner. Artists' names in
italics. Before any other lettering. BM.
As Published. At top, " Browsholme." Below, Latin Dedication to
Thomas Lister Parker, with arms. Artists' names and Pub. line
as in preceding.
The Drawing was lent to the Manchester Exhibition of 1857 by
Mr. J. Munn.

26 ENGRAVED WORK OF J. M. W. TURNER.

59. TOWNLET HALL. (Vol. II, PL 5.)
Engraved by J. Basire. 10 by 6-|.
Large mansion in shape of letter E, in level park; castellated
towers behind. Trees behind and around; beneath one in left
foreground, are two seated figures. Cattle and sheep to right.
As Published. At top, " PL V." Below, Latin Dedication to Charles
Townley, with arms. Artists' names and Pub. line as in pre
ceding.
I have no information as to where the Drawing is.

60. STONTHUEST. (Vol. II, PL 13.)
Engraved by J. Basire. 10^- by 6-|.
A large castellated building on the further side of a sheet of
water upon which, in front, are four swans.
As Published. At top, " Stonyhurst " in large open caps. Below,
Dedication to Thomas Weld, Esq., with arms. Artists' names
and Pub.* line as in preceding, but with date May 1, 1801.
The Drawing is in the possession of Mr. Eeginald Huth.
It is interesting to compare Turner's early topographical render
ing of Stonyhurst here, with his more striking treatment of the
same subject thirty years later in his ' England and Wales.'

61. THE SHEEBURNE CHAPEL IN MITTON CHUECH.
(Vol. II, PL 14.)
Engraved by J. Basire. 10^ by 6|.
The interior of a vaulted Chapel seen behind a wooden screen.
Within, two recumbent sepulchral monuments.
As Published. Below, Title in italic caps, and Dedication to
Thomas Weld, Esq., with arms. Artists' names and Pub. line as
in preceding.
The Drawing was in Messrs. Agnew's Gallery in 1901.

LINE ENGRAVINGS ON COPPER. 27
IX
ANGUS'S 'SEATS OF THE NOBILITY AND
GENTRY,' 1798—1810
62. FONTHILL HOUSE, WILTSHIRE. (PL 50.)
Engraved by W. Angus. 7f by 5-| .
Park, with lake in centre, on further side of which, below woods,
is classical mansion with two wings connected by arcades. In left
foreground under trees, man playing flute and another sitting
beside him.
As Published. Title in centre, " Fonthill House in Wiltshire, the
Seat of William Beckford Esqr." Left, " W. Turner del' A.E. A." ;
right, " W. Angus Sculp'." Below, " Published as the Act directs,
Mar. Is' 1800, by W. Angus, N° 4 Gwynnes Buildings, Islington."
I have no information as to where this Drawing is. Turner was
the guest of Beckford at Fonthill in 1799, and made several large
drawings of the house and park; these he exhibited at the Eoyal
Academy in 1800. X
BRITTON AND BRAYLEY'S 'BEAUTIES OF
ENGLAND AND WALES,' 1801—1816
63. HAMPTON COUET, HEEEFOEDSHIRE. (Vol. 6.)
Engraved by J. Storer. 6 by 4.
Park, with lake in foreground, on further side of which is a
large castellated mansion with woods rising behind. Cows on right
margin of lake; wooden bridge to left.
As Published. Title in centre, " Hampton Court, Herefordshire."
Left, "Engraved by J. Storer from a Drawing by W. Turner";
right, "For the Beauties of England and Wales." Date, June 1,
1801.
This bright little plate is the only engraving after Turner in the
book. Another view of the same place appears in the ' Copper-Plate
Magazine,' PL 13. A Drawing with this title was in the Miller
Sale at Christie's in 1858.

28 ENGRAVED WORK OF J. M. W. TURNER.
XI
WARTON'S ' ESSAYS ON GOTHIC ARCHITEC
TURE,' 2nd Edition, 1802
64. DURHAM CATHEDRAL.
Engraved by S. Porter. 4-| by 6£.
Interior view from transept obliquely across nave ; Norman pillars,
arches and triforium to right, in light. Two figures by pillar in
centre, a third on steps to right.
As Published. Title at top, " Durham Cathedral " in italics. Below,
left, " W. Turner del " ; right, " S. Porter Sculp ". At foot, " Pub
lished by J. Taylor, Holborn, London."
This plate appears only in the 2nd Edition of the book and is
alluded to in the advertisement to that edition as being among the
addenda. The Drawing is in the possession of Mrs. Newall.

XII
BYRNE'S 'BRITANNIA DEPICT A,' 1803—1810
(In some way connected with Lysons' ' Magna
Britannia')
The illustrations to this topographical work were taken from
several counties of England. Turner contributed seven plates, of
which five were Berkshire subjects, and two views of Chester. Some
of the Drawings show a considerable advance on his earlier work,
especiaUy in their greater fulness of colour.
The prints, which are all more or less hard in execution, are by
W. Byrne, a pupil of Wille and an engraver of good standing,
who had been associated with Woollett in reproducing the land
scapes of Claude, Wilson, and others. He appears to have had
a pecuniary interest in the publication, apart from what he was
paid for engraving, as was often the case with the engravers of that

LINE ENGRAVINGS ON COPPER. 29
period. Like many other artists of his school — Woollett included
— he is seen to greater advantage in his large plates as compared
with small ones such as these.

65. WICKHAM,1 FROM THE MAELOW EOAD.
Engraved by W. Byrne. 8^ by 6.
The Town in mid-distance seen through overarching trees ; church
conspicuous in centre. Hills behind. House with scaffolding on
right. Cows on road in foreground.
As Published. Title in centre in italics. Left, " Drawn bv W. Turner
E.A"; right, " Engraved by Wm Byrne, F.S.A." At foot, " Lon
don, Published Is' July, 1803, by W. Byrne, Tichfield Street and
T. Cadell Junr and W. Davies, Strand." The earliest impressions
are on India paper.
The Drawing is in my possession. The engraving is hard and
mechanical, and altogether fails to do justice to it.

66. ETON, FEOM THE SLOUGH EOAD.
Engraved by W. Byrne. 8^ by 6.
A road passes over bridge in foreground, with trees to left.
Eton College Chapel beyond. Three men by left parapet of bridge,
and two by stream below it to right.
Engraver's Proof. Completed. B.a.l. M.
As Published. Lettering as in preceding plate.
This Drawing, with the one preceding and the three next fol
lowing, were sold — I believe at Foster's — a few years ago. Some
of them were much faded.

67. ABINGDON FEOM THE THAMES NAVIGATION.
Engraved by W. Byrne. 8£ by 6.
A lock in foreground with boat coming out. Town in distance
across river, with tall spire conspicuous on left, and building with
cupola in centre.
1 A note in the text gives the corrected title as " High Wycombe."

30 ENGRAVED WORK OF J. M. W. TURNER.
Lettering as in the two preceding plates, except that Date is 1st
Jany 1805.
For Drawing, see preceding plate.
68. NEWBUET, FEOM SPEEN HILL.
Engraved by W. Byrne. 8f by 6.
Town in mid-distance in valley, seen from a hill. In left fore
ground, man with folded arms standing by woman seated on ground.
Lettering and Drawing as in preceding plate.
69. DONNINGTON CASTLE.
Engraved by W. and L. Byrne. 8| by 6.
Castle on hill in centre among trees. Below, figures seated under
trees beside river. Cows and milk-pails in foreground.
Lettering as in preceding plate, but with " W. and L. Byrne "
in place of " W. Byrne." Title, " Donnington Castle, taken from a
Field adjoining the Eoad to East Ilsley from Newbury."
The Drawing is in the possession of the Eev. T. Case.
70. DISTANT VIEW OF CHESTEE.
Engraved by W. Byrne. 8| by 6.
City in extreme distance, seen from an eminence in foreground,
across a wide extent of level meadows. In front, three cows in deep
shadow below trees.
The Open Etching. R.
Engraver's Proof. Completed. B.a.l. R.
As Published. Lettering as in preceding plates, except that Date is
Jan. 24, 1810. v
The Drawing was at Hogarth's Gallery some years ago.
Turner's composition here is admirable, and the effect of distance
over a flat country well rendered, but Byrne's engraving is, as always,
somewhat heavy in execution.

LINE ENGRA VINGS ON COPPER. 31
71. PAET OF CHESTEE CASTLE.
Engraved by W. Byrne. 8f by 6.
Eiver in front below Castle, which rises behind to right, above
old houses. Shipping and barges to left.
The Open Etching. R.
As Published. Lettering as in preceding plate.
I have no information as to the Drawing.

XIII
'SELECT VIEWS OF LONDON AND ITS
ENVIRONS,' 1804—1805
72. WINDSOE FROM THE FOREST, BERKS.
Engraved by J. Greig. 5f by 7f.
Castle in mid-distance caught by ray of sunlight which also falls
on reach of Thames to left. Windsor park in foreground; man
bareheaded sitting under tree.
The Open Etching. Sotheby's, 1906.
Engraver's Proof. Before any letters. R. Sotheby's, 1906.
First Published State. Title in centre in italics. Above it, " En-
grav'd by J. Greig from a drawing by Wm Turner, R.A " ; below,
" London, Published Jan. 2, 1804, by Vernor and Hood, Poultry.
J. Storer and J. Greig, Chapel Street, Pentonville " ; all in italics.
Later State. Same lettering, except that title is in Roman caps.
Much worn.
Later Reprint (Book unknown). Four parallel lines added all round
plate. Publishers' name altered to "J. & J. Conder, Albion
Press, London, 1814." So worn as to be hardly recognizable.
The Drawing, much faded, was sold a few years ago by Mr. W.
Ward. In early impressions this is a charming little print, the lighting
and composition admirable, and the engraving brilliant.

32 ENGRAVED WORK OF J. M. W. TURNER.
XIV
MAWMAN'S 'EXCURSION TO THE HIGH
LANDS OF SCOTLAND AND THE ENGLISH
LAKES,' 1805
An unimportant work containing three small plates after Turner,
the only interest of which lies in their being the first engraved
records of any visit by him to Scotland. The engraver, J. Heath,
was the father of Charles Heath, who was associated with so many
of Turner's later plates.
73. INVERART.
Engraved by J. Heath. 6 by 4^.
Town and Castle on further shore of Loch Fyne; mountains rising
behind. In left foreground, men in kilts unloading fish from boat.
First Published State. Title in open Roman caps. Left, " Drawn by
J. M. W. Turner E.A."; right, "Engraved by J. Heath." At
foot, "London, Published May 1, 1805, by J. Mawman, Poultry."
Later States. Letters of title shaded.
In the ' Dictionary of National Biography,' Article " John Pye," it
is stated that the latter was the engraver of this plate. As he was at
that time Heath's pupil, this may very possibly have been the case.
This charming Drawing was in the Stern sale at Christie's in 1908.
74. LOCH LOMOND.
Engraved by J. Heath. 6 by As\.
Loch in centre between mountains. Group of Highlanders seated
on road in foreground. Flock of sheep on bank to right.
Lettering and States as in preceding plate.
I have no information as to where the Drawings for this and the
foUowing plate are.
75. PATTEEDALE.
Engraved by J. Heath. 6 by 4|.
In foreground a road passing a church. Ullswater and mountains
beyond. To left, woman with pitcher crossing stepping-stones.
Lettering and States as in two preceding plates.

LINE ENGRAVINGS ON COPPER. 33
XV
BRITTON'S 'FINE ARTS OF THE ENGLISH
SCHOOL,' 1811—1812
76. POPE'S VILLA.
Engraved by J. Pye and J. Heath. 9 by 6|-.
In centre, a reach of the Thames, on the further side of which,
below trees, is the Villa in course of demolition. In foreground,
labourers to left, and shepherd and shepherdess with sheep. Punt
to right, with two men.
The Open Etching. Sky not commenced. In centre, in etched
writing, " John Pye. 1810." BM.
Engraver's Proofs, (a) Early. Foreground advanced. Sky only
begun. Same lettering as in preceding. BM. (V) Completed
throughout. Same lettering. BM., R. (c) Left, " Painted by
J. M. W. Turner E.A"; right, " Eng. by John Pye. 1810";
both in italics. Before Title, Dedication, etc.
First Published State. Title in centre, in open caps. Left, "Class 1,
Painting"; right, "for ' the Fine Arts of the English School.' "
Below, " Engraved by John Pye, the figures by Chas Heath, from
a Picture by J. M. W. Turner Esq. R.A. and P.P. in the Gallery
of Sir John Fleming Bar'." Dedication, etc. Pub. April 1, 1811,
by Longmans. Under " Class I," etc., on left, is the word
" Proof " faintly engraved.
Later States. The word " Proof" removed.
The oil picture is in the possession of Mr. Charles Morrison.
The important place of this small but charming plate, in the
history of Turner's, and of English landscape engraving in general,
has already been pointed out (Introduction, pp. xxv, xxvi). The
scene depicted — which had doubtless been witnessed by Turner, who
had a house near — is the dismantling of Pope's villa at Twickenham
before its demolition in 1807 by Baroness Howe, who built a new
house in its place.
Apart from the technical interest of the plate, the subject is full
of poetical feeling. The classical shepherd and shepherdess are
graceful figures, carefully drawn, and their value to the composition
is great. The white villa and its reflection finely focus and distribute
the lighting, whilst there is everywhere a calm serenity, and the
feeling of a fine English summer's day.

34 ENGRAVED WORK OF J. M. W. TURNER.
Britton, the enterprising publisher who had commissioned the
engraving, appears to have proposed to print some remarks of his
own along with it, and to have sent these to Turner for his ap
proval.1 They have not been preserved, but Turner's reply, given
below, although even more unintelligible than usual with him, is
interesting. Britton had apparently been championing poetical
landscape—" Elevated Landscape," Turner calls it — against critics
who required strict topographical accuracy; or, to use the painter's
expressive term, " Map-making criticism."
"Sir " I rather lament that the remark which you read to me when I
called in Tavistock Place is suppressed, for it espoused the part of Elevated
Landscape against the aspersions . . . map mak[ing] criticism; but no
doubt you are better acquainted with the nature of p . . . tion, and mine is a
mistaken zeal. As to remark, you will find a . . . alteration of colour in
pencil. Two groups of sheep. Two fishermen occur too close; basket to en
trap eels is not technical, being called eel pots ; and making the willow tree,
the identical Pope's willow [sic] is rather strained (?) Cannot you do it by
allusion, and with deference)?) [The foregoing was evidently Turner's critic
ism on Britton's proposed remarks. The rest of the letter is unintelligible
in the absence of those remarks.]
******** " Your most truly obed.
"J. M. W. Turner. "

XVI
WHITAKER'S 'HISTORY OF CRAVEN,' 2nd
Edition, 1812
77. SOUTH TRANSEPT OF FOUNTAINS ABBET, TORK-
SHIRE.
Engraved by J. Basire. 10 by 7-J-.
Abbey ruins in foreground, on bank of stream which flows
under arches of buildings towards spectator. Dark evening effect,
with sun setting behind ruins. In angle to right, in deep shadow,
two men, one with fishing-rod.
Engraver's Proof. Completed. B.a.l. R.
As Published (in Second and Later Editions of the work only).
Title in italics ("Transept," spelt " Transcept "). Left, " J. M. W.
Turner, E.A, P.P. del."; right, "James Basire Sculp." At top
of plate, on right, " PL I."
1 Thornbury, ' Life of Turner,' 2nd cd., p. 333.

LINE ENGRAVINGS ON COPPER. 35
The earliest impressions are on large folio paper. Many succeed
ing editions of the book (some comparatively recent) are in quarto
form. In most of these the plate is extremely worn.
The large and beautiful Drawing of this subject was exhibited by
Turner at the R.A. in 1798. It appeared at a Sale in London a few
years ago, covered with a coat of varnish, which had given it a curious
granulated look, somewhat resembling the texture of aquatint.
Probably it was varnished by Turner himself, just as Gainsborough
varnished some of his drawings. An important Drawing of Cader
Idris, of about the same date, was similarly treated. Both these,
I believe, are now in America. Still another, a large distant view
of Lichfield Cathedral, also of the same period, is in my possession.
The engraved plate is beautiful and poetical. Basire's execution
is fine, although perhaps, as usual, a little heavy.

XVII
'BRITISH GALLERY OF PICTURES '—STAF
FORD GALLERY, 1808?— 1818
78. A FISHING SMACK WITH A BOAT.
Engraved by J. Fittler. 7| by 5.
Three fishing smacks close together, in front, On tossing sea.
Three ships of war at anchor on horizon to right. Heavy storm-
clouds to left.
Engraver's Proofs. B.a.l. T., R.
As Published. At top, close to plate line, Title in slender caps,
with " 7 " below; above it, " Marquis of Stafford's Collection" ;
left, "Class the Sixth"; right, "Schools of Great Britain."
Below, left, "J. M. W. Turner R.A."; right, " 7.0| by 5.0";
centre, " Drawn by W. M. Craig. Engraved by J. Fittler, A.RA,
Engraver to his Majesty." At foot, " Published July 1, 1812 by
Longman," and others.
I have an impression of this print very skilfully coloured by
hand, and I have seen another similar. I think it probable that
both were coloured by Turner himself, as was the case with the
large mezzotint of The Shipwreck, engraved a few years earlier.
The plate is taken from the well-known picture in the Stafford
(now Bridgewater) Gallery, which was painted by Turner in rivalry

36 ENGRA VED WORK OF J. M. W. TURNER.
with the fine Vandevelde which hangs near it. He is reported to
have said that it was this picture which made him a painter of the
sea. Burnet1 has an interesting comparison of the two works.
The two small Mezzotints of this subject will be described later.

XVIII
79. HIGH STREET, OXFOED. 1812.
Engraved by S. Middiman, J. Pye, and C. Heath. 23f by 16.
Looking up the High Street towards Carfax. University College
on left. Spire of St. Mary's conspicuous on right. Many figures in
foreground, some in academic costume.
The Open Etching (by Middiman). Before any work in sky.
Title in old English letters, open. Dedication, with Arms; all
caps open. In centre, close under plate line, in italics, "Pub
lished March 14 1811 by James Wyatt, Carver and gilder,
High Street Oxford." Before engravers' names. Extremely fine.
M., R.
Engravers' Proofs, (a) Sky commenced and work generally carried
forward with burin. Lettering as in the preceding. In various
stages. M., R. (b) Work completed throughout. Date of Pub
lication altered to Mar. 14, 1812. " Engraved by John Pye,
1812," added, in etched writing, on right. M., R.
First Published State (Subscribers' Proofs). Pye's name on right
removed, and in its place substituted " the Figures engraved by
C. Heath." Third line of Dedication altered to "This Plate
engraved by S. Middiman and John Pye after an original
Picture," etc. " As the Act Directs " added just above the Arms.
Second State (Prints). All the Title, and all the caps in Dedication,
shaded. Impressions of this State are good.
A few impressions were printed (or possibly coloured by hand) in
two colours — blue and brown.
The oil picture is in the possession of Lady Wantage.
The history of this plate, the first and one of the best of the large
engravings after Turner, has already been given (Introduction, pp. xxvi
to xxviii). The correspondence concerning it and its companion,
1 ' Turner and his Works,' 1852, p. 76.

LINE ENGRAVINGS ON COPPER. 37
Oxford from the Abingdon Road, between the painter and Wyatt who
commissioned them both, has been preserved, and is printed — in
hopeless confusion as to subject and sequence, and mixed with
letters referring to other engravings — in Thornbury's ' Life ' (2nd
ed., pp. 163-175). One of the letters has already been quoted
(Introduction, p. xxviii), and the whole series is extremely interest
ing, as showing the extraordinary care which Turner gave to every
detail of the picture and the print. Not only does he discuss with
Wyatt the scheme of composition, the arrangement of the buildings,
and even the correctness of the dress of the academical figures,
but he goes into the questions of the prospectus, the time at which
it should be issued, the form in which subscriptions should be
solicited, the cost of printing the impressions, the number of proofs
to be taken, the necessity that each should be numbered, and many
other matters, all in the most practical and business-like spirit. If
genius is rightly defined as being " the power of taking infinite
pains," Turner may certainly be cited as an example.
The picture itself was painted from a post-chaise anchored in the
High Street, just below the entrance of Queen's College. Turner
stayed with Wyatt while he was painting it, and the latter's succes
sor, the late Mr. Eyman, told me that he understood that Turner
was immensely interested in the fine line engravings by Italian
masters in Wyatt's stock, especially with Eaphael Morghen's re
production of Guido' s Aurora. He was paid eighty guineas for the
oil picture of the High Street, Oxford, and I believe, the same sum
for its companion, Oxford from the Abingdon Road.
The plate, which was the joint work of three engravers, Middiman,
Pye, and Heath, occupied two years in execution, and was completed
in 1812. The Open Etching — an exceptionally fine work — was by
Middiman, and it is to his masterly handling that much of the fine
quality of the plate is due. The subsequent burin work, including
the whole of the sky, was executed by Pye, the figures alone being
added by Heath* Such co-operation was then not unfrequent,
especially on large prints.
The plate is admirable in composition, and its whole effect simple,
spacious, and restful. The arrangement of light and shade is very
telling; the few figures are carefully drawn and well placed; the
black gowns of the dignitaries are especially effective. The distant
spire of Carfax repeats the nearer and higher spire of St. Mary's,
and focusses the converging lines of the buildings and roadway.
It will be observed also how well Pye has preserved the luminous
ness — due to reflected light — of the buildings in shadow on the left,
and how that shadow is enforced by its contrast with the white
dresses of the women in the street.

38 ENGRAVED WORK OF J. M. W. TURNER.
79a. THE SMALL EEPLICA OF 'HIGH STEEET, OXFORD.*
Engraved by W. E. Albutt. 11£ by 7£.
Eeduced copy in facsimile of the preceding plate.
Inscription. Title in both French and English. Left, "Peint
par J. M. W. Turner E.A." Eight, " Gravee par W. E. Albutt."
Below, " Paris, chez le proprietaire, Boulevard du Mont Parnesse,
1828." I have never seen any other example than the one in my posses
sion, and I cannot ascertain for what purpose it was engraved.
XIX
80. A VIEW OF OXFOED FEOM THE ABINGDON EOAD.
1818. (Companion to High Street, Oxford.)
Engraved by John Pye and C. Heath. 23£ by 15f.
City in distance in centre seen from a hill; level country between.
Flock of sheep approaching up the hill. In foreground, fallen mile
stone on which is " Oxford."
The Open Etching. Before any work in sky. Left, "Painted by
J. M. W. Turner, E.A. P.P."; right, "Etch'd by John Pye, the
Figures by Cha's Heath " ; all in italics. Arms and Pub. line,
but before Title or Dedication. BM., R.
Engraver's Proof. Burin work well advanced all over. Sky begun.
Lettering as in preceding. BM.
First Published State. (Subscribers' Proofs.) Title in old English
letters, open. Dedication to Lord Eldon; Arms of University.
Below, "This Plate Engraved by John Pye, after an original
Picture, by J. M. W. Turner E.A & Professor of Perspective to
Eoyal Academy, is dedicated with Permission, by his Lordship's
most obliged and very humble Servant James Wyatt." Under
plate line in centre, " Published Feb 13, 1818, by James Wyatt,
carver and gilder, High Street, Oxford, As the act directs."
Second State (Prints). Letters of Title and all caps in Dedication
shaded. The work considerably enforced throughout. The dark
cow in foreground is noticeably much darker than in the First
State.The oil picture was in the collection of the late Sir John Fowler.
The success of the High Street, Oxford, immediately on its appear-

LINE ENGRAVINGS ON COPPER. 39
ance, led Wyatt at once to commission from Turner this, the com
panion subject. The second picture must have been rapidly painted,
as both it and the High Street were exhibited together in the Eoyal
Academy of 1812. The engraving of Oxford from the Abingdon
Road, was entrusted solely .to Pye, with the exception of the figures,
which were again Heath's work. It was not a success. The tech
nique is unsatisfactory and the print has a weak, 'woolly' look
throughout. Pye was a fine engraver, and, as has been already
pointed out,1 the art of landscape engraving in England owes much
to him. But as an etcher he had not the strength or the draughts
manship of Middiman, and it is mainly to the weakness of the
Preliminary Etching that the failure of this plate is due; just as it
was to Middiman's strong foundation that the High Street, Oxford,
owed much of its success. The failure was unfortunate, as the pic
ture itself is extremely beautiful in design.
The following very incoherent letter2 from Turner to Wyatt
during the progress of the plate, whilst amusingly showing their
cordial relations, also displays Turner's readiness to meet the
wishes of his patrons as far as he could; it also demonstrates how
his sense of composition dominated everything. "Saturday, November 6, 1812.
"Sir "First let me thank you for the sausages and hare. They were very
good indeed. ***** But respecting the venerable oak or elm you rather
puzzle me. If you wish either, say so, and it shall he done ; but fancy to
yourself how a large tree would destroy the character — that burst of flat
country with uninterrupted horizontal lines throughout the picture as seen
from the spot we took it from. The hedgerow oaks are all pollards, but can
be enclosed if you wish. As to figures, I have not determined upon them,
but if you have a predilection for any, or object, it is the same to me ; or if,
as I suppose, the [subscribers?] have carved some out for me in order at
least; so their opinions may be taken, reserving to myself the use or adapta
tion of them as most fit or conducive to my subject as to colour, &c. * * * *
" Your most obedient servant,
" Mr. J. Wyatt. "J. M. Turner."
XX
'THE LADY AND GENTLEMAN'S ANNUAL
POCKET LEDGER,' 1814
81. EEDCLIFFE CHURCH, BRISTOL.

Engraved by John Pye. 5 by 3

Eiver Avon in foreground; across further bank, in centre, is
1 Introduction, p. xxvi. * Thornbury, 2nd. ed., p. 169.

40 ENGRAVED WORK OF J. M. W. TURNER.
the Church (without spire, as it then was), and houses. Boats
with masts, aground on each side, and shipping in distance to
left. Title in centre in open Eoman caps, " View of Redcliffe Church
etc. Bristol." On left, in pencil, "J. M. W. Turner del"; right,
"John Pye, Sept." On the opposite side of the sheet is a proof
of the Title-page as follows : above, " The Lady's and Gentleman's
Annual Pocket Ledger with Various Articles of Useful Information."
In centre, enclosed in wreath, " 1814." Below, " London published
by W. <fc T. Peacock and W. Bampton, Salisbury Square and sold
by all the Booksellers in Bristol and Bath."
An Engraver's Proof in my possession of the double Title-page
of the small book or Magazine, is the only example known to me of
this interesting little print, but probably others exist.

XXI
BRITTON'S 'ARCHITECTURAL ANTIQUITIES
OF GREAT BRITAIN,' 1805—1806
82. CETPT IN KIEKSTALL ABBET, TOEKSHIEE.
Engraved by J. Scott. 8 by 5-|.
Euined crypt with pillars standing in water. Light entering from
opening on left. Group of cattle round pillar on left.
The Open Etching. " J. Scott, aquaforti. fecit " in etched letters on
right. R.
Engraver's Proofs. Completed. Before Title and pub. line. Left,
"J. M. W. Turner Pinx"'; right, "J. Scott, sculp1"'; both in
italics. Very fine. R., T.
As Published. Title in open caps; above it, " Engraved by J. Scott
from a Drawing by J. M. W. Turner E.A in the possession of
John Soane Esq Architect F.S.A. etc." Dedication to Walter
Fawkes, Esq., "London Pub. May 1: 1814 by Longmans & Co."
Later Editions have same lettering, but the impressions gradually
become almost worthless.

LINE ENGRAVINGS ON COPPER. 41
This finely-engraved little plate is extremely beautiful in its early
state. It is taken from the large Drawing in the Soane Museum.
There is also a ' Liber Studiorum ' plate of the same subject.
*#* The above plate is the only one after Turner in Britton's
' Architectural Antiquities ' known to me, but Mr. Palser, of King
Street, Covent Garden, had in his possession recently an em
blematic Drawing, evidently by Turner, for a Frontispiece to one of
the volumes. Apparently it was never engraved.

XXII
WHITAKER'S ' LOIDIS AND ELMETE
1816—1820
The above is the title of the second volume of Dr. Whitaker's
' History and Topography of the Town and Parish of Leeds and
Parts adjacent,' a standard topographical work published by him in
1816. It contains two line engravings and three etchings after
Turner; a later edition of 1823 has in addition a large lithograph
of the town of Leeds, also after him.
It is not known by whom the three etchings were executed;
probably that process was employed to save time or possibly ex
pense. They are all views at Farnley Hall, Torkshire, and were
contributed to the work by Mr. Fawkes, the owner. He had im
pressions of them also printed separately, for private distribution.
The two other plates after Turner were also contributed by the
owners of the places represented, as was customary at the time with
important topographical works.

83. HAREWOOD HOUSE.
Engraved by J. Scott. 11| by 8-f.
In centre, large classical mansion on eminence in park, which
slopes to lake on right, on which is small sailing boat. Woods
behind house. Gleaner and child under trees in foreground on left.
The Open Etching. BM., R.

42 ENGRAVED WORK OF J. M. W. TURNER.
Engraver's Proofs. Finished. Before Dedication and Pub. lines.
Artists' names in fine etched writing. BM., T.
As Published. No Title. Below, in italics, long Dedication to Earl
of Harewood. Left, "J. M. W. Turner, R.A. Del"; right,
"J. Scott Sculp"; both in italics. Published May 1st, 1816.
The Drawing is in the possession of the Dowager Countess of
Wharncliffe. This fine print, owing to the absence of a title, is often erroneously
called Wentworth House. I know of no plate of that subject by
Turner.

84. FLOWER GARDEN PORCH AT FAENLET (Etching,
Vignette, p. 192.)
Etcher Unknown. About 7 by 5£.
A castellated doorway amongst trees ; inscription over entrance :
" anno dni: 1624."
Engraver's Proof. Plate completed, but lettering entirely different
in form from Pub. State. Title in italics, running irregularly
round left lower angle of plate; in centre, " Architectural Re
mains"; right, "Eemoved from New Hall ad 1814." T.
As Published. Title in Eoman caps. Below it, in italics, " Eemoved
from Newhall ad 1814."
The Drawing and the copper-plate are at Farnley Hall.

85. GATE WAT TO THE FLO WEE GARDEN AT FAENLET.
(Etching, p. 192.) Etcher unknown. 10 by 7.
Eoad in front on high ground, with over-arching trees and dis
tant view beyond. To right, renaissance wall and gateway below
tall Scotch firs. Keepers with dogs by gate.
As Published. Title in etched writing, "Gateway to the Flower
Garden, Farnley, removed from Menston Hall, formerly the seat
of Col. Charles Fairfax, a.d. 1814."
The Drawing and the copper-plate are at Farnley Hall.

LINE ENGRAVINGS ON COPPER. 43

86. BAT WINDOWS IN THE FLO WEE GAEDEN AT FAEN
LET. (Etching, p. 192.)
Etcher unknown. 9f by 6f .
Garden front of a Tudor house, with two large mullioned bay
windows. Fountain and sundial in front.
As Published. Title in etched writing; below, "Eemoved from
Lindley Hall, an ancient seat of the Palmes Family, by W. Fawkes
Esq1 a.d. 1814."
The Drawing and the copper-plate are at Farnley Hall.
N.B. — The three foregoing etchings were reprinted by the owner
of the copper-plates, Mr. W. Fawkes of Farnley, and issued by him
in a thin oblong folio volume in paper covers, for private distribu
tion. The title on the cover reads, " Architectural Eemains removed
to Farnley Hall by Walter Fawkes Esq. from different ancient Hall
Houses in his possession 1814." I believe some copies contain
in addition facsimiles of ancient Farnley deeds.

87. GLEDHOW. (p. 131.)
Engraved by G. Cooke, llf by 7f.
Mansion in distance on the right slope of wooded park, which
falls to lake in centre. Similar slope to left, on which, in foreground,
are a woman and girl picking sticks.
Engraver's Proofs, (a) Left, " Drawn by J. M. W. Turner E.A."
in italics; right, "Geo. Cooke," in pencil. R. (6) Eight, "En
graved by George Cooke 1816 " in italics. Before Dedication, etc.
BM.,R.
As Published. No Title. Artists' names as above. Dedication to
John Dixon, Esq. Published 1820.
I do not know where the Drawing is.
This is a beautiful plate, and finely engraved.

44 ENGRAVED WORK OF J. M. W. TURNER.

XXIII
COOKE'S 'PICTURESQUE VIEWS OF THE
SOUTHERN COAST OF ENGLAND,' 1814—1826
A full history of this, the first of the more important works
illustrated by Turner during his middle period, will be found in the
Introduction (pp. xxix to xxxv). Its issue was spread over twelve
years, during which time a change took place in the style of land
scape engraving in England, and a considerable difference will be
observed between the execution of the earlier and some of the later
plates of ' The Southern Coast.' Although it appears to have been
successful as a venture, yet, judging by the excellence of the whole
of the original issue, no very large numbers of copies can have
been printed. But after Turner's death the plates were again and
again repaired and reprinted, until they were worn out.
A difficulty has arisen in the numbering of the plates. They
were originally issued and dated in the order in which they were
engraved, independently of their topography, but on the comple
tion of the work they were re-arranged in topographical order,
beginning with Whitstable on the East, and continuing round the
coast to Watchet on the Bristol Channel, on the West. This is
doubtless a more convenient method, but as the aim of this
Catalogue is to treat the engraved work of Turner as closely as
possible in its chronological sequence, and having regard to the
change of style in engraving during the progress of ' The Southern
Coast,' I have judged it best to number the plates according to
their actual dates of execution and original publication. But the
later Vol. and No. will also be given in every case, and the list on
the opposite page shows both arrangements.

LINE ENGRAVINGS ON COPPER.

45

LIST OF PLATES OF 'THE SOUTHEEN COAST,'
Showing both Orders of Arrangement.

NO. IN THIS

Order as finally

Catalogue,

Title.

RE-ARRANGED
IN BOOK FORM.

WHICH
FOLLOWS ORI
GINAL ORDER
OF ISSUE.

Whitstable 

Vol. I, PI. 1

127

Margate 

Vol. I, PI. 3

113

Ramsgate 

Vol. I, PI. 4

117

Deal 

Vol. I, PI. 5

124

Dover, from Shakspeare's Cliff 

Vol. I, PI. 10

126

Folkstone 

Vol. I, PI. 12

123

Hythe 

Vol. I, PI. 15

118

Rye 

Vol. I, PI. 17

114

Bexhill, Martello Tower 

Vol. I, PI. 21

103

Brighthelmstone 

Vol. I, PI. 25

122

Portsmouth 

Vol. I, PI. 29

120

Poole 

Vol. I, PI. 40

89

Corfe Castle 

Vol. I, PI. 41

93

Lulworth Cove 

Vol. I, PI. 42

92

Lulworth Castle 

Vol. I, PI. 44
Vol. II, PI. 45

110

Weymouth 

91

Bow and Arrow Castle 

Vol. II, PI. 47

102

Bridport 

Vol. II, PI. 48

108

Lyme Regis 

Vol. II, PI. 49

94

Teignmouth 
Torbay, from Brixham 

Vol.- II, PI. 53

95

Vol. II, PI. 54

111

Dartmouth 

Vol. II, PI. 56

96

Mew Stone 

Vol. II, PI. 57

97

Plymouth, with Mount Batten 

Vol. II, PI. 59

100

Plymouth Dock from Mount Edgecomb . . .

Vol. II, PI. 60

99

Plymouth, Mount Edgecomb 

Vol. II, PI. 61

125

East and West Looe 

Vol. II, PI. 63

104

Fowey Harbour 

Vol. II, PI. 64

109

Falmouth Harbour 

Vol. II, PI. 65

98

Pendennis Castle 

Vol. II, PI. 66

101

St. Mawes 

Vol. II, PI. 67

116

St. Michael's Mount 

Vol. II, PI. 68

88

Land's End 

Vol. II, PI. 70

90

Tintagel Castle 

Vol. II, PI. 72

106

Boscastle 

Vol. II, PI. 73

121

Clovelly Bay 

Vol. II, PI. 74

115

Ilfracomb 

Vol. II, PI. 75

105

Comb Martin 

Vol. II, PI. 76

119

Minehead 

Vol. II, PI. 79

112

Watchet ... 

Vol. II, PI. 80 !

107

46 ENGRAVED WORK OF J. M. W. TURNER.
Cooke's prospectus of ' The Southern Coast ' gives the various
original issues and their prices as follows:
"CONDITIONS."
' ' This Work will be completed in Sixteen Parts, the whole containing Forty
Eight Quarto Engravings and Thirty Vignettes, forming Two handsome
Volumes in Royal Quarto. Price 12s. 6d. each Part.
' ' Alimited Number of Proof Impressions will be printed on Imperial Quarto.
Price Eighteen Shillings.
"Each Part will contain Three Quarto Plates and Two Vignettes, with
descriptive Letter Press to each View.
" For the accommodation of the Curious, a few Proofs will be printed on
India paper, Imperial Quarto, price £1 10s. each Part; for these an early
application must be made to the Publishers.
" The Subscribers to this Work are respectfully informed, that after the com
pletion of the Southern Coast, it is intended to proceed with the whole
Circuit of England, including that of Wales, agreeably to the original
Prospectus. It will be divided into separate Publications, forming in them
selves complete Works, similar to the present one."
The plates of ' The Southern Coast ' have been so many times re
printed, and these worn impressions, the lettering of which in
some cases nearly resembles that of the originals, are so con
stantly to be met with, that I append a list of the Eeprints.
Reprint A. By Nattali of Bond Street, in 1849, under title of
' Antiquarian and Picturesque Tour round the Southern Coast,'
2 vols., quarto. Lettering as in Third State, except that Pub.
line is removed. The plates dull and poor and all variety of
tone lost.
Reprint B. By Virtue and Co. in ' The Art Journal ' of various
dates. Titles re-engraved in open caps; the county usually
omitted. Artists' names in slender upright caps. Most plates
bear " London Virtue & Co, Limited." Ee-worked throughout,
hard and black. So-called 'Proofs' of this issue, without any
lettering, may occasionally be met with.
Reprint C. In the 1874 re-issue of 'The Turner Gallery.'
Lettering as in Reprint B. The plates bare and worn out.
Reprint D. In 1891 the copper-plates were again carefully re
worked throughout by J. C. Armytage, one of Turner's old

LINE ENGRAVINGS ON COPPER. 47
engravers, and republished by Virtue and Co., in one folio volume,
under the direction of Mr. Marcus Huish.
88. ST. MICHAEL'S MOUNT, COENWALL. (Vol. II, PL 68.)
Engraved by W. B. Cooke. 8| by 5|.
The Mount in centre in sunlight against dark, stormy sky. Sea
in front with sailing-boats to right, and men hauling boat ashore
on left.
*** Uf t° ^** point so few impressions of the ' Open Etchings ' of
Turner's engravings have survived that I have judged it desirable
to note those known to me. But from about 1814 onwards they
appear to have been printed in much larger numbers, and in many
cases they were issued along with the First Published State. Their
existence, therefore, will henceforward always be assumed (see also
Explanatory Notes, p. lxxxii).
Engraver's Proofs. Three. BM. (a) Left, "Drawn by J. M. W.
Turner E.A"; right, "Etched by W. B. Cooke. 1813 "; title in
left corner; all in italics; touched by Turner, (b) "Etched by"
altered to " Engraved by." On margin Turner has written :
" The Eock worked on in all the shadows with dark strokes."
" The Eock looks black but not clear — what I should call mealy
or wanting quality ; too much done to it or not open lines enough
to hold its place nor make the sky look clear by it wanting con
trast of line. What can you do [to] it. Can you make it bolder
— now. or must it go as it is. N.B. You have no occasion to stop
printing if it is of consequence to the work to proceed immedi
ately." (c) Also touched and written on by Turner, with pencil
sketch of style of lettering desired by him.
First Pub. State. (" Proofs for the Curious on India Paper.") Title
and artists' names in italics. Before Pub. line and Date. The
finest impressions on India Paper ; others on plain paper. Through
out the Series this is invariably the finest State.
Second State. (" Proofs on Imperial Quarto.") On plain paper.
Title in open Eom. caps. Artists' names in small Bom. type.
Pub. line Date, Jan. 1, 1814. " Printed by Dixon " low on right.
In this, the " Large Paper " edition, the plates are always fine.
Third State. ("Prints, Eoyal Quarto.") On plain paper. Same
lettering as the preceding, but with printer's name removed.
Flagstaff on top of castle much whiter against sky, and upper
clouds lighter.
Reprints. See opposite page. This reference applies to all the plates
and will not be repeated.

48 ENGRA VED WORK OF J. M. W. TURNER.
89. POOLE, DOESETSHIEE. (Vol. I, PL 40.)
Engraved by G. Cooke. 8| by 5|.
. In centre, calm land-locked bay in sunshine. Town in mid-dis
tance on point to right. Timber-waggon descending hill in fore
ground.
Engraver's Proofs. A series, Tw. Many with " Etched by," one with
out any lettering. On one Turner has written : " The rays not
distinct enough and the distance round Corfe Castle is yet rather
unequal, looks patchy, and wants clearness, although much im
proved from last proof." Also T. and Th.
First Pub. State. Title and artists' names in italics. See also
No. 88 as to paper, etc.
Second State. Title in open Eom. caps. Artists' names in small
Eoman type. Pub. line Date, Jan. 1, 1814. " Printed by Cox
and Barnett," low on right. Sail on extreme left much whiter
than in First State.
Third State. Same lettering, except that printer's name is removed.
In Collection Tw. is an interesting proof marked by the en
graver, " second retouch." It has all the upper half of the
plate re-etched, the original work having been entirely removed,
doubtless on account of the sky having worn away in printing the
two previous States.
The Drawing was exhibited at Burlington House in 1886 by
Mr. Holbrook GaskelL M.P.
Poole is one of the most charming plates of the Series, very skilful
in composition, and an extremely fine piece of engraving. The re
flections of sunlight on still water could hardly be better rendered.
90. LAND'S END, COENWALL. (Vol. II, PL 70.)
Engraved by G. Cooke. 8| by 5f.
High rocky promontory in foreground above sea, which is in
deep shadow from thunderstorm overhead. Lightning on horizon.
Sea-birds on crags on left.
Engraver's Proofs. A series of six, some touched by Turner; many
with " Etched by." Tw. Also R.
First Pub. State. Title and artists' names in italics.
Second State. Title in Eom. caps. Artists' names in Eom. small
type. Pub. line Date, Mar. 1, 1814. " Printed by Cox and Bar
nett " on right.

LTNE ENGRAVINGS ON COPPER. 49
Third State. Same ettering, except that printers' name is removed.
The Drawing (somewhat faded) was, I believe, sold at Christie's
a few years ago.
This fine rendering of a thunderstorm amidst the wild, solemn
surroundings of the Land's End, is extremely poetical and
impressive.
91. WEYMOUTH, DOESETSHIEE. (Vol. II, PL 45.)
Engraved by W. B. Cooke. 8f by 5f .
The Bay in centre, town on the curving shore to right. Sailing-
boats ashore in foreground, and women by other boats on sands on
right. Engraver's Proofs. "Etched by W. B. Cooke 1813," on right.
Touched by Turner. BM., Tw.
First Pub. State. Title and artists' names in italics.
Second State. Title and artists' names in Eom. letters. Pub. line
Date, Mar. 1. 1814. " Printed by Cox and Barnett " low on
right.
Third State. Lettering same as preceding, except that printers'
name is removed. Vertical cross-hatching lines added all over
the beach on extreme right, below the women.
The Drawing was at Christie's in 1881, in the Bale sale.
92. LULWOETH COVE, DOESETSHIEE. (Vol. I, PL 42.)
Engraved by W. B. Cooke. 8f by 5|.
Bold projecting headland in foreground, with markedly contorted
stratification. Beyond and below to left, small curving bay seen
beneath steep cliffs. Open sea to right.
Engraver's Proofs. Title and artists' names in italics, (a) One white
sail only to right, below flagstaff. BM., R. (b) Touched in white
by Turner, altering all three sails to white. Also touched for
alteration of further curve of small bay. R.
First Pub. State. Same lettering. All three sails white, and curve
of bay altered.
Second State. Title in open Eom. caps, the strokes of equal thick
ness; artists' names in small Eom. type. Pub. line Date, June 1,
1814.
Third State. Caps of Title have right-hand strokes thicker than
i. b

50 ENGRA VED WORK OF J. M. W. TURNER.
left. The horizontal streak of cloud at top on left considerably
lightened.
The Drawing is in my possession.
93. COEFE CASTLE, DOESETSHIEE. (Vol. I, PL 41.)
Engraved by G. Cooke. 8^ by 5f .
The ruined Castle, on a hill, fills centre of composition. Eoad
approach on high arches to right. In foreground, women spreading
linen to dry.
Engraver's Proofs. A series of six, some touched by Turner; many
with " Etched by." Tw. Also three, T. On one (Tw.) Turner has
written: "This hill you had, I think, far better take out, and
place the lines as marked and keep it lighter, for it takes away
now the conical shape of the Castle Hill. As to the cross lines
which you propose doing over the sky in your note, I feel doubtful
about all strength; about the towers may be crossed lines, for
they are too smooth, and the perpendicular tone prevails too
much throughout the plate. The linen on the hill much lighter."
First Pub. State. Title and artists' names in italics.
Second State. Title in Eom. caps, and artists' names in small Eom.
type. Pub. line Date, Nov. 1, 1814.
Third State. Lettering as Second State.
The Drawing is in the possession of Messrs. Agnew.
94. LYME EEGIS, DOESETSHIEE. (Vol. II, PI. 49.)

Engraved by W. B. Cooke. 8f by 5

Sea in front, storm approaching from left. Town on right in
mid-distance in fold of cliffs, in sunshine. Shrimper and bather in
foreground. Engraver's Proofs, (a) Before the white bird in upper sky on left.
R., T. (b) Touched and drawn on by Turner, with the following
instructions by him in margin: "You will perceive by the lay of
the lines which I have added, how I think they should be placed
to counteract the sweeping lines of all the hills [the lines referred
to are in pencil and strike diagonally across the nearer cliffs on
the right, and on the storm-clouds] and the dots do pray mind,
to prevent the bald appearance it now has; the lights I want
had better be reserved until the next proof." BM. (c) Proof
with the foregoing additions. BM. (d) Later, a third sea-gull

LINE ENGRAVINGS ON COPPER. 51
drawn in white in the extreme upper sky to left, and touchings in
white all over the plate. BM. On the margin of (c) Cooke, tbe
engraver, has written: " On receiving this proof Turner expressed
himself highly gratified; he took a piece of white chalk and a
piece of black, giving me the option as to which he should touch
it with. I chose the white — he then threw the black chalk to
some distance from him. When done I requested he would touch
another proof in black. ' No,' said he, ' you have had your choice
and must abide by it.' How the comparison would have grati
fied the admirers of this great and extraordinary artist. W.B.C."
First Pub. State. Title and artists' names in italics.
Second State. Title in centre in open Eom. caps, the strokes of
equal thickness. Artists' names in small Eom. type. Pub. line
Date, Nov. 1, 1814.
Third State. Lettering as Second State, except that the right strokes
of caps of Title are very slightly thicker than left.
The Drawing was lent by Mr. George Donald to the Glasgow
Exhibition in 1901.
I have always regarded Lyme Regis as among the most attractive
plates of ' The Southern Coast.' The sky it is true is somewhat
hard — as many of W. B. Cooke's skies were — but the light and
shade are admirably rendered, and the drawing of the sea is superb.
A good deal of the effect of the plate is due to Cooke's skilful use
of etching over the burin work, in the dark passages, giving force
and accent to the whole. The figure of the shrimper in the fore
ground is of singular value to the composition, as may be seen if
it is obscured.

95. TEIGNMOUTH, DEVONSHIRE. (Vol. II, PL 53.)
Engraved by G. Cooke. 9 by 6.
The estuary and harbour in centre, with reflection of setting sun.
Town and shipping in distance on left. Hulls of two dismantled
ships on right.
Engraver's Proofs. A series of six, Tw.; many with "Etched by"
and many touched. On one, Turner has written "... I would
advise him [G. Cooke] not to do anything to the water in fore
ground for the present, but to get richness, lightness, and clear
ness to the sky and the light flittering [sic] clouds, particularly
in the upper part." On another: " The tone of the church requires
a little more solidity about the upper part, but take care of
blackness. One of the figures standing on the shore in the

52 ENGRAVED WORK OF J. M. W. TURNER.
middle-distance is too much a Falstaff, the other Master Slender.
Make the sun, if you can, more visible as to disk [thus] at the
uppermost side and then the plate will do. The boat's foremast
has no bottom to it, burnish one in and make a shadow." Another
BM.
First Pub. State. Title and artists' names in italics.
Second State. Title in open Eom. caps, the strokes of equal thick
ness. Artists' names in small Eom. type. Pub. line Date, June
1,1815.
Third State. Lettering as Second State, except that the right-hand
strokes of Title are very slightly thicker than the left.
I have no information as to where this Drawing is.
96. DAETMOUTH, DEVONSHIEE. (Vol. II, PL 56.)
Engraved by W. B. Cooke. 8^ by 5§.
Harbour in centre; town on right below cliffs. Castle beyond at
mouth of bay. Fishing-boats by quay in foreground, on which are
fishermen and large blocks of stone.
Engraver's Proofs, (a) Before Title. On right " Etched by W. B.
Cooke, 1814." Touched by Turner. BM. (b) Title added on left
in italics. Before any light clouds in sky. R. (c) Title and the
word " Etched," erased. Light clouds added. Touched in pencil
by Turner. R.
First Pub. State. Title and artists' names in italics.
Second State. Title in centre in open Eom. caps, the strokes of
equal thickness. Artists' names in small Eom. type. Pub. line
Date, June 1, 1815.
Third State. Lettering as in Second State except that right-hand
strokes of Title are thicker than left.
The Drawing was at Christie's in 1896 in the Morley Sale.
This view of Dartmouth a good deal resembles that in Turner's
' Eivers of England.' It is very different from his ' England and
Wales ' plate.
97. THE MEW STONE AT THE ENTEANCE OF PLY
MOUTH SOUND, DEVONSHIEE. (Vol. II, PL 57.)
Engraved by W. B. Cooke. 9} by 6£.
High rock in sea to right with waves of stormy sea breaking
against it; dark clouds behind with rays of light to left. Sailing
ship to right beating to windward. Coast line in distance to left.

LINE ENGRAVINGS ON COPPER. 53
First Pub. State. Title and artists' names in italics.
Second State. Title in open Eom. caps, the strokes of equal thick
ness. Artists' names in small Eom. type. Pub. line Date, Feb.
1, 1816.
Third State. As in preceding plate.
The Drawing is in the National Gallery of Dublin (Vaughan
Bequest). The engraving of the sea in this plate is very fine, but there
appear to me to be too many lights on it.

98. FALMOUTH HAEBOUE, COENWALL. (Vol. II, PL 65.)
Engraved by W. B. Cooke. 9^ by 6J.
The town and harbour seen from hill in foreground on which
are many figures of sailors and women. Pendennis Castle on pro
montory at mouth of bay. Conspicuous white smoke from chimney
in right foreground.
First Pub. State. Title and artists' names in italics.
Second State. Title in open Eom. caps, the strokes of equal thick
ness. Artists' names in small Eom. type. Pub. line Date, Mar.
1, 1816.
Third State. As in preceding plate.
I do not know where the Drawing is.

99. PLYMOUTH DOCK SEEN FEOM MOUNT EDGECOMB,
DEVONSHIEE. (Vol. II, PL 60.)
Engraved by W. B. Cooke. 9| by 6£.
Plymouth Sound in centre with shipping, seen from high ground.
Town and dockyards to right. Eoad in right foreground below tall
trees, with sailors and women merry-making.
Engraver's Proof. One, BM. ; on it Turner has drawn in right mar
gin sketch of line of houses, with the words " Houses," and
another, with "lines of fortification." A third pencil sketch
indicates "Line of horizon, the distance and the sky more blended
by the hill." At foot he has written : " Can you make the Fiddle
more distinct " [then a sketch of a fiddle in profile — that in the
hand of the one-legged sailor].
First Pub. State. Title and artists' names in italics.

54 ENGRAVED WORK OF J. M. W. TURNER.
Second State. Title in Eom. caps. Artists' names in small Eom.
type. Pub. line Date, Oct. 1, 1816.
Third State. Lettering as Second State.
The Drawing was lent by Captain Meeking to the Burlington
House Exhibition of 1886.
99a. A Eeplica of No. 99 was engraved by W. Miller in facsimile,
except that the plate was reduced (9 by 6-|). It bears the name of
' William Miller, 1820,' in place of ' W. B. Cooke.' On an impres
sion (R.) Turner has written: "A Copy of my Plate by W. Miller
of Edinburgh." It is said that when Miller first applied to Turner
for employment, he was given Cooke's engraving of this subject to
copy as a trial. Subsequently he became Turner's favourite engraver.

100. PLYMOUTH, WITH MOUNT BATTEN, (Vol. II, PL 59.)
Engraved by W. B. Cooke. 9-| by 6|.
Citadel in centre, town to right, Martello tower on left. Harbour
between, with many sailing ships and boats on right. In left fore
ground, cornfield with soldiers and gleaners.
First Pub. State. Title and artists' names in italics; the word
" Engraved " omitted before W. B. Cooke.
Second State. Title in Eom. caps. Artists' names, with " Engraved
by" in small Eom. type. Pub. line Date, May 1, 1817.
Third State. Lettering as in Second State.
The Drawing is in the Victoria and Albert Museum (Wm. Smith
Bequest).

101. PENDENNIS CASTLE AND ENTEANCE OF FAL
MOUTH HAEBOUE, COENWALL. (Vol. H, PL 66.)
Engraved by G. Cooke. 9f by 6j.
The Castle in mid-distance on summit of cliffs above the sea,
which is breaking round rocks in foreground. On left, many men
dragging mast of wrecked ship up cliffs.
Engraver's Proofs. A series of six. One with notes by Turner, Tw.
Two more, R. All before the addition of the white spar project
ing at further edge of ridge of rocks running out in centre.
First Pub. State. Title and artists' names in italics. The white spar
added.

LINE ENGRAVINGS ON COPPER. 55
Second State. Title in centre in Eom. caps. Artists' names in small
Eom. type. Pub. line Date, May 1, 1817.
Third State. Lettering as in Second State.
The Drawing was formerly in the Dillon Collection.
102. BOW AND AEEOW CASTLE, ISLE OF POETLAND,
DOESETSHIEE. (Vol. II, PL 47.)
Engraved by W. B. Cooke. 9^ by 6J.
The ruined Castle on right on rocky cliffs which slope to calm sea
on left. Quarrymen hewing stones in right foreground.
First Pub. State. Title and artists' names in italics.
Second State. Title in Eom. caps. Artists' names in small Eom.
type. Pub. line Date, May 1, 1817.
Third State. Lettering as in Second State.
The Drawing is in the possession of Mr. G. E. Burnett.
103. MARTELLO TOWEES AT BEXHILL. Vignette. (Vol. I,
PL 21.) Engraved by W. B. Cooke. About 7 by 4|-.
Chalk cliffs to right, with line of Martello towers beyond along
coast. Sea to left. Eoad in foreground with figures and two soldiers
on horseback.
Engraver's Proofs. Before sea and sky finished. Lettering as in
First Pub. State. BM., R.
First Pub. State. Title on left; above it, "From Turner's Liber
Studiorum, 1817"; on right, " W. B. Cooke fecit"; all in italics.
Before letterpress below.
Second State. Title in centre in black Eom. caps. Above, in
small Eom. type, " Engraved by W. B. Cooke, by permission of
J. M. W. Turner E.A. from his Work of Liber Studiorum."
Pub. line Date, May 1, 1817. Letter-press on same sheet.
Third State. As Second State.
This is an exact copy of the ' Liber Studiorum ' plate. A sketch
for it in sepia, by Turner, is in the possession of Mr. Palser.
104. EAST AND WEST LOOE, COENWALL. (Vol. II, PL 63.)
Engraved by W. B. Cooke. 9| by 6\.
A small landlocked harbour enclosed by high hills, at the foot of
which on either side are the two towns, connected by a bridge.

56 ENGRAVED WORK OF J. M. W. TURNER.
Wreaths of light cloud over hills on extreme right. A drummer
and other figures in left foreground.
Engraver's Proof. On right, " Etched by W. B. Cooke 1818 " in
italics. Sky and other parts unfinished. Before smoke on hill to
right. R.
First Pub. State. Title and artists' names in italics.
Second State. Title in Eom. caps. Artists' names in small Eom.
type. Pub. line Date, July 1, 1818.
Third State. Lettering as Second State.
The Drawing is in the Museum of Eugby School,
This charming plate owes a good deal of its attractiveness to
Turner's skilful adaptation of the lines of hedgerows on the hill
above the town. Without them, the continuous line of the steep,
almost vertical cleavage of the rocks below, would have been dis
agreeable to the eye ; now, it is gradually led upwards by the hedges
to the white, fleecy clouds which are drifting in from sea, and rest
ing on the point of the hill.
105. ILFEACOMBE, NOETH DEVON. (Vol. II, PL 75.)
Engraved by W. B. Cooke. 9^ by 6\.
Stormy sea in front breaking against high rocky cliffs on left;
below is a wrecked ship, half submerged, with men in the rigging.
Figures above on cliff. Town in distance.
Engraver's Proof. On right, " Etched by W. B. Cooke." A large
patch of sea in left foreground has been burnished white, in order
that the reef of rocks which in the Etching is seen immediately
below the wreck, may be replaced by the large, sweeping wave
of the Published States. BM.
First Pub. State. Title and artists' names in italics. Only one black
mass of rocks visible in sea on extreme left; others, which were
present in the Etching, have been replaced by the large wave
referred to above.
Second State. Title in Eom. caps. Artists' names in small Eom.
type. Pub. line Date, July 1, 1818.
Third State. Lettering as Second State.
The Drawing was in Cooke's Gallery in 1822. I have no trace of
it since.I regard this plate, along with Bridport (No. 108), as the two
finest renderings of a stormy sea in the Series. I doubt if they have
ever been surpassed in sea engraving.

LINE ENGRA VINGS ON COPPER. 57
106. TINTAGEL CASTLE, COENWALL. (Vol. II, PL 72.)
Engraved by G. Cooke. 9| by 6\.
Euins of Castle on summit of tall cliffs which fall almost perpen
dicularly to sea on right. On rocky platform in left foreground,
men with windlass hauling up boat.
Engraver's Proofs. A series of six, some touched by Turner. Tw.
Several have " Etched by."
First Pub. State. Title absent. Artists' names in italics.
Second State. Title in centre in Eom. caps. Artists' names in small
Eom. type. Pub. line Date, July 1, 1818.
Third State. Lettering as Second State.
The Drawing was in the Dell Sale at Christie's in 1899.

107. WATCHET, SOMEESETSHIEE. (Vol. II, PL 80.)
Engraved by G. Cooke. 9§ by 6|.
The small town on left, with a curved breakwater and row of
stakes. Sea to right. High hills beyond. In centre foreground,
two men seated and woman with basket.
Engraver's Proofs. A series of seven. Tw.
First Pub. State. Title in slender leaning caps. Artists' names in
italics.
Second State. Title in centre in open Eom. caps. Artists' names
in small Eom. type. Pub. line Date, April 1, 1820.
Third State. A stroke added in centre of caps of Title.
The Drawing was sold at Christie's in the E. W. Cooke Sale in
1880. It was also recently in Messrs. Agnew's hands.

108. BEIDPOET, DOESETSHIEE. (Vol. II, PL 48.)
Engraved by W. B. Cooke. Q\ by 6\.
The sea in front, breaking below high steep cliffs on left. Many
men on shore hauling a line attached to brig on right.
Engraver's Proof. One touched by Turner. On the margin he
has written: "Too much like string, not rain", with a reference
mark to part of the sky. B.
First Pub. State. Title and artists' names in italics.
Second State. Title in centre in open caps. Artists' names in small

58 ENGRAVED WORK OF J. M. W. TURNER.
Eom. type. Pub. line Date, April 1, 1820. The word " Proof "
in italics low on right.
Third State. A stroke added in centre of caps of title. "Proof"
erased.
The Drawing is in the Bury Art Gallery (Wrigley Donation).
I have alluded to this plate when speaking of Ilfracombe (No.
105). The sea here is equally fine, and the sky masterly. Both
are W. B. Cooke's engraving.
109. ENTEANCE OF FOWEY HAEBOUE, COENWALL.
(Vol. II, PL 64.)
Engraved by W. B. Cooke. 9^ by 6-|.
The sea in front, with high cliffs on either side. Two square
towers on promontories to right; a lower tower and houses to left.
A brig under sail entering harbour. Men lowering sail of fishing-
boat on left.
Engraver's Proofs. Two, touched by Turner for alterations in the
sky. BM.
First Pub. State. Title on left, and artists' names in italics.
Second State. Title in centre in open caps; artists' names in small
Eom. type. Pub. line Date, April 1, 1820.
Third State. A stroke added in centre of caps of Title.
The Drawing is in the possession of Mr. E. Atkinson.

110. LULWORTH CASTLE, DOESETSHIEE. (Vol. I, PL 44.)
Engraved by G. Cooke. 9^ by 6j.
Wooded hill in distance on right; below it the Castle among
trees; church and village beyond to left. Man fishing by pool in
foreground.Engraver's Proofs. A series of six, Tw.
First Pub. State. Title absent. Artists' names in italics.
Second State. Title in open caps. Artists' names in small Eom.
type. Pub. line Date, Jan. 1, 1821.
Third State. Lettering as in Second State.
The Drawing is in the possession of Mr. G. E. Burnett.
The sky, and the light on the castle and the woods surrounding
it, are an extremely delicate and skilful piece of engraving.

LINE ENGRAVINGS ON COPPER. 59

111. TOEBAY FEOM BEIXHAM. (Vol. II, PL 54.)
Engraved by W. B. Cooke. 9i by 6J.
Sun in centre setting over Bay. Ship of war in distance to right;
line of cliffs to left. Harbour and breakwater in foreground. In
front, women spreading linen to dry.
Engraver's Proofs. One with the sun and rays around scraped out by
Turner. In left upper corner of sky he has written " too Dark,"
and below it " ditto." BM. Two more, one with notes by Turner.
Tw.
First Pub. State. Title and artists' names in italics.
Second State. Title in centre in open caps. Artists' names in small
caps. Pub. line Date, Jan. 1, 1821.
Third State. A line added in centre of caps of Title.
The Drawing was in the collection of the late Mr. S. G. Holland.
This otherwise beautiful plate appears to me a conspicuous example
of the injurious effect of Turner's crowding of lights and foreground
objects, to which I have alluded (Introduction, p. xxxi). The same
fault may be observed in the three views of Plymouth (Nos. 99, 100,
and 125), in St. Mawes (No. 116), and in others of this Series.

112. MINEHEAD AND DUNSTEE CASTLE, SOMEESET
SHIEE. (Vol. II, PL 79.)
Engraved by W. B. Cooke. 8-| by 61.
Curving bay on right. Hills on left, sloping to shore ; on lower
slopes are Dunster Castle and a tower. Steep cliff in distance across
bay. In foreground two sailors seated and white dog.
Engraver's Proof. Before white dog and men on horseback. Th.
First Pub. State. Title and artists' names in italics.
Second State. Title in centre in open caps. Artists' names in small
Eom. type. Pub. line Date, Jan. 1, 1821.
Third State. Lettering as in Second State. Eoad winding over
distant headland, broader and more distinct than in preceding
States. Sea darkened, especially towards horizon.
The Drawing, a good deal faded, was in the collection of the late
Mr. F. Stevenson.

60 ENGRAVED WORK OF J. M. W. TURNER.

113. MAEGATE, KENT. (Vol. I, PL 3.)
Engraved by G. Cooke. 9^ by 6\.
Town in centre on the white cliffs, seen across bay which curves
to right. In foreground, many men on shore hauling in wreckage.
Hull of wrecked boat to left.
Engraver's Proofs. A series of eight, Tw. The earlier ones with
"Etched by." On one, Turner has written: "It requires two
lines ploughed into one about the wreck to give distinctness to
the vessel in the direction of its hull and side towards the bottom
[sketch], and not straight like [s&eicA.]; you had better send me
another proof because of the sky." On a later one: "The lines
on the hull appear too plain and equal ; put two into one, that is,
each two alternately [sketch] ; clear the sky and the distant sea to
the right, and I think it will do without sending again, without
your sending this way."
First Pub. State. Title in centre in small leaning caps. Artists'
names in italics.
Second State. Title and artists' names in Eom. type. Pub. line
Date, Feb. 1824.
Third State. Lettering as in Second State.
The Drawing was in W. B. Cooke's Gallery in 1824. I have no
trace of it since.
Mr. Euskin's remarks on Turner's partiality for Margate are
characteristic. In the 'Harbours of England' (Gambart, 1856,
p. 39) he says:
" It seems very notably capricious in a painter eminently capable of render
ing scenes of sublimity and mystery, to devote himself to the delineation of
one of the most prosaic of English watering-places — not once or twice, but in
a series of elaborate drawings, of which this [the drawing in the ' Harbours
of England ' series] is the fourth. The first appeared in the ' Southern Coast '
series, and was followed by an elaborate drawing on a large scale [Sun
rise, Margate; Whiting Fishing], with a beautiful sunrise; then came
another careful and very beautiful drawing in the ' England and Wales '
series; and finally this, which is a sort of poetical abstract of the first. Now
if we enumerate the English ports one by one, from Berwick to Whitehaven,
round the island, there will hardly be found another so utterly devoid of all
picturesque or romantic interest as Margate. Nearly all have some steep
eminence of down or cliff, some pretty retiring dingle, some roughness of old
harbour or straggling fisher-hamlet, some fragment of castle or abbey on
the heights above, capable of becoming a leading point in a picture;- but
Margate is simply a mass of modern parades and streets, with a little bit of
chalk cliff, an orderly pier, and some bathing-machines. Turner never con
ceives it as anything else; and yet for the sake of this simple vision, again

LINE ENGRAVINGS ON COPPER. 61
and again he quits all higher thoughts. The beautiful bays of Northern
Devon and Cornwall he never painted but once, and that very imperfectly.
The finest subjects of the 'Southern Coast' series — the Minehead, Clovelly,
Ilfracombe, Watehet, East and West Looe, Tintagel, Boscastle — he never
touched again ; but he repeated Ramsgate, Deal, Dover, and Margate I know
not how often.
" Whether his desire for popularity, which in spite of his occasional rough
defiances of public opinion, was always great, led him to the selection of
those subjects which he thought might meet with most acceptance from a
large class of the London public, or whether he had himself more pleasurable
associations connected with these places than with others, I know not ; but
the fact of the choice itself is a very mournful one."
I imagine that early associations had much to do with Turner's
love for Margate. He was at school there, and was a frequent visitor
throughout his life.
114. EYE, SUSSEX. (Vol. I, PL 17.)
Engraved by E. Goodall. 9J by 5-|.
Town to left in light, on a hill above sea, which is breaking
against a causeway on left. In foreground, men, some in the water,
and a waggon and horses, hurrying to escape rising tide.
First Pub. State. Title absent. Artists' names in italics.
Second State. Title in centre in open caps. Pub. line Date,
March, 1824.
Third State. A line added in centre of caps of Title.
The Drawing was in the collection of the late Mr. S. G. Holland.
115. CLOVELLY BAY, DEVONSHIEE. (Called ' Somersetshire '
on Plate.) (Vol. II, PL 74.)
Engraved by W. Miller. 8| by 5-| .
Bay in centre with high cliffs to left. In mid-distance, village run
ning up almost perpendicular cleft in cliffs. Eoad in foreground
with many figures and laden donkeys.
Engraver's Proofs. One, touched and written on by Turner, R. ;
another, T. All b.a.l.
First Pub. State. Title and artists' names in italics.
Second State. Title in centre in open caps. Artists' names in
small Eom. type. Pub. line Date, March, 1824.
Third State. Line added in centre of caps of Title.
The Drawing is in the National Gallery of Ireland (Vaughan
Bequest).

62 ENGRA VED WORK OF J. M. W. TURNER.
116. ST. MAWES, COENWALL. (Vol. II, PL 67.)
Engraved by J. C. Allen. 8| by 5|.
Town on right by shore, on slopes of cliff. Eound tower on cliff
beyond, and Castle to left in further distance. Sea below. Beach
in front strewn with pilchards, which are being shovelled into

Engraver's Proofs. Before Title. Artists' names in etched italics,
very faint. Before fishing-boat to left and sea adjacent were
darkened. R., Th.
First Pub. State. Title in centre in very small italics. Artists'
names in usual italics.
Second State. Title in centre in open caps. Artists' names in small
Eom. type. Pub. line Date, Sept., 1824.
Third State. Lettering as Second State.
The Drawing was in the collection of the late Mr. F. Stevenson.
117. EAMSGATE, KENT. (Vol. I, PL 4.)
Engraved by R. Wallis. 9| by 6.
Eough sea in front. Town in distance on cliffs. Lighthouse on
extreme left, at entrance to harbour. Buoy in front to right, and
brig beyond running before the wind.
Engraver's Proof. Touched by Turner. Bright light scratched out
on wave beneath buoy on right. Pencil lines indicating that
rain from cloud on right should be strengthened. MT.
First Pub. State. Title on right in italics. Artists' names in slender
Eom. caps.
Second State. Title in centre in open Rom. caps. Artists' names
as in previous State. Pub. line Date, Dec. 20, 1824.
Third State. Lettering as Second State.
The Drawing was in the Levy Sale at Christie's in 1875.
Mr. Ruskin ('Harbours of England,' p. 31), remarking on the
similarity of Turner's treatment of Ramsgate in both plates, says:
" There is a very singular point connected with the composition of this
drawing, proving it (as from internal evidence was most likely) to be a
record of a thing actually seen. Three years before the date of this engrav
ing, Turner had made a drawing of Ramsgate for the 'Southern Coast'
series. That drawing represents the same day, the same moment, and the
same ships, from a different point of view. It supposes the spectator placed
in a boat some distance out at sea, beyond the fishing-boats on the left in
the present plate, and looking towards the town, or into the harbour. The
brig, which is near us here, is then, of course, in the distance on the right;

LINE ENGRA VINGS ON COPPER. 63
the schooner entering the harbour, and, in both plates, lowering her fore-
topsail, is, of course, seen foreshortened ; the fishing-boats only are a little
different in position and set of sail. The sky is precisely the same, only a
dark piece of it, which is too far to the right to be included in this view,
enters into the wider distance of the other, and the town, of course, becomes
a more important object.
" The persistence in one conception furnishes evidence of the very highest
imaginative power. On a common mind, what it has seen is so feebly im
pressed, that it mixes other ideas with it immediately ; forgets it — modifies
it — adorns it — does anything but keep hold of it. But when Turner had once
seen that stormy hour at Ramsgate harbour-mouth, he never quitted his
grasp of it. He had seen the two vessels ; one go in, the other out. He could
have only seen them at that one moment — from one point; hut the im
pression on his imagination is so strong, that he is able to handle it three
years afterwards, as if it were a real thing, and turn it round on the table of
his brain, and look at it from the other corner. He will see the brig near,
instead of far off: set the whole sea and sky so many points round to the
south, and see how they look, so. I never traced power of this kind in any
other man."

118. HYTHE, KENT. (Vol. I, PL 15.)
Engraved by G. Cooke. 9-| by 5-|.
Town on left in mid-distance, stretching from sea up slope of
cliff, with conspicuous church tower. Barracks and parade ground
below in centre. Troops marching up hill to left. Tall trees to
right; a cannon below.
Engraver's Proofs. Six, Tw., many with " etched by." On one, dated
Nov. 29, 1824, Turner has written: " . . . let me see another
proof, because of the sky, which I have not touched upon because
I want vou to say if it can be burnished lighter in tone with safety,
[sketch]." "You ask me for my opinion; first, I shall say in general,
very good; secondly, the figures at Barracks, excellent, but
I think you have cut up the bank called Shorncliff too much
with the graver, by lines which are equal in strength and
width and length that give a coarseness to the quality and
do not look like my touches or your work, like hooks to the good
part over which they are put. The marsh is all swamp; I want
flickering lights upon it up to the sea, and although I have
darkened the sea in part, yet you must not consider it to want
strength but that the whole marsh and sea down to the canal
before the Barracks lies dark and not clear; get it into one tone,
flat by dots or some means, and let the sea and water only appear
different by their present lines." (The above bears the postmark
of Otley, the post-town for Farnley Hall, Yorkshire, where doubt
less Turner was staying.)

64 ENGRAVED WORK OF J. M. W. TURNER.
On a later proof is written: " The inclined lines in the water do
pray do all you can to remove. I fear you mistook my meaning,
let the water be distinguishable only by its lines, therefore
strengthen all the horizontal lines of the Sea which you have to
do for I would prefer overtones to the lines [thus] in the marsh.
I do not want more work but filling in to make it flat, and a
flickering light somewhat like the Brixham plate where marked
[thus] too dark. I shall not want to see another proof but save
me my N° four and etching."
First Pub. State. Title and artists' names in italics.
Second State. Title in open Eom. caps. Artists' names as in pre
ceding State. Pub. line Date, Dec. 30, 1824.
Third State. Lettering as Second State.
The Drawing was in the Simpson Sale at Christie's in 1896.
119. COMB MAETIN. (Vol. II, PL 76.)
Engraved by W. Miller. 9-| by 6.
High steep cliffs to left above a small bay. Lime-kiln on beach
in foreground with women washing and spreading linen on it, and
men loading donkeys in front. Boats and cottages to left and right.
Engraver's Proofs. One extensively touched by Turner, and with boat
with white sail added by scraping out. B. Another more ad
vanced. R. Both with " etched by " and before Title.
First Pub. State. Title and artists' names in italics.
Second State. Title in centre in open Eom. caps. Artists' names in
italics. Pub. line Date, Jan. 1, 1825.
Third State. Lettering as in Second State.
The Drawing is in the University Galleries, Oxford (Ruskin
Donation.) 120. POETSMOUTH, HAMPSHIEE. (Vol. I, PI. 29.)
Engraved by W. Miller. 9^ by 6^.
Tossing sea in front; two row-boats in centre, close to large buoy
on left. Town and fortifications beyond. Harbour in background
with men-of-war inside.
Engraver's Proofs. A series, T. On one, Turner has written:
"Mr. Miller,
" You will perceive I have taken a great deal of pains about the water
and I must thank [you] to watch the touches closely and send me an im
pression first in its present state that I may see the differences I have made.
With the next two send touched proof for I cannot recollect all I have done,

LINE ENGRAVINGS ON COPPER. 65
or mark your following my touches without assistance. You will I trust
excuse my remarking that the water particularly in front is of too equal a
tone throughout and the more you can fill up and cover the white paper
parts (excepting a few I have left) the more you will remove the etching-like
appearance it now has. Its good work requiring more support by richness
and full tone." At the side, is a sketch of the buoy with the words: " The
Bnoy — clear cross lines will help the water greatly.''
Two later Engraver's Proofs, both drawn and written on by
Turner, R. All the above before Title, and with " Etched by Will"1
Miller 1825 " on right.
First Pub. State. Title and artists' names in italics. " Etched by "
still remaining.
Second State. Title in open Eom. caps. Artists' names in italics.
" Etched by " altered to " Engraved by." Pub. line Date, Feb.
15, 1825.
Third State. Lettering as Second State.
The Drawing was in the collection of the late Mr. F. Stevenson.
It will be observed how different in style is Miller's engraving of
this plate from the old-fashioned, yet still very effective, method
of the Cookes. The plate, although on copper, might easily be taken
for a steel engraving.
121. BOSCASTLE, COENWALL. (Vol. II, PL 73.)
Engraved by E. Goodall. 9\ by 5f .
Tall cliffs on either side of the narrow entrance to a small har
bour. A disabled brig is being warped in by men on cliffs to left.
Engraver's Proofs. Before all letters, T., Th. Another, drawn upon
by Turner, R.
First Pub. State. Before Title. Artists' names in italics.
Second State. Title in open Eom. caps. Artists' names in small
Eom. type. Pub. line Date, Mar. 10, 1825.
Third State. Lettering as Second State.
The Drawing is in the University Galleries, Oxford (Euskin
Donation). This appears to me one of the finest plates of the Series. The
composition and the light-and-shade are masterly, and there is no
crowding of lights or figures to distract the eye.
122. BEIGHTHELMSTON. (Vol. I, PL 25.)
Engraved by G. Cooke. 9\ by 6.
Sea in front, Chain Pier on right. Town and beach beyond.
Eainbow on left.
I. F

66 ENGRAVED WORK OF J. M. W. TURNER.
Engraver's Proofs. A series of six, Tw. All have Title, " Brighton"
in centre in slender caps; some with "Etched by," but the
majority with " Engraved by," on right. In the three latest,
Turner has touched and scraped the buoy on the right for altera
tion, adding a distinct white edge to the top, and the side towards
the pier, both of which were previously dark, like the rest of the
buoy.
First Pub. State. Title and artists' names as above. Buoy with
distinct white outline on top and side towards pier. An impression
in my possession has different lettering: — Title removed further
to left, being now only 3| inches (in place of 4 inches) from
left margin. In centre, close under plate-line, in italics, is " En
graved by George Cooke from a Drawing by J. M. W. Turner
E.A." The buoy dark throughout. It is difficult to fix the posi
tion of this apparently unique impression, which does not take its
place either in the Tweedmouth series of proofs or in the Pub
lished States.
Second State. Title in centre in open Eom. caps. Artists' names in
small Eom. type. Pub. line Date, Sept. 1, 1825. Buoy dark again
all over.
Third State. Lettering as Second State.
The Drawing was in the Morley Sale at Christie's in 1896.
123. FOLKSTONE, KENT. (Vol. I, PL 12.)
Engraved by R. Wallis. 9f by 5-|.
Town in mid-distance on edge of steep cliff; church prominent.
White cliffs beyond; sea and beach below to right. In left fore
ground, smugglers burying kegs.
First Pub. State. Before Title. Artists' names in slender Eom.
caps. Date after engraver's name, 1826.
Second State. Title in centre in open Eom. caps. Artists' names in
Eom. small type. Date after engraver's name, 1825. Pub. line
Date, Feb. 24, 1826.
Third State. Lettering as Second State.
The Drawing was recently in the Humphry Eoberts collection.
124. DEAL, KENT. (Vol. I, PL 5.)
Engraved by W. Radclyffe. 9J by 5f .
Town to left on steep beach. Heavy sea running. Thunder
cloud behind with lightning from right. In centre two flags on
staff, conspicuously light against dark clouds.

LINE ENGRAVINGS ON COPPER. 67
First Pub. State. Before Title. Artists' names in italics.
Second State. Title in centre in open Eom. caps. Artists' names in
italics. Pub. line Date, April 1, 1826.
Third State. Lettering as Second State.
Mr. Euskin's remarks on Turner and Deal (' Harbours of Eng
land,' p. 49) are amusing:
"Turner was always fond of this neat, courageous, benevolent, merry,
methodical Deal. He painted it very early in the ' Southern Coast ' series,
insisting on one of the tavern windows as the principal subject, with a Hash
of forked lightning streaming beyond it out at sea like a narrow flag. He
has the same association in his mind in the present plate [referring to the
' Harbours ' series], disorder and distress among the ships on the left, with
the boat going out to help them ; and the precision of the little town stretch
ing in sunshine along the beach."
The Drawing was in the possession of the late Mr. Horatio
Micholls.
125. MOUNT EDGECOMB, DEVONSHIEE. (Vol. II, PL 61.)
Engraved by E. Goodall. 9| by 6|.
Mount Edgecombe in the distance, covered with woods. Tossing
sea in front, with several sailing boats. Man-of-war on right.
Engraver's Proof. Before any letters. Before white sails in extreme
left distance, T.
First Pub. State. Before title. Artists' names in italics.
Second State. Title in centre in open Eom. caps. Artists' names in
small Eom. type. Pub. line Date, April 12, 1826.
Third State. Lettering as Second State.
I do not know where the Drawing is.
126. DOVEE FEOM SHAKESPEAEE'S CLIFF. (Vol. I, PL 10.)
Engraved by G. Cooke. 9^ by 6|.
Castle in centre on cliff in distance, town below; sea to right.
Sentry on fortification in left foreground. Hay-waggon on left
passing wooden bridge over ditch of fortification.
Engraver's Proofs. R., T., Th., Tw. Many with "Etched by." On
an early one (T) Turner has written: "The Sky is so unequal
and in Specks that I must propose Clouds by way of Belief from
the heavy tone the said lines give it. The whole of the Castle
Hill is too Dark a space. Keep thin. The lights bright and
Clear." Further instructions and explanations are in margin.
On a later one, dated April 29, 1826, is written: "The sky is

68 ENGRAVED WORK OF J. M. W. TURNER.
much better; correct the remaining streaks in the clouds like
the proof, and there will be no need of sending again."
First Pub. State. Title in centre in Slender italic caps, very faint.
Artists' names in usual italics.
Second State. Title in centre in open Eom. caps. Artists' names
as in preceding. Pub. line Date, May 6, 1826.
Third State. Lettering as Second State.
126a. A Eeplica of this plate in almost exact facsimile, was engraved
by W. Chapman in 1860. It bears his initials, " W. C," and Date,
" April 1860," in right corner, in italics.
The Drawing belongs to Mr. F. Nettlefold.
127. WHITSTABLE, KENT. (Vol. I, PL 1.)
Engraved by H. Horsburgh. 9f by 6f .
Town in distance in light. Sea to left, tide out; many figures on
sands. In right foreground, inscription on stone "Whitstable
Oyster Beds, Notice."
First Pub. State. Title in slender, etched, upright caps. Artists'
names in italics.
Second State. Title in open Eom. caps. Artists' names in small
Eom. type. Pub. line Date, May 8, 1826.
Third State. Lettering as Second State.
The Drawing was in Vokins's Gallery in 1891.

XXIV
'VIEWS IN SUSSEX,' 1816-1820
This work, the title of which was afterwards changed to ' Views
in Hastings and its Vicinity,' was commissioned by Mr. J. Fuller
— -"Jack Fuller," as he was usually called — of Eose Hill, Sussex,
at that time the eccentric and well-known member for the county.
Between 1812 and 1815 Turner had painted for him an important
series of large water-colour drawings of the beautiful district of
Sussex, which lies inland between Hastings and Tunbridge Wells,
and in the heart of which Mr. Fuller's house was situated. Four of
these drawings had already been engraved as coloured aquatints,
and it was proposed to reproduce the others as line engravings.
W. B. Cooke, with whom at that time Turner was closely associated

LINE ENGRAVINGS ON COPPER. 69
as publisher and engraver of ' The Southern Coast,' was to under
take the same duties here, the risk being Mr. Fuller's. Cooke's
quaintly-worded prospectus of 1820 announces that " the work will
contain Fourteen engravings of the most choice Landscape and
Marine scenery in the Eape of Hastings, displaying with Truth
and Effect the grand character of this picturesque part of the
Coast." Two Parts, with a list of the plates in each, were advertised, but
only one appeared. This contained five line engravings together
with an allegorical design on the wrapper, drawn by Turner and
etched by his own hand — one of the very few instances of his using
the etching-needle himself, except as a foundation for some other
process. But the ' Views in Sussex ' appears to have been a failure,
as the second Part was never published, and three plates intended
for it which had been commenced, were left unfinished.
The prospectus gives the prices of the original issue as follows:
India Proofs, Imperial Folio, .£5 10s. per Part.
Proofs on French Paper, do., =£4 10s. „
Prints, Super Eoyal Folio, MZ „
The Drawings for the ' Sussex ' are extremely beautiful, although
some have faded considerably. They are, as a rule, quieter in colour
— as befits the pastoral character of the scenery represented — as
compared with those of the ' Southern Coast.' The execution of the
engravings is also fine, and in harmony with the character of
the Drawings. There is none of the crowding of lights or fore
ground detail which is noticeable in some of the ' Southern Coast '
plates of the same period.
128. EMBLEMATICAL DESIGN (ON COVEE OF PAET I).
Etched by J. M. W. Turner, R.A. About 7 by 5.
A group composed of a crown, a helmet pierced by an arrow,
a coat of mail, cross-bow, and other weapons, bound together by a
scroll on which is inscribed: "Battle of Hastings" and "Saxon
Hept." Above are etched the lines: "That day's Sun, Beheld a
Kingdom lost and Won, On Battle's Fatal Plain." On right, below,
" J. M. W. Turner E.A." At foot, Pub. line and Date, 1819.
This is one of the very few instances, if not the only one, of a
finished etching by Turner's own hand.

70 ENGRAVED WORK OF J. M. W. TURNER.
129. BATTLE ABBEY, THE SPOT WHEEE HAEOLD FELL.
(Part I, PL 2.)
Engraved by W. B. Cooke. 9J by 6§ .
A level park overlooking houses and distant country, between
trees. Old wall to left. In foreground, a greyhound chasing a hare.
Engraver's Proofs. " Etched by W. B. Cooke " on right. Two, both
touched by Turner, BM. Later, with lettering as in First Pub.
State, but before rays coming through trees on right were made
distinct. T.
First Pub. State. (" India Proofs on Imperial Folio.") Title and
artists' names in italics, " 1816" after engraver's name. Pub.
line Date, June 1, 1816. Eays of light on right distinct.
Second State. (" Proofs on French Paper, Imperial Folio.") Title
in open Eom. caps. Artists' names in small Eom. caps. No date
after engraver's name. Pub. line Date, March 1, 1819. On right,
" Proof " in italics.
Third State. ("Prints.") Caps of Title shaded. " Proof " removed.
Reprints. In ' Art Journal,' and later in 1874 edition of ' Turner
Gallery.' Original Pub. line removed, and in place, "London,
Virtue & Co Limited," substituted. Plates re-worked and hard
in effect.
The Drawing was recently in the possession of Sir A. Acland-
Hood, Bart., M.P.
130. BEIGHTLING OBSEEVATOEY, SEEN FEOM ROSE-
HILL PARK.
Engraved by W. B. Cooke. 11 by 7-|.
In front, slopes of wooded park. The Observatory in distance
on highest point; white smoke to left below it. In foreground,
woman and boy with cows.
Engraver's Proofs, (a) Title, " The Observatory at Eosehill, Sussex,
the seat of John Fuller Esqre," and artists' names, in italics.
"Etched by" on right. Pub. line in italics; Date, Sep. 1, 1816.
Before boy in foreground; touched by Turner. BM. (b) Same
lettering, boy added; touched for alterations in smoke, fore
ground, etc. T. (c) and (d) Later, same lettering; both touched
by Turner, and before left foreground darkened. R.
First Pub. State. Lettering as in Engraver's Proofs ("Etched by"
still remaining). Foreground on left much darkened and many
fewer lights on foremost row of trees.

LINE ENGRAVINGS ON COPPER.

Second and Later States. Title altered, as at top ; other lettering
as in Battle Abbey, No. 129.
The Drawing is in the possession of Messrs. Agnew.
The effect of a showery summer day is charmingly rendered here.
It is especially noticeable in the earlier Engraver's Proofs.

131. THE VALE OF ASHBURNHAM. (PL 4.)
Engraved by W. B. Cooke. 11 by 7f.
Undulating wooded country, with white mansion in mid-distance,
in centre. Coast-line beyond, with Beachy Head in extreme dis
tance. Fallen timber, and waggon drawn by team of oxen in fore
ground.
Engraver's Proof. Title on left, " Ashburnham Park," and artists'
names, in italics. In margin, Turner has drawn in pencil the
groups of hop poles which will be observed (in the valley) in
the next State. He has written below, " Hop poles in bundles,"
and "Three windows each side the entrance." BM.
First Pub. State. Lettering as in Engraver's Proof. The hop poles
and windows added.
Second and Later States. Title altered, as at top; other lettering
as in Battle Abbey, No. 129.
[I have met with a curious replica of the right half of the Open
Etching of this plate, size 5| by 7 -£$. Besides many small points
of difference, " J. M. W. Turner " is etched in strong, black letters
across the herbage in right foreground. Below is written in pencil,
" W. Cooke junr 1817."]
The Drawing is in the possession of Mr. George Salting.
The composition of this plate is singularly attractive. The curv
ing lines of the timber in the foreground and the undulations of
the middle distance, subtly lead the eye on to the contrasting long,
level line of coast on the horizon. This is again broken by the white
scarp of Beachy Head, where the South Downs fall to the sea in
the far distance. The mansion admirably centres the composition,
and variety is introduced in the direction of the lines, by the groups
of hop poles; these it will be noticed Turner added on an early
Trial Proof. The strongly-bitten etching in the foreground gives
force and accent to the picture.

72 ENGRAVED WORK OF J. M. W. TURNER.

132. PEVENSEY BAY, FROM CROWHURST PARK. (PL 5.)
Engraved by W. B. Cooke. 11 by 7\.
Grassy slope of park in foreground, overlooking level country.
Beyond, to left, sea with line of Martello towers, and Beachy Head
in distance. Country house among trees to left. Sheep in fore
ground, wheelbarrow, etc.
Engraver's Proofs. Title, " Crowhurst, Sussex," and artists' names
in italics. Date, 1816. (a) Before small boats on distant sea.
BM., R. (b) and (c) Distant sails drawn on sea, and various
alterations in column of smoke on right. BM.
First Pub. State. Lettering as in Engraver's Proofs. Two boats on
distant sea on left.
Second and Later States. Title altered, as at top; other lettering as
in Battle Abbey, No. 129. Date, March 1, 1819.
The Drawing is in the possession of Lord Monk Bretton.

133. THE VALE OF HEATHFIELD. (PL 6.)
Engraved by W. B. Cooke. 11| by 7\.
Wooded slopes of park with mansion to left, and tower on emin
ence on extreme right. Level country beyond, with Downs and
coast-line in distance. Eoad in foreground on which are two
rabbits. Engraver's Proofs. Title, " Vale of Heathfield, Sussex," and artists'
names, in italics. Date, 1816. "Etched by" on right. Eight-
hand rabbit almost entirely black. Smoke in centre distance
much less defined than afterwards. Two, BM.
First Pub. State. Lettering as in Engraver's Proofs, but with " En
graved by" in place of " Etched by," and Date 1818.
Second and Later States. Title altered, as at top; other lettering
as in Battle Abbey, No. 129. Date, Mar. 1, 1819.
The Drawing is in the possession of Mr. George Salting.
Turner has taken his wonted liberty with topographical details
here; requiring a high perpendicular object on the right, to break
the monotony of the rounded contours of the hills and foreground,
he has raised the tower and the eminence on which it stands, far
beyond their actual proportions.

LINE ENGRAVINGS ON COPPER. 73

134. BODIHAM CASTLE, SUSSEX.
Engraved by W. B. Cooke. 11J by 7§.
The Castle to right. In centre a road passing over two bridges.
High trees on extreme right. Woman opening gate in centre and
white cow below her in stream.
Engraver's Proof. Title in centre. Left, "Drawn by J. M. W.
Turner E.A."; right, "Etched by W. B. Cooke, 1817"— all in
italics. To right, a white streak between castle and trees remains
from the Open Etching. On old paper. R.
Modern Impressions. " Etched by " altered to " Engraved by." The
white streak to right filled up. Lights heightened on water to
right and under both bridges. On smooth, comparatively modern,
plate paper. These, I believe, were taken by Messrs. Hogarth,
shortly after Turner's death.
The Drawing was recently in the possession of Sir A. Acland-
Hood, Bart., M.P.

135. HUESTMONCEUX CASTLE. (Open Etching only.)
Etched by W. B. Cooke. 11| by 7\.
Castle in centre, with high battlemented gateway. Wooded slopes
of park on either side. Pool, with cows in it, in right foreground.
The Open Etching is the only State known to me. Title in centre ;
left, "Drawn by J. M. W. Turner, E.A."; right, "Etched by
W. B. Cooke, 1820"; all in italics. BM., MT., R.
This, although only a Preliminary Etching, is extremely beautiful,
and is also rare.
The Drawing is in the possession of Lord Monk Bretton.

136. WINCHELSEA. (Open Etching only.)
Etched by W. B. Cooke. 8 by 5i.
The Town in distance on ridge of hill. Eoad in foreground,
with stage-coach followed by soldiers and camp-followers going
towards the town. Canal to right.
The Open Etching is the only State known to me. Title in centre ;

74 ENGRA VED WORK OF J. M. W. TURNER.
left, "Drawn by J. M. W. Turner, E.A." ; right, "Etched by
W. B. Cooke, 1817"; all in italics. BM., R. Very rare.
The Drawing is in the possession of Sir Jas. Walker.
This subject was formerly regarded as having been intended for
' The Southern Coast ' and is alluded to as such by Mr. Euskin.
(Notes on his Drawings by Turner, Fine Art Society, 1878). The
Drawing, however, is doubtless the one which was exhibited in
Cooke's Gallery in 1822, under the title of Winchelsea and Military
Canal, now being engraved for ' Views of Hastings and its Vicinity.'
The plate is also mentioned in Cooke's prospectus of Part II of the
' Sussex.' Like Hurstmonceux it was carried no further than the
Open Etching.

XXV
' THE RIVERS OF DEVON,' 1815—1821
This work, although advertised about 1818 by W. B. Cooke,
along with others, never actually appeared under the above name.
Probably the failure of the 'Views in Sussex,' led to its being
abandoned, and the four plates which had been engraved were
afterwards sold separately. Characteristically of Turner, the first
two, Plymouth Citadel and Plymouth Sound, although Devonshire
subjects, can hardly be called representations of rivers. These,
though begun in 1814 were not completed until 1821 and 1823,
when they were offered as a pair. Ivy Bridge appeared in 1821, and
The Source of the Tamar and Torridge remained unfinished until
somewhere about 1850.
The two Plymouth plates are well en graved and extremely effective.
A few impressions were printed on vellum.
137. PLYMOUTH CITADEL.
Engraved by W. B. Cooke. 11| by 7f .
Stormy sea beating against cliffs on left, on which are fortifica
tions, with a flag at the angle of a bastion. Shipping beyond inside
the harbour, and round tower on promontory to right. Thunder
clouds overhead.

LINE ENGRAVINGS ON COPPER. 75
Engraver's Proofs, (a) Title and artists' names in italics. " Etched
by W. B. Cooke, 1814." Pub. line Date, Jan. 2, 1815. Touched
by Turner; a note by him in margin, "Tower too high: the
band is near the top" [here sketch]. BM. (b) Alterations car
ried out; Title removed.
First Pub. State. Title in centre; "Engraved by" instead of
"Etched by "; Pub. line Date, March 1, 1823; all in italics.
Second State. Title in open Eom. caps, " Plymouth Citadel, looking
towards Mount Batten." Artists' names in small caps. Pub. line
in small Rom. type.
Third State. Capitals of title shaded.
Reprint. Pub. line, "London, Published July 16, 1853, by
W. Tagg and C°, Queen Street, Cheapside."
The Drawing is in the possession of Mr. Ralph Brocklebank.

138. PLYMOUTH SOUND.
Engraved by W. B. Cooke. 11J by 7\.
The Sound in front; wooded cliffs of Mount Edgcombe on right.
Hill and fortifications in distance on left. Ship in full sail on right,
and several small boats.
The Open Etching} Title on left, " Plymouth Sound from Hamoaze,
with part of Mount Edgecumbe." Pub. line Date, Jan. 2, 1815;
below, in centre, " Rivers of Devon"; all in italics.
Engraver's Proofs. " Etched by " altered to " Engraved by." Date
1821. Title altered to " Plymouth Sound." Pub. line removed.
BM., R.
First Pub. State. Lettering as in Engraver's Proofs with Pub. line
added, Date March 1, 1823.
Later States. I have little doubt that this plate was reprinted with
its companion, No. 137, but I have not met with any impressions.
The Drawing, very faded, was at Christie's several years ago.

139. IVY BRIDGE, DEVONSHIRE.
Engraved by J. C. Allen, llf by 8£.
In front, a shallow river with rocky banks, flowing from the right,
under a bridge, between high trees. Houses on left, and road on
1 This is the only one of the four plates on which the original Title of the
series appears.

76 ENGRAVED WORK OF J. M. W. TURNER.
which is a coach, with passengers mounting. Ducks by water in
foreground. Engraver's Proofs. Title and artists' names in italics. Before Pub.
line. Date (after engraver's name) 1816. BM., R.
First Pub. State. Lettering as in Engraver's Proofs with Pub. line
added; Date, June 4, 1821.
Second State. Title in open Rom. caps; artists' names in small
caps; Pub. line, small Eom. type. Dedication to Sir T. D.
Acland, Bart.
The Drawing is in the National Gallery. An oil picture of the
same subject, but with some differences, is in the collection of
Mr. Pandelli Ealli.
The tree-drawing here is exceedingly fine.

140. SOURCE OF THE TAMAE AND TOEEIDGE.
Engraved by W. B. Cooke. 12| by 8\.
Hilly moorland sloping upwards to right; near top are two fires
burning. Eoad below with laden horse and donkeys. Marshy pool
in foreground, beside which a woman is kneeling; a small stream
winds from it towards the horizon.
Engraver's Proof. Title and artists' names in italics. " Etched by
W. B. Cooke, 1816." Before the man in white smock in fore
ground. Touched all over in white by Turner; below, he has
written, "Use the dry point within in the lines if possible in the
distance and the uppermost part of the Hill in light as well as
the burnished end. Soften the sky considerably." BM.
I have been unable to trace the later history of this plate. The
next States in which it is known to me are as follows:
(I) Title removed. "Etched by" altered to "Engraved by";
both still in italics. Figure of man added and plate apparently
completed. Printed on comparatively modern plate-paper.
(II) Title added, " Source of the Tamer [sic] and Torridge," in
Eom. caps, with line inside. Artists' names in small Eom. type
Pub. line, "London, Published Feb. 1, 1850, by C. Tidbury and
Co, 7 Upper St. Martins Lane, Charing Cross." (Probably there is
a State between (I) and (II), with open caps.)
The Drawing is in the possession of Mr. Holbrook Gaskell.

LINE ENGRAVINGS ON COPPER. 77
XXVI
SURTEES' 'HISTORY OF THE COUNTY OF
DURHAM,' 1816—1823
This well-known county history contains three plates only after
Turner, all of which were engraved by Eawle. His execution,
although delicate, is somewhat hard. Hylton Castle is the best
of the three plates, but the sky is scratchy, and the light and shade
do not seem right. The Open Etching, however, is singularly
attractive. 141. GIBSIDE, CO. OF DUEHAM. (Vol. II, p. 254.)
Engraved by S. Rawle. 11 by 7-|.
The mansion in mid-distance in hollow of valley between rolling,
wooded hills. Bend of river to left below small classical building.
High monument in distance on right. In foreground woman with
pitcher on head, and child.
Engraver's Proof. Title, "Gibside," in centre, under plate-line;
left, "J. M. W. Turner, E.A., delin*"; right, "Engraved by
S. Eawle"; all in faintly etched writing. T. Another, printed
in blue ink.
First Pub. State. Title in centre, in Eom. caps. Below, in italics,
" The Seat of the Earl of Strathmore " Artists' names in
italics. Pub. line Date, Dec. 1, 1819. " Proof " on right under
engraver's name.
Second State. Title in much smaller caps. "Proof" removed to
furthest edge of right margin. " Printed by McQueen & C° " in
small italics below engraver's name. At top, on left, "Vol. 2";
on right, " Page 254."
The Drawing is in the possession of the Earl of Strathmore.
142. EABY CASTLE, CO. OF DUEHAM. (Vol. II, at the end.)

Engraved by S. Rawle. 11 by 7

Castle occupying centre of plate. In foreground, huntsmen and
hounds. On right, herd of deer.
First Pub. State. Title in centre in shaded Eom. caps; below,

78 ENGRAVED WORK OF J. M. W. TURNER.
"The Seat of the Earl of Darlington," and artists' names in
italics. Pub. line Date, March 1, 1820. "Proof" on extreme
right. " Printed by McQueen & C° " below engraver's name.
Second State. " Proof " removed.
I do not know where the Drawing is. In the magnificent picture
of Raby Castle, painted by Turner at about the same period, the
treatment is entirely different. This is now in America.
143. HYLTON CASTLE, CO. OF DURHAM. (Vol. II, p. 20.)
Engraved by S. Rawle. 11 by 7-|.
The Castle in centre, on level ground with hills beyond. A corn
field on slope to left with reapers. Harvest waggon and team to
right. Two seated figures in foreground.
First Pub. State. Title in centre in shaded Eom. caps; below,
" The Seat of the Earl of Strathmore." Other lettering as in
Raby Castle. Date June 1, 1820.
Second State. As Raby Castle.
The Drawing is in the possession of the Earl of Strathmore.

XXVII
HAKEWILL'S 'PICTURESQUE TOUR IN
ITALY,' 1818—1820
This work is principally known through Mr. Euskin' s many and
eloquent references to the Drawings by Turner, from which it was
engraved. These, however, were not taken by him direct from the
places represented, but were founded on camera-obscura pencil
sketches made on the spot by J. Hakewill, an architect, the author
of the book. The latter were sold at Christie's in 1889 and showed
considerable powers of draughtsmanship as well as of composition;
in many instances they were little modified by Turner in the elabor
ate Drawings which he made from them. These are typical work
of his early middle period (1814-1825) — delicate, highly finished,
and exquisite in colour. Mr. Euskin says 1 of them :
1 'Notes on his Drawings by Turner exhibited at the Fine Art Society,'
1878, p. 23.

LINE ENGRAVINGS ON COPPER. 79
Here begins a series which expresses the mind of Turner in its consummate
power, but not yet in its widest range. Ordering to himself still the same
limits in method and aims, he reaches, under these conditions, the summit
of excellence, and of all there is but one criticism possible — they "cannot be
better done." Standards of exquisitest landscape art, the first of such in
existence among men and unsurpassable.
It may be doubted, however, whether the skill in composition and
accuracy in drawing which attracted Mr. Ruskin are as entirely
due to Turner as he imagined. Probably he was not aware of the
excellence and artistic character of Hakewill's sketches. Moreover,
the majority of the Drawings, if not all of them, must have been
executed by Turner before his first visit to Italy, which was not
until 1819 j1 many even were engraved before that date, whereas
Mr. Euskin considers they show the effect of the visit to Italy.
The engravings are carefully executed, and several are especially
fine in their rendering of the skies — The Bridge and Castle of St.
Angelo, and Florence from the Chiesa al Monte in particular; La
Riccia also is very beautiful — but they all necessarily miss the
wonderful colouring of the Drawings.

144. THE EIALTO, VENICE. (PL 2.)
Engraved by J. Pye. 8| by 5-f.
The Grand Canal in front, crossed by the Eialto in centre.
Palaces and quays to right. Gondolas and many figures in fore
ground.
Engraver's Proofs. Before Title. Left, " Drawn by J. M. W. Turner
E.A."; right, "Etched by J. Pye." (a) Before reflections of
arcade of Rialto. R. (b) Reflections added; touched by Turner.
R., T. (c) More reflections added. In centre, "Engraved by
John Pye, 1820 " in small italics. BM., R.
First Pub. State. (India Proofs.) Title in centre, as at top, in
italics. Left, " Drawn by J. M. W. Turner, R.A., from a sketch
by J. Hakewill." Right, " Eugrav'd by John Pye." Pub. line
Date, July 1, 1820; all in minute italics. Reflections of arcades
of Rialto much fainter than in Engraver's Proofs.
Second State. (Large Paper Copies.) Lettering as in preceding
State, but on plain folio paper.
1 He passed the Mont Cenis on his return to England on January 15th, 1820,
as is known from the dated drawing at Farnley.

80 ENGRAVED WORK OF J. M. W. TURNER.
Third State. (Small Paper Copies.) Same lettering, on quarto paper.
Reprint. 'Hakewill's Italy' was reprinted many years later with
no change in lettering or dates, but the plates were very worn.
The Drawing is at Farnley Hall.
*#* A small later Replica of this plate in XLIIi, ' Annuals Un
known,' will be described in a subsequent volume.
145. CASCADE OF TERNI. (PL 7.)
Engraved by J. Landseer. 5^ by 8^.
Cascade falling over perpendicular cliff, wnich fills background.
Steep rocks to right. Rainbow across fall. Rocky gorge below.
Engraver's Proofs. Before Title. On right, " J. Landseer, F.S.A.,
Sculp" in italics. BM., R., T.
First Pub. State. On India Paper. Lettering as in The Rialto, but
with the word " finish'd " added before " Sketch by James
Hakewill." Date, Jan. 1, 1819.
Second and Later States. On Plain Paper. As The Rialto, with the
above alteration.
The Drawing was in the possession of Mr. Ruskin until his death.
He describes it as "probably the most perfect piece of waterfall
drawing in existence."
*#* A later small Replica in XLIIi, ' Annuals Unknown,' will
be described in a subsequent volume.
146. BRIDGE AT NARNI. (PL 8.)
Engraved by S. Middiman. 8f by 5J.
River in front; broken arches of bridge in centre. Through
them and beyond, wooded hills are seen on either side.
Engraver's Proofs. Without any letters. Two, BM.
First Pub. State. As Cascade of Terni, No. 145. Date, Mar. 1, 1819.
Second and Later States. As No. 145.
The Drawing is in the possession of Mr. George W. Agnew.
147. ROME. BRIDGE AND CASTLE OF ST. ANGELO ON
THE TYBER [sic]. (PL 10.)
Engraved by G Hollis. 8f by 51.
The Tiber in front; bridge in centre, Castle to right; St. Peter's
in distance. Group of figures in left foreground.

LINE ENGRAVINGS ON COPPER. 81
Engraver's Proof. Before any letters. BM.
First Pub. State. As Cascade of Terni, No. 145. Date, Oct. 1, 1818.
Second and Later States. As No. 145.
The Drawing is in the possession of Lady Tate.
The sky in this plate is extremely beautiful, and the effect of
light on the distant houses beyond the bridge is well rendered.

148. THE ROMAN FORUM FEOM THE TOWEE OF THE
CAPITOL. (PL 20.)
Engraved by G. Cooke. 8f by h\.
The Forum (as it then was) in the foreground, seen from a height.
Eow of trees down centre. Beyond, the Campagna and Alban Hills.
Engraver's Proofs. In centre, under plateTline, " Engraved by
George Cooke from a Drawing by J. M. W. Turner R.A." BM.,
R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Oct. 1, 1818.
Second and Later States. As No. 145.
The Drawing is in the possession of William Cook, Esq.
*#* There is a second engraving of this subject, in exact fac
simile, except that the size is 7f by 4|-. It is on steel, and the work
of W. Richardson; for what object it was intended I do not know.

149. THE FOEUM EOMANUM. (PL 21.)
Engraved by G. Hollis and J. Mitan. 8f by 5|.
The Forum occupies centre of plate, looking towards the Capitol.
Three columns conspicuous on left. Tourist and other figures in
foreground, examining fragment of sculpture.
Engraver's Proofs. Before Title. Left, "Drawn by J. M. W. Turner,
E.A."; centre, "Figures bv J. Mitan"; right, "Engraved by
G. Hollis." All in italics. BM, R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Aug. 1, 1820.
Later States. As No. 145.
The Drawing was in the Gifford Sale at Christie's in 1889.
*#* A small later Eeplica of this plate in XLIIg, ' The Remem
brancer,' will be described in a subsequent volume.

82 ENGRA VED WORK OF J. M. W. TURNER.
150. EOME FEOM THE FAENESE GAEDENS. (PL 22.)
Engraved by J. Le Keux. 8\ by 5f .
High, massive parapet, supported on balustrade, stretches across
foreground. The City beyond. The Forum below, seen through
balustrade. Large gourds on wall to right.
Engraver's Proofs. Left, "Drawn by J. M. W. Turner, E.A.";
right, "Engraved by J. Le Keux"; centre, "Eome"; all in
italics. BM., R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Mar. 1, 1820.
Later States. As No. 145.
The Drawing is in the possession of Mr. George Blood, of Bristol.
151. EOME FEOM MONTE TESTACCIO. (PL 24.)
Engraved by J. Byrne. 8% by 5|.
In centre, cemetery surrounded on three sides by trees, and on the
other by the ruined walls of Eome. White pyramid of Caius Cestius
conspicuous at angle. Picnic party on bank in left foreground.
Engraver's Proofs. Without any letters. BM., R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Aug. 1, 1819.
Second and Later States. As No. 145.
I am unable to trace the Drawing.
The tombs seen here are those of the Protestant Cemetery, where
Keats, Shelley, and Severn are buried. The surroundings have
greatly changed since Turner's time.
152. EOME FEOM MONTE MAEIO. (PL 25.)
Engraved by J. Byrne. 8£ by 5£.
Distant view of Eome from a height, with the Tiber winding in
centre. Two tall pines in foreground ; beneath them a group of figures.
Engraver's Proofs. Without anv letters. BM., R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, April 1, 1820.
Second and Later States. As No. 145.
The Drawing was in the possession of Mr. Euskin, who writes of it:
"This little drawing represents, within its compass of 81 inches by 5J,
every principal building in Rome, in Turner's time, so far as they could be
seen from this point; and that with such earnestness and accuracy that if
you take a lens of good power to it, you will find even the ruinous masonry
of the arches of the Coliseum distinctly felt and indicated."
The remarks on p. 78 must, however, be borne in mind here.

LINE ENGRAVINGS ON COPPER. 83
153. ROME, TOMB OF CECILIA METELLA. (PL 37.)
Engraved by J. Byrne. 8\ by b\.
The high, castellated tomb on left. Dome of St. Peter's beyond
in distance. Goatherd in foreground, playing pipes; a woman
beside him.
Engraver's Proofs. Without any letters. BM., R., T.
First Pub. State. As Cascade of Terni, ~No. 145. Date, Jan. 1, 1819.
Second and Later States. As No. 145.
The Drawing was in the possession of the late Mr. E. Steinkopff .
154. LA RICCIA. (PL 41.)
Engraved by J. Pye. 8f by 5|.
A high, wooded hill to right, on top of which are a convent and
a church with dome and towers. Flock of sheep on road below,
under trees, in foreground.
Engraver's Proofs, (a) Without any letters. BM. (b) In centre,
under plate-line, "John Pve, 1819," in etched capitals. BM.,
R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Mar. 1, 1819.
Later States. As First Pub. State.
The Drawing was in the possession of the late Mr. E. Steinkopff.
This is perhaps the most beautiful plate of the series, and is
exquisitely engraved by Pye.
155. LAKE OF NEMI. (PL 42.)
Engraved by J. Middiman and J. Pye. 8^ by 5J-.
Lake in centre in hollow, seen from above; convent on wooded hill
to right. Campagna beyond. Goatherd with flock in foreground.
Engraver's Proofs, (a) In centre, under plate-line, " Etch4 by
J. Middiman," in etched writing, very small. BM. (b) " En
graved by John Pye, 1819," also very small, added below the
above. BM., R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Dec. 1, 1819.
Second and Later States. As First Pub. State.
The Drawing, which formerly belonged to Mr. Ruskin, is now
in the possession of Mr. G. Morland Agnew.

84 ENGRAVED WORK OF J. M. W. TURNER.
156. NAPLES FROM THE MOLE. (PL 47.)
Engraved by G. Cooke. 8^ by 5§,
The Mole on right, seen in perspective. City beyond. Harbour
to right, with shipping ; sea to left, with bathers on slope of Mole,
Engraver's Proofs. Artists' names in italics. Before Title. BM.,R.,T.
First Pub. State. As Cascade of Terni, No. 145. Date, Mar. 1, ] 820.
Second and Later States. As No. 145.
*#* A small later Replica, in XLIIi, ' Annuals Unknown,' will
be described in a subsequent volume.
The Drawing is in the possession of Mr. R. D. Holt.
The engraving of the sky in this plate is a fine and delicate piece
of work, by that consummate artist, George Cooke.
157. FLORENCE FROM THE PONTE ALLA CARRAIA.
(PL 49.)
Engraved by S. Rawle. 8^ by 5£.
The Arno in centre, crossed by the bridge of three arches; the
Ponte Vecchio beyond. The Tower and buildings of the Signoria
seen above houses to left.
Engraver's Proofs. " Eng" by S. Rawle " in faint italics on right.
BM., R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Dec. 1, 1818.
Second and Later States. As No. 145.
The Drawing is in the Whitworth Institute, Manchester.
158. FLORENCE FROM THE CHIESA AL MONTE. (PI. 57.)
Engraved by G. Cooke. 8J- by 5J.
City on right, seen from San Miniato. Arno in centre, crossed
by Ponte Vecchio. Hills beyond. Funeral procession approaching
in foreground. Group of peasants on right.
Engraver's Proofs, (a) Before Title. Left, " Drawn by J. M. W.
Turner R.A."; right, "Etched by George Cooke, 1820," both
in italics. Sky not commenced, but plate otherwise completed,
except in extreme distance. R. (b) Title, " Florence," added in
centre, in leaning caps. " Etched by " altered to " Engraved by."
Sky and distance completed. BM., R., T.

LINE ENGRAVINGS ON COPPER. 85
First Pub. State. As Cascade of Terni, No. 145. Date, June 1, 1820.
Second and' Later States. As No. 145.
I have not been able to trace this Drawing.
This beautiful plate, like Naples from the Mole, is finely engraved
by George Cooke. The execution of the sky is especially note
worthy. The serene, cloudless heat of the day is extraordinarily well
rendered, yet only by means of parallel lines ; but those lines are
graduated with consummate skill and perfect artistic feeling.
159. FLOEENCE FEOM FIESOLI [sic]. (PL 58.)
Engraved by W. R. Smith. 8f by 5|.
Panoramic view of Florence from Fiesole, with background of
hills. Monks looking over parapet on left, under tall trees.
Engraver's Proofs. Without any letters. BM., R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Oct. 1, 1819.
Second and Later States. As No. 145.
*#* A small later Eeplica, in XLIIi, ' Annuals Unknown,' will
be described in a subsequent volume.
The Drawing, which formerly belonged to Mr. Euskin, is now in
the Collection of M r. Walter Jones.
160. ISOLA BELLA, ON THE LAGO MAGGIOEE. (PL 62.)
Engraved by J. Fittler, A.R.A. 8J by 5i
Terraced garden in foreground, with many statues, etc. The Lake
beyond, surrounded by mountains.
Engraver's Proofs, (a) Unfinished throughout. B.a.l. BM. (b) Com
pleted. Also b.a.l. BM., R.
First Pub. State. As Cascade of Terni, No. 145. Date, Dec. 1, 1818.
Second and Later States. As No. 145.
The Drawing was formerly in the possession of Mr. Euskin.
161. TUELN FEOM THE POETICO OF THE SUPEEGA
CHUECH. (PL 63.)
Engraved by J. Mitan. 8f by 5f .
Marble portico in foreground, from between the columns of which
is seen a wide plain, with Turin indistinctly visible in mid-distance;
snowy Alps beyond. Many women in portico.

86 ENGRA VED WORK OF J. M. W. TURNER.
Engraver's Proofs. Without any letters. BM., R., T.
First Pub. State. As Cascade of Terni, No. 145. Date, Mar. 1, 1820.
Second and Later States. As No. 145.
The Drawing, which formerly belonged to Mr. Euskin, is now in
the possession of Mr. G. Morland Agnew.

XXVIII
ALLASON'S 'ANTIQUITIES OF POLA,' 1819
162. ANTIQUITIES AT POLA. FEONTISPIECE.
Engraved by G. Cooke. lOf by 7\.
A composition. Portico of temple on left; Eomanarch on right;
amphitheatre behind. Quay in centre, against which are classical
galleys. Many sculptured stones in foreground.
The Open Etching. Two, both touched by Turner. BM.
Engraver's Proofs, (a) Left, " Drawn by J. M. W. Turner R.A.
from the original sketches of Tho. Allason"; right, " Etched by
George Cooke, 1818," both in italics. Title in slender Rom. caps.
R. (b) "Etched by" altered to "Engraved by." BM.
As Published. Artists' names in small slender caps. Title in open
Rom. caps. Pub. line Date, Aug 1. 1819.
The Frontispiece is the only plate after Turner in the book. The
Drawing was made by him from sketches by Allason the author.
I do not know where it is.

XXIX
CATALOGUE OF MR. FAWKES'S GALLERY,
1819—1820
163. FRONTISPIECE TO MR. FAWKES'S CATALOGUE.
Engraved (an Etching) by F. G. Lewis, c. 6-J- by 4J.
Classical tablet, surmounted by palette, brushes, etc. On palette
is inscribed, " Water Colours," and on tablet the names of many
artists, Turner's being the first. Landscape behind; pool and water-
lilies below.

LINE ENGRAVINGS ON COPPER. 87
164. MR. FAWKES'S GALLERY.
Engraved by H. Moses. 8f by 6\.
Perspective interior view of large drawing-room, engraved in
outline. Many pictures on walls, statue on pedestal to right, large
chandelier, etc.
As Published. Left, "Drawn by J. M. W. Turner R.A."; right,
" Engraved by Henry Moses." both in small Rom. type. Title in
centre in Rom. caps.
This was the catalogue of an Exhibition of Mr. Fawkes's collection
of English water-colour drawings, which was held at his London
house in Grosvenor Place in 1819.
XXX
FIVE EARLY PLATES OF UNKNOWN DATE
AND ORIGIN
165. PARNASSUS. Date Unknown.
Engraved by W. B. Cooke. 4§- by 3^.
A rocky ravine through which a rapid river descends from left.
High snow mountains beyond. In distance, on right, white building
with tower. Group of peasants among rocks in left foreground.
Engraver's Proofs, (a) Before any letters. Two, BM. On one, in
the engraver's writing, is, " Private Plate, very scarce." (b) Left,
" Drawn by J. M. W. Turner R.A. from a Sketch by Gaily Knight
Esq16"; right, "Engraved by W. B. Cooke." Title in centre; all
in italics. BM., R.
The Drawing for this charming little plate was made, as is re
corded above, by Turner from a sketch by Gaily Knight. The
painter himself never visited Greece. I have not been able to trace
the Drawing, nor to discover to what work, if any, the plate be
longed.166. THE LITTLE DEVIL'S BRIDGE (Copy of the 'Liber
Studiorum ' Plate, No. 19). Date Unknown.
Engraver unknown. 6^ by 4^.
The Open Etching. I know of only one impression, which is touched
by Turner. R. Apparently the plate was carried no further.

ENGRAVED WORK OF J. M. W. TURNER.

167. VIEW OF A COUNTRY-HOUSE. Date Unknown.

Engraved by J. Basire. 7-f by 5f

Small two-story country-house in centre, with woods behind.
Man on horseback on right.
Left, " Turner Del." Eight, " Basire Sculp'."
The only impression I have ever seen was sold some years ago by
Mr. W. Ward of Eichmond, along with the Drawing. Its general
appearance, and the fact of its being the work of Basire, point to a
date probably somewhere between 1800 and 1810. It was doubtless
a private plate, and of no importance.

168. AETHINGTON MILL ON THE WHAEFE. Date Un
known.
Engraved by J. C. Allen. 7j by 5^.
River Wharfe in centre. White mill in mid-distance, below weir.
Hills behind. Two children on bank in foreground.
The Open Etching. Left, "Drawn by J. M. W. Turner, R.A.";
right, " Etched by J. C. Allen." R. Apparently the plate was
carried no further.
The Drawing is in the possession of the Trustees of the late Mr.
J. E. Taylor.
168a. SHEERNESS AND THE ISLE OF SHEPPEY, WITH
THE JUNCTION OF THE THAMES AND THE MED
WAY, FROM THE NORE. (Unfinished.)
Engraved by J. Fisher. 11| by 8f.
A tossing sea in front with sailing-boats to right and left. In
front, row-boat with several figures. Coast-line and shipping in
distance. This plate is unfinished, and I do not know for what purpose it
was intended. Possibly it may have been engraved for the original
owner of the picture, which is now in the Widnal Collection, New
York. The copper-plate bears the following inscription: Left,
"J. M. W. Turner R.A"; right, "J. [or S.] Fisher"; below, in
centre, Title as above; all in italics.
The copper-plate was in the possession of Messrs. Rimell and
Son.

LINE ENGRAVINGS ON COPPER. 89

XXXI
WHITAKER'S 'HISTORY OF RICHMOND-
SHIRE,' 1819—1823
A general account of this work, which, with the ' Liber Studiorum,'
' Rogers' Poems,' and ' The Rivers of France,' is among the best
known of all the books illustrated by Turner, will be found in
the Introduction (p. xxxvii). It was originally intended by Dr.
Whitaker and the publishers to be part of a larger History of the
whole County of York, in which were to be incorporated the
' History of Whalley,' ' History of Craven,' and ' History of Leeds '
(Leodis and Elmete), to all of which Turner had already contributed
plates. Messrs. Longman have kindly allowed me to examine the con
temporary accounts of the firm, and I find that the Drawings for
the work were made by Turner in 1817 and 1818. He was paid
twenty-five guineas apiece for them, and they were sold by the
publishers, soon after the work was completed, for about the same
sum. The engravers received from sixty to eighty guineas for each
plate. The book appeared in Parts, the publication commencing in 1819
and extending over four years. There were two issues — the Large
Paper copies (Royal Folio), about 160 in number, with the en
gravings printed on India paper, were published at four guineas per
Part; the Small Paper (Demy Folio) edition, 550 in number, with
the prints on plain paper, at two guineas. All the Large Paper
copies were subscribed for before the work appeared, and over
three hundred of the smaller issue. The ' Richmondshire,' in fact,
was a success from the first, and it has since always preserved its
reputation as the finest topographical work ever produced in Eng
land. It has been reprinted many times (see p. 91).
It need hardly be said that the India Proofs are greatly superior
to the later impressions. I know of comparatively few Engravers'
Proofs with alterations or instructions by Turner, but as these
occur so plentifully in ' The Southern Coast ' of about the same

90 ENGRAVED WORK OF J. M. W. TURNER.
time, and in the ' England and Wales ' which came just after, it is
probable that there are some in collections unknown to me.
The Drawings have received high praise from Mr. Ruskin.
His remarks on them as a series have already been quoted,1 and
many allusions to individual examples, as well as to the engravings,
will be found in his works.
In the Reprint of 1891,2 the notes appended to the plates are of
the highest interest. Mrs. Alfred Hunt, as well as her husband, the
late Mr. Alfred Hunt, R.W.S., had an intimate knowledge of the
neighbourhood depicted — her father, the late Dr. Raine of Durham,
was one of the original committee who selected the places to be
illustrated by Turner — and Mr. Hunt's criticisms from an artist's
point of view, are invaluable. By the kindness of Mrs. Hunt,
Mr. Huish, and Messrs. Virtue, I am permitted to quote from
these notes, but they should be read in extenso by every one in
terested in the places represented, or in the Turner drawings and
engravings. The present whereabouts of the ' Richmondshire ' Drawings is for
tunately known in almost every case. Many have suffered severely
from exposure to light, but others are still in good preservation.
Several of Turner's original pencil sketches are in the National
Gallery.

169. RICHMOND, YORKSHIRE. (Vol. I, p. 83.)
Engraved by W. R. Smith. lOf by 7|.
Town on hill to right, with castle and several churches. River
below, flowing to left. Woman picking flowers by road in fore
ground; a dog beside her.
Engraver's Proofs. Without any letters. BM., R., T., Th.
First Pub. State. Subscriber's Proofs, Large Paper (Royal Folio).
On India Paper. Title and artists' names in italics. Pub. line
Date, March 3, 1819.
Second State. Small Paper Copies (Demy Folio). Same lettering,
but on plain paper.
*#* It should be observed that in Reprint A which follows, the
impressions were printed both on India and on plain paper, and the
lettering of the original Second State was allowed to remain. Conse-
1 Intro., p. xxxviii. > See opposite page.

LINE ENGRAVINGS ON COPPER. 91
quently this very inferior edition can only be distinguished from the
original issue by its inferiority.
Reprint A. In 1843 the Turner plates were reworked throughout,
reprinted with the original descriptions, and published in a thin
folio volume by Nichols and Son, London.1 The lettering is the
same as in the original issue, except that where the printers'
name had previously appeared, it has usually been removed. The
impressions are hard, scratchy, and altogether wanting in lumin
ousness. They are constantly to be met with.
Reprint B. In the ¦ Art Journal ' of various dates, and again in
the 1874 edition of ' The Turner Gallery.' Titles in open Rom.
caps, artists' names in slender Rom. caps. Below, " London,
Virtue and Co, Limited."
Reprint C. In 1891 the plates were once more reworked (a labour
of love) by J. C. Armytage, one of Turner's old engravers, under
the direction of Mr. Marcus Huish, and were published by Virtue
and Co., with an introduction by Mr. Huish and notes on each
plate by Mrs. Alfred Hunt. These impressions are without any
lettering, printed on India paper, and mounted on modern plate-
paper. They are much superior to the previous Reprints, the re
touching having been done with great skill and taste.
The Drawing formerly belonged to Mr. Ruskin.
170. RICHMOND CASTLE AND TOWN. (Vol. I, p. 94.)
Engraved by J. Archer. 11 by 7\.
• The ruined Castle on steep hill to right; town beyond and below.
Conspicuous white smoke from chimney below castle. Bridge to
left, crossing river. Stormy sky. Woman carrying linen on her
head in foreground.
Engraver's Proofs, (a) Right, " J. Archer Sc " in very small etched
writing. Drawn on and scraped all over by Turner. T. (b) Same
lettering. The alterations indicated in (a) carried out, but in a
curiously unintelligent manner; every light indicated by the
scraping of Turner's knife being mechanically copied. BM., R.,
T, Th.
First Pub. State. On India Paper. Title in italics. Artists' names
in small Rom. type. Pub. line Date, June 6, 1820.
Second State. On plain paper. Same lettering.
1 It was this edition which was described on the title-page as " Views
in Richmondshire after Drawings by J. M. W. Turner, R.A., with Descrip
tions by the Rev. Dr. Whitaker. See Introduction, p. xxiii.

92 ENGRAVED WORK OF J. M. W. TURNER.
See Note *#*, and remarks on Reprints A, B, C, in Richmond,
Yorkshire, No. 169, all of which hold good of the Series.
The Drawing belonged at one time to Mr. Ruskin.
171. ST. AGATHA'S ABBEY, EASBY. (Vol. I, p. 112.)
Engraved by J. Le Keux. Ill % &
Wide, still reach of river in foreground, flowing from left under
wooded hills. The Abbey ruins on right bank. Man watering
horses in centre; milkmaids by stile to right.
Engraver's Proofs, (a) Left, "Drawn by J. M. W. Turner R.A.";
right, " Etch'd by J. Le Keux " ; in centre, " Easby " ; all in faint
etched italics. Before the woman milking. Only one line of
white ripple in the wake of the moorhen in centre. BM., R., Th.
(b) Same lettering, except that "Etch'd by" is altered to "En
graved by." Woman added, milking cow in angle of Abbey ruins.
Two lines of white ripples in wake of moorhen. BM., R., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Feb. 14, 1822. " Printed by
MeQueen and C° " low on right.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the possession of Mrs. Sale.
Mrs. Alfred Hunt in her Notes to the Reprinted Edition of 1891
remarks :
"Easby Abbey in real life, is rather a disappointing ruin, but not so in
Turner's drawing, or if seen under the conditions in which he painted it. ' It
is a singular fact,' remarks Mr. Longstaffe in an excellent little book on
Richmondshire, ' that in these ruins scarcely a room [sic] has right angles,
and that the whole place is reeling and out of course.' We have only to look
at the engraving to see the truth of this remark. The mass of building to the
left is distinctly out of the perpendicular. Turner, of course, was quick to
see this, and has not only given the fact in the drawing of the building itself,
but has emphasized the irregularity by putting the water-hen's wing in an
upright position exactly in the line where the reflection would have come
had the walls been straight."
172. ASKE HALL. (Vol. I, p. 115.)
Engraved by J. Scott. 11 by 7-J.
Large mansion in mid- distance in park, below wooded hills.
View taken from road in foreground below overarching trees.
Flock of sheep approaching from right; man on white horse to left.

LINE ENGRA VINGS ON COPPER. 93
Engraver1 s Proofs, (a) Without any letters. Before any sheep on
park before house. BM., Th. (b) In centre, under plate-line,
"J. M. W. Turner R.A. del1— J. Scott, sculp1" in small etched
italics. Sheep added, scattered about park. BM., R., T., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Aug. 28, 1821.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing was recently in the possession of Messrs. Gooden
and Fox.
" There is one ash tree in particular, growing by the wayside, which is the
very making of Turner's drawing, and it is just possible that when the com
mittee of gentlemen who were deputed to pick out Turner's point of view for
him — for he was not considered competent to do that for himself — chose such
an unpromising subject as Aske Hall, that this ash tree and its compeers by
the wayside made him able to do it with complete artistic pleasure. . . .
The trees, the bend of the road, and its short ascent which have been so well
used by Turner for the foreground and encompassing framework of the
design, have suffered little change or interference since his time. . . . But
it is the only one of the set, except the ' Kirkby Lonsdale,' in which we
have a complete framework of tree-trunks and overarching boughs — a com
monplace of landscape composition — classical, beautiful, and for ever tempt
ing, but most difficult to manage well. The look of formal composition can
hardly ever be avoided. Problems of foreshortening lurk in wayward boughs,
the distinctiveness as well as the multitude of leaf clusters, or even of leaves,
must be given, and whether from long conventional misuse, or a haunting
air of prettiness, it is a form of arrangement, which artists are now, at all
events, slow to use. In this case Turner has triumphed with it, and Ruskin
declares the Aske Hall to be one of the most characteristic of the Yorkshire
drawings as regards truths of vegetation. We may note how the overarching
of the boughs is broken, especially by one which appears to swoop downward
nearly half-way between the two sets of tree-trunks, so as almost to touch
tlie chief line of the hills which enclose the valley. This bough is a notable
one in itself. The foreshortening, as shown by loss or gain of breadth accord
ing as it approaches or recedes, is a piece of truth not often met with in the
bough-drawing of most artists.
"The sheep, all except one on the extreme right, are admirable. How
plainly they enjoy their rest, panting even in the shade ! We may note the
skill with which another represented as cropping the herbage at the side of
the road is linked in composition with the curve of the little bridge at the
bottom of it, and how the two curved things are somehow provided with
something which is somehow related to them in the horse bending^ its neck
to the ground on the other side. There are relations of this sort all over the
design, unsought for and unlaboured by the artist, to whom they were the
natural way of telling his story when once he had seized on it as a pictorial
whole. Every touch, or group of touches, with or without his conscious
choice, serves its purpose as well for the likeness of the fact, as for the
expression of his feeling with respect to it, for there is everywhere a link or
a contrast — everywhere something which his artistic feeling has dictated to
soften, accentuate, or ennoble." — Notes by Mrs. Alfred Hunt.

94 ENGRAVED WORK OF J. M. W. TURNER.
173. HIGH FORCE OR FALL OF TEES. (Vol. I, p. 142.)
Engraved by J. Landseer, F.S.A. lOf by 7i.
High perpendicular rocks on either side. Between them a rounded
bastion divides the fall into two portions. Rainbow in centre below.
Angler wading below fall and man with landing net.
Engraver's Proofs, (a) Without any letters. Before the darker lines
in the rainbow. BM., T. (b) Left, " W. M. J. Turer [sic] E.A.
Del"'; right, "J. Landseer F.S.A. Sculp"; centre, "Fall of the
Tees, 1821 "; all in etched italics. Eainbow divided into bands
by two darker lines. BM., R., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Sept. 12th, 1822. "Printed
by H. Triggs " low on right.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the possession of Mr. A. J. Forbes Leith.
The Drawing of High Force of Tees is, I believe, altogether finer
than the engraving. The latter is inferior in execution and poor
in general effect.
Mrs. Alfred Hunt says :
" Turner is said to have been so delighted with ' High Force,' that on one
occasion he all but lost his life there. He stayed so long sketching one
evening that he was overtaken by darkness, and when climbing the steep
hill, was quite unable to see his way, and soon lost it altogether. After
long and fruitless attempts to find it, he became so weary that he sat down
in despair and would never have got home at all if an old shepherd had not
chanced to pass by and find him."

174. EGGLESTONE ABBEY, NEAE BAENAED CASTLE.
(Vol. I, p. 152.)
Engraved by T. Higham. 10f by 7\.
The Abbey ruins on hill in centre; farmhouse adjoining; river
below flowing from right through trees. Water-mill to left, beside
which a man is fishing and a woman spreading linen.
Engraver's Proofs. Left, " Drawn by J. M. W. Turner E.A"; right,
"Engd by T. Higham," in very faint italics. BM., R., T., Th.
(The two parallel lines round the margin are present in all States.)
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Decr, 1822.

LINE ENGRAVINGS ON COPPER. 95
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing was in Mr. Euskin's collection. It is a good deal
faded. The charming, spring-like effect of this engraving has always
attracted me. Mrs. Alfred Hunt remarks of the Egglestone Abbey
of to-day:
" What we see now in passing along the high road on the Durham side of
the Tees, from Barnard Castle towards Rokeby, at a point which offers
the nearest approach to his chief point of view, is a beautiful piece of
Tees-side scenery, but Eggleston Abbey contributes to that beauty little
more than a name and a memory, so hardly has time (let us say) dealt with
it. . . . The two graceful arches to the left of the farmhouse are gone. On
the other side of the drawing, nothing remains unchanged except the field-
road, which he has given with fine feeling for the beauty of its curves as it
winds away into the glades of the wood. . . . The trees must have grown
enormously since Turner was there. The view from the Abbey bridge is a
magnificent piece of river scenery, the trees being so lofty on both sides and
the river running, as it were, in a deep chasm, over and among its clear
white slabs of limestone; but the Abbey is scarcely to be seen from the
bridge, except by a peep through the leaves when the wind blows them
aside."
175. JUNCTION OF THE GEETA AND TEES AT EOKEBY.
(Vol. I, p. 184.)
Engraved by J. Pye. 10| by 7\.
A long, still reach of river on right, between wooded banks; in
foreground it is joined by a smaller, more rapid stream, descending
among rocks and trees from the left. In centre mid-distance, a
house partly seen through trees.
Engraver's Proofs, (a) Without any letters : the stream flowing from
left, unfinished. T. Another, touched and scraped by Turner. BM.
(b) Still b.a.l. Plate finished. BM., R., T., Th. (c) In centre,
under plate-line: " Engrav'd by John Pye, 1819." Before Title,
but traces of an imperfectly erased inscription visible in centre.
R., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170, with " Etched by S. Middiman and J. Pye,"
in addition, in centre under plate-line. Pub. line Date, Aug. 2,
1819.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the possession of Mrs. Fordham.

96 ENGRAVED WORK OF J. M. W. TURNER.
" The junction of the Greta and Tees, which was chosen for Turner as his
subject, is the most striking of the many beautiful points of view in Rokeby
Park. Let us stand where Turner stood when he painted it — by the many-
chanelled Greta, on the Mortham side. The larger stream of the Tees flows
directly towards us, with thick woods and ledges of pale-grey limestone on
either side, until it turns aside as if it were pushed out of its course by the
impetuous little Greta and the layers of rock which form its channel. These
layers are, it must be owned, very geometrical indeed, and it would try the
resources of the greatest composer to give their true character consistently
with pleasantness of pictorial effect. . . . Turner has almost ignored this
level floor with its exact divisions ; he has preferred to dwell on the debris
which is strewn about the river bed ; but he has given us the victory of
Greta over the larger stream, the texture of the sandstone blocks, the
plumy toss and fulness of the smaller trees, and, above all, the solemn rigid
respectability of the three large elms which guard the house. These trees
have grown considerably since Turner's time, and now do lovers of nature
the good service of completely shutting out all view of the Hall." — Mrs.
Alfred Hunt's Notes.

176. BEIGNALL CHUECH. (Vol. I, p. 194.)
Engraved by S. Rawle. lOf by 7\.
A ravine in centre between wooded, interlocking hills, through
which a river flows. Church in meadow to right. Boy climbing
tree in foreground to reach kite. View taken from above.
Engraver's Proofs, (a) Very early. Lef t, " J. M. W. Turner, del " ;
right, "Etchd by S. Eawle"; in centre, " Brignall Ch""; all in
very faint etched italics. Drawn on by Turner in pencil. T.
(b) Completed. Same lettering. BM., R., T. (c) "Etchd by
S. Eawle," altered to "S. Eawle fc." and "York" added after
" Chh." BM.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 169. Pub. line Date, Oct. 25, 1822. " Printed
by McQueen and C° " low on right.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing was destroyed by fire many years ago while in the
possession of Griffiths, Turner's agent.
Brignall Church has always seemed to me the most beautiful and
poetical of all the plates of the 'Eichmondshire.'
Mr. Euskin writes of it :
" I shall never cease to regret the destruction, by fire, now several years
ago, of a drawing which always seemed to me to be the perfect image of the
painter's mind at this period— the drawing of Brignall Church near Rokeby,
of which a feeble idea may still be gathered from the engraving (in the

LINE ENGRAVINGS ON COPPER. 97
Yorkshire series). The spectator stands on the ' Brignall Banks,' ' looking
down into the glen at twilight ; the sky is still full of soft rays, though the
sun is gone, and the Greta glances brightly in the valley, singing its even
song; two white clouds, following each other, move without wind through
the nollows of the ravine, and others lie couched on the far-away moorland ;
every leaf of the woods is still in the delicate air; a boy's kite, incapable of
rising, has become entangled in their branches, he is climbing to recover it ;
and just behind it in the picture, almost indicated by it, the lowly church is
seen in its secluded field between the rocks and the stream ; and around it
the low churchyard wall, and a few white stones which mark the resting-
places of those who can climb the rocks no more, nor hear the river sing as it
passes." — Pre-Raphaelitism, 1904 ed., vol. xii, p. 371.
Mrs. Alfred Hunt says:
"You splash through the pebbly shallows at the outlet of the pool in the river,
or clamber over the ruinous heap fallen from the cliff, and perhaps a path suc
ceeds, and a wilderness of ' verdurous glooms and mossy, winding ways,' and
in one of the meadows left at frequent intervals by the curves of the river, you
come upon abroken gable and a disused graveyard. This is BrignallOld Church
— as small in its best days as churches among North Country mountains and
moors are wont to be — and if you go to the top of the bank above, and if
it is a fair twilight in summer, you have the subject of this noble poem
of Turner's before you. . . .
" The design of the drawing is a very simple one. The Greta flows nearly
in the middle of it, in a hollow with steep wooded banks on each side, the
one above the church on the right being entirely lost in shadow and convex
in curvature, the other still reflecting light from the western sky and show
ing a bit of sheer precipice among the coppice wood. A wavy line of distance
unites the two sides of the composition. In the base of the picture — we can
hardly say foreground — there is a network of tree-tops (the characteristic
yew not being forgotten) through whieh we can see the abyss gleaming
below; and among these perilous boughs a boy is climbing after his kite
which has dragged in its career, and been caught there, evidently with no
chance of recovery. Mists are rising stealthily in the ravine, and beginning
to lie in bands on the far-away desolate moors. . . .
" This quiet little church in the valley was, as time went on, found to be
inconvenient, especially for funerals, so, in 1834, a new and very ugly one
was set up on the hill above, and, unfortunately, much of the old one was
carried off to help to build it."

177. WYCLIFFE, NEAE EOKEBY. (Vol. I, p. 197.)
Engraved by J. Pye. lOf by 7f.
The Hall to right on the summit of a wooded hill, below which the
river winds. Shallow, rocky bed of river in foreground. Two women
in centre, driving geese. Waggon crossing ford.
Engraver's Proofs, (a) Without any letters. Before rays of light
behind Hall. Shadows of trees on right below Hall, separately
defined. Sky unfinished. R., T. (b) Left, " Drawn by J. M. W.
1 Scott, ' Rokeby,' iii, 16.

98 ENGRAVED WORK OF J. M. W. TURNER.
Turner E.A. "; right, " Engraved by John Pye 1823," in italics.
Eays added striking upwards behind Hall. Shadows of trees on
right grouped. BM., R.
N.B. — I have seen two " false proofs " of this plate ; the artists,'
names are in Eoman type as in the First Pub. State, but the
Title and Pub. line are missing, having been erased; faint traces
of them are still visible.
First Pub. State. On India Paper. Lettering as in Richmond
Castle and Town, No. 170. Pub. line Date, Mar. 1, 1823.
" Printed by H. Triggs " low on right.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing, much faded, is in the possession of Mrs. George
Holt. In the BM. is a curious impression of State (b), with a long
inscription evidently written by Turner, etched in minute letters,
filling the whole lower margin. It commences, "The Birthplace of
John Wickcliffe (the Morning Star of Liberty) near Eokeby, York
shire," and continues with a description of his career and the state
of his times, from a strongly Protestant point of view. With the
impression, is a memorandum by the late Dr. Percy, stating that
he had been informed by Pye and Halsted (the printseller) that
only three or four of these had been struck off, all for presentation.
It may be added that Pye, the engraver of this beautiful plate,
stated that Turner when touching the Proof, introduced a burst of
light (the rays seen above the Hall) which was not in the Drawing,
On being asked his reason, he replied: — "That is the place where
Wickliffe was born and the light of the glorious Eeformation."
"Well," said Pye, satisfied, "but what do you mean by these large
geese?" "Oh, they are the old superstitions which the genius of
the Eeformation is driving away! "
Mrs. Alfred Hunt remarks:
" The best thing in the Wycliffe drawing is its geese. They are beautifully
worked in among the stones. Their outstretched necks and flapping wings
almost make us near the 'Shoo! shoo!' of the girl who is clapping her
hands and driving them on before her. . . . Turner certainly enjoyed the
geese. The two or three on the right are putting their heads together in a
very natural, and for the drawing, effective manner. . . .
"The mists are breaking away from the thick woods below the Hall. The
river, as it runs away from us, is drawn so as to suggest a greater height
for our point of view than accords with the look of the river bed in the
foreground. The rock on the left is veiy true to fact, allowance being
made for the really small size of the bushes and tuft of vegetation upon it."

LINE ENGRAVINGS ON COPPER. 99

178. MEEEICK ABBEY, SWALEDALE. (Vol. I, p. 222.)
Engraved by J. C. VarraU. 11 by 7|.
The Abbey ruins in mid-distance on right, above river which
flows below high, steep hills to left. Deep still reach of river in
foreground. Eabbit on bank on right and sportsman behind.
Engravers Proofs, (a) Before any letters, and before line round
margin of plate. Touched and scraped all over by Turner. R.
(b) Still b.a.l. Line added round margin. Lights added on water,
etc. BM., R., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Dec. 1822.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the possession of the Eev. W. Macgregor.
Mrs. Alfred Hunt remarks:
"The engraving is a very beautiful one, the drawing lovelier still. . , . The
drawing of the hill on the left, with its rounded swells and scattered lines
of wood, is exquisitely true to the actual fact; but the cows in the fore
ground and trees everywhere are made so small, that in spite of its perfect
drawing, the hill above looks too much like a mountain. ..."
179. AYSGAETH FOECE. (Vol. I, p. 401.)
Engraved by J. Scott. 11 by 7\.
Eiver in centre, descending in series of low, step-like falls,
through rocky valley. Moorland beyond. Angler and boy by water
in foreground.
Engraver's Proofs. Left, "Turner E.A. delt"; right, "Scott sc1,"
in very small etched writing. BM., R., T., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, June 1, 1820.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing, much but harmoniously faded, and still beautiful,
is in the possession of Mr. Walter Jones.
" Wensley Dale is the finest and most characteristic of the Yorkshire dales,
and in spite of the neighbourhood of a railway station, and a restored church,
Aysgarth is still the most exquisite spot to be found in it. Wordsworth has
described the Force, and very inadequately, by saying that it is just such a
piece of work as you might have expected from some giant gardener em-

100 ENGRAVED WORK OF' J. M. W. TURNER.
ployed by one of Queen Elizabeth's courtiers, if this giant gardener had con
sulted with Spenser, and the two had finished the work together. 'By
this,' he goes on to say, ' you will understand that it is at once formal and
wild.' This is rather a cumbrous method of expressing what Herrick put
much more prettily when he spoke of ' a civil wilderness.' . . . Three
successive ledges of rock stretch across the river and form Aysgarth
Force, the subject of Turner's drawing. . . .
"The character of the scene must have been very much changed by the
growth of trees, probably planted since Turner's time. Otherwise the draw
ing as a whole might have been used as a proof, if proof were ever really
required, of that great artist's power of making a picture of a place wonder
fully like the place, when he chose. The geological facts, however, as Turner
has seized them, are verifiable now. The underworn and overlapping ledges
of rock, seen either quite plainly, or partly veiled by the falling water, are
drawn with a master's care and precision. The very history of the Fall has
been consciously or unconsciously shown, and almost, it might be said, com
mented on, by the choice and arrangement of the foreground. The waterfall,
as Mr. Ruskin says, has plainly travelled back from the point in the fore
ground where the figure is sitting, and the strong, sharp shadow of a much
underworn bed of rock is made the darkest thing in the whole composition.
Perhaps it may be well to admit — for fear of being supposed to confuse the
truth of an artistic portrait with that of a scientific or photographic one —
that Turner may have unwittingly compressed very slightly the width of the
river's channel, and proportionately increased the height of the Fall, but the
effect of the whole scene must have been of a wilder and grander kind when
there was no line of tall trees at the back of the Fall — when the hillside or
moorland was quite bare, and the grey fringes of the shower which has, per
haps, just swollen the river, swept down, as in the drawing, almost to the
edge." — Mrs. Alfred Hunt's Notes.

180. SIMMEE LAKE, NEAE ASKEIG. (Vol. I, p. 402.)
Engraved by H. Le Keux. 10J- by 7-J.
A small, round lake surrounded by mountains. Sun breaking
through clouds overhead. Many figures and cows in foreground.
Smoke on further side reflected in lake.
Engraver's Proofs, (a) Left, " Drawn by J. M. W. Turner, E. A. " ;
right, " Etch'd by H. Le Keux," in italics. Before Title. Touched
by Turner. BM. (b) Title added on right, " Simmer Lake near
Askrig" in italics. Sky and water completed. R., T., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Oct. 25, 1822. " Printed by
McQueen and C° " in italics, low on right.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the possession of Mr. George Salting.
" Simmer Water or Seamer Water is about two miles from Bainbridge,
among the hills, and though by no means comparable with any of the lakes

LINE ENGRAVINGS ON COPPER. 101
in Cumberland or Westmoreland, it is a very pretty little mountain mere,
and under favourable conditions of light and atmosphere, often a great deal
more than that. . . . The large block of limestone in the foreground of the
engraving is known as the Carlow Stone. There is a tradition that the devil
attempted to fling it from, the summit of Addleborough Hill— the high hill
with the large cairn on the top of it, which rises on the eastern side of the
lake— to Crag End on the western. He failed, however, to do this — was there
ever a legend in which his endeavours did not fail! — and it fell where it now
lies." — Mrs. Alfred Hunt's Notes.

71

181. MOSS DALE FALL. (Vol. I, p. 403.)
Engraved by S. Middiman. lOf by 7\
On right, a narrow rocky gap among hills, through which, in front,
a river falls. A second, more precipitous fall from high rocks on left.
Goat on ledge in right foreground.
Engraver's Proofs, (a) On right, " Etch" by S. Middiman 1822 " in
etched italics. The darker parts unfinished throughout. R. (b)
"Etchd by" altered to "Engd by." BM., R., T. Th.
First Pub. State. On India Paper. Lettering as in Richmond Castle
and Town, No. 170. Pub. line Date, Aug. 22, 1822. "Printed
by H. Triggs " low on right.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the Fitzwilliam Museum at Cambridge (Euskin
Donation). " Mossdale Fall in broad simple daylight is a very different thing from the
transfiguration of it by a sunset effect which Turner has given us. The
engraving is full of examples of his truthfulness in little things, and, if a
certain enlargement of scale, due to the remembrance of an effect, be allowed
for, in great ones also. Let it be confessed at once that Mossdale is a very
small furrow in a moorland dale, with nothing Alpine about it, and that the
descent from the heights above and to the right of the Fall, where the mists
are gathering and a great peak appears to lift itself, down to the spectator's
view at the bottom of the Fall, can be accomplished in a few minutes with a
commonplace gate and fence, if we recollect rightly, in the way. Mists lying
about after rain, on moor and moss, and touched by the light of a fading
sunset, are great exaggerations of apparent size, and Turner never lost or
failed to use his first impression. Anyhow, the knowledge and minuteness
of detail which he, or the engraver, working under his direction, has put into
the engraving, are wonderful. The drawing is altogether unlaboured — all the
work being singularly swift, simple, and suggestive only of details, but they
are all there notwithstanding. The pretty sprinkling of the falling water
from ledge to ledge — the slight waving aside by the wind of its lowest leap —
the wearing away of the rock shelves where it rests from time to time, and
the expression of the gradual coming forward of the shelves themselves to the
base of the cliff, although they are seen in full front only — are instances of
beautiful truths of nature most picturesquely expressed. ... To return to the

102 ENGRAVED WORK OF J. M. W. TURNER.
engraving, the bushes are a little too much like trees — one especially on the
top of the hill to the right does fix a false idea of the size of the dale. The
main stream pouring over its perfectly straight ledge of rock on the right is
absolutely true, and so are the jets of water trickling out of the limestone
rock. A larch plantation, it may be noted, has now done much to destroy
the grandeur of the scene, and diminish the largeness of it." — Mrs. Alfred
Hunt's Notes.
182. HAEDEAW FALL. (Vol. I, p. 402.)
Engraved by J. Pye. lOf by 7\.
Eocky amphitheatre among hills; through cleft in centre, a slender
fall in bright light. Deep shadow below and on right. Milkmaid
in right foreground. Cows on left bank in sunshine.
Engraver's Proofs, (a) Without any letters. Shadow of nearest cow
on left bank square with back of cow. R., T., Th. (b) Shadow of
cow unaltered. Left, " J. M. W. Turner E.A. de? "; right, " Pye
Sculp"; centre, under plate line, "Middiman Sculp"; all in italics.
Title and Pub. line as in Pub. States. T.
First Pub. State. On India Paper. Title in italics. Left, " Drawn
by J. M. W. Turner E.A."; centre, " Etched by S. Middiman ";
right, " Egraved [sic] by John Pye " ; all in Eom. type. Pub. line
Date, Oct. 1. 1815. Shadow of cow no longer square with back,
but falls below it.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing, much faded, was in the possession of the late Mr,
E. Steinkopff.
" Hardraw Fall, the most striking waterfall in the district, is about a mile
and a half from Hawes, and is approached by a footpath leading from the
little inn at the entrance of the glen. . . . The Force is at the very end of a
small, deep, narrow, horseshoe shaped glen, which is shut in by limestone
cliffs about two hundred feet high. In the centre of the curve the fall leaps
down to a depth of ninety-six feet, from the edge of the cliff in which, during
the long course of time, it has worn for itself this channel, down to a stratum
of limestone interposed between two beds of soft shale. . . . The engraving of
Hardraw is said to be one on which John Pye especially prided himself."
183. CEOOK OF LUNE, LOOKING TOWAEDS HOENBY
CASTLE. (Vol. II, p. 203.)
Engraved by J. Archer. 11 by 7\.
A wide stretch of country, with hills to left and beyond. Eiver
winds in many loops from left, below steep banks. Smoke from a
fire high on left.

LINE ENGRAVINGS ON COPPER. 103
Engraver's Proofs. Before any letters. BM., R., T., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Aug. 10, 1821.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The beautiful Drawing, in fine condition, is in the possession of
the Eev. W. Macgregor.
" A more difficult subject than the ' Crook of Lune ' could hardly be set to
any landscape designer. The windings of a river seen from a considerable
height are hard to draw, and even when drawn rightly themselves require a
good deal of management in the composition of the landscape around them,
in order to make them illusively pleasant to the eye.
" No artist ever equalled Turner in dealing with such subjects. This Lune-
dale is, I think, one of the earliest examples of his power in this direction,
which he afterwards used so magnificently in his drawing of the Seine from
Chateau GaiUard and of the Tweed in the Scott illustrations of Melrose and
Dryburgh, and many other designs.
"In all these the river is really the principal subject, although the abbey or
castle lends a grace to its curves, like a pretty clasp on a gleaming circlet.
The Hornby Castle in the ' Crook of Lune ' is too small and distant to do this
service, but the bridge, with the gate-tower at the end of it, serves instead.
"The height of the horizon line must have made the drawing a tour de force
in landscape art seventy years ago. The backbone of the composition is
really the bulky promontory running out towards the right. The turfy slope
with which it rises gives us a hardly perceived but really firm line running
diagonally across it, but ending in a low cliff which breaks down to the river
on that side of the picture. That cross line does really serve to bind up
together the two principal links or glimpses of the river. Both the sweep of
the river above the bridge and that which swirls round the narrow ravine on
the left of the drawing are bound together by their both being at a certain
angle to this line. The rocky promontory, of course, was there, but Turner
has set his gorse bushes, or whatever they are, upon it, so as to leave a little
fold of turf clear, and so obtain the bit of rectangular firmness which he
wanted at that point.
" Since Turner's time, the actual spot has been hardly used by plantations,
and a gentleman's house, and changes of that kind. Turner's drawing, no
doubt, gives an idea of a larger and grander scene than would be found in
Lunedale now."^-Mrs. Alfred Hunt's Notes.

184. INGLEBOEOUGH, FEOM HOENBY CASTLE TEEEACE.
(Vol. II, p. 250.)
Engraved by C. Heath. lOf by 7\.
Wooded hills on left, below which a river flows. Level meadows
to right, with Ingleborough closing the view. In left foreground,
parapet of Castle, from which view is taken. Peacock on right.
Engraver's Proofs. Before any letters. BM., R., Th.

104 ENGRAVED WORK OF J. M. W. TURNER.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Jan. 2, 1822. " Printed by
McQueen and Co " low on right.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the possession of Mr. W. Law.
" A very fine view of Ingleborough — ' that huge creature of God,' as the
poet Gray calls it in one of nis delightful letters — is obtained from the terrace
at Hornby Castle, and of all — ' The Mountains high
Of Craven, whose blue heads for caps put on the sky ' —
it is the most striking, though it has no right to the distinction claimed for it
in the local rhyme :
' Ingleborough, Pendlehill, and Penyghent,
Are the highest hills between Scotland and Trent ' —
for Micke Fell is higher than any of them, and so is Whernside, but Ingle
borough is so remarkable in shape that it is pre-eminent as a landmark
never to be ignored or mistaken. It serves in this capacity even to ships on
the Lancashire coast." — Mrs. Alfred Hunt's Notes.
The Drawing was sold in 1881, in the Bale collection, for two
thousand guineas — the record price at that time for a Turner draw
ing. The purchaser was afterwards offered a still higher sum for it.

185. HOENBY CASTLE FEOM TATHAM CHUECH. (Vol. H,
p. 263.) Engraved by W. Radclyffe. lOf by 7\.
Valley in centre between wooded hills. A river crossed by bridge
of a single arch on left. Castle on hill in mid-distance. Group of
peasants in road in left foreground with a woman milking cow.
Church in distance to right.

Engraver's Proofs, (a) Eight, " W. Eadclyffe, fc, 1822" in etched
italics. Before the many small lights all over the hills and woods
to right. BM., T, Th. (b) Left, "Drawn by J. M. W. Turner,
E.A."; right, "Engraved by W. Eadclyffe, 1822"; all in italics.
Many small lights added all over the hills and woods on right.
BM., R. (The two parallel lines round the margin are present in
all States.)
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, June, 1822.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.

LINE ENGRAVINGS ON COPPER. 105
The Drawing, completely faded from long exposure to light, is at
South Kensington.
' ' In the ' Hornby Castle and Tatham Church ' we have the calm, untroubled
sunshine of late afternoon, 'or, perhaps, of evening, if we lay much stress on
a very faint shadow stealing sideways on the right of the bridge. The
arrangement of this drawing is especially fine. The materials are most com
plex — unmanageable, most artists would think — but we will enjoy the poetical
beauty of the artist's work before giving a thought to the examination of his
skill, and bring before our minds the pretty pastoral which he has invented
— the hills which are not mountains but only screens and dividing ridges, set
with gorse and heather, between this and other pleasant dales ; the river,
gentle as its name of Lune for the most part, but seen hurrying a little here
and there amid dwarf trees and old willows; the castle, by no means a
frowning one ; and then, in the foreground, the group made up so cleverly,
by the bridge, with light reflected upwards from the water, by the house and
by the whole incident of cow-milking and the figures connected therewith,
down to the very subordinate incident of the cat helping herself to the milk
which the little girl has spilt on the ground. . . . Tne original drawing, now
also sadly faded, is to be seen at South Kensington. If we examine the way
in which the lines and colours are used, as such, we shall find that not one
of them is used in vain. The harmony is too complete and complex to be
other than instinctive, although, just as the greatest master of harmonious
verse may labour long over a cadence, a pause, or a syllable in a line, Turner
may well have used conscious ingenuity here and there. The whole space
around, between, and at the foot of the two tall, rather thinly -leaved trees is
full of subtle arrangements of form. The arch of the bridge would be too
isolated and self-asserting if it were not broken just where it is by the tree-
stem on the right. The stem on the left does the same office for the wall and
chimney of the house. The curve of the arch between the two stems is re
peated, but invertedly, by the depression of the hill between the same two
stems above. The line of the roadway of the bridge is carried on in a subtly
unseen way all across the picture by the cottage roof sloping down on the left,
and the line of trees by the riverside on the right, and the rather far outlying
church at the very edge of the view is saved from being too far away by
being set on this line. The church is possibly one which has been, as Mr.
Ruskin would say, ' fetched someway round the corner,' and topographical
fact has had some share in its being brought in at all." — Mrs. Alfred Hunt's
Notes.

186. KIEKBY LONSDALE CHUECHYAED. (Vol. II, p. 277.)
Engraved by C. Heath. 11 by 7|.
The church and churchyard on hill in foreground above river,
which winds through valley from right, below hills; mists along its
course. Boys throwing stones at pile of books on gravestone.
Engraver's Proofs. Before any letters. BM., R., T., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle and
Town, No. 170. Pub. line Date, Jan. 25, 1822. "Printed by
M'Queen and Co " low on right.

106 ENGRAVED WORK OF J. M. W. TURNER.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing, much faded, is in the possession of Sir Donald
Currie. " Mr. Ruskin has said: ' I do not know in all my own country, still less in
France or Italy, a place more naturally divine or a more priceless possession
of true " Holy Land" than Kirkby Lonsdale,' and again: ' Whatever moor
land hill and sweet river and English forest foliage can be at their best is
gathered there, and chiefly seen from the steep bank which falls to the
stream side from the upper part of the town itself. ' . . .
' ' Turner's drawing is very like the place, and he has overcome considerable
difficulties in designmg it, for, like ' Aske Hall,' it is a view framed in as it
were by nature between trees, and trees set in a line, and it is not easy to
avoid a look of theatrical prettiness in a view of that kind." — Mrs. Alfred
Hunt's Notes.

187. HEYSHAM AND CUMBEELAND MOUNTAINS. (VoLH,
p. 317.)
Engraved by W. R. Smith. lOf by 7|.
Village to left among trees on shore of Morecambe Bay. Bay in
centre, with distant mountains on further side. In foreground,
women with cows, and gleaners.
Engraver's Proofs, (a) Before any letters. Before white curving
line of tide on right. T. Another, touched by Turner. BM. (b)
Left, " Drawn by J. M. W. Turner, E.A."; right, "Engraved by
W. E. Smith"; in italics. Lines of tide added on right. BM.,R.,
T, Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Aug. 22, 1822.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the possession of Mr. George Salting.
' ' The secondary title of this engraving is surely inaccurate. The mountains
which rise over the bay and a stretch of low land towards the right are Con-
iston Old Man and his compeers. There are no doubt some bits of Cumber
land in the extreme distance on the left, but Coniston Old Man is in
Lancashire."— Mrs. Alfred Hunt's Notes.
Heysham is analyzed at length in Euskin's ' Elements of Drawing,'
pp. 325-330.

LINE ENGRAVINGS ON COPPER. 107

188. WEATHEECOTE CAVE WHEN HALF FILLED WITH
WATEE. (Vol. II, p. 342.)
Engraved by S. Middiman. 10^- by 7\.
A wall of rock in foreground, covered with trees. On right,
through the trees, a river falls almost perpendicularly; a small
stream also falls on left. Eainbow low down between the falls.
Steep, rocky hills above.
Engraver's Proofs, (a) " Etch'd by S. Middiman, 1821 " in centre,
in etched writing. Completed except light clouds in upper sky.
BM., T., Th. (b) "Etch'd by" altered to "Engd by." Sky
finished. BM., R., T., Th.
First Pub. State. On India Paper. Lettering as Richmond Castle
and Town, No. 170. Pub. line Date, Oct. 30, 1822. " Printed
by H. Triggs " low on right.
Second State. On plain paper. Same lettering.
Reprints. As Richmond, Yorkshire, No. 169.
The Drawing is in the possession of Mr. George Salting.

XXXII
THE PROVINCIAL ANTIQUITIES OF
SCOTLAND, 1819—1826
An account of this work will be found in the Introduction,
pp. xxxv-vi. It was originally published in Parts, which on com
pletion were issued in two volumes, at the following prices :
Proofs on India Paper, Imperial Quarto, price J215
Prints, Eoyal Quarto .... =£8
The ' Provincial Antiquities of Scotland ' was very successful,
and the publishers, recognizing that this was largely due to
Sir Walter Scott, who had taken a keen interest in it from
the first and had written the letterpress gratuitously, presented
him with all Turner's drawings for the work. They remained at
Abbotsford until quite a recent date.
In addition to Turner's illustrations, many of those by other
artists are attractive — notably Calcott's Edinburgh from St.

108 ENGRAVED WORK OF J. M. W. TURNER.
Anthony's Chapel, and the Eev. J. Thomson's Fast Castle and Roslin
Castle. The standard of execution in the engravings is high
throughout. Very few of the Touched Proofs appear to have sur
vived. 189. VIGNETTE TITLE TO VOL. I.
Engraved by George Cooke. About 5 by 4.
Edinburgh Castle; horsemen entering arched gateway beneath.
Below, in foreground, trophy of broadswords, shields, bagpipe, etc.
Engraver's Proof. Without any lettering except artists' names,
which are in italics. T.
First Pub. State. On India Paper. Left, "Drawn by J. M. W.
Turner E.A. 1825"; right, "Engraved by George Cooke."
Title, etc., at top in shaded Eom. caps. Pub. line Date, 1826.
Later States. Same lettering, but on plain paper.
A slight sketch for the vignette is in the National Gallery.
190. BOETHWICK CASTLE. (Vol. I, p. 29.)
Engraved by H. Le Keux. 9f by 6f .
High, square keep of castle in centre on low hill; higher hills
close the valley. Below castle, trees and cottages; men with horses
fording river.
Engraver's Proofs. Title to left and artists' names in italics. BM.,
R., T., Th.
First Pub. State. On India Paper (Imperial Quarto). Title in
centre in open caps; artists' names in small Eom. type. Pub.
line Date, April 2, 1819.
Later States. Same lettering, on plain paper.
The Drawing is in the possession of Mr. T. Brocklebank.

191. CEICHTON CASTLE. (Vol. I, p. 51.)
Engraved by George Cooke. 9f by 6f .
The Castle in centre on steep hill; valley below with stream.
Wooded hills to left. In foreground, woman driving cows; man in
plaid to right.
Engraver's Proof. Before Title. Artists' names in small Eom. type.
Lower part of wooded hill to left is bare of trees. R.

LINE ENGRAVINGS ON COPPER. 109
First Pub. State. On India Paper. Title in centre in open caps;
artists' names in small Eom. type. Pub. line Date, Aug. 1, 1819.
" Printed by B. McQueen " below Title. Trees on hill to left are
continued to base.
Later States. Same lettering, on plain paper.
The Drawing is in the possession of Mr. T. Brocklebank.
*#* A small later Eeplica of this plate will be described with
Tilt's ' Illustrations to Scott.'

192. HIGH STEEET, EDINBUEGH. (Vol. I, p. 68.)
Engraved by H. Le Keux and G. Cooke. 9f by 6\.
Open space at top of High Street, looking eastward. St. Giles*
Church in centre. Many figures around pedlar's and other stalls in
foreground. First Pub. State. On India Paper. Title in centre in open caps;
artists' names in slender Eom. caps; under plate-line, "The
Figures engraved by G. Cooke." Pub. line Date, Dec. 20, 1819;
below, in centre, " Printed by B. McQueen."
Later States. Same lettering, on plain paper.
The Drawing is in the possession of Mr. T. Brocklebank.

193. EDINBUEGH FEOM THE CALTON HILL. (Vol. I,
p. 83.)
Engraved by George Cooke. 10 by 6§ .
A bird's eye view of the city from the top of the Calton Hill; the
Castle and the old Town high in centre and to left. Women
spreading clothes to dry in foreground.
Engraver's Proofs. A Touched Proof in the collection of Mr. Bul-
lard of Boston, U.S.A., has a series of notes by Turner of great
interest which will be found quoted in extenso on pp. lxxi-ii of
the Introduction.
Later Proofs. Completed. Title in centre, in etched, leaning caps.
Artists' names in italics. BM., R., T., Th.
First Pub. State. On India Paper. Title in centre in open caps ;
artists' names in small slender caps. Pub. line Date, Nov. 1,
1820. " Printed by McQueen and C° " low on right.
Later States. Same lettering, on plain paper.

.110 ENGRAVED WORK OF J. M. W. TURNER.
The Drawing is in the possession of Mr. T. Brocklebank.
This is perhaps the finest of all Turner's plates in the work,
and it is superbly engraved.

194. VIGNETTE TITLE TO VOL. II.
Engraved by R. Wallis. About 7^ by 7-f.
Distant view of Edinburgh from Leith Harbour. Man-of-war in
centre saluting. Sun setting behind. Two clasped hands between
star of St. George and St. Andrew.
Engraver's Proof. Without any letters. T.
First Pub. State. On India Paper. Artists' names in italics; title
above in shaded letters. Below, " Vol. II " and Pub. line Date,
1826.
Later States. Same lettering, on plain paper.
195. HEEIOT'S HOSPITAL. (Vol. II, p. 97.)
Engraved by if. Le Keux. 9^ by 6§.
The Hospital, high in distance, seen above lower houses. An
open space in foreground, covered with stalls, figures, etc.
Engraver's Proofs, (a) Without any letters. R., T. (b) Title on left
(spelt " Herriotts "), and artists' names, in italics. In centre
- " The Figures etched by G. Cooke." BM., T.
First Pub. State. On India Paper. Title in centre in open caps;
artists' names in small slender caps. Pub. line Date, Nov. 1,
1822. " Printed by McQueen and C° " low to right.
Later States. Same lettering, on plain paper.
The Drawing is in the possession of Mr. T. Brocklebank.
196. EOSLIN CASTLE. (Vol. II, p. 127.)
Engraved by W. R. Smith. 9f by 6J.
A ravine on the right with steep, wooded rocky banks, and stream
below. The Castle high on left above trees. Angler wading on
right.
Engraver' s Proof s. Before Title. Left, " Drawn by J. M. W. Turner
E.A. "; right, "Etched by W. E. Smith"; both in italics. BM.,R.
First Pub. State. On. India Paper. Title in, centre in open caps-;

LINE ENGRAVINGS ON COPPER. Ill
artists' names in small, slender caps. Pub. line Date, Nov. 1,
1822. " Printed by McQueen and C° " low to right.
Later States. Same lettering, on plain paper.
Reprint. In the BM. is a worn impression with Pub. line, " London,
published July 1835, by Charles Tilt, 86 Fleet Street."
The Drawing is in the possession of Mr. T. Brocklebank.
*#* A small later Eeplica of this plate will be described with
Tilt's 'Illustrations to Scott.'
This is a very beautiful plate and finely engraved.

197. DUNBAE. (Vol. II, p. 127.)
Engraved by J. C. Allen. 10|- by 6|.
The Castle ruins extending along a rocky ridge of coast which
stretches across the plate. Heavy sea breaking in front, and cap
sized boat to which men are clinging, in left foreground.
Engraver's Proof. Title in centre in etched leaning caps. Artists'
names in italics. R.
First Pub. State. On India Paper. Title in centre in open caps.
Artists' names in small Eom. type. Pub. line Date, May 1, 1824.
" Printed by McQueen " low on right.
Later States. Same lettering, on plain paper.
The Drawing is in the possession of Mr. T. Brocklebank.

198. TANTALLON CASTLE. (Vol. II, p. 160.)
Engraved by E. Goodall. 9j by 6§ .
Castle in distance on left on rocky promontory above the sea,
which is breaking with high spray over rocks in foreground and to
right. On left, woman with dog and man with pitcher.
Engraver's Proofs, (a) Early. Before Title. In centre, under
plate-line, " Etched by E. Goodall," in italics. Sky, and plate
generally, incomplete. R. (b) Work nearly completed. " Etched
by," etc., erased, but still showing. R. (c) Completed, but before
Title. Artists' names in italics. BM., R.
First Pub. State. On India Paper. Title in open caps. Artists'
names in small slender caps. Pub. line Date, June 1, 1822.
" Printed by McQueen and C° " low on right.
Later States. Same lettering, on plain paper.

112 ENGRAVED WORK OF J. M. W. TURNER.
The Drawing is in the possession of Mr. T. Brocklebank.
*#* A small later Eeplica of this plate will be described with
Tilt's 'Illustrations to Scott.'
The engraving of the sea and sky here is finely executed.

199. LINLITHGOW PALACE. (Vol. II, p. 169.)
Engraved by R. Wallis. 9f by 6f .
The castellated Palace and the church tower with open corona,
among trees on the further shore of a small loch. In foreground,
cows, figures, and a dog, on the shore.
Engraver's Proofs, (a) Before Title. Left, " Drawn by J. M. W.
Turner E.A. " ; right, " Etched by Eob* Wallis " in italics. Burin
work throughout not fully completed. T. (b) Title in centre in
open caps. Artists' names in small slender caps. Pub: line Date,
July 1, 1822. Completed, but before printers' name. R.
First Pub. State. On India Paper. Lettering as in preceding, with
" Printed by McQueen and C° " added, low on right.
Later States. Same lettering. Many fewer diagonal strokes of white
light on small pool under tall tree on right.
The Drawing is in the possession of Mr. T. Brocklebank.

200. BASS EOCK. (Vol. II, p. 181.)
Engraved by W. Miller. 10 by 6T.
The Bass Eock in centre, in light, surrounded by stormy sea.
Thunder-storm behind, with lightning from right. On left, boat's
crew rescuing drowning sailors from wreckage.
Engraver's Proofs, (a) Title on left; left, "Drawn by J. M. W.
Turner E.A."; right, "Etched by Will"1 Miller "; all in italics.
Nearly completed. BM. (b) Completed. " Etched by " altered to
" Engraved by." BM., R.
First Pub. State. On India Paper. Title in centre in open caps.
Artists' names in small slender caps. Pub. line Date, May 1,
1826. " Printed by McQueen " low on right.
Later States. Same lettering, on plain paper.
The Drawing is in the possession of Mr. T. Brocklebank.

LINE ENGRAVINGS ON COPPER. 113

XXXIII
201. STEVENSON'S ' BELL EOCK LIGHT HOUSE.' 1824.
Engraved by J. Horsburgh. 8f- by 5-|.
Lighthouse in centre in thunder-storm. Heavy sea breaking
round it. Sailing boat to left.
Engraver's Proof. Without any letters. Touched by Turner. Before
the lightning on extreme left. R.
First Pub. State. On India paper. Title in centre in open caps ;
artists' names in small Eoman type; "Printed by McQueen "
low on right. Lightning added.
This fine plate is the frontispiece to Eobert Stevenson's ' Account
of the Bell Eock Light House.' Edinburgh, 1824. A large line en
graving of the same subject was executed by W. Miller in 1864.
I have been unable to trace the Drawing.

XXXIV
202. EHEENBEEITSTEIN, DUEING THE DEMOLITION OF
THE FOETEESS IN 1817. Single Plate. 1824.
Engraved by J. C. Allen, llf by 7\.
The Fortress high on the right, above the Ehine. White smoke
rising from explosion at base. Quay, with boats and figures, in left
foreground.
Engraver's Proofs, (a) Title (Ehrenbreitstein) in centre in etched,
slender caps. Artists' names in etched italics. Before Pub. line.
R., T. (b) Pub. line added in etched italics. Date, May 1, 1824.
First Pub. State. Title in open Eom. caps. Artists' names in small
Eom. type. " Proof " to right.
Second State. A line in each of the caps of Title.
The Drawing is in the Bury Art Gallery.

114 ENGRAVED WORK OF J. M. W. TURNER.

XXXV
203. COLOGNE. Single Plate. 1824.
Engraved by E. Goodall. 18^ by 13J.
The Ehine in front with many boats, rafts and figures, some
bathing. Tall machicolated tower and old walls to left. Cathedral
and town beyond.
Engraver's Proof. Before Title. Left, " Drawn by J. M. W. Turner
E.A."; right, "Etched by Edwd Goodall"; both in italics.
Touched by Turner. R.
First Pub. State. On India Paper. Still before Title. "Etched by"
altered to "Engraved by." Pub. line Date, March 1, 1824.
" Printed by McQueen " low on right.
Second State. On plain paper. Title in centre in open Eom. caps.
Artists' names in small, slender caps.
The Drawing is in the possession of Mr. George Gould, U.S.A.

XXXVI
204. WILTON HOUSE. 1825.
Engraved by T. Higham. 9 by 6|.
The Mansion, to left, occupies most of the plate. Lawn in front,
trees to right. On left, two saddled horses with grooms.
As Published. Title in centre in open caps ; beneath it, in brackets,
" Ut ohm." Left, " Turner, del " ; right, " T. Higham, Sculp. " ;
both in italics. Below, " Published by Sir Eichd Colt Hoare Bar1,
Jan. 1, 1825." At top of plate, " Plate VIII." R.
This plate appeared, I believe, in Vol. V of Sir Eichard Colt
Hoare's ' History of Modern Wiltshire,' privately published.
The Drawing, interleaved in a copy of the book, was sold with
the Stourhead heirlooms a few years ago.

LINE ENGRAVINGS ON COPPER. 115

XXXVII
205. THE CUSTOM HOUSE. 1827.
Engraved by J. C. Allen. 9-| by 5^.
The Custom House to right with the Monument behind. Quays,
barges, and shipping in front. The dome of St. Paul's in distance.
Engraver's Proofs, (a) Before Title. Artists' names in faint italics.
R„ T. (b) Title in centre in etched italic caps; before Pub. line.
BM.
First Pub. State. Same lettering, with Pub. line added in italics.
Date, Jan. 1, 1827.
Second State. Title in open Eom. caps. Pub. line in Eom. small
type.
Third State. A line in each of the caps of Title.
The Drawing was in the Hibbert Sale at Christie's in 1860.
1 believe that this print and the one following were published as
a pair, and not as book illustrations.

206. OLD LONDON BEIDGE AND VICINITY. 1827.
Engraved by E. GoodaU. 10f by 7.
The Bridge in centre in mid-distance, seen from quay of Custom
House. Shipping and barges to right and left. On buoy to left is
" Port of London."
Engraver's Proofs. Before Title. Left, "Drawn by J. M. W. Turner
E.A."; right, "Etched by Edw" Goodall"; in italics. BM., R.
First Pub. State. Same lettering, with Pub. line added, also in italics.
Date, June 1, 1827. " Printed by McQueen " low on right.
Second State. Title in open Eom. caps; artists' names and Pub.
line in small Eom. type. "Proof" on right.
Third and Later States. A line in all the caps of Title. " Proof "
removed.
The Drawing is in the Jones Bequest at South Kensington, under
the title of " The Port of London."

116 ENGRAVED WORK OF J. M. W. TURNER.

XXXVIII
207. TIVOLI. A COMPOSITION. Single Plate. 1827.
Engraved by E. Goodall. 23f by 15|.
Still reach of river in front, with ruined, classical temple high on
right; towers and buildings on steep cliffs beyond. High, dark
trees to left. Campagna in distance, over which sun is setting.
Women and goat in foreground.
Engraver's Proof. Before Title and Pub. line. Artists' names in
italics. Completed. R.
First Pub. State. Title in centre in open caps. Below, Dedication
to Sir Thomas Lawrence, P.E.A., etc. Artists' names in small
Eom. letters. At foot, " London, Published for the Proprietor,
J. Allnutt Esqr, by Colnaghi and Son, Pall Mall East, 1827."
" Printed by M°Queen " low on right.
The Drawing is in the possession of Lord Joicey.
This beautiful plate was engraved for Mr. Allnutt, of Clapham,
a well-known patron of Turner. The Open Etching is also very
attractive.

XXXIX
208. THE TEMPLE OF JUPITEE IN THE ISLAND OF
.EGINA. Single Plate. 1828.
Engraved by John Pye (Etched by S. Middiman). 22| by 15.
The Temple (in its original state) high in mid-distance, sur
rounded by other classical buildings. Sea in distance on right.
Clump of tall trees in centre and another to left, with distant view
of sea between. Procession of classical figures in foreground.
Engraver's Proofs, (a) Very early. Burin work only commenced.
In centre, below plate-line, in minute italics, " S. Middiman et
J. Pye aquafortis fecit 1824." BM. (b) Burin work advanced,
except on sky. Without any lettering. R. (c) Plate nearly
completed, but still without any lettering. R. (d) Completed.
Left, "J. M. W. Turner, E.A."; right, "John Pye, London,
1827 "; in italics. Before Title.

LINE ENGRAVINGS ON COPPER. 117
First Pub. State. Before Title. Artists' names in slender caps.
Pub. line Date, Jan. 1, 1828. " Printed by McQueen " on right.
Second State. Title added in open Eom. caps. Artists' names in
Eom. caps. In centre under plate-line, "Etched by S. Middiman
and John Pye " in small Eom. type. Dedication to Lord Lynd-
hurst, coat of arms, etc. Printer's name on left.
Third State. A line in centre of all the caps of Title.
Fourth State. Printer's name removed.
It is uncertain from what Picture or Drawing this engraving was
taken.

XL
'PICTURESQUE VIEWS IN ENGLAND AND
WALES,' 1827—1838
A full account of this beautiful but ill-fated work will be found
in the Introduction (pp. xlvii-1). The plates were all engraved on
copper, steel not yet having come into general use. The copper
plates, along with almost the entire stock of the engravings, were
found in Turner's house at his death; the former were broken up
at Christie's before the great Sales in 1873 and 1874.
The late Mr. Henry Graves, the publisher, told me that the
plates were usually engraved as fast as Turner supplied the draw
ings, so that the date on each print always corresponds within
about a year with that of the drawing. Volume I, containing
sixty plates, appeared in 1832. Volume II, owing to the want of
success, was stopped when thirty-six more had been completed.
The volumes were afterwards re-divided into forty-eight plates
each. A few unengraved drawings survive, which to judge from their
style and size, may very probably have been intended for the work.
One of these, Exeter College, Oxford, is in the National Gallery,
and others are in private collections, but the ascription is in
every case only conjectural. The so-called 'Continuation of the
England and Wales' is described on pp. 169-173.

118 ENGRAVED WORK OF J. M. W. TURNER
The original advertised prices were:
India Proofs before letters, Colombier folio,
with the Etchings  .£48 per vol.
India Proofs before letters, Colombier folio,
without the Etchings  .£40 „
Ditto, with letters, Imperial Quarto (30
copies only printed) ... ... ... .£24 „
Proofs, Imperial Quarto ... ... ..: iii 5 15s. „
Prints, Eoyal Quarto ... ... ... <£10 10s. „
209. EIEVAULX ABBEY, YOEKSHIEE. (Part I, No. 1.)
Engraved by E. Goodall. 9| by 6^.
The Abbey ruins in sunlight, in mid-distance, in centre of valley
between wooded hills. Eiver in foreground with angler standing
in water on left.
Engraver's Proofs. Before Title. In centre under plate-line, "Etched
by E. Goodall from a drawing by J. M. W. Turner, E.A.", in
italics. Nearly completed. BM., R. Another, touched by Turner.
T.
First Pub. State. Still before Title. " Etched by " removed; other
lettering unaltered. Before Pub. line and printer's name.
Second State. ' India Proofs.' On India paper. Title and artists'
names in italics. "Published March 1, 1827, for the Proprietor, by
Eobert Jennings, Poultry." " Printed by McQueen," low on right.
Third State. ' Large Paper Proofs.' On plain paper, Imperial Quarto.
Same lettering as preceding.
Fourth State. ' Prints.' On plain paper, Eoyal Quarto. Same let
tering. *#* It will be observed throughout the ' England and Wales,'
that the only differences that can be defined after the First Pub.
State, lie either in the nature or the size of the paper, and the size
has since been frequently altered in binding the plates. But there
is, of course, a gradual but distinct depreciation in each succeeding
issue, especially after the Second State, the impressions of which
are always fine, only thirty sets having been printed. Yet even the
Fourth State — the 'Prints' — are fairly good, Turner not having
allowed too many to be printed, and, after Heath's bankruptcy,
having bought back the copper-plates to prevent their falling into
unscrupulous hands. (See Introduction, p. xlviii.)
The Drawing is in the possession of Sir Donald Currie, G.C.M.G.

LINE ENGRAVINGS ON COPPER. 119
In this charming plate the characteristic attitude of the angler,
who is tying on a fly while wading, is very noticeable. Only a
fisherman could have drawn it. At the same time the long, slender,
tapering line of the rod is of the greatest value to the composition,
as may be seen by covering it up.
210. LANCASTEE FEOM THE AQUEDUCT BEIDGE. (Part I,
No. 2.)
Engraved by R. Wallis. 9^ by 6^.
The Town in distance with castle on height, seen from canal
aqueduct, which crosses the river in foreground. Cornfield with
reapers on flats by river below. " Lancaster " on barge to right.
Engraver's Proofs. Before Title. Left, " Drawn by J. M. W. Turner
E.A."; right, " Etchd by Eob1 Wallis," in italics. Nearly com
pleted, but with many fewer figures in cornfield than after. BM., R.
Later Proof, with the additional figures scratched white, and de
tails for engraver drawn in pencil on margin bv Turner. BM.
First Pub. State. Still before Title. " Etch" by "altered to " Engr.
by." Before Pub. line and printer's name. Many reapers added
in cornfield, especially at right corner below angle of parapet.
Second State. ' India Proofs.' On India paper. Title and artists'
names in italics. Pub. line Date, March 1, 1827.
Third State. 'Large Paper Proofs.' On plain paper, Imperial Quarto.
Same lettering as preceding.
Fourth State. ' Prints.' On plain paper, Eoyal Quarto. Same
lettering.
There are two Drawings of this subject, differing in size, but
both apparently by Turner's hand. One is in the possession of
Mr. W. H. Lever, M.P.
211. DAETMOUTH COVE. (Part I, No. 3.)
Engraved by W. R. Smith. 9 by 6^
The winding, landlocked harbour to right and left, divided by
high, wooded hills in centre. Town and shipping to right. Large
party of sailors and women in foreground.
Engraver's Proofs. Without any lettering. Nearly completed. BM.,
R. One in BM. is touched by Turner, with instructions in margin
— "All the broad lights Burnished."
First Pub. State. Before Title and Pub. line. Left, " Drawn by
J. M. W. Turner E.A."; right, " Engraved by W. E. Smith "; in
italics.

120 ENGRAVED WORK OF J. M. W. TURNER.
Second and Later States. As Rievaulx Abbey, No. 209.
The Drawing is in the possession of Mr. Holbrook GaskelL
This view of Dartmouth is totally different from the earlier ones
in 'The Southern Coast' and in 'The Eivers of England,' and
is, I think, much more beautiful.
212. BOLTON ABBEY, YOEKSHIEE. (Part I, No. 4.)
Engraved by R. Wallis. 9 by 6T7B-.
The gable end of Abbey ruins to left, seen through trees. To
right the Wharfe flowing beneath high, precipitous rocks. Angler
seated by river in foreground.
First Pub. State. Eight, " Engraved by Eob' Wallis 1827." Before
Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209.
The Drawing is in the possession of Mr. W. H. Lever, M.P.
Mr. Euskin has written at length on the Drawing for this plate.
He says (' M. P.,' vol. iv, p. 254):
" But Turner evidently felt that the claims upon his regard possessed hy
those places which first had opened to him the joy, and the labour, of his life,
could never be superseded; no Alpine cloud could efface, no Italian sunbeam
outshine, the memory of the pleasant dales and days of Rokeby and Bolton ;
and mapy a simple promontory, dim with southern olive,— many a low cliff
that stooped unnoticed over some alien wave, was recorded by him with a
love, and delicate care, that were the shadows of old thoughts and long-lost
delights, whose charm yet hung like morning mist above the chanting waves
of Wharfe and Greta." . . .
"With all his heart, he was attached to the narrow meadows and rounded
knolls of England ; by all his imagination he was urged to the reverence of
endless vales and measureless hills : nor could any scene be too contracted
for his love, or too vast fpr his ambition. Hence, when he returned to English
scenery after his first studies in Savoy and Dauphine, he was continually
endeavouring to reconcile old fondnesses with new sublimities; and, as in
Switzerland he chose rounded Alps for the love of Yorkshire, so in York
shire he exaggerated scale, in memory of Switzerland." . . .
" The Abbey is placed, as most loyers of our English scenery know well,
on a little promontory of level park land, enclosed by one of the sweeps of
the Wharfe. On the other side of the river, the flank of the dale rises in a
pretty wooded brow, which the river, leaning against, has cut into two or
three somewhat bold masses of rock, steep to the >vater's edge, but feathered
above with copse of ash and oak.1 Above these rocks, the hills are rounded
softly upwards to the moorland; the entire height of the brow towards the
river being perhaps two hundred feet, and the rocky parts of it not above
forty or fifty, so that the general impression upon the <eye is that the hill is
little more than twice the height of the ruins, or of the gro'ups of noble ash
trees which encircle them. One of these groups is conspicujiW tybqye the

LINE ENGRAVINGS ON COPPER. 121
rest, growing on the very shore of the tongue of land which projects into
the river, whose clear brown water, stealing first in mere threads between
the separate pebbles of shingle, and eddying in soft golden lines towards its
central currents, flows out of amber into ebony, and glides calm and deep
below the rock on the opposite shore.
' ' Except in this stony bed of the stream, the scene possesses very little more
aspect of mountain character than belongs to some of the park and meadow
land under the chalk hills near Henley and Maidenhead; and if it were
faithfully drawn in all points, and on its true scale, would hardly more affect
the imagination of the spectator, unless he traced, with such care as is never
from any spectator to be hoped, the evidence of nobler character in the
pebbled shore and unconspicuous rock. But the scene in reality does affect
the imagination strongly, and in a way wholly different from lowland hill
scenery. A little farther up the valley the limestone summits rise, and that
steeply, to a height of twelve hundred feet above the river, which foams
between them in the narrow and dangerous channel of the Strid. Noble
moorlands extend above, purple with heath, and broken into scars and glens,
and around every soft tuft of wood, and gentle extent of meadow, through
out the dale, there floats a feeling of this mountain power, and an instinct
ive apprehension of the strength and greatness of the wild northern land.
" It is to the association of this power and border sternness with the sweet
peace and tender decay of Bolton Priory, that the scene owes its distinctive
charm. The feelings excited by both characters are definitely connected by
the melancholy tradition of the circumstances to which the Abbey owes its
origin; and yet farther darkened by the nearer memory of the death, in the
same spot which betrayed the boy of Egremont, of another, as young, as
thoughtless, and as beloved. ' The stately priory was reared,
And Wharfe, as he moved along,
To matins joined a mournful voice,
Nor failed at evensong.'
"... Turner goes down to the shingly shore ; for the Abbey is but the
child of the Wharfe ; — it is the river, the great cause of the Abbey, which
shall be his main subject; only the extremity of the ruin itself is seen,
between the stems of the ash trees ; but the waves of the Wharfe are studied
with a care whieh renders this drawing unique among Turner's works, for
its expression of the eddies of a slow mountain stream, and of their pausing
in treacherous depth beneath the hollowed rocks.
"On the opposite shore is a singular jutting angle of the shales, forming the
principal feature of the low cliffs at the water's edge. Turner fastens on it as
the only available mass ; draws it with notable care, and then magnifies it
by diminishing the trees on its top to one fifth of their real size, so that what
would else have been little more than a stony bank becomes a true precipice,
on a scale completely suggestive of the heights behind. The hill beyond is
in like manner lifted into a more rounded, but still precipitous, eminence,
reaching the utmost admissible elevation of ten or twelve hundred feet
(measurable by the trees upon it)." . . .
213. COLCHESTEE, ESSEX. (Part II, No. 1.)
Engraved by R. Wallis. 9 by 6^-.
The town on opposite bank of small river, which widens to left.
Castle on eminence in centre behind clump of trees. Low sun

122 ENGRAVED WORK OF J. M. W. TURNER.
on left. Watermill to right. Men and dog chasing hare in fore
ground.
Engraver's Proofs. One, with the following directions in Turner's
writing for lightening the sky round the sun, etc. " Lines of hills
too much seen tho they are laid the right way. Try and blend
them but not by a cross line. Burnish the sky round the sun etc.
etc. Dont top up, and try some [here some marks] at x x x ,
and I shall see how they will answer." In the possession of the
engraver's family.
First Pub. State. Eight, " Eob1 Wallis 1827." Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, June, 1827.
The Drawing is in the possession of Mr. Fairfax Murray.
It is difficult to be certain what time of day is depicted in this
charming plate, and the Drawing does not settle the question, as,
although still extremely beautiful, it has somewhat faded. I think
it is intended for a summer evening, an hour or so before sunset,
but it may easily give the impression of moonlight.

214. FALL OF THE TEES, YOEKSHIEE. (Part II, No. 2.)
Engraved by E. Goodall. 8jf by 6^.
Eiver falling over high, perpendicular wall of rock in centre.
Above and beyond, slopes of moorland. Man seated on rock below
fall. First Pub. State. Left, "Drawn by J. M. W. Turner EA."; right,
" Engraved by E. Goodall." Before Title, etc.
Second and Later States. As in Rievaulx Abbey, No. 209, but with
Date, June, 1827.
The Drawing is in the possession of the Trustees of the late Mr.
J. E. Taylor.

215. EICHMOND, YOEKSHIEE. (Part II, No. 3.)
Engraved by W. R. Smith. 9f by 6|.
The town on hill in centre; the tower of castle conspicuous in
sunlight. Eiver flowing below to right. On high bank in fore
ground, milkmaid followed by two dogs.

LINE ENGRAVINGS ON COPPER. 123
Engraver's Proofs, (a) Without any letters. Before two figures half
way up bank below town, BM. Two others, touched by Turner, R.
(b) More advanced and with the two figures added, BM.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A."; right,
" Engraved by W. E. Smith." Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, June, 1827.
The Drawing is in the possession of Mr. George Salting.
There are four engraved plates from drawings by Turner of this
romantic little Yorkshire town, which had naturally a keen attrac
tion for him. Perhaps the finest is Richmond from the Moors (No.
232), but there is a great charm in the present one, and the Drawing
well merits Mr. Euskin' s eulogy:
"There is no more lovely rendering of old English life; the scarcely altered
sweetness of hill and stream, the baronial ruins on their crag, the old-fashioned
town with the little gardens behind each house, the winding walks for plea
sure along the river shore — all now, in their reality, devastated by the hell-
blasts of avarice and luxury." — ' Notes on his own Collection,' ed. 1904,
vol. xiii.

216. LAUNCESTON, COENWALL. (Part II, No. 4.)
Engraved by J. C. VarraU. 9^ by 6T\.
Town in distance, high on steep wooded hill, with castle towering
above it. Below, stream winding among meadows. Eoad in fore
ground between trees, with man on horseback.
Engraver's Proofs. Without any letters. Two touched by Turner;
one before sheep in meadow in centre, and unfinished through
out; another with sheep drawn in and nearly complete. BM.
First Pub. State. Without any lettering, but completed. Much
more luminous than the above Engraver's Proofs.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, June, 1827.
The Drawing is in the possession of Mr. J. F. Schwann.
This is a most beautiful plate, extremely skilful in its composi
tion. It will be observed how perfectly the dark figure on horse
back centres the whole arrangement of lines and lights, arresting
and resting the eye.

124 ENGRAVED WORK OF J. M. W. TURNER.

217. BEENAED [BAENAED] CASTLE, DUEHAM. (Part III,
No. 1.)
Engraved by R. Wallis. 9\ by 6f.
Eiver in foreground, crossed by bridge in mid-distance, above
which, to left, on steep bank, are the Castle ruins. Sun sinking in
centre. Two women fishing below trees on right.
Engraver's Proofs. In centre, under plate-line, very small, " Bob'
Wallis 1827." Before the many white reflections in water beyond
bridge, and before white lights on bridge. R.
First Pub. State. In centre, "Engraved by Bob* Wallis from a
Drawing by J. M. W. Turner E.A." Before Title, etc. Lights
referred to above added.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, Dec. 1, 1827.

The Drawing is in the possession of Mrs. W. Pitt-Miller. An
earlier sketch in colour is in my possession.

218. SALTASH, COENWALL. (Part III, No. 2.)
Engraved by W. R. Smith. 9| by 6^.
The harbour in front, with many rowing-boats crowded with
women and soldiers. Town on hill in distance partly hidden by
man-of-war. Hulks to left.
Engraver's Proofs. Without any letters. Many, mostly drawn on by
Turner, and with instructions in margin. BM., R., etc.
First Pub. State. Left, " Drawn by J. M. W.Turner, E.A."; right,
" Engraved by W. E. Smith," in etched writing. Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, Dec. 1, 1827.
The Drawing was in the possession of the late Mr. S. G. Holland.

219. ALBOEOUGH [ALDBOEOUGH], SUFFOLK. (Part III,
No. 3.) Engraved by E. Goodall. 9| by 6i.
Broad, tidal river in front, with boats and Martello tower to right.
Sun setting. Town in distance on low hill to left. Floating mast
with row-boat conspicuous on left.

LINE ENGRAVINGS ON COPPER. 12J
Engraver's Proofs. Without any letters. Two BM., one touched by
Turner.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A."; right,
" Engraved by E. Goodall." Before Title, etc.
Second and Later States. As in Rievaulx Abbey, No. 209, but with
Date, Dec. 1, 1827.
The Drawing was in the Quilter Sale in 1875.
220. OEFOED, SUFFOLK. (Part III, No. 4.)
Engraved by R. Brandard. 9^ by 6^.
Town seen across estuary; tower of castle conspicuous to left and
church to right. Fishermen drawing net ashore in left foreground.
Engraver's Proofs. One BM"., unfinished. " Etchd by E. Brandard "
below plate-line.
First Pub. State. In centre below plate-line, " Engd by E. Brandard
from a drawing by J. M. W. Turner E.A." Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, Dec. 1, 1827.
This beautiful Drawing is in the possession of Mrs. Mackenzie.
221. STEAITS OF DOVEE. (Part IV, No. 1.)
Engraved by W. Miller. 10 by 6||.
The white cliffs in centre, with South Foreland lighthouse to right ;
castle in dip to left. Eough sea with various craft. Light breaking
through stormy sky.
Engraver's Proofs. Left, " Drawn by J. M. W. Turner E.A."; right,
"Etched by Willm Miller, 1827"; below, to left, "Strait of
Dover." Nearly finished, but before small fishing-boat below
cliff on extreme right. R.
First Pub. State. Same lettering, except " Etched by " altered to
" Engraved by." Boat added below cliff on extreme right. Sea
worked upon and darkened.
Second and Later States. " Strait of Dover " removed. Title and
lettering as Rievaulx Abbey, No. 209, but with Date, March 1,
1828.
The Drawing is in the possession of Mr. E. Nettlefold.
This is one of the finest seas in the ' England and Wales ' ; it is
superbly engraved by Miller. The sky also, full of wind, light,

126 ENGRAVED WORK OF J. M. W. TURNER.
and cloud, is admirably rendered. And the whole scene is so
English, so exactly what one sees on landing at Dover on a sunny,
windy day.

222. PEUDOE [PEUDHOE] CASTLE, NOETHUMBEELAND.
(Part IV, No. 2.)
Engraved by E. Goodall. 9T\ by 6|.
Castle in distance in centre, on steep hill. Sun reflected on calm
river below. Eoad under tall trees to right. Two women and child
on bank in right foreground.
Engraver's Proofs. Left, "Drawn by J. M. W. Turner E.A"; right
" Etched by E. Goodall." Three BM„ in various stages.
First Pub. State. Same lettering as preceding. Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, March 1, 1828.
The Drawing is in the possession of the Eev. W. Kingsley.
The Eev. Mr. Kingsley, to whom the Drawing for this plate
belongs, tells me that it was made by Turner from memory, he
having been struck with the view as he was being driven past,
whilst on a visit to the Swinburne family. He wanted to stop the
carriage and make a sketch, but time would not permit.
Mr. Kingsley told me that the drawing was afterwards damaged
in the centre of the sun's reflection in the water, and on Turner's
coming to see it, he said: "I won't have that tampered with."
He moistened his fiDger with saliva, rubbed the colour off, and
then touched it in again. It is now impossible to see the repair.
At the same time he scratched in his name in the left corner of the
Drawing, which had previously been unsigned, as was the case with
many of the ' England and Wales ' Series.
It will be observed that the river divides into two channels, the
right-hand one being that which it usually takes, but the left is
also filled in a flood.

223. VALLE CEUCIS ABBEY, DENBIGHSHIEE. (Part IV,
No. 3.)
Engraved by J. C. VarraU. 9£ by 6^.
The Abbey ruins in centre, among trees at foot of wooded hill by
river. Cornfield in foreground with reapers, and girl on left with
sheep.

LINE ENGRAVINGS ON COPPER. 127
Engraver's Proofs. Without any lettering. Three BM., in various
stages ; two touched by Turner.
First Pub. State. Also without lettering. Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, March 1, 1828.
The Drawing was in the Munro Sale in 1877.

224. BUCKFASTLEIGH ABBEY, DEVONSHIEE. (Part IV,
No. 4.) Engraved by R. WaUis. 9^ by 6T7T.
Winding river in centre seen from high foreground; wooded
hills on either side. Abbey in mid-distance among meadows. Boys
climbing trees in left foreground.
Engraver's Proofs. Without any letters. One BM., touched by
Turner.
First Pub. State. Left, "J. M. W. Turner E.A."; right, "Eob<
Wallis, 1828." Before Title, etc.
Second and Later States. As in Rievaulx Abbey, No. 209, but with
Date, March 1, 1828.
*#* For Small Eeplica in ' Literary Souvenir,' see later volume.
The Drawing, formerly in the Euskin Collection, was sold at
Christie's in 1901.

225. ENTEANCE TO FOWEY HAEBOUE, COENWALL.
(Part V, No. 1.)
Engraved by W. R. Smith. 9T\- by 6^.
Stormy sea in front dashing against rocks on right, on which is
a low square tower, conspicuously light against black sky. Boats
on left rescuing drowning men and women.
Engraver's Proofs. Without any letters. Three in various stages
BM.; R.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A."; right,
" Engraved by W. E. Smith "; centre (very small), " Jan5" 1829."
Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, 1829.
The Drawing is in the possession of the Marquis of Lansdowne.

128 ENGRAVED WORK OF J. M. W. TURNER.
This plate is very similar in treatment to the same subject in
' The Southern Coast.'

226. OKEHAMPTON, DEVONSHIEE. (Part V, No. 2.)
Engraved by J. T. WUlmore. 9| by 6TV
The castle ruins on summit of conical wooded hill in centre,
round which stream winds. Hills all round. Man shooting rabbits
in foreground.
Engraver's Proofs. In centre, "Etchd by J. T. WiUmore from a
Drawing by J. M. W. Turner E.A." Touched by Turner, with
instructions to soften upper sky. R.
First Pub. State. "Etch" by" altered to "Engd by." Before
Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, Octr 1828.
The Drawing is in the possession of Mr. Fairfax Murray.
I think Turner must have added the two rabbits mainly in order
to get the smoke from the sportsman's first barrel, which it will be
observed is blowing away to the right. Probably he needed some
such vague half-light at that point, to break the otherwise too
regular curves of the valley. It is pretty close quarters for both
rabbits, but I think the right-hand one should get home safe,
especially with a flintlock!
227. LANCASTEE SANDS. (Part V, No. 3.)
Engraved by R. Brandard. 9-j- by 6\.
The Sands stretching across foreground; sea coming in on left.
Sun setting behind Cumberland hills. Stage-coach, carts, and many
figures hurrying to escape rising tide.
Engraver's Proofs. In centre, "Etch'd by E. Brandard from a
Drawing by J. M. W. Turner E.A., 1828." In various stages;
one touched by Turner, before distant boats on right and with
many alterations in reflections on sands. B. Others touched by
Turner, BM., R.
First Pub: State. "Etch'd by" altered to "Engd by." Before
Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, 1828.
The Drawing is in the possession of Mr. George Salting.

LINE ENGRAVINGS ON COPPER. 129
Mr. Euskin thus charmingly writes of the Drawing:
" It is of an evening in spring, when the south rain has ceased at sunset;
and, through the lulled and golden air, the confused and fantastic mists
float up along the hollows of the mountains, white and pure, the resurrection
in spirit of the new-fallen rain, catching shadows from the precipices, and
mocking the dark peaks with their own mountain-like but melting forms till
the solid mountains seem in motion like those waves of cloud, emerging
and vanishing as the weak wind passes by their summits ; while the blue
level night advances along the sea, and the singing breakers leap up to catch
the last light from the path of the sunset." — 'M. P.,' vol. i, p. 254.
This fine plate differs very considerably from the earlier drawing
of the same subject which is at Farnley.

228. KNAEESBOEOUGH, YOEKSHIEE. (Part V, No. 4.)
Engraved by T. Jeavons. 9 by 6f .
Euined castle high on steep hill to right; town beyond on left.
Below, river winding through deep gorge. To left, at water's edge,
mill and many smoking chimneys. Man driving cows on bank in
right foreground and woman seated.
First Pub. State. Left, " Drawn by J. M. W. Turner E.A"; right,
" Engraved by T. Jeavons, 1828." Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, 1828.
The Drawing was in the possession of the late Mr. Laundy
Walters. The Drawing of Knaresborough has always seemed to me one of
the most consummate and faultless of the ' England and Wales '
series. There is a great serenity and sweetness about it, combined
with a wealth of rich yet subdued colour. The composition and
the chiaroscuro also are masterly, and the sentiment throughout
emphatically English — it could have been drawn only in Yorkshire.
The engraving, although it is not by one of Turner's finest
artists, fairly does justice to it.

229. MALMSBUEY ABBEY, WILTSHIEE. (Part VI, No. 1.)
Engraved by J. C. VarraU. 9f by 6^.
The Abbey ruin conspicuous on hill in centre; town to right
and left. Below, meadows and trees in deep shadow. Eustic
figures by gate to left; cows to right.
I. K

130 ENGRAVED WORK OF J. M. W. TURNER.
Engraver's Proofs. Left, " Drawn by J. M. W. Turner E.A " ; right,
" Engd by J. C. VarraU." One touched by Turner, BM.
First Pub. State. Lettering as the preceding. Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, 1829.
The Drawing was in the possession of the late Mr. E. E. Tatham.
The tragedy in progress here is amusing. The milkmaid is evid
ently — and not unnaturally? — declining the attentions of the elderly
andmost unattractive swain, whilst the proceedings are being watched
from behind the hedge, apparently by a youthful sister and brother.
Doubtless Turner had witnessed the scene.

230. KILGAEEEN CASTLE, PEMBEOKE. (Part VI, No. 2.)
Engraved by J. T. WUlmore. 9^ by 6£.
The Castle ruins high on dark wooded hill in centre above river,
in which they are reflected. Sun setting behind. Two row-boats on
left, and woman and child on bank to right.
Engraver's Proof. In centre, "Etchd by J. T. WiUmore, from a
drawing by J. M. W. Turner E.A." Before many small flecks of
light cloud above castle. R.
First Pub. State. "Etchd by " altered to "Engd by." Light clouds
added, and shadows on woods darkened. Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, 1829.
The Drawing is in the possession of the Marquis of Lansdowne.
Mr. Euskin cites the Drawing for this plate as among Turner's
finest works. The oil picture of the same subject (in the possession
of Mrs. Bischoffscheim) is also one of the greatest of his early pic
tures.1 The engraving is an admirable example of Willmore's work,
and could hardly be surpassed.

7
JTS'

231. EXETEE. (Part VI, No. 3.)
Engraved by T. Jeavons. 9^ by 63
Eiver in front. City on right bank, with square block of houses
\ There are one if not two old but spurious copies of this picture in
existence, passing as originals.

LINE ENGRAVINGS ON COPPER. 131
conspicuous in centre; Cathedral in distance. Sailing and other
boats by bank to right.
Engraver's Proofs, (a) Nearly completed. In centre, "Etcd by
T. Jeavons from a Drawing by J. M. W. Turner E.A." Touched
by Turner and with notes by him. R. (V) " Etc" by " altered to
" Engraved by." Slight alterations in reflections in water. One
touched by Turner, R.; BM.
First Pub. State. Without any lettering. Faint traces of previous
inscription visible.
Second and Later States. As Rievaulx Abbey, No. 209, but with
Date, 1829.
This Drawing was in the Levy Sale at Christie's in 1876.

232. EICHMOND, YOEKSHIEE [FEOM THE MOOES].
(Part VI, No. 4.)
Engraved by J. T. WUlmore. 9^w by 6^.
The town in mid-distance to left, seen from high ground; the
Castle conspicuous in light. A reach of river low on right, flowing
between hills. Girl playing with dog in foreground.
Engraver's Proofs. Without any letters. One touched by Turner. R.
First Pub. State. In centre, " Engd by J. T. WiUmore from a
Drawing by J. M. W. Turner E.A." Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with Date,
March 1, 1828.
This Drawing is in the Fitzwilliam Museum at Cambridge.
This is probably the finest of Turner's many renderings of Eich-
mond, Yorkshire.

233. LOUTH, LINCOLNSHIEE. (Part VII, No. 1.)
Engraved by W. Radclyffe. 9| by 6\.
Market-place in which a horsefair is being held. Booths and
many figures on left. Church with taU spire fiUs background.
Engraver's Proofs. Completed but without any lettering. R.
First Pub. State. Left, "J. M. W. Turner E.A. del"'; right,
" W. Eadclyffe fc\ 1829." Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with

132 ENGRAVED WORK OF J. M. W. TURNER.
date 1829, and after Publishers' address, " by Giraldon, Bovinet,
Gallerie Vivienne, Paris."
The Drawing is in the possession of Mr. George Salting.
Mr. Euskin writes of this subject ('Notes on his CoUection,'
1904 ed., vol. xiii, p. 438):
"Another drawing of what he clearly felt to be objectionable, and painted,
first as a part, and a very principal part of the English scenery he had under
taken to illustrate; and yet more, I fear, to please the publisher, and get
circulation for the book in quarters where the picture was no recommenda
tion. He dwells (I think ironically) on the elaborate carving of the church
spire, with which the foreground interests are so distantly and vaguely con
nected." I am unable to agree with this view. I think that in his ' Eng
land and Wales,' as in his 'Liber Studiorum,' Turner aimed at
giving an all-round representation of his subject, as weU as at dis
playing the whole range of his powers. This involved some homely
pictures among the more romantic ones, and not infrequently,
especially in the ' Liber,' the former were far from being successes.
I believe also that the homely subjects were by no means uncon
genial to him, and that he would probably have thoroughly enjoyed
the sights and sounds of a country fair.
But how admirably he has composed his picture here. The
yokels in the foreground are perhaps carelessly drawn, but look at
the horses, the farmers, and the horse dealers. And observe how,
between the lines of the booths and of the horses, the eye travels
straight on to the stately nave of the fine church which closes the
view; whilst on the left, the splendid spire, relieved light against
the dark houses and the coming storm, shoots up into the sky. I
have no doubt that the contrast here between foreground and back
ground was intentional. Nothing could be more characteristic of
Turner's own nature nor of his art.

234. GEEAT YAEMOUTH, NOEFOLK. (Part VII, No. 2.)
Engraved by W. Miller. 10 by 7TV
The harbour and sands seen from low cliff in foreground. Sea
beyond, with long row of shipping. Nelson's Column on sands in
centre. Town to left. Woman in foreground with clothes, fish,
etc., and overturned basket.
Engraver's Proofs. Left, "Drawn by J. M. W. Turner E.A. ";
right, "Etch" by WiUra Miller." One, early, R. Another, later,

LINE ENGRAVINGS ON COPPER. 133
in BM., touched by Turner, and with the following instructions
in margin (against sands on right), " too equal — more like grass."
The white object on the left, in a line with the woman, is redrawn
in margin, with the explanation " cap " ; Turner's intention being
to show the force of the wind.
First Pub. State. " Etched by " altered to " Engraved by." " Yar
mouth, Norfolk," added in italics in left margin. A few impres
sions appear to have been taken after this first lettering had been
removed, but prior to the re-lettering for the Second and Later
States. The impressions in question are without any lettering. R.
Second and Later States. As Louth, No. 233. Date, 1829.
The Drawing is in the possession of the Eev. W. Kingsley.
The curious round, white object in the extreme left foreground
here is, as explained above, the cap of the woman who is laying
out fish. Turner no doubt required a high light at that spot, to
balance the elaborate composition, which is centred by the tall
Nelson Column. The sky is extremely effective. The Drawing
is very highly finished, beautiful in colour, and in perfect pre
servation.

235. STONE HENGE. (Part VII, No. 3.)
Engraved by R. Wallis. 9\ by 6^.
The Stones, illuminated by flash of lightning and relieved
against dark sky behind. In foreground, shepherd and many sheep
struck by lightning.
First. Pub. State. Without any lettering.
Second and Later States. As Louth, No. 233.
The Drawing is in the possession of Mrs. W. Pitt Miller.
Mr. Euskin, criticizing severely and justly the engravers' general
treatment of lightning in their plates, writes of this one :
" It is difficult to conceive how such pieces of work as the plates of Stone-
henge and Winchelsea could ever have been presented to the public, as in any
way resembling, or possessing even the most fanciful relation to, the Turner
drawings of the same subjects. The original of the Stonehenge is perhaps
the standard of storm-drawing, both for the overwhelming power and gigan
tic proportions and spaces of its cloud forms, and for the tremendous qualities
of lurid and sulphurous colours which are gained in them. All its forms are
marked with violent angles as if the whole muscular energy, so to speak, of
the cloud were writhing in every fold : and their fantastic and fiery volumes
have a peculiar horror, an awful life, shadowed out in their strange, swift,

134 ENGRAVED WORK OF J. M. W. TURNER.
 / 
fearful outlines which oppress the mind more than even the threatening of
their gigantic gloom. The white lightning, not as it is drawn by less observ
ant or less capable painters, in zigzag fortifications, but in its own dreadful
irregularity of streaming fire, is brought down, not merely over the dark
clouds, but through the Full light of an illumined opening to the blue, which
yet cannot abate the brilliancy of its white line ; and the track of the last
flash along the ground is fearfully marked by the dog howling over the fallen
shepherd, and the ewe pressing her head upon the body of her dead lamb."
It may be interesting to add here that Turner's extraordinary
truth to nature in his delineation of lightning was pointed out to
me some years ago by the President of the Meteorological Society.
He showed me a series of instantaneous photographs, in some of
which, forms which I had previously considered to be exaggerations
by the painter for the sake of effect, were literally reproduced by
the camera.

236. HAMPTON COURT PALACE. (Part VII, No. 4.)
Engraved by C. Westwood. 9^ by 6^.
Palace in centre seen across the Thames, on which are boats and
anglers. Flock of ducks in front.
Engraver's Proofs. Without any letters, (a) Nearly completed, but
before the white feathers or pebbles on left below basket. BM.
(b) The white feathers or pebbles scratched in by Turner. BM.
First Pub. State. StiU without any letters. Completed.
Second and Later States. As Louth, No. 233.
The Drawing was in the Eodgett Sale at Christie's in 1859.

237. DEVONPOET AND DOCKYAED, DEVONSHIEE.
(Part VIII, No. 1.)
Engraved by T. Jeavons. 9| by 6T5T.
The harbour in front, with men-of-war, hulks, and shipping.
Steep roofs of dock buildings conspicuous in light in centre. Bow-
boats crowded with figures on left.
Engraver's Proofs. Left, "Drawn by J. M. W. Turner E.A";
right, " Etcd by T. Jeavons, 1829." Two ; one touched and written
on by Turner, nearly finished, but before bright, light clouds in
break of sky in centre. R.
First Pub. State. " Etc" by T. Jeavons, 1829," altered to " Engdby
T. Jeavons, 1830.* Before Title, etc.

LINE ENGRAVINGS ON COPPER. 135
Second and Later States. As in Rievaulx Abbey, but Publishers'
names altered to " Eobert Jennings and William Chaplin, Cheap-
side." Date, March 15, 1830.
The Drawing was presented by Mr. Fairfax Murray to the Fogg
Museum of Harvard University, U.S.A.

238. DUNSTANBOEOUGH CASTLE, NOETHUMBEELAND.
(Part VIH, No. 2.)
Engraved by R. Brandard. 9J by 6f .
The ruined castle in centre on rocky promontory, against which,
to right, sea is breaking. In foreground, wrecked boat ashore,
beside which are many figures and Eevenue officer on horseback.
Engraver's Proofs. In centre, "Etch" E. Brandard from a Drawing
by J. M. W. Turner E.A. 1829." Nearly finished; touched in
white by Turner for more foam on the waves, and with some
illegible instructions. R.
First Pub. State. In centre, " Etchd " altered to " Engd." Before
Title, etc.
Second and Later States. As in Devonport, No. 237.
The Drawing is in the possession of Lord Armstrong.
The treatment here is different from that of the same subject in
the 'Liber Studiorum.' In the line engraving, the composition,
with its strongly-accented light and shade, is admirable; in the
mezzotint, the fresh, early-morning effect and the general sentiment
are alike beautiful.

239. CAEISBEOOK CASTLE, ISLE OF WIGHT. (Part VIII,
No. 3.) Engraved by C. Westwood. 9f by 6^.
Castle in centre with arched gateway, approached by bridge
over moat; on the bridge are several figures on horseback. Town
in left distance, with rainbow.
Engraver's Proofs. Without any letters. BM.
First Pub. State. StiU without any letters.
Second and Later States. As Devonport, No. 237.
The Drawing is in the possession of the Trustees of the late
Mr. J. E. Taylor.

136 ENGRAVED WORK OF J. M. W. TURNER.

240. COWES, ISLE OF WIGHT. (Part VIII, No. 4.)
Engraved by R. Wallis. 9^ by 6Tg-.
The Solent in front, with clear evening sky; crescent moon over
head. Tall masts and yards of men-of-war relieved against sky.
Man-of-war's gig in front.
First Pub. State. Before Title, etc. Eight, " E. WaUis 1830," in
slender upright capitals.
Second and Later States. As Devonport, No. 237.
The Drawing is in the possession of Mr. W. Yates.
This plate, it seems to me, does justice — so far as engraving
can — to the superb Drawing. Wallis has caught the wonderful
effect of the cool, clear, twilight sky, with the outlines of masts,
sails and rigging silhouetted sharply against it; he has also care
fully focussed all the lights up to the high crescent moon, with the
evening star below. What, of course, he has not given — what no
engraving could have given — is the exquisite pale primrose colour
of the evening sky, and the contrasting rich dark blues, reds and
browns of the lower part of the Drawing.

241. STAMFOED, LINCOLNSHIEE. (Part IX, No. 1.)
Engraved by W. Miller. 9J by 6|.
A wide street in front, with stage waggon on left discharging
passengers. Thunderstorm overhead, with light breaking through
on church tower in centre.
Engraver's Proofs. Left, "Drawn by J. M. W. Turner E.A";
right, " Etched by Willm Miller." BM., R.
First Pub. State. " Etched by " altered to " Engraved by." Before
Title, etc.
Second and Later States. As Devonport, No. 237, but Date, May 1>
1830.
The Drawing was in the Fowler Sale at Christie's in 1899.
The sky is extremely fine here, as is also the brilliant, instan
taneous lighting of the towers; but the foreground figures, al
though of the greatest importance to the composition, are un
pleasantly realistic.

LINE ENGRAVINGS ON COPPER. 137

242. ALNWICK CASTLE, NOETHUMBEELAND. (Part IX,
No. 2.)
Engraved by J. T. WUlmore. 9f by 6^.
The dark mass of the Castle on right, above river, which is
crossed by battlemented bridge in foreground. Full moon rising
behind. Deer by water on left.
Engraver's Proofs. In centre, " Etchd by J. T. WiUmore from a
drawing by J. M. W. Turner E.A." Before any light figures on
bank under left arch of bridge. One, touched by Turner, and
with notes in margin, B.; others, BM., R.
First. Pub. State. " Etchd by " altered to " Engrav" by." Before
Title, etc. Light figures under bridge added.
Second and Later States. As Devonport, No. 237, but Date, May 1,
1830.
The Drawing is in the Collection of Mr. F. N. Fordham.
I do not remember ever to have seen the Drawing for this
plate, but I regard the plate itself as one of the finest and most
romantic of the Series. Willmore's engraving is, as usual, admir
able. Turner painted comparatively few moonlight pictures, but
those few are masterly.

243. HOLY ISLAND, NOETHUMBEELAND. (Part IX,
No. 3.)
Engraved by W. Tombleson. 9f by 6±.
Euins of Norman Cathedral to left, beyond jutting cliffs, against
which sea is breaking. Euined castle on high rock in distance,
relieved against thunder cloud. Many figures in foreground landing
from boat on right.
Engraver's Proofs. Without any letters. Before flagstaff in distance
to right. BM.
First Pub. State. Also without any letters. Flagstaff added.
Second and Later States. As Devonport, No. 237, but Date, May,
1830.
The Drawing is in the possession of Mr. A. W. Nicholson.
The execution of this engraving is very inferior to the ordinary
standard of the ' England and Wales.'

138 ENGRAVED WORK OF J. M. W. TURNER.

244. STONEYHUEST, LANCASHIEE. (Part IX, No. 4.)
Engraved by J. B. Allen. 9| by 6T9T.
The castellated buildings of College in centre, on further side of
pond. Eainbow to left. Monastic procession on right. Boys in left
foreground, and man watering horses.
Engraver's Proofs. Left, "Drawn by J. M. W. Turner"; right,
" James B. Allen." Before diagonal rays behind rainbow, and
before light reflections in water on left. BM.
First Pub. State. Eight, " Engraved by James B. Allen." Before
Title, etc. Eays and reflections added.
Second and Later States. As Devonport, No. 237, but Date, May,
1830.
The Drawing is in the possession of Lord Joicey.
It is interesting to compare this version of Stoneyhurst with
Turner's earlier plate in Whitaker's 'Parish of Whalley.' The
view is virtually the same ; the difference is in the romantic treat
ment of 1830, as compared with the reaUsm of 1801.

245. WINCHELSEA, SUSSEX. (Part X, No. 1.)
Engraved by J. Henshall. 9^ by 6^$.
Town on hill, in centre, approached by road passing under
ruined arched gateway. Eegiment of soldiers marching up, with
baggage-waggons and camp-followers. Woman fainting in fore
ground.Engraver's Proofs. Without any letters. Before flash of lightning
over arched gateway. BM.
First Pub. State. Also without any letters. Lightning added.
Second and Later States. As Devonport, No. 237, but Date, 1830.
The Drawing was formerly in the Euskin CoUection.
Winchelsea appears to have been always associated in Turner's
mind with soldiers. He made four drawings of it for engraving, at
different periods, and in three of them soldiers are present. Prob
ably at his first visit to the place he met the regiment on the march
which he has depicted here. Mr. Euskin writes amusingly on the
subject: " But perhaps one of the most curious examples is in the series of subjects

LINE ENGRAVINGS ON COPPER. 139
from Winchelsea. That in the Liber Studiorum, ' Winchelsea, Sussex,'
bears date 1812, and its figures consist of a soldier speaking to a woman,
who is resting on the bankheside the road. There is another small subject,
with Winchelsea in the distance, of which the engraving bears date 1817. x
It has two women with bundles, and two soldiers toiling along the embank
ment in the plain, and a baggage waggon in the distance. Neither of these
seem to have satisfied him, and at last he did another for the England Series
of which the Engraving bears date 1830. There is now a regiment on the
march ; the baggage- waggon is there, having got no further on in the thirteen
years, but one of the women is tired and has fainted on the bank ; another
is supporting her against her bundle, and giving her drink ; a third sympa
thetic woman is added, amd the two soldiers have stopped, and one is drink
ing from his canteen." — ' Pre-Raphaelitism,' 1904 ed., vol. xii, p. 384.
The poor engraving of this plate — the sky especiaUy — has already
been alluded to. (See Stonehenge, No. 235.)
246. TEEMATON CASTLE, COENWALL. (Part X, No. 2.)
Engraved by R. Wallis. 9f by 6^.
Castle in extreme left distance on conical hUl. Broad, still sheet'
of water to right, with group of tall trees in centre, and houses
behind. Woman and two donkeys in foreground. Flock of sheep
at water's edge on right.
Engraver's Proofs. Without any letters. One touched by Turner;
trees altered considerably, and row of distant trees added along
sky-line on right; on top, a note: "These clouds to be softened
almost to nothing with lighter edges." In possession of engraver's
family. Another, nearly finished. BM.
First Pub. State. Eight, " Eob' Wallis 1830." Before Title, etc.
Second and Later States. As Devonport, No. 237, but Date, 1830.
The Drawing is in the possession of Mr. James Mason.
247. ST. MAWES, COENWALL. (Part X, No. 3.)
Engraved by J. H. Kernot. 9f by 6^.
Low, round bastion to right on hillside above town. Castle on
hill in left distance. Shipping and boats in centre. In foreground,
beach crowded with figures and pilchards.
Engraver's Proofs, (a) Between centre and left corner, " Drawn by
J. M. W. Turner E.A " ; traces remaining of " Etchd by " (which
has been erased) to right. A few clouds only at extreme top of
sky. Plate otherwise completed. Touched by Turner. BM. (b)
" Drawn by, etc." re-engraved in usual place at left corner; right,
1 See ' Views in Sussex,' No. 136.

140 ENGRAVED WORK OF J. M. W. TURNER.
" Engraved by James H. Kernot, 1830." Before Title, etc. Mass
of small white clouds added in centre of sky. BM., R.
First Pub. State. Lettering as in (&), but Title added in left margin
in very small italics, " Sc Mawes and Pendennis Castle Cornwall,
Stowing Pilchards."
Second and Later States. As Devonport, No. 237, but Date, June,
1830.
The Drawing is in the possession of Senator Clarke, Washing
ton, U.S.A.
248. WALTON BEIDGE ON THAMES, SUEEY [Sic].
(Part X, No. 4.)
Engraved by J. C. VarraU. 9-| by 6^.
The Thames in front crossed by two adjoining bridges. Barge
with tall mast in centre. Flock of sheep in foreground, by water.
Engraver's Proofs. In centre, "Etchd by J. C. VarraU from a
Draw" by J. M. W. Turner, E.A." Two BM., both touched by
Turner.
First Pub. State. " Etchd by" altered to "Eng" by." Before
Title, etc.
Second and Later States. As Devonport, No. 237, Date Septr 1,
1830.
The Drawing is in the possession of Mrs. Ashton.
The two oil pictures and the drawing of this subject are usually
considered tours deforce of Turner's, but, extraordinarily clever as is
the composition in all three, they have never seemed to me as
attractive as many of his less famous works.

249. LUDLOW CASTLE, SHEOPSHIEE. (Part XI, No. 1.)
Engraved by R. Wallis. 9TV by 6^.
The Castle crowning wooded hill to left; church and town be
yond. Eeach of river in front to left. Gleaners on bank in right
foreground, below tall pines.
Engraver's Proofs. Without any letters. BM., R.
First Pub. State. Eight, " Eob1 Wallis, 1831." Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but pub
lisher's name altered to " Moon, Boys & Graves 6 Pall Mall."
Date, 1831.
The Drawing is in the possession of the Hon. W. F. D. Smith.

LINE ENGRAVINGS ON COPPER. 141

250. FOLKESTONE HAEBOUE AND COAST TO DOVEE.
(Part XI, No. 2.)
Engraved by J. Horsburgh. 9T5F by 6^.
Shore in front, looking towards Dover; line of cliffs beyond, with
Martello tower in centre. Dark storm-clouds to right. In front
fishermen digging up kegs under direction of Eevenue officer.
First Pub. State. Without any letters.
Second and Later States. As Devonport, No. 237. Date, 1831.
The Drawing was in the possession of the late Mr. Humphrey
Eoberts.

251. TYNEMOUTH, NOETHUMBEELAND. (Part XI, No. 3.)
Engraved by W. R. Smith. 9 by &§•.
Euins of Priory on long, low cliff in centre ; Ughthouse to right.
Stormy sea, with two ships ashore. Many figures in left foreground
hauling wreckage ashore.
Engraver's Proofs. Without any letters, (a) Water and sky un
finished. BM. (b) Nearly completed, but diagonal rays in upper
left corner much more sharply defined than later. R.
First Pub. State. Left, " Drawn by J. M. W. Turner E.A."; right,
" Engraved by W. E. Smith." Before Title, etc. Diagonal rays
in left upper corner very much softened.
Second and Later States. As Ludlow Castle, No. 249.
The Drawing was in the Bolckow sale at Christie's in 1892.
This is an impressive plate, finely composed ; the black hull of
the wreck and its tall masts admirably centre the arrangement of
lines and lights. W. E. Smith's engraving here is excellent.

252. GOSPOET, ENTEANCE TO POETSMOUTH HAEBOUE.
(Part XI, No. 4.)
Engraved by R. Brandard. 9^- by 6f.
Harbour entrance in centre; long low fort to left; men-of-war to
right. Sailing-boat in front with women and drummer, running
before fresh breeze.

142 ENGRAVED WORK OF J. M. W. TURNER.
Engraver's Proofs. In centre, "Etchd by E. Brandard from a
Drawing by J. M. W. Turner E.A, 1830." Touched and drawn
on by Turner, with the following notes in the margin, " Masonry
for the Fort large at the angle" ; sketch added showing arrange
ment of stones. " The rigging of the Vessels all too thin." Above
upper cumulus clouds: "All these parts are too apparent and
speck-like. The more this part of the sky is toned and softened
the better." No flag on staff on extreme left. R.
First Pub. State. " Etchd by " altered to " Engd by." Before Title,
etc. Eigging thickened, sky softened, and courses of masonry of
fort clearly indicated. Flag added to left.
Second and Later States. As in Ludlow Castle, No. 249.
N.B. — In the BM. is an impression with artists' names in larger
type and without Title, but it is probably a " false proof," as traces
of the ordinary Title can stUl be detected, and the plate looks
worn throughout.
The Drawing was exhibited by Mr. Euskin at the Fine Art
Society in 1878.
Gosport closely resembles the Portsmouth of ' The Southern
Coast' (No. 120), and both are doubtless taken from the same
sketch. Miller's masterly engraving of the sea in the earlier plate
is, however, far finer than Brandard's here.
Mr. Euskin caUs the Drawing " a delightful piece of fast sailing,
whether of boats or clouds."

253. WINDSOE CASTLE, BEEKSHIEE. (Part XII, No. 1.)
Engraved by W. Miller. 9J by 6-|.
Castle in centre stretching across plate; smoke rising from town
below. In front the Thames, with barges to right and horses on
tow-path to left. Low sun behind castle.
Engraver's Proofs. In the BM. is an impression with the Title writ
ten low on the left in italics, but I am not clear that it is an
Engraver's Proof. Possibly it may have been taken off imme
diately after the printing of the First Published State, as in
Great Yarmouth, No. 234.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A."; right,
" Engraved by William Miller." Before Title, etc.
Second and Later States. As Ludlow Castle, No. 249.
The Drawing is in the possession of Mr. J. Beecham.

LINE ENGRAVINGS ON COPPER. 143
The engraving of this plate is a marvellous piece of execution,
but both it and the Drawing seem almost too elaborate, too highly
finished.

254. EATON [ETON] COLLEGE, BEEKSHIEE. (Part XII,
No. 2.) Engraved by W. Radclyffe. 9-| by 6f .
Sun setting behind College Chapel in centre ; Thames in front
with collegians in playing-fields to right, below high trees. Punts
to left with eel-pots.
Engraver's Proofs, (a) Without any letters. Light clouds in upper
sky only faintly indicated; before lights on foliage to left. R.
(b) Eight, " W. Eadclyffe Sc1." Completed. BM., R.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A."; right,
" Engd by W. Eadclyffe." Before Title, etc.
Second and Later States. As Devonport, No. 237. Date, 1831.
The Drawing is in the possession of the Marquis of Lansdowne.

255. BEDFOED, BEDFOEDSHIEE. (Part XII, No. 3.)
Engraved by J. T. WUlmore. 9 ^ by 6f .
Eiver in front, crossed by bridge in mid-distance; town beyond,
with taU spire conspicuous in centre. Boats with figures on right;
angler and boys on left.
Engraver's Proofs. In centre under plate-line, " J. T. WiUmore."
(a) Touched by Turner with pencil lines drawn over left corner
and with the following note: "All this part [illegible] too much
the looks of Etching only — put some cross work to give variety."
BM. (b) Later, with the following notes by Turner: " The down-
Unes in the water are too visible by passing across the light parts,
or too wide or too equal to the other lines." Again: " I want the
upper part of the Sun slightly marked by burnishing, thus."
Again: "All the Town is too much made out; all the white paper
must be taken away and lights lowered but not x [here gable
end of building indicated] which appears stippled." R.
First Pub. State. Same lettering. Before Title, etc. Alterations
indicated in (6) carried out.
Second and Later States. As Ludlow Castle, No. 249. Date, 1831.
The Drawing is in the possession of Mr. David Jardine.

144 ENGRAVED WORK OF J. M. W. TURNER.

256. PEMBEOKE CASTLE, WALES. (Part XII, No 4.)

Engraved by T. Jeavons. 9^ by 6

Castle stretching along low ridge of rock above sea. Thunder
storm behind. Sailing-boats to left running before wind. Boat
ashore on right, with fish on beach beside it.
Engraver's Proofs. Without any letters. BM., R.
First Pub. State. Left, " Drawn by J. M. W. Turner E. A." ; right,
" Engraved by T. Jeavons." Before Title, etc.
Second and Later States. As Devonport, No. 237. Date, 1831.
The Drawing was in the Novar Sale, 1878.
257. EICHMOND HILL AND BEIDGE, SUEEEY. (Part XIII,
No. 1.)
Engraved by W. R. Smith. 9 by 6^.
Bridge in centre below wooded hill ; houses to left. Avenue of
trees by river side to right; on meadow in foreground, group pic
nicking and dancing.
Engraver's Proofs. Without any letters, (a) One very early. BM.
(b) One touched by Turner, with details of the houses, etc., drawn
in margin (the actual names of the owners being given in some
cases); also sketch for alteration of cupola above town on left.
The sky is unfinished, and Turner has written, " Until the whole
[* *] of Sky and Ground be toned down by more Work [with the
graver] the other parts have not their true value." R. (c) Later,
in various stages. Still b.a.l. BM., R.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A"; right,
" Engraved by W. E. Smith," in flowing italics. Before Title, etc.
Cupola altered and sky softened throughout.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing is in the possession of Mr. G. P. Dewhurst.

258. MALVEEN ABBEY AND GATE, WOECESTEESHIEE.
(Part XIII, No. 2.)
Engraved by J. Horsburgh. 9-| by 6^.
Gothic gateway to right ; Abbey and town beyond, Ught against
dark thunder clouds. Vivid lightning from left striking cottage
adjoining Abbey.

LINE ENGRAVINGS ON COPPER. 145
Engraver's Proofs. Without any letters. Before flash of lightning,
and before milk paUs, etc., in right corner. BM.
First Pub. State. Also b.a.l. Lightning and many details in fore
ground added.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing was in Messrs. Agnew's Gallery in 1903.

259. PLYMOUTH, DEVONSHIEE. (Part XIII, No. 3.)
Engraved by W. J. Cooke. 9J by 6T5F.
Plymouth Sound in centre ; Mount Edgcombe to right seen across
fortifications. Foreground crowded with sailors and women, some
dancing.
Engraver's Proofs. Left, "J. M. W. Turner E.A"; right, " W. J.
Cooke" in flowing italics.
First Pub. State. Before Title, etc.
N.B. — An apparently intermediate impression in BM. has the
artists' names as in the Second and Later States, but before Title.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing is in the Victoria and Albert Museum (Jones
Bequest).

260. SALISBUEY, WILTSHIEE. (Part XIII, No. 4.)
Engraved by W. Radclyffe. 9^ by 6^.
City in distance seen from a height; the Cathedral conspicuous
in centre. Storm breaking from left. Sheep scattered over fore
ground; children sheltering under plaid in centre.
Engraver's Proofs, (a) Before any letters. Nearly finished, but
open etched work still remaining on nave of cathedral. BM.
(b) Lettering as in First Pub. State, but before any sheep on
meadows at extreme left.
First Pub. State. Left, "J. M. W. Turner E.A. del"'; right,
" W. Eadclyffe fc /30." Before Title, etc. White dots indicating
sheep added on meadows at extreme left.
Second and Later States. As Devonport, No. 237. Date, June 1,
1830.
The Drawing is in the possession of Mr. George Coats.
I. L

146 ENGRAVED WORK OF J. M. W. TURNER.
Of the Drawing of Salisbury Mr. Euskin thus finely writes:
" In the drawing of Salisbury, the plain is swept by rapid but not distress
ful rain. The cathedral occupies the centre of the picture, towering high
over the city, of which the houses (made on purpose smaller than they really
are) are scattered about it like a flock of sheep. The cathedral is surrounded
by a great light. The storm gives way at first in a subdued gleam over a
distant parish church, then bursts down again, breaks away into full light
about the cathedral, and passes over the city, in various sun and shade. In
the foreground stands a shepherd leaning on his staff, watching his flock ; —
bareheaded : he has given his cloak to a group of children, who have covered
themselves up with it, and are shrinking from the rain ; his dog crouches
under a bank ; his sheep, for the most part, are resting quietly, some coming
up the slope of the bank towards him.
"The rain-clouds in this picture are wrought with a care which I have never
seen equalled in any other sky of the same kind. It is the rain of blessing —
abundant, but full of brightness; golden gleams are flying across the wet
grass, and fall softly on the lines of willows over in the vallev — willows by
the watercourses; the little brooks flash out here and there between them
and the fields." . . .— 'M. P.,' vol. v, p. 148.
He justly condemns the execution of the engraving, which un
fortunately altogether misses the charm of the Drawing, and is
of little value except to show the composition.

261. ST. CATHEEINE'S HILL, NEAE GUILDFOED, SUE
EEY. (Part XIV, No. 1.)
Engraved by J. H. Kernot. 9^- by 6\.
Euined Chapel on steep hill in centre, on which a fair is being
held; below to right, coach approaching down hollow road. Fore
ground crowded with booths and figures.
Engraver's Proofs. Left, "Drawn by J. M. W. Turner E.A.";
right, " Engraved by James H. Kernot." (a) Touched aU over
by Turner, with various instructions in margin for softening sky
and getting rid of the " look of Etching " on road in fore
ground. BM. (b) Later, alterations partly carried out. Before
coach was darkened. R.
First Pub. State. Same lettering. Before Title, etc. Sky softened
and uniformity of road in foreground broken up by lines of ruts.
Coach darkened.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing was formerly in the Euskin Collection.
This is perhaps the worst example in the whole Series of Turner's
treatment of such subjects.

LINE ENGRAVINGS ON COPPER. 147

262. CHATHAM, KENT. (Part XIV, No. 2.)
Engraved by W. Miller. 9\ by 5^|.
Broad curve of Medway in centre, with town to left, seen from
a height. Many hulks and shipping. Sentry and other soldiers on
fort in foreground.
First Pub. State. Left, " J. M. W. Turner E. A."; right, " William
MiUer, 1832." Before Title, etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing was in the Gurney Sale at Christie's in 1903.

263. MAEGATE, KENT. (Part XIV, No. 3.)
Engraved by R. Wallis. 9| by 6i.
The Town in distance to right above bay; church tower con
spicuous in centre; two windmills to right. Cornfield in fore
ground, with lady and children.
Engraver's Proofs. One, in the possession of the Engraver's family.
Eight, " E. Wallis, 1831." Touched by Turner; steamer at end
of pier and many details added in pencil. Note on sky: " There
wants gradation here and dont put any cross lines. Pray take
care of the sky for it is very weU." Others in various stages,
with same lettering. BM., R.
First Pub. State. Left, " Drawn by J. M. W. Turner E.A."; right,
" Engraved by E. Wallis." Before Title, etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing is in the possession of Lord Northbourne.

264. ASHBY DE LA ZOUCH, LEICESTEESHIEE. (Part XIV,
No. 4.) Engraved by W. Radclyffe. 9T\ by 6T\.
Euins of Castle on grassy slopes in centre among trees, through
which rays of setting sun are breaking from right. Pond below
hill. Sheep and cows in foreground.
Engraver's Proofs. Without any letters. Two touched by Turner,
BM. ; another, R.

148 ENGRA VED WORK OF J. M. W. TURNER.
First Pub. State. Left, "J. M. W. Turner E.A., DeP"; right,
" W. Eadclyffe Sc'." Before Title, etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing was recently in the possession of Mr. Lockett Agnew.
The Drawing for this plate is still very beautiful, although the
sky has faded badly. The effect of the long rays of the setting sun
breaking through the trees on the right is finely rendered. Ead
cliffe' s engraving however, is seldom satisfactory, and here it is
peculiarly dull and monotonous in execution, missing much of the
attractiveness of the picture.

265. WAEWICK CASTLE, WAEWICKSHIEE. (Part XV,
No. 1.)
Engraved by R. WaUis. 9T\ by 6T77.
Broad mass of castle in centre; still river in front between trees.
Masons at work on parapet in right foreground.
Engraver's Proofs. Without any letters. Before the swans and light
reflections in water at left corner. BM. and Engraver's Family.
First Pub. State. Also b.a.l. Swans and light reflections added.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing is in the possession of Mr. Abraham Haworth.

266. KENILWOETH CASTLE, WAEWICKSHIEE. (Part XV,
No. 2.) Engraved by T. Jeavons. 9-j-f by 6T7F.
The long mass of Castle ruins on bank in centre. Moon rising to
right. Water in foreground, in which cows are wading. Women
with milk-pails to right and left.
Engraver's Proofs. In centre, "Etc" by T. Jeavons, 1832." Tyro, BM.,
and one R. ; all touched by Turner.
First Pub. State. " Etcd by " altered to " Engd by." Before
Title, etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing was in the Novar sale at Christie's in 1877.
This has always seemed to me one of the most poetical plates of
the 'England and Wales.' The sun has not quite set; his last rays
are reflected on the upper clouds and on part of the Castle, and the

LINE ENGRAVINGS ON COPPER. 149
moon, lightly veiled by the evening mists, has just risen. The
Castle stands, silent and desolate in the twilight, but still broad,
still strong, still beautiful, even in ruin. Turner has deeply felt
the pathos as well as the beauty of the scene.
The composition of the picture is masterly. Observe how skil
fully the lines and curves repeat one another, yet never with
monotony; and how lines, curves, figures, and lights all carry the
eye onwards and up to the great pale, dominant mass of the
Castle.

267. BEINKBUEN PEIOEY, NOETHUMBEELAND. (Part
XV, No. 3.)
Engraved by J. C. VarraU. 9f by 6.
Priory ruins on bank to right. Eiver in front, flowing in rocky
bed below wooded hiU on left. Woman fishing from rock in fore
ground.Engraver's Proofs, (a) Without any letters. Instructions by Turner
to add ray of light through trees on left, and to alter reflections
on water. R. (b) In centre, " Engravd by J. C. VarraU from a
Draw8 by J. M. W. Turner E.A."; left, "Brinkburne Priory,
Northumd." Eay added, but Turner has written: "Bay too
positive " BM. ; another, R.
First Pub. State. All lettering removed, but traces remaining below
plate-line. Eays through trees on left much softened.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing is in the possession of Mr. J. Beecham.
The light falling on the wet trees on the left, above the Coquet,
is charmingly rendered.

268. TAMWOETH CASTLE, STAFFOEDSHIEE. (Part XV,
No. 4.) Engraved by J. T. WUlmore. 9f by 6^.
The Castle in centre in shadow, on round, wooded eminence ; sun
setting behind; church tower to right. Eiver in front, flowing from
weir on right and crossed by long bridge to left. Tall trees in right
foreground; on left, road with waggon and figures.
Engraver's Proofs. Without any letters. One in BM. touched by

150 ENGRAVED WORK OF J. M. W. TURNER.
Turner with instructions to alter reflections of castle, and to add
" another mill " [this is in the distance, just below the church
tower]. " You can burnish out and not take out the tree for the
Mill " [i.e. to make room for the mill].
First Pub. State. Still b.a.l. House at water's edge below church
tower altered to a mill, also lights added on river adjoining, to
indicate current of mill-stream. This is one of many instances
which show the minute care with which Turner followed every
detail of a plate. In this case the alteration, small as it is, dis
tinctly improves the balance of the composition.
Second and Later States. As Ludlow Castle, No. 249. Date, 1832.
The Drawing was formerly in the Windus Collection.
The round mass of the Castle on its conical hill, thrown dark
against the setting sun, is very effective here. There are charming
passages of evening light on the still river, and the beautiful old
bridge.

269. ELY CATHEDEAL, CAMBEIDGESHIEE. (Part XVI,
No. 1.)
Engraved by T. Higham. 9\ by 6A.
The Cathedral stretching across centre of plate, with cottages
below. Hay-makers to right; children by pond in left fore
ground. Engraver's Proofs. Without any letters. One in BM., touched by
Turner, with notes (on left): "All this part of the sky requires
to be made equal and more quiet"; also, alluding to front of
transept: " This looks too old and decayed."
First Pub. Slate. Also b.a.l. Sky on left lighter and more uniform;
front of transept worked upon, and look of decay on masonry
removed.
Second and Later States. As Ludlow Castle, No. 249. Date, 1833.
The Drawing was in the Manchester Art Treasures Exhibition
in 1857.
Mr. Euskin refers to this drawing as an example of Turner's
powers as an architectural draughtsman. (' M. P.,' vol. i, p. 404.)
The plate is well and delicately engraved.

LINE ENGRAVINGS ON COPPER. 151

270. BLENHEIM, OXFOEDSHIEE. (Part XVI, No. 2.)
Engraved by W. Radclyffe. 9^ by 5^.
The Palace in distance to left, on wooded slope of park. Lake in
centre crossed by bridge in mid-distance ; woods beyond. Classical
archway on extreme right, beside which are many figures. Horse
men and hounds approaching from left.
Engraver's Proofs. Without any letters, (a) With rays from centre
of sky indicated by pencil lines, each numbered, and the follow
ing instructions: " The Sky is too heavy — if you burnish it lighter
do it in rays and extend No. 1 fainter and fainter down to the
Water — the Bridge being too dark. . . . Ask Mr MacQueen to
send two [proofs] the one full, the other lighter [this refers to
lighter or darker printing] next time, for the Impression seems
dark. I shall not want the drawing again." Light spots scratched
out below bridge to indicate sailing boats. R. (b) Eays and boats
added; foreground worked upon and darkened. R. (c) Left,
"Drawn by J. M. W. Turner E.A."; right, "Engrav'd by
W. Eadclyffe." A very light-printed impression, probably one
of those asked for by Turner ; touched upon in foreground, etc.
This Proof has evidently been returned by post to the engraver,
his address being still visible on the back. R.
First Pub. State. Lettering as Engraver's Proof (c). Before Title,
etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1833.
The Drawing is in the possession of Mr. E. D. Holt.
The near and distant woodlands are finely rendered here, and the
sky is very luminous, but many of the foreground figures — espe
cially those on the right — seem unsatisfactory and out of harmony
with the rest of the scene.

271. CASTLE UPNOE, ON THE EIVEE MEDWAY. (Part
XVI, No. 3.)
Engraved by J. B. Allen. 9§ by 6y\.
Castle to right on shore of wide estuary. In centre, sun setting
behind hulks and men-of-war. Many fishermen and a dog by shore
in foreground.
Engraver's Proofs, (a) Left, "Drawn by J. M. W. Turner E.A.";

152 ENGRAVED WORK OF J. M. W. TURNER.
right, " Engd by James B. Allen " ; in centre, " Castle Upnor on
the Medway with part of Chatham Dock-yard and Liner." Eays
striking upward from the sun much more strongly marked than.
later. R. (b) Same lettering; rays softened; instructions by
Turner on right: " The more the whole of this part [of the sky]
is blended, the better." BM.
First Pub. State. Title removed. Artists' names as above. Clouds
on right lightened and softened.
Second and Later States. As Ludlow Castle, No. 249. Date, 1833.
The Drawing is in the possession of Mrs. Ashton.
Despite the unattractive figures in the foreground (which, how
ever, are of great value to the composition) Castle Upnor has always
seemed to me one of the most beautiful plates of the Series. The
treatment of sky and water is superb, and the whole picture
palpitates with light. It is well engraved.

272. LAUGHAENE CASTLE, CAEEMAETHENSHIEE. (Part
XVI, No. 4.)
Engraved by J. Horsburgh. 9^ by 6-^.
Castle to left on low rock, above stormy sea strewn with wreck
age. Dismasted ship at anchor to right. Many figures on left
salving wreckage. Stormy sky with gleams of light.
Engraver's Proofs. Without any letters. Completed, except that
ivy on furthest tower to left, is distinctly dark in parts, making
it more prominent than later. R.
First Pub. State. Also b.a.l. Ivy and left tower of castle lightened,
and now uniform throughout.
Second State (India Proofs). Title, " Larne Castle." Pub. line, etc.,
as Ludlow Castle, No. 249. Date, 1833.
Third and Fourth States. Title, " Laughharne Castle."
The Drawing is in the possession of Mr. J. Gresham.
Mr. Euskin, in one of his finest chapters on Turner's drawing of
the sea (' M. P.,' vol. i, pp. 367-373), takes this plate to illustrate
his views. Space compels my quoting only a few passages from it:
"It is not, however, from the shore that Turner usually studies his sea.
Seen from the land, the curl of the breakers, even in nature, is somewhat
uniform and monotonous ; the size of the waves out at sea is uncomprehended ;
and those nearer the eye seem to succeed and resemble each other, to move
slowly to the beach, and to break in the same lines and forms.

LINE ENGRAVINGS ON COPPER. 153
" Afloat, even twenty yards from the shore, we receive a totally different
impression. Every wave around us appears vast, every one different from all
the rest ; and the breakers present, now that we see them with their backs
towards us, the grand, extended, and varied lines of long curvature, which
are peculiarly expressive both of velocity and power. Of waves that succes
sively approach and break, each appears to the mind a separate individual,
whose part being performed, it perishes, and is succeeded by another. . . .
But it is when we perceive that it is no succession of wave, but the same
water, constantly rising, and crashing, and recoiling, and rolling in again in
new forms and with fresh fury, that we perceive the perturbed spirit, and
feel the intensity of its unwearied rage. The sensation of power is also
trebled;'; ...
' ' Aiming at these grand characters of the sea, Turner almost always
places the spectator, not on the shore, but twenty or thirty yards from it,
beyond the first range of the breakers, as in the Land's End, Eowey, Dunbar,
and Laugharne. The latter has been well engraved, and may be taken as a
standard of the expression of fitfulness and power. The grand division of the
whole space of the sea by a few dark continuous furrows of tremendous swell
(the breaking of one of which alone has strewed the rocks in front with ruin)
furnishes us with an estimate of space and strength, which at once reduces
the men upon the shore to insects; and yet through this terrific simplicity
there are indicated a fitfulness and fury in the tossing of the individual
lines, which give to the whole sea a wild, unwearied, reckless incoherency,
like that of an enraged multitude, whose masses act together in phrensy,
while not one individual feels as another. Especial attention is to be directed
to the flatness of all the lines, for the same principle holds in sea which we
have seen in mountains. All the size and sublimity of nature are given, not
by the height, but by the breadth, of her masses ; and Turner, by following
her in her sweeping lines, while he does not lose the elevation of its surges,
adds in a tenfold degree to their power. Farther, observe the peculiar ex
pression of weight which there is in Turner's waves, precisely the same kind
which we saw in his water-fall. We have not a cutting, springing, elastic
line ; no jumping or leaping in the waves ; that is the characteristic of Chelsea
Reach or Hampstead Ponds in a storm. But the surges roll and plunge with
such prostration and hurling of their mass against the shore, that we feel the
rocks are shaking under them. And, to add yet more to this impression,
observe how little, comparatively, they are broken by the wind: "
" In the distance of this grand picture there are two waves which entirely
depart from the principle observed by all the rest, and spring high into the
air. They have a message for us which it is important that we should under
stand. Their leap is not a preparation for breaking, neither is it caused by
their meeting with a rock. It is caused by their encounter with the recoil
of the preceding wave. . . . Such a recoiling wave will proceed out to
sea through ten or twelve ranges of following breakers, before it is over
powered."

273. COVENTEY, WAEWICKSHIEE. (Part XVII, No. 1.)
Engraved by S. Fisher. 9\\ by 6\.
Town in distance with three spires. Thunderstorm overhead with
light breaking through. Two coaches on hollow road in right fore
ground. Donkeys, cattle, and sheep in left foreground.

154 ENGRA VED WORK OF J. M. W. TURNER.
Engraver's Proofs. Without any letters. Before lights across road
between the two coaches, and before tall chimney with white
smoke on right ; right part of town indistinct in storm. One in
BM., with lights drawn in white, and instructions on town:
" Houses more made out." Another, also touched, E.
First Pub. State. Also b.a.l. Lights added across road, and all
over town, defining the houses and churches ; tall chimney with
white smoke added on right.
Secojid and Later States. As Ludlow Castle, No. 249. Date, 1833.
The Drawing is in the possession of Mr. C. W. Lea.
Turner's skill in rendering the rows upon rows of streets and the
masses of houses here, without monotony, has always seemed to
me marvellous. But the foreground is less satisfactory, and the
engraving of the plate does not reach the usual standard of exe
cution.

274. NOTTINGHAM, NOTTINGHAMSHIEE. (Part XVII,
No. 2.) Engraved by W. J. Cooke. 9\ by 6|.
Town in distance to right, with double rainbow. Castle on hiU
on extreme left. In front, river on which are sailing-boats crowded
with figures.
Engraver's Proofs. Left, " J. M. W. Turner, E.A." One, touched
and drawn upon by Turner; right-hand rainbow scraped out. R.
Another, later; in the margin Turner has written: "I must
trouble you to quiet all the sky by taking away or softening down
all markings which are harsh and cut up the whole. Get the sky
right and then I think the rest will do."
First Pub. State. " W. J. Cooke " added on right. Before Title,
etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1833.
The Drawing is in the possession of Sir E. H. Scott, Bart.
Mr. Euskin (' M. P.,' iv, pp. 29-31), compares Turner's treatment
of Nottingham in this plate with the earlier engraving of the same
subject in ' The Copper- Plate Magazine ' (1795), and he gives fac
similes of the Preliminary Etchings of both plates to illustrate his
point, which is to show how the painter to the last preserved his
early impressions of a place — modifying, not changing, his repre
sentation of it in his later years, with his fuller powers. This may

LINE ENGRAVINGS ON COPPER. 155
be seen in several other plates of the ' England and Wales ' ; not
ably in Stonyhurst (No. 244), Gosport (No. 252), and Llanthony
Abbey (No. 287).
Mr. Euskin also alludes to Turner's treatment of the reflections
in the water here in another interesting passage ('M. P.,' vol. i,
pp. 354, 355).
275. CAEEW CASTLE, PEMBEOKE. (Part XVII, No. 3.)
Engraved by W. Miller. 9^ by 6^.
Castle in centre partly hidden by trees, on low bank of shallow
river. Level distance, with bridge, on left of which is column of
white smoke. Light breaking through clouds overhead. Many
cows in water in foreground. Three seated figures to right.
Engraver's Proofs. Left, " J. M. W. Turner E.A. " ; right, " William
Miller." Sky unfinished and much harder in effect than later. R.
First Pub. State. Same lettering. Before Title, etc. Sky much
softened throughout.
Second and Later States. As Ludlow Castle, No. 249. Date, 1834.
The Drawing is in the possession of Mrs. Euston.
This beautiful plate is one of Miller's triumphs. The rendering
of Turner's elaborate sky could not be surpassed in engraving.
276. PENMAEN MAWE, CAEENAEVONSHIEE. (Part XVII,
No. 4.)
Engraved by J. T. WUlmore. 8|f by 6^-.
Stormy sea to left. High cliffs on right. Heavy storm approach
ing. In foreground, road protected from sea by parapet; coach
approaching rapidly.
Engraver's Proofs. Without any letters. Two, apparently finished.
BM., R.
First Pub. State. In centre, " J. T. WiUmore." Before Title, etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1834.
The Drawing was in the Murrieta sale at Christie's in 1892.
277. CHEIST CHUECH COLLEGE, OXFOED. (Part XVIII,
No. 1.)
Engraved by J. Redaway. 8if by 6J.
The College gateway and Tom Tower to right. House opposite

156 ENGRAVED WORK OF J. M. W. TURNER.
in course of demoUtion. Boys with kites on road in front. Two
dons on right.
Engraver's Proofs, (a) Left, " Drawn by J. M. W. Turner E.A ";
right, " by Jas Eedaway "; drawn and written on by Turner. BM.
(b) "Engraved" added before engraver's name, and "Christ
Church College Oxford " in centre, R. ; one, touched and written
on, BM. In all the above the lower kite is shaded and not so
distinctly relieved against the sky as in later States.
First Pub. State. Artists' names as in (b). Title removed, but
faint traces still visible. Lower kite bright white against the
sky, and taU of upper kite more conspicuous. Lights added on
gables of houses below kites.
N.B. — I have an impression without any lettering, but it
differs otherwise in no way from the First Pub. State.
Second and Later States. As Ludlow Castle, No. 249. Date, 1834.
The Drawing was in the Novar sale at Christie's in 1877.

278. AEUNDEL CASTLE AND TOWN, SUSSEX. (Part XVIII,
No. 2.)
Engraved by T. Jeavons. 9^ by 6T97.
Castle in mid-distance halfway up wooded hill; town to left.
Eiver winding through meadows, past windmill in centre. Sheep
resting on hollow road in foreground.
Engraver's Proofs, (a) In centre, " Etc" by T. Jeavons." Scraped
and drawn upon all over by Turner. R. (b) Lettering removed.
BM. Two others, with artists' names added in pencil. BM., R.
First. Pub State. Left, " Turner E.A. "; right, "Jeavons." Before
Title, etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1834.
The Drawing was in the possession of the late Mrs. Thwaites.
This is one of several beautiful renderings by Turner of the
romantic Uttle town, but it is hardly as fine, I think, as the view
taken from the back of the Castle, in the ' Eivers of England.'

279. LLANDBEEIS LAKE, WALES. (Part XVIII, No. 3.)
Engraved by J. T. WUlmore. 9| by 6^.
The Lake in front to left, with mountains rising all round. Low

LINE ENGRAVINGS ON COPPER. 157
tower on jutting point in mid-distance. Angler in water in fore
ground landing fish. Woman and child on bank above. Sweeping
clouds with rays of sunshine.
Engraver's Proofs. Without any letters, (a) Before small, distant
sail and smoke on left. BM. (b) Smoke drawn in by Turner, but
before sail. Against stones in foreground Turner has written:
"Pray give me some dotting drypoint among the small stones,
leaving the largest." BM. (c) Sail and smoke added, and fore
ground work completed. BM., R.
First Pub. State. In centre, " J. T. WiUmore." Before Title, etc.
Second and Later States. As Ludlow Castle, No. 249. Date, 1834.
The Drawing is in the National Gallery of Scotland (Vaughan
Bequest).

280. LEICESTEE ABBEY, LEICESTEESHIEE. (Part XVIII,
No. 4.) Engraved by W. R. Smith. 9-j^- by 5££.
The Abbey ruins low on right, behind which sun has set. Moon
rising to left. Eiver flowing past Abbey walls, and over bank and
low weir to left. In front, stepping-stones, across which a girl is
passing. Man, two horses, and dog to right.
Engraver' s Proof s. Without any letters, (a) Early. Sky unfinished.
Overflow of stream opposite Abbey walls, a slender streak only.
Moon nearly uniform in tone. BM., R. (b) Work advanced
throughout, but stream still undivided. R. (c) Stream scraped
by Turner for widening and dividing into two branches. Instruc
tions to alter perpendicular lines of reflections of stepping-stones
and bank beyond. BM. (d) Later, with note by Turner: " These
down lines [the reflections] are so unequal that they do a great
deal of harm." BM.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A"; right,
" Engraved by W. E. Smith." Before Title, etc. Overflow stream
divided into two branches, each marked by broad edge of light.
Lines of reflections closer and much softened. Upper edge of
moon Ughtened.
Second and Later States. As Ludlow Castle, No. 249. Date, 1834.
The Drawing was formerly in the Euskin Collection.
The presence of the sun and moon at the same time in this

158 ENGRAVED WORK OF J. M. W. TURNER.
beautiful plate, has always been a difficulty. Probably Mr. Euskin's
solution is the right one. He says (' Notes on his Collection '):
"The sunset and moonrise thus associated, are not meant to be actually
contemporaneous. Strictly, this is two pictures in one ; and we are expected
to think of the whole as a moving diorama. "
281. CAEENAEVON CASTLE, WALES. (Part XIX, No. 1.)
Engraved by W. Radclyffe. 9-| by 6-J.
The Castle in centre at water's edge; sun setting behind. Broad
estuary in front. Crescent moon to left. Women bathing from
boat to left.
First Pub. State. Left, "J. M. W. Turner E.A. del"; right, " W.
Eadclyffe Sc'." Before Title, etc.
Second and Later States. As Ludlow Castle, No. 249, but name of
Hodgson substituted for that of Moon. Date, 1835.
The Drawing was in the Tatham sale at Christie's, March, 1908.
282. DUDLEY, WOECESTEESHIEE. (Part XIX, No. 2.)
Engraved by R. Wallis. 9-| by 6|.
Canal in front with barges, on either side of which are chimneys
and forges, pouring out flames and smoke. Town on hill behind,
castle ruins high to right. Crescent moon behind town, reflected in
canal. Engraver's Proofs. Without any letters. One, very early, BM.
First Pub. State. Also b.a.l. Before Title, etc.
Second and Later States. As Rievaulx Abbey, No. 209, but with
" Longman and C°, Paternoster Eow," as publishers.
The Drawing is in the possession of Sir George Drummond,
K.C.M.G. I have already alluded to this plate (Introduction, p. 1) as
one of the most deeply poetical of Turner's works. The contrast
between the past and the present is so profoundly felt, so impres
sively rendered. The quiet, pathetic beauty of the once dominant,
but now ruined feudal castle, is strikingly brought out by the forges
and the busy life of the nineteenth century below. As a picture,
the composition and chiaroscuro are admirable, and it has been
well engraved by Wallis. The Drawing is slighter than usual. Mr.
Euskin, to whom it belonged, refers briefly to it in his ' Notes on
his Collection,' ed. 1904, vol. xiii, p. 435.

LINE ENGRAVINGS ON COPPER. 159

283. BOSTON, LINCOLNSHIEE. (Part XIX, No. 3.)
Engraved by T. Jeavons. 91 by 6-|.
Church in centre; tall tower with hexagonal cap. Wide, still
river in front, crossed below church by wooden bridge. Old houses
to right; boats, sailing barges, and many figures.
Engraver's Proofs. Without any letters. One in BM., worked on
all over. In margin, sketch by Turner of tracery of window and
arcade above. Lights scraped all over tower and nave of church,
and on houses to right, and note added: " Town and the whole of
the Church not rich enough of ornament."
First Pub. State. Left, "J. M. W. Turner E.A. "; right, "T.
Jeavons." Before Title, etc.
Second and Later States. As Caernarvon Castle, No. 281. Date,
1835. The Drawing was at Christie's in the Feetham sale, 1895.
This is a very attractive plate. The details of the tower are deli
cately and carefully rendered, and the tower itself stands finely
reUeved against the sky.

284. ULLSWATEE, CUMBEELAND. (Part XIX, No. 4.)
Engraved by J. T. WUlmore. 9-f by 6^.
Lake stretching across centre of plate; hiUs rising behind. Calm
evening effect, with horizontal rays of setting sun. Boats with
women bathing; other women on shore in foreground. Cows in
lake to right.
Engraver's Proofs. Without any letters. Two in BM. touched by
Turner; before white sailing-boat on left. Another, touched all
over in white ; the mists on the hill, the smoke in central distance,
the white sail on left and the reflections added, B. A later one,
with white boat, etc., added, and instructions for foreground:
" Too much of stones all too equal as to size and work — They
should be smaller and smaller from the front and less [illegible]."
BM.
First Pub. State. Also b.a.l. Foreground worked upon as directed,
giving more gradation. Before Title, etc.
Second and Later States. As Caernarvon Castle, No 281. Date,
1835.

160 ENGRAVED WORK OF J. M. W. TURNER.
The Drawing was at Christie's in 1877, in the Novar sale.
Turner's notes on the Trial Proofs of this beautiful plate quoted
above, are one example among many of the pains he always took
to get his foreground details right.

285. POWIS CASTLE, MONTGOMEEY. (Part XX, No. 1.)
Engraved by J. T. WUlmore. 9\l by 6^.
Square Castle, on steep hill with terraced gardens, in mid-distance.
Shallow stream in front. Man with gun in right foreground, stalk
ing two herons, one of which is conspicuous against dark trees.
First Pub. State. Without any letters.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing, much faded, was recently at Christie's.

286. WOECESTEE, WOECESTEESHIEE. (Part XX, No. 2.)
Engraved by T. Jeavons. 9-f by 6T7F.
The Cathedral on high ground to right above the Severn, which
stretches across the plate in front. Tall spire, in light, in centre,
relieved against dark sky. Boats and punts in front.
Engraver's Proofs. Without any letters, (a) Touched by Turner and
lights scraped on foliage of trees on left bank, with a note:
"Less rushes." (b) Also touched and with note by Turner that
the perpendicular lines of shading on water to left " Do Harm
in the Water." R. (c) Nearly finished. BM.
First Pub. State. In centre, " Engd by T. Jeavons, 1835." Before
Title, etc. Lines of shading in water much softened.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing is in the possession of the Hon. W. F. D. Smith.

287. LLANTHONY, MONMOUTHSHIEE. (Part XX, No. 3.)
Engraved by J. T. WUlmore. 9f by 6f .
The Abbey ruins in light, in mid-distance to right, under high
bare hills, seen through drifting rain-clouds. In front, river in
flood between rocky banks. Three anglers under bank on right.
Engraver's Proofs. Without any letters, (a) Before rays of light over

LINE ENGRAVINGS ON COPPER. 161
Abbey ruins and over bank to right. Three, BM. (b) One freely
touched with white and drawn on in pencil. R.
First Pub. State. Also b.a.l. Eays of light added through the rain,
over Abbey ruins and on bank on right.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing is in the possession of the Trustees of the late
Mr. J. E. Taylor.
Mr. Euskin amusingly employs this charming plate to illustrate
Turner's habit of repeating his first impressions of a place, if he
painted it again in later life:
" There is a small drawing of Llanthony Abbey [also in the possession of
the Trustees of the late Mr. J. E. Taylor]. It is in his boyish manner, its
date probably about 1795 ; evidently a sketch from nature, finished at home.
It had been a showery day ; the hills were partly concealed by the rain, and
gleams of sunshine breaking out at intervals. A man was fishing in the
mountain stream. The young Turner sought a place of some shelter under
the bushes ; made his sketch ; took great pains when he got home to imitate
the rain, as he best could; added his child's luxury of a rainbow; put in the
very bush under which he had taken shelter, and the fisherman, a somewhat
ill-jointed and long-legged fisherman, in the courtly short breeches which
were the fashion of the time.
"Some thirty years afterwards, with all his powers in their strongest
training, and after the total change in his feelings and principles which I
have endeavoured to describe, he undertook the series of 'England and
Wales,' and in that series introduced the subject of Llanthony Abbey. He
kept the very bushes in their places, but brought the fisherman to the oppo
site side of the river, and put him, in somewhat less courtly dress, under
their shelter, instead of himself, and then he set all his gained strength and
new knowledge at work on the well-remembered shower of rain that had
fallen thirty years before, to do it better. The resultant drawing is one of
the very finest of his second period."— ' Pre-Raphaelitism,' 1904 ed., vol.
xii, p. 382.

288. LONG-SHIPS LIGHT HOUSE, LANDS END. (Part XX,
No. 4.)
Engraved by W. R. Smith. 9|f by 6TV
High cliffs to right, against which a wild sea is breaking; rocky
pinnacle on extreme right with cloud of sea-birds. Lighthouse on
horizon to left below dark sky. Wreckage in front. Late evening
effect.Engraver's Proofs. Without any letters, (a) Early, Floating
masts projecting in centre and at extreme right are both slender,
not as broad as later. Before drifting mists at top of cliff to right.
R. (6) Two, both touched by Turner, and with various altera-
I. M

]fi> ENGRAVED WORK OF J. M. W. TURNER.
tions in wreckage. On margin of one he has written: "Water
wants filling in with work to take away the equal width. . . .
[here illegible] and make the lights dashing and sharp." On
the other, are further instructions to get rid of the "line-like
look " of water. Both BM. (c) Nearly completed; floating masts
mentioned in (a) much broader. Before spray on right was light
ened. R.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A "; right,
" Engraved by W. E. Smith " (in some impressions this lettering
appears partially erased). Before Title, etc. Spray lightened.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing is in the possession of the Trustees of the late
Mr. J. E. Taylor.
This has always seemed to me one of the finest and most impres
sive plates of the ' England and Wales.' Although W. E. Smith
has not rendered the waves, especially in the foreground, as Miller
would have done, he has got the effect of the Drawing as a whole,
and the execution of the sky, the cliffs, the wave breaking on the
right, and the distance, is admirable.

289. BEAUMAEIS, ISLE OF ANGLESEA. (Part XXI,
No. 1.)
Engraved by W. R. Smith. 9| by 6TV
Below to left and in front, the Menai Straits. High hills filling
background. On shore in mid-distance, low walls of ruined castle.
Carts in shallow water, unloading ship to left.
Engraver's Proofs. Without any letters, (a) Very early, touched by
Turner. BM. (b) Nearly finished, but lighter throughout than
in the Published States. BM., R.
First Pub. State. Left, " Drawn by J. M. W. Turner, E.A."; right,
" Engraved by W. E. Smith." Before Title, etc.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing is in the possession of Mr. Arthur E. Street.

290. LYME EEGIS, NOEFOLK [sic]. (Part XXI, No. 2.)
Engraved by T. Jeavons. 10TV by 6\.
Eough sea in centre breaking on beach in foreground. Town on
shore to right, below hills. Two men on low. jutting cliff to right

LINE ENGRAVINGS ON COPPER. 163
with telescope. Dismantled ship and wreckage being hauled
ashore.
Engraver's Proof. Touched all over and with numerous instructions
by Turner. Below lower margin is written : " Very fine work.
Dry-point Tower and Hills behind the waves. Houses in shade
more made out like windows and chimneys." B.
First Pub. State. In centre, below plate-line, " Engd by T. Jeavons ";
very faint. Before Title, etc.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing was at Christie's in 1874, in the Pattinson Sale.
The view of Lyme Regis here is very similar to that in Turner's
earlier plate of the same subject in his ' Southern Coast of Eng
land.' The latter, however, I consider, both in design and execution,
by far the finer of the two.

291. HAELECH CASTLE, NOETH WALES. (Part XXI,
No. 3.)
Engraved by W. R. Smith. 9T9„ by 6f .
Castle in centre on high rock above shore, vUlage below it ; sea
to left. Hills beyond, with peak of Snowdon appearing above clouds.
In foreground, road with woman and chUdren.
Engraver's Proofs. Without any letters. Before bright lights on
castle tower, and on peak of Snowdon on right. BM., R. The
lights scraped out. B.
First Pub. State. Also b.a.l. Lights added on tower and mountain.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing is in the possession of Mr. George W. Vanderbilt,
New York.
This is an entirely different view of Harlech from the early but
masterly oil picture which Turner exhibited at the Eoyal Academy
in 1799.

292. FLINT CASTLE, NOETH WALES. (Part XXI, No. 4.)
Engraved by J. H. Kernot. 9£ by 6^.
Euined castle in centre in mid-distance on shore. Sun sinking,
and reflected in calm sea to left; brilliant sky. Group of shipping

164 ENGRA VED WORK OF J. M. W. TURNER."
to left of castle. Shrimpers and other figures on sands in fore
ground.
Engraver's Proof. Without any letters. Before buoy on left. Sky
unfinished. BM.
First Pub. State. Left, "J. M. W. Turner E.A."; right, "James
H. Kernot." Before Title, etc. Buoy added to left.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing is in the possession of Mr. George Coats.
Flint Castle is a charming plate. I know of no engraving,
whether after Turner or any other painter, more completely steeped
in sunshine. Mr. Euskin writes of the Drawing as " the loveliest
piece of pure water-colour painting in my whole collection." (' Notes
on his Collection,' 1904 ed., vol. xiii, p. 442.)

293. LOWESTOFFE, SUFFOLK. (Part XXII, No. 1.)
Engraved by W. R. Smith. 9f by 6f .
Late twilight effect. Lighthouse to right on cliff. Town lower to
left in deep shadow. Crescent moon. Eough sea in front, with
boats and wreckage.
Engraver' s Proof s. Without any letters. Before rays from lighthouse
on right. Two in BM., one touched by Turner; another, JR., also
touched.
First Pub. State. Left, "Drawn by J. M. W. Turner E.A"; right,
"Engraved by W. E. Smith." Before Title, etc. Eays from
lighthouse added; also more work on cliff below, giving wooded
effect.
Second and Later States. As Dudley, No. 282. Date, 1837.
The Drawing is in the possession of Mrs. Sale.
Lowestoffe is a very beautiful, poetical rendering of a night effect .
over the sea. The crescent moon and its slight, far-away reflection
on the waves, are exquisitely treated.

294. KIDWELLY CASTLE, SOUTH WALES. (Part XXII,
No. 2.)
Engraved by T. Jeavons. 9| by 6T7F.
The extensive ruins of Castle on low bank, stretching across plate.
Shallow stream in front, with reeds to left; road in right fore-

LINE ENGRAVINGS ON COPPER. 165
ground, on which are carts and figures. SmaU rainbow to left;
windy sky with rays of light.
Engraver's Proofs. Without any letters. One touched by Turner,
BM.
First Pub. State. Also b.a.l.
Second and Later States. As Dudley, No. 282. Date, 1837.
The Drawing is in the possession of Lord Armstrong.

295. KESWICK LAKE, CUMBEELAND. (Part XXII, No. 3.)
Engraved by W. Eadclyffe. 9f by 6.
Lake in centre in shadow; hills rise behind. Lodore waterfall to
left; rainbow to right, reflected in lake. Boat and figures on shore
to left.
Engraver's Proofs. Without any letters. One, touched by Turner,
and with notes as to foreground: " Here bold work." In another
place: "Full of stones large and small." Also an iUegible note,
apparently instructing the engraver to make the rainbow less
distinct. BM.
First Pub. State. Left, "J. M. W. Turner DeP"; right, " W. Ead
clyffe Sc'." Before Title, etc.
Second and Later States. As Dudley, No. 282. Date, 1837;
The Drawing is in the possession of the Trustees of the late Mr.
J. E. Taylor.
The execution of this engraving is elaborate, but somewhat me
chanical and not wholly satisfactory, but for all that the plate is a
fine one. The Drawing is superb.

296. LLANGOLLEN, NOETH WALES. (Part XXII, No. 4.)
Engraved by J. T. WUlmore. IOJj- by 6T7B-.
High, wooded eminence to left in shadow, behind which are rays
of setting sun. Town and bridge in mid-distance to right. Wide
rapid river below to left, with angler on bank to right.
Engraver's Proofs. Without any letters. Three in BM. in various
stages, all touched by Turner. On the latest is a note, referring
to central hill: "All a mass of wood made out, and not in spots."
(In the earlier Proofs the wood was in dark patches.) Also (re
ferring to hills beyond bridge) : " All the white pieces [?] of paper

166 ENGRAVED WORK OF J. M. W. TURNER.
taken away except the Town and [illegible]. Yet the whole lighter
in Distance." Light clouds added in upper sky.
First Pub. State. Also b.a.l.
Second and Later States. As Dudley, No. 282. Date, 1837.
The Drawing was at Christie's in 1891, in the Bolckow sale.
This very beautiful plate is superbly engraved by WiUmore.
Turner was singularly successful in his Welsh subjects in the
'England and Wales.' Both the scenery and the atmospheric
effects seem exactly to have suited his genius.
297. DUEHAM CATHEDEAL. (Part XXIH, No. 1.)
Engraved by W. Miller. 9^- by 6^-.
Cathedral high on wooded bank to right above river, Castle be
yond; bridge in distance to left. High trees in left foreground.
Parapet on extreme right with woman and child looking over.
Engraver's Proofs. Left, "J. M. W. Turner E.A " ; right, "William
Miller." Five in BM., in various stages. The earlier ones are be
fore the light clouds in upper sky and before the rays from left.
A later Proof has the rays scraped out and touched in in white,
and the foUowing note by Turner: " AU the Bank is covered with
Trees down to the Eiver Edge. I want [illegible] large Trees to
be made out. Excuse my saying everything you try to make [?]
out by single line only, and that way too frequently done without
Form has nothing characteristic of masses of Ught and shadow.
I must beg to see you[?] with this again."
First Pub. State. Same lettering. Before Title, etc.
Second and Later States. As Dudley, No. 282. Date, 1836.
The Drawing is in the National GaUery of Scotland (Vaughan
Bequest). The fine, poetical Drawing of Durham Cathedral has been finely
reproduced here by Miller. It would appear, however, from Turner's
note on the Trial Proof quoted above, that this result was not
achieved without some plain speaking on his part.
298. WINANDEE-MEEE, WESTMOEELAND. (Part XXIII,
No. 2.) Engraved by J. T. WUlmore. 9f by 6|.
Lake in centre in hazy afternoon sunshine; mountains in distance.
Eegatta in foreground.

LINE ENGRAVINGS ON COPPER. 167
Engraver's Proof. Without any letters. One touched by Turner,
before flags in rowing boats to left and with note: " The whole of
the Mountains and on the Trees too dark. The highest [? moun
tain] much lighter if the work will bear it without becoming
rotten." BM.
First Pub. State. Also b.a.l. The distant mountains lightened.
Second and Later States. As Dudley, No. 282. Date, 1837.
The Drawing was formerly in the Gillott and Dudley collections.
This plate needs no praise. It has always been regarded, both
as regards design and execution, as one of the triumphs of the
' England and Wales.' WiUmore has engraved nothing finer than
the sky and distance here, nor has even Miller ever surpassed them.

299. WHITEHAVEN, CUMBEELAND. (Part XXIII, No. 3.)
Engraved by W. R. Smith. 9if by 6i.
Town on sea-shore in mid-distance to left; windmill on hill
above. Dark, squally sky and sea to right, with two sailing ships,
one caught by gleam of light. Boats and wreckage in front.
Engraver's Proofs. Without any letters. Two very early, and one
nearly finished. BM.
First Pub. State. Left, " Drawn by J. M. W. Turner E.A"; right,
" Engraved by W. E. Smith." Before Title, etc.
Second and Later States. As Dudley, No. 282. Date, 1837.
The Drawing was at Christie's in 1904 in the Dunlop Sale.
300. CEICKIETH CASTLE, NOETH WALES. (Part XXIII,
No. 4.) Engraved by S. Fisher, 9T7g- by 6T7T.
Euins of castle on high, steep cliff in centre, light against black
sky. Village to right below castle. Hills beyond. Sea breaking
to left. Crowd of figures on sand s in foreground collecting wreckage ;
two Eevenue officers on horseback.
Engraver's Proofs. Without any letters. Two, both touched by
Turner, with notes for the engraver. Before the letters "C. H."
on stone below revenue officer on right. BM., R.
First Pub. State. Also b.a.l. " C. H." on stone. Clouds to left much
darkened.
Second and Later States. As Dudley, No. 282. Date, 1837.

168 ENGRAVED WORK OF J. M. W. TURNER.
The Drawing is in the possession of Mr. William Newall.
The foreground here may perhaps be considered too crowded
with figures; but I think Turner intended these to bring out by
contrast the simple, telling effect of the Castle, seen against the
storm.

301. EOCHESTEE, STEOUD AND CHATHAM, MEDWAY.
(Part XXIV, No. 1.)
Engraved by J. C. VarraU. 9TTF by 6\.
The three towns in distance, seen from road descending hill in
foreground. Eochester Castle and Cathedral conspicuous to right;
Medway in wide curves in centre. Women and children in fore
ground, some seated, and one approaching on horseback.
Engraver's Proof. Without any letters. One touched by Turner.
BM.
First Pub. State. Also b.a.l.
Second and Later States. As Dudley, No. 282. Date, 1838.
The Drawing was formerly in the Euskin Collection.
302. CHAIN BEIDGE OVEE THE EIVEE TEES. (Part XXIV,
No. 2.)
Engraved by W. R. Smith. 9£ by 6A.
Eiver falling through steep, narrow gorge in centre, between high
rocky hills. Chain Bridge crosses highest point of gorge in centre.
Bays of light strike across obliquely from left. Spoilsman on high
bank to left. Grouse in right corner.
Engraver's Proofs. Without any letters, (a) Before the two birds
near left margin. BM., R. (b) The two birds added, dark. R.
First Pub. State. Eight, " Drawn by J. M. W. Turner E.A."; left,
" Engraved by W. E. Smith." Before Title, etc. The two birds
almost entirely white.
Second and Later States. As Dudley, No. 282. Date, 1838.
The Drawing is in the possession of Mr. Abraham Haworth.
This most beautiful and impressive plate has always been regarded
as one of the finest of the ' England and Wales ' Series. The Draw
ing is superb, and, on the whole, is well reproduced, although Miller
would probably have rendered the falling water better.

LINE ENGRAVINGS ON COPPER. 169

303. EICHMOND TEEEACE, SUEEEY. (Part XXIV, No. 3.)
Engraved by J. T. WUlmore. 9^f by 6^.
The well-known view from the Terrace; Thames in centre. Over
arching tree to right. Many figures in foreground. On extreme left,
back of State carriage with footman.
Engraver's Proofs. Without any letters. One very early. BM. Later,
with flower-basket only, in extreme right, and instructions by
Turner: "Wheelbarrow with Basket of Flowers. More full of
trees all the distance." BM.
First Pub. State. Also b.a.l. Barrow added under flower-basket on
right.
Second and Later States. As Dudley, No. 282. Date, 1838.
The Drawing is in the possession of Sir Durning Lawrence, Bart.
Despite the foreground figures, this is one.of the finest of Turner's
many renderings of Eichmond Hill and Terrace.
304. MOUNT ST. MICHAEL, COENWALL. (Part XXIV,
No. 4.)
Engraved by S. Fisher. 9^ by 6^.
The Mount to left in mid-distance. Dark rain-clouds to right,
above houses on shore. In foreground, figures loading wreckage on
pack-horses.Engraver's Proofs. Without any letters. Two, both touched and
with notes by Turner. BM., R.
First Pub. State. Also b.a.l.
Second and Later States. As Dudley, No. 282. Date, 1838.
The Drawing was at Christie's in 1872, in the Leyland Sale.

XLI
THE SO-CALLED "HOLLOWAY'S CONTINUA
TION OF 'ENGLAND AND WALES'" (UN
PUBLISHED)
I have endeavoured in vain to ascertain the origin and intention
of the five plates and three vignettes which appear under the above

170 ENGRAVED WORK OF J. M. W. TURNER.
title in Mr. Stokes's list of Engravings after Turner. The late Mr.
HoUoway told me that many years after the painter's death, he had
purchased the copper-plates and Turner's drawings for them, from
a Mr. Lewis Pocock, but that he had no idea by whom they were
originally commissioned, or for what purpose they were intended,
nor had he ever contemplated issuing them as a " Continuation of
' England and Wales.' " He had had impressions printed from the
plates, but they had failed to sell; the Drawings he had disposed
of. These impressions appear to have lain by until they were pur
chased, not many years ago, by the Fine Art Society, who afterwards
re-sold all then remaining to Mr. W. Ward.
Apart from Mr. HoUoway's assurance, I find it difficult to think
that the plates were ever intended for the ' England and Wales,' as
the Drawings for them are so totally unlike in style. Instead of
the elaboration and rich colour of that Series, these are in body
colour on grey paper, and are altogether slighter and broader in
treatment. The execution of the engravings is also in a certain
way different, but that may be due to the engraver, J. C. Allen,
having aimed at reproducing the very different effect of body colour
on grey paper.
On the other hand, it is possible that, in or about 1838, the
painter, seeing that the ' England and Wales ' would be con
tinued no further, may have designed vignette frontispieces for
each of its two volumes. It is difficult otherwise to account
for the existence of those vignettes — Turner was the last man to
spend time and money without an object — unless both plates and
vignettes were intended for some work illustrating the East Coast,
which he may have commenced, and, as before happened, afterwards
thrown aside. It will be observed that all the subjects are taken
from that part of England, although one of them — Dunwich — has
erroneously passed under the name of a Kent coast village. Pos
sibly the publication of these facts and surmises may lead some day
to the origin of the Series being cleared up.1
1 Should this meet the eye of the owner of any of the eight Drawings, I
should be extremely obliged if he would examine the back, and kindly
inform me if it bears a date or inscription of any kind.

LINE ENGRAVINGS ON COPPER. 171

305. LOWESTOFFE LIGHTHOUSE (Vignette). UnpubUshed.
Engraved by J. C. Allen, c. 5 by 6T\.
Full moon, low down, reflected on sea to right. Lighthouse tower
on mound in left foreground. Eoofs of houses below.
Engraver's Proof. Left, "Drawn by J. M. W. Turner"; right,
" Etched by J. C. Allen." Sky unfinished; upper part of moon
quite clear, but belts of cloud across lower part. BM.
Finished State. " E.A." added after " Turner " ; "Etched by" altered
to " Engraved by." Clouds across moon much softened and now
nearly uniform in tone.
The Drawing, on grey paper, was in tbe Novar Sale in 1877.
306. HAEBOEOUGH SANDS (Vignette). Unpublished.
Engraved by J. C. Allen, c. 5 by 6|.
Flat, sandy shore, with many figures of fishermen and fish-
women in foreground. Headland across bay to left; tower on
point. Fishing-boats ashore on right. Setting sun reflected in
water.
Finished State. Left, " Drawn by J. M. W. Turner " ; right, " En
graved by J. C. Allen."
The Drawing, on grey paper, was exhibited at Manchester in 1857
by Mr. Lewis Lloyd.
Is this really ' Happisburgh ' or ' Hasborough ' on the Norfolk
coast, between Cromer and Yarmouth? I can find no such place as
Harborough.307. OEFOED CASTLE AND CHUECH (Vignette). The Open
Etching only.
Engraved by J. C. AUen. c. 4| by 5£.
Castle to left, church to right, facing one another; each on slight
eminence; houses in dip between. Still water of harbour in front,
with row-boat in foreground.
The Open Etching. Left, " J. M. W. Turner, E. A." ; right, " Etched
by J. C. AUen." BM., R.
The Drawing, on grey paper, was in the Novar Sale in 1877.

172 ENGRAVED WORK OF J. M. W. TURNER.

308. ALDBOEOUGH. Unpublished.
Engraved by J. C. Allen. 9f by 6^-.
Church and town on rising ground to left; white smoke from
two chimneys conspicuous beyond. Flat shore in front, with sea to
right. Dark storm approaching. In right foreground, many men
with horses unloading smack.
Engraver's Proofs. Left, " Drawn by J. M. W. Turner, E.A." ;
right, " Etched by J. C. AUen." Four, in various stages, R. Also
BM. and T.
Finished State. "Etched by" altered to "Engraved by." Sky lighter
than in earlier states, and lights on town, foreground figures,
etc., brighter. BM., R.
The drawing, on grey paper, was in the collection of the late Mr.
F. Stevenson.

309. DUNWICH (WRONGLY CALLED ¦ DYMCHURCH').
Unpublished. Engraved by J. C. Allen. 10 by 6j£.
Euined church and remains of other buildings, on cliff to right
above sea, which is breaking below. Men launching boat through
surf in foreground. Many figures to right on shore. Vivid Ughtning
overhead.Engraver's Proofs. A series, BM. The earlier ones with left,
"Drawn by J. M. W. Turner E.A."; right, "Etched by J. C.
Allen," and before any lightning; later ones have the lightning
added and the lettering removed, but traces of " J. C. Allen" are
still visible. Most of these are touched and worked upon by
Turner. The latest have the lettering as in Aldhorough, No. 308,
but the clouds in the upper sky to the left of the church tower are
not fully lightened. Another similar, R.
Finished State. Lettering as above. Clouds lightened.
The Drawing, on grey paper, was in the collection of the late
Mr. F. Stevenson.
310. OEFOEDNESS. UnpubUshed.
Engraved by J. C. Allen. 9| by 7.
Eough sea in front, with wrecked fishing-boat drifting on flat

LINE ENGRAVINGS ON COPPER. 173
shore beyond. Tall lighthouse to left and lower one to right.
Euined castle and church in distance. Many row-boats round
wrecked ship.
Engraver's Proofs. Left, " Drawn by J. M. W. Turner E.A." ; right,
" Engraved by J. C. Allen." In various stages, all with sky on
right darker than in Finished State. BM., R., T.
Finished State. Same lettering. Sky on right lightened.
The Drawing, on grey paper, is in the possession of Mr. Abraham
Haworth.

311. LOWESTOFFE. The Open Etching only.
Engraved by J. C. Allen. 10 by 7.
Sea in front. Town on cliffs on right, with lighthouse at highest
point. Lightning striking sea beyond town. Many fishing-boats
on left. Eays from sun behind bank of clouds in centre.
The Open Etching. Left, " Drawn by J. M. W. Turner, E.A." ; right,
" Etched by J. C. Allen." BM., R.
The Drawing, on grey paper, is in the possession of the Trustees
of the late Mr. J. E. Taylor.
312. WHITBY. The Open Etching only.
Engraved by J. C. Allen. 10 by 7\.
Harbour in front. Abbey ruins in centre on hill. Church and
town below to left; sea beyond. Ship-building yard in left fore
ground with fire and smoke.
The Open Etching. Left, " Drawn by J. M. W. Turner E.A." ;
right, " Etched by J. C. Allen." R., T.
I do not know where the Drawing is.

INDEX TO VOL. I.

The titles of single plates are given in italics; the titles ofboolcs or series
are printed within quotation marks.

Abingdon, from the Thames Naviga
tion, lxxxix, 29.
Aldborough, xciv, xcvi, 124, 172.
AUason's ' Antiquities of Pola,' xcii,
86.
Alnwick Castle, xciv, 137.
Alum Bay, Isle of Wight, Ixxxviii,
13.
Alum Bay and the Needles, Ixxxviii,
13.
Ancient Crosses at Whalley, Ixxxviii,
24.
Angus, W., 'Seats of the Nobility
and Gentry,' lxxxix, 27.
' Annuals,' The, xlvi.
Antiquities at Pola, 86.
Aquatint, lxii.
Aquatints after Turner, List of,
cxii, cxiii.
' Architectural Antiquities of Great
Britain,' Britton's, xc, 40-41.
Armstrong, Sir W., 'Life of Turner,'
xxin.
Arrangement of plates, order of,
lxxvii.
f Art and Song,' Ix.
Arthington Mill, xcii, 88.
'Artist's Proofs.' See Proofs.
Arundel Castle and Town, xcv,
156.
Ashburnham, The Vale of, xci, 71.
Ashby de la Zouch, xcv, 147.
Aske Hall, xcii, 92.
Aysgarth Force, xcii, 99.

Balliol CoUege, Part of the Quad
rangle of, xx, Ixxxviii, 19.

Barlow's Vintage at Macon, xv.
Barnard Castle, Durham, xciv, 124.
Basire, James, xxi, xxvi, xxxiii.
Bass Rock, xciii, 112.
Bath, lxxxvii, 9.
Battle Abbey, xci, 70, 71.
Beaumaris, xcv, 162.
Bedford, xcv, 143.
Beli, C. F., Article in 'Art Journal,'
xx n., 13, 14.
'Bell Rock Lighthouse,' Stevenson's,
xciii.
Bexhill, Martello Towers at, 55.
Birmingham, lxxxvii, cv, 4, 6.
' Biting-in, ' xiii.
Blenheim, xcv, 151.
Bodiham Castle, xci, 73.
Bolton Abbey, xciv, 120.
' Book of Gems, The,' lx.
Borthwkk Castle, xciii, 108.
Boscastle, Cornwall, xci, 65.
Boston, Lincolnshire, xcv, 159.
Bow and Arrow Castle, xc, 55.
Brandard, R., htvi.
Brazen Nose College Quadrangle, A
View of, Ixxxviii, 17.
Bridgenorth, lxxxvii, 3.
Bridport, xci, 57.
Brighthelmstone, Sussex, xci, 65.
Brightling Observatory, from Rose-
hill Park, xci, 70.
Brignall Church, xcii, 96.
Brinkburn Priory, xcv, 149.
Bristol, lxxxvii, 10; drawing for, 7.
' Britannia Depicta, ' Byrne's, lxxxix,
28-31.
' British Gallery of Pictures — Staf
ford Gallery,' lxxxix, 35-36.

i75

176

INDEX.

Britton, John, ' Fine Arts of the
English School,' xxv, lxxxix, 33-
34 ; ' Architectural Antiquities of
Great Britain,' xxvii, xc, 40-41.
Britton and Brayley's ' Beauties of
England and Wales,' lxxxix, 27.
Browsholme, lxxxix, 25.
Buckfastleigh Abbey, xciv, 127; the
small Replica, 127.
Burnet, ' Turner and his Works,' 36.
Byrne's, W., 'Britannia Depicta,'
lxxxix, 28-31.
Byron, Lord, quotation from, Ivi.
'Byron, Life and Works of,' by
Murray, Ivii.
Cadell's edition of ' Scott's Poetical
and Prose Works,' Ivii.
Caernarvon Castle, xcv, 158.
Cambridge, lxxxvii, 8.
'Campbell's Poems,' li, lix, Ix; the
drawings for, story of, lix, lx.
Carew Castle, xcv, 155.
Carisbrook Castle, xciv, 135.
Carlisle, lxxxvii, 6.
Cascade of Terni, xci, 80; the small
Replica, 80.
Castle Upnor, River Medway, xcv,
151.
Chain Bridge over the Tees, xcvi, 168.
Chatham, Kent, xcv, 147.
Chelsea Hospital, lxxxvii, 8.
Chepstow, lxxxvii, 2, 6.
Chester, lxxxvii, 4 ; Distant View of,
lxxxix, 30.
Chester Castle, Part of, lxxxix, 31.
Christ Church, etc., fromthe Meadows,
Ixxxviii, 13, 14.
Christ Church, Interim' of Hall of,
Ixxxviii, 14, 18.
Christ Church Cathedral, View of,
and part of Corpus Christi College,
Ixx, ixxxviii, 19.
Christ Church College, Oxford, xcv,
155.
Christie's, Sales of Turner's stock of
engravings at, lxvii.
Ohromo-Lithography, lxii.
Chromo-lithographs after Turner,
List of, cxv.
Clitheroe from Eadsford Bridge,
lxxxix, 25.
Clovelly Bay, lxxiii, xci, 61 ; Draw
ing for, xxx.
Colchester, xciv, 121.

Collections of Turner engravings re
ferred to, lxxxiii.
Cologne, xiv, xciii, 114.
Comb Martin, xci, 64.
Combe, author of 'Dr. Syntax,'
xxix.
Cooke, George, xxxii, lxvi.
Cooke, W. B., xxix, xxxii, lxvi.
Cooke's 'Picturesque Views of the
Southern Coast of England,' xxix-
xxxv, xc, xci, 44-68 ; List of Plates
of, 46 ; the Drawings for, xxx.
Cooke's 'Rivers of Devon,' xci, 74-
76.
Cooke's 'Views in Sussex,' xci, 68-
74.
' Copper-Plate Magazine, The ' (after
wards called ' The Itinerant '),
xviii, xix, lxxxvii, 1-7.
Corfe Castle, lxxi, xc, 50.
Cotman, J. S., xxv.
Country House, View of a, xcii, 88.
Cousen, J., lxvi.
Cozens, John, xviii.
Coventry, xcv, 153.
Cowes, Isle of Wight, xciv, 136.
Cowes Castle, 13.
' Craven, History of,' Whitaker's,
xxxv, xxxvii, lxxxix, 34-35.
Crichton Castle, xciii, 108 ; the small
Replica, 109.
Crickieth Castle, xcv, 167.
Crook of Lune, xciii, 102.
Cross-hatching, xxvi, xxxiii.
Crossing the Brook, lxi.
Crypt in KirkstaU Abbey, xc, 40.
Custom House, The, xciii, 115.
Dartmouth, Devonshire, xc, 52.
Dartmouth Cove, xciv, 119.
Dayes, W., xviii, 1.
Deal, xci, 66.
Debaines, M. Brunet-, Ixiii.
Desnoyers, xxvi.
'Devon, The Rivers of,' xxxv, xci,
74-76.
Devonport and Dockyard, xciv, 134.
Dimensions of Engravings, Ixxviii.
Donnington Castle, lxxxix, 30.
Dover, lxi.
Dover from Shakespeare's Cliff, xci,
67.
Dover, Straits of, xciv, 125.
Dry-point, xiv.
Dudley, xcv, 158.

INDEX.

177

Dunbar, xciii, 111.
Dunstanborough Castle, xciv, 135.
' Dunster Castle, Somersetshire,
Views of,' Ixxxviii, 21-22.
Dunster Castle, Somersetshire, North-
East View, Ixxxviii, 21 ; South- West
View, Ixxxviii, 22 ; the small plate,
22.
Dunwich (called in error Dymchurch),
xcvi, 172.
' Durham, History of the County of,'
Surtees's, xxxv, xci, 77-78.
Durham Cathedral, lxxiii, xcv, 166.
Durham Cathedral, Interior, lxxix,
28.
Dutch Boats in a Gale (A Fishing
Smack with a Boat), lxxxix.
Edinbro', Look of, lxxii.
Edinburgh Castle, xciii, 108.
Edinburgh from the Calton Hill, lxxi,
xciii, 109.
Edinburghfrom Leith Harbour, xciii,
110.
Edinburgh, High Street, xciii, 109.
Egglestone Abbey, xcii, 94.
Ehrenbreitstein, during the Demoli
tion of the Fortress, xciii, 113.
Elgin Cathedral, lxxxvii, 7.
Ely, lxxvii, 4.
Ely Cathedral, xcv, 150.
England, The Harbours of,' xiii n.,
xhii.
' England, The Ports of,' xliii.
' England, Rivers of ' (or ' River
Scenery of England'), xi, xxxv,
xxxvii, xii, xlii-xliii.
' England, Picturesque Views of the
Southern Coast of,' See 'Southern
Coast.'
'England and Wales, Beauties of,'
Britton and Brayley's, lxxxix, 27.
'England and Wales, Picturesque
Views in,' Heath's, xi, xxx, xxxii,
xxxviii, xlvii-1, xciv-xcvi, 3, 5, 17,
117-169; the Drawings for, xlvii.
• England Delineated,' 8.
' Engravers' Etching,' xii.
Engravers' treatment of lightning,
Ruskin criticizes, 133-134.
' Engravers' Proofs,' Ixxviii, Ixxx,
lxxxi, Ixxxii; the term, how used
in present Catalogue, lxxxi.
Engravers, Turner's six best, lxvi.
Engraving, Turner's early connection
I.

with, ix ; his familiarity with every
kind of, lxiv ; processes and terms,
xi-xvii, Ixxviii.
'Engraving,' the word, how used,
Ixxviii.
Engravings, Complete List of, after
Turner, lxxxv-cxv ; dimensions of,
how measured, Ixxviii ; erroneously
ascribed to Turner, lxxxiii; the
printing of, xvii.
Etching, Ixii, lxiii; ' Engraver's,' xii ;
'Painter's,' xiii; 'Open' or 'Pre
liminary,' xiii, Ixxxii, 47.
Eton, from the Slough Road,
lxxxix, 29.
Eton College, Berkshire, xcv, 143.
' Excursion to the Highlands of Scot
land and the English Lakes,'
Mawman's, lxxxix, 32.
Exeter, xciv, 130.
Exeter College, View of, from the
Turl, Ixxxviii, 17; later Drawing
of, 117.
Falmouth Harbour, xxxi, xc, 53.
' False Proofs,' lxxx.
Farnley, Bay Windows in the Flower
Garden at, xc, 43; Flower-garden
Porch at, xc, 42; Gateway to the
Flower-garden Porch at, xc, 42.
' Fawkes's Gallery, Catalogue of
Mr.,' xcii, 86-87.
Fawkes' GaUery, Mr., xcii, 87;
Frontispiece to, xcii, 86.
Finden's ' Landscape Illustrations of
the Bible,' lviii.
'Fine Arts of the English School,'
Britton's, xxv, lxxxix, 33-34.
Fishing Smack with a Boat, A (Dutch
Boats in a Gale), lxxxix, 35.
Flint, lxxxvii, 9.
Flint from Park Gate, lxxxvii, 5.
Flint Castle, xcv, 163.
Florence from Fiesole, xcii, 85; the
small Replica, 85.
Florence from the Chiesa al Monte,
xcii, 84.
Florencefrom the Ponte Alia C'arraia,
xcii, 84.
Folkestone Harbour and Coast to
Dover, xciv, 141.
Folkstone, Kent, xci, 66.
Fonthill House, Wiltshire, lxxxix, 27.
Forum Romanum, The, xcii, 81 ;
the small Replica, 81. N

178

INDEX.

Fountains Abbey, South Transept of,
lxxxix, 34.
Fowey Harbour, Cornwall, Entrance
of, xci, 58.
Fowey Harbour, Cornwall, Entrance
to, xciv, 127.
' France, The Rivers of,' xi, li, lv, Ivi,
lxv.
Freshwater Bay, Ixxxviii, 13.
' Gems, The Book of,' lx.
Gibside, co. of Durham, xci, 77.
Girtin, The White House, Chelsea,
xii.
Gledhow, xc, 43.
Goodall, E. , xiii, xxvi, Iii, Ivi ; anec
dote of, lix, lx.
Goodall, the late Mr. F., R.A., xiii,
Iii, lix.
Gosport, xciv, 141.
Grantham Church, Ixxxviii, 11.
Great Yarmouth, xciv, 132.
Greta and Tees, Junction of, xcii,
95.
Guildford, lxxxvii, 10.
Guildford, St. Catherine's Hill, near,
xcv, 145.
Hakewill's ' Picturesque Tour in
Italy,' xxxvi, xci-xcii, 78-86; the
Drawings for, xxxvi, 76, 79.
Hainertons 'Graphic Arts,' lxxvii;
'Life of Turner,' xxxivm. ; quota
tions from, liii, Ivi, lxivra., lxv,
23.
Hampton Cotirt, Herefordshire,
lxxxvii, lxxxix, 5, 27.
Hampton Court Palace, xciv, 134.
Haroorough Sands, xcvi, 171.
' Harbours of England, The,' xiii,
xliii.
Hardraw Fall, xxviii, xciii, 102.
Harewood Hoiise, xc, 41.
Harlech Castle, xcv, 163.
Hastings, lxi.
Hearne, T., xviii, 1.
Heath, Charles, xxvii, xxxviii, xlvii,
xlviii.
Heathfield, The Vale of, xci, 72.
Heriot's Hospital, Edinburgh, xciii,
110.
Heysham and Cumberland Moun
tains, xciii, 106.
High Force, or Fall of the Tees, xcii,
94.

High Street, Oxford, xxvi-xxviii, 36,
37 ; the small Replica, 38.
Hoare's ' History of Modern Wilt
shire,' xciii, 114.
" HoUoway's Continuation of ' Eng
land and Wales,'" the so-called,
xcvi, 169-173.
Holy Island, xciv, 137.
Hornby Castle, from Tatham Church,
xciii, 104.
Howlett's ' Selection of Views in the
County of Lincoln,' Ixxxviii, 11-12.
Hunt, Mr. Alfred, R.W.S., 90.
Hunt, Mrs. Alfred: notes on the
plates of Turner's 'Richmond
shire,' 90; quotations from, 92, 93,
94, 95, 96, 97, 98, 99-100, 101-
102, 103, 104, 105, 106.
Hurst and Robinson, proposal by,
xiv.
Hurstmonceux Castle, xci, 73.
Hylton Castle, xci, 78.
Hythe, lxxii, xci, 63.
Ilfracomb, xc, 56.
' India, White's Views in,' lx.
' India Proofs,' lxxix.
Ingleborough, from Hornby Castle
Terrace, xciii, 103.
Inverary, lxxxix, 32.
' Isle of Wight ' Series, Ixxxviii, 12.
Isola Bella, xcii, 85.
' Italy, Picturesque Tour in,' Hake
will's, xxxvi, xci-xcii, 78-86.
'Itinerant, The.' See 'Copper-Plate
Magazine.'
Ivy Bridge, Devonshire, xci, 74, 75.
' Keepsake, The,' xlvi.
Kenilworth Castle, xcv, 148.
Keswick Lake, xcv, 165.
Kidwelly Castle, xcv, 164.
Kilgarren Castle, xciv, 130.
Kingsley, Rev. Mr., 126.
Kirby Lonsdale Churchyard, xciii,
105.
KirkstaU Abbey, Crypt in, xc, 40.
Knaresborough, xciv, 129.
'Ladies' Pocket Magazine,' lxxxvii,
7-11.
'Lady and Gentleman's Annual
Pocket Ledger, The,' xc, 39-40.
Lancaster, from the Aqueduct Bridge,
xciv, 119.

INDEX.

179

Lancaster Sands, xciv, 128.
Land's End, Cornwall, xc, 48.
Landseer, John, F.S.A., 12.
Laugharne Castle, xcv, 152.
Launceston, xciv, 123.
Lawrence, Sir Thomas, P. R. A. , xl.
' Leeds, Whitaker's History of '
(' Loidis and Elmete '), xxxv, xc,
41-43.
Le Keux, xxv, xxvi, lxvi.
Leicester Abbey, xcv, 157.
' Liber Fluviorum,' xix n.
' Liber Studiorum,' xi, xvi, xxiv,
xxv, xxxi, xxxix, xiii, lxiv, 3, 5,
41, 55, 87; the so-called Sequels
to, xliv.
' Liber Veritatis,' xxiv, xxv.
' Lincoln, Selection of Views in the
County of,' Ixxxviii, 11-12.
Line Engraving, technique of, xi-xv;
Turner's engraved work mostly in,
xxxix; superior luminousness of,
lxiii; Pye's improved style of,
xxv, xxvi; Pves style of, com
pared with the Cookes', xxxii,
xxxiii; steel plates first used for,
xxxix, xl; steel compared with
copper, xl, xii; comparison of,
with other methods, lxh-lxvi ; now
extinct in England, lxvii.
Line Engravings on Copper, lxxxvii-
xcvi, 1-173.
Line Engravings on Steel, List of,
xcvi-cviii.
Linlithgow Palace, xciii, 112.
' Literary Souvenir, The,' xlvi.
Lithography, lxii.
Lithographs after Turner, List of,
cxiv.
Little Devil's Bridge, xcii, 87.
Llandberis Lake, xcv, 156.
Llangollen, xcv, 165.
Llanthony A bbey, xcv, 160.
Loch Lomond, lxxxix, 32.
' Loidis and Elmete ' (a History of
Leeds), Whitaker's, xxxv, xc, 41-
43.
' London and its Environs, Select
Views of,' lxxxix, 31.
London Bridge, Old, xciii, 115.
Longships Lighthouse, xcv, 161.
Looe, East and West, xc, 55.
Look of Edinbro, Ixxii.
Louth, xciv, 131.
Lowestoffe, Suffolk, xcv, 164.

Lowestoffe Lighthouse, xcvi, 171.
Lowestoffe (the Unfinished Plate),
xcvi, 173.
Ludlow Castle, xciv, 140.
Lulworth Castle, xci, 58.
Lulworth Cove, xc, 49 ; the Drawing
for, xxx.
Lupton, Thomas, xii, xliii.
Lyme Regis ('England and Wales '),
xcv, 162.
Lyme Regis, Dorsetshire ( ' Southern
Coast '), xxxii, lxii, xc, 50.
Lyson's 'Magna Britannia,' 28.
Mackenzie, xxv.
Malmesbury Abbey, xciv, 129.
Malvern Abbey and Gate, xcv, 144.
Margate ('Southern Coast'), xci, 60.
Margate ('England and Wales'),
xcv, 147.
Margate, Turner's partiality for, 60.
' Marine Views,' xliii.
Martello Tower at Bexhill, xc, 55.
Matlock, lxxxvii, 3.
Mawman's ' Excursion to the High
lands of Scotland and the English
Lakes,' lxxxix, 32.
Merrick Abbey, Swaledale, xcii, 99.
Merton College Chapel, Inside View
of, Ixxxviii, 16.
Merton College, Drawing for, 14.
Mew Stone, The, xc, 52.
Mezzotint engraving, x; technique
of, xv-xvii; rapid wear of in print
ing, lxxix, lxxx; Turner's first
employment of, xxiv; steel plates
first used for, xii; Turner aban
dons, xliii; comparison of, with
Line Engraving, xliii, lxiii.
Mezzotints after Turner, Complete
List of, cix-cxi; coloured, xxiv.
Middiman, S., xv, xxvii, xxviii.
Miller, W., xxvi, lxvi, 54.
' Milton's Poems,' li, lviii.
Minehead and Dunster Castle, xci,
59.
Mitton Church, The Sherburne Clmpel
in, 26.
Monkhouse, Cosmo, 'Life of Turner,'
xxiii.
Moss Dale Fall, xciii, 101.
Mount Edgecomb, xci, 67.
Mount St. Michael, xcvi, 169.
Moxon's edition of ' Campbell's
Poems,' lix; 'Milton'sPoenis,'lviii.

180

INDEX.

Murray's 'Life and Works of Byron,'
Ivii.
Naples, from the Mole, xcii, 79, 84,
85 ; the small Replica, 84.
Narni, Bridge at, xcii, 80.
Neath, lxxxvii, 10.
Nemi, Lake of, xcii, 83.
Newbury, from Speen Hill, lxxxix,
30.
Northampton, lxxxvii, 10.
'Northern Coast of England,' The,
xxix, xxxiii-xxxiv.
Nottingham (' Copper-Plate Maga
zine '), lxxxvii, 3, 17.
Nottingham (' England and Wales '),
xcv, 154.
Okehampton, xciv, 128; the small
Replica, cv.
' Open ' Etching, xiii, lxxxvii.
Orchard Bay, Ixxxviii, 12.
Order of arrangement of plates,
lxxvii.
Orford, Suffolk, xciv, 125.
Orford Castle and Church, xcvi,
171.
Orfordness, xcvi, 172.
Oriel College, View of the Chapel and
Hall of, Ixxxviii, 15.
Oxford, lxxxvii, 8.
Oxford, View of, from the A bingdon
Road, xxviira., xxviii, xc, 36-37,
38, 39.
Oxford, View of, from the South side
of Heddington Hill, Ixxxviii, 18.
Oxford, High Street, xxvi, xxvii,
xxviii, 36, 37, 38, 39; the small
Replica, 38.
Oxford, Christ Church College (' Eng
land and Wales '), xcv, 155.
'Oxford University Almanacks,' 13-
20 ; Drawings for, 13-14 ; Skelton's
small Replicas of, 20.
' Oxonia Antiqua Restaurata, ' Skel
ton's small Replicas of ' Oxford
Almanacks ' in, Ixxxviii, 20.
Parnassus, xcii, 87.
Patterdale, lxxxix, 32.
Pembroke Castle, xcv, 144.
Pendennis Castle and Entrance of
Falmouth Harbour, xc, 54.
PenmaCn-Mawr, xcv, 155.
Peterborough, lxxxvii, 4.

Pevensey Bay, from Crowhurst Park,
xci, 72.
'Picturesque Views in England and
Wales,' xlvii-1, xciv-xcvi, 117-169.
' Plate,' the word, how used, Ixxviii.
Plymouth, Devonshire, xcv, 145.
Plymouth, with Mount Batten, xc,
54.
Plymouth Citadel, xci, 74.
Plymouth Dock from Mount Edge
comb, xc, 53; the Replica, xc, 54.
Plymouth Sound, Devonshire, xci,
74, 75.
' Pocket Magazine, The,' and the
' Pocket Print Magazine,' lxxxvii,
7-11.
Point of View, Ixxviii.
Pola, Antiquities at, xcii, 86.
'Pola, Antiquities of,' AUason's,
xcii, 86.
Poole, xxxii, xc, 48.
Pope's Villa at Twickenham, xxv;
luminousness of, xxvi ; xxvii,
lxxxix, 23.
' Ports of England, The,' xliii.
Portsmouth, xci, 64.
Powis Castle, xcv, 160.
' Preliminary ' (or ' Open ') Etching,
xiii, Ixxxii.
' Presentation Proofs,' lxxix.
' Print,' the word, how used, Ixxviii.
'Prints,' lxxxi.
' Printsellers' Association,' lxxx.
' Proofs, ' the word, how used, lxxviii-
lxxxi; ' Artist's,' lxxix ; 'Before
letters,' lxxix; 'Early,' lxxx;
'Engraver's,' lxxx, Ixxxii; 'False,'
lxxx; 'India,' lxxix; 'India Paper,'
lxxix; 'Presentation,' lxxix; 'Pro
gressive,' xvii, Ixxviii; 'Sub
scribers',' lxxix ; ' Trial,' xvii,
lxxxi.
' Provincial Antiquities of Scotland,'
xxxv, xciii, 107.
Prudhoe Castle, xciv, 126.
Pye, John, xxv-xxviii, xxxiii, xxxix,
xlvi, lxiii, lxvi.
Raby Castle, xci, 77.
Radcliffe, C. W., lxvii.
Ramsgate, Kent, xci, 62.
Rawle, S., xxv, xxvi, lxvi.
Redcliffe Church, Bristol, xc, 39.
' Reprints,' lxxxi.
Rialto, Venice, The, xci, 79.

INDEX.

181

Riccia, La, xcii, 83.
Richmond, Yorkshire (' History of
Richmondshire'), xcii, 90.
Richmond, Yorkshire (' England and
Wales'), xciv, 122.
Richmond, Yorkshire [from the
Moors], xciv, 131.
Richmond Castle and Town, xcii,
91.
Richmond Hill and Bridge, Surrey,
xcv, 144.
Richmond Terrace, Surrey, xcvi,
169.
' Richmondshire, History of,' Whit
aker's, xxiii, xxxvi-xxxix, xcii-
xciii, 89-106; the Drawings for,
xxxvii, xxxviii.
Rivaulx Abbey, Yorkshire, xciv, 118;
the small plate, ciii.
' Rivers of Devon,' xxxv, xci, 74-76.
4 Rivers of England ' (or ' River
Scenery of England '), xxxv, xli-
xliii.
'Rivers of France,' xi, li, lv, Ivi,
lxv.
Rochester, lxxxvii, 2.
Rochester, Stroud and Chatham,
xcv, 168.
Rogers, Samuel, 1, Iii, lxxiv.
' Rogers's Poems,' xi, xii, li-lv.
Roman Forum from the Capitol,
The, xcii, 81.
Rome, Bridge and Castle of St.
Angelo, xcii, 80.
Rome, from the Farnese Gardens,
xcii, 82.
Rome, from Monte Mario, xcii, 82.
Rome, from Monte Testaccio, xcii, 82.
Rome, Tomb of Cecilia Metella, xcii,
83.
Rooker, M. A., xviii.
Roslyn Castle, xxxvi, xciii, 110 ;
the small Replica, 111.
Rouen from St. Catherine's Hill, lv.
Ruskin, J., quotations from, xxxvi,
xxxviii, xiii, Iii, lviii, 3, 18, 60, 62-
63, 67, 74, 78-79, 82, 83, 85, 86, 90,
91, 92, 95, 96, 106, 120-121, 123, 129,
130, 132, 133, 138-139, 142, 146,
150, 152-153, 154, 155, 158, 161.
Rye, Sussex, xci, 61.
St. Agatha's Abbey, Easby, xcii, 92.
St. Angelo, Bridge and Castle of,
79.

St. Catherine's Hill, xcv, 146.
St. Mawes ('England and Wales'),
xciv, 139.
St. Mawes ('Southern Coast'), xci,
62.
St. Michael's Mount (' Southern
Coast '), xxix, xc, 47.
St. Michael's Mount ('England and
Wales '), xcvi, 169.
Sales of Turner's stock of engravings
at Christie's, lxvii.
Salisbury, xcv, 145.
Saltash, xciv, 124.
' Scotland, Provincial Antiquities
of,' xxxv, xciii, 107-112.
Scott, Sir Walter, xxxv-xxxvi, 107 ;
Turner's visit to, Ivii.
Scott, ' Poetical and Prose Works,'
Cadell's edition of, Ivii, lviii.
' Seats of the Nobility and Gentry,'
Angus's, lxxxix, 27.
'Sequels to the Liber Studiorum,'
the so-called, xliv ; List of, ex.
Shanklin Bay, lxviii, 13.
Sheerness and Isle of Sheppey, xcii,
88.
Sheffield, lxxxvii, 6.
Sherburne Chapel in Mitton Church,
lxxxix, 26.
Shipwreck, The, 35.
Short, Frank, A.R.A., xin., xxvi.
Simmer Lake, xcii, 100.
Sizeranne, M. de la, xlix.
Skelton's ' Oxonia Antiqua Restau-
rata,' Ixxxviii, 20.
Sleaford Church, Ixxxviii, 11.
Smith, John Raphael, ix, x.
Smith, W. R., lxvi, 90.
' Southern Coast of England, Pictur
esque Views of the,' Cooke's, xi,
xxix-xxxv, lxxvii, xc, xci, 44-68,
69, 74 ; the Drawings for, xxx.
Staines, Ixxxviii, 10>
Stamfmd, xciv, 136.
'States,' different meanings of, lxxxi;
'First Published,' lxxxi; late,
lxxxi.
Steel plates, introduction of, for en
graving, xxxix, xii; comparison
with copper, xl, xii; employed for
mezzotint engraving, xii.
Stevenson's, 'Account of the Bell
Rock Lighthouse,' xciii.
Stevenson's ' Bell Rock Light House,
113.

1$2

INDEX.

Stokes, Mr. Charles, of Gray's Inn,
xliv, Ixxxii.
Stone Henge, xciv, 133.
Stoneyhurst ('Parish of Whalley'),
lxxxix, 26.
Stoneyhurst (' England and Wales '),
xciv, 138.
Storer and Greig's ' Select Views of
London and its Environs,' lxxxix.
Stothard, Thomas, R.A., ix, li.
Strange, Sir Robert, xxi.
Surtees's ' History of the County of
Durham,' xxxv, xci, 77-78.
' Sussex, Views in,' Cooke's, xxxv,
xci, 68-74.
Swansea, lxxxvii, 9.
'Talisman,' The, xlvi.
Tamar and Torridge, Source of the,
xci, 74, 76.
Tamworth Castle, xcv, 149.
Tantallon Cattle, xciii, 111 ; the
small Replica, 112.
Tees, Chain Bridge over the, xcvi,
168.
Tees, High Force or Fall of the, xcii,
94.
Teignmoitth, lxxi, xc, 51.
Teniple of Jupiter in the Island of
JEgina, The, xiv, lx, xciv, 116.
Terni, Cascade of, xci, 80; the small
Replica, 80.
Thornbury's' Life of Turner.'xx vii n . ,
xxix, xxx, xxxv, xiv, lix, 34, 37,
39.
Tintagel Castle, xci, 57.
Tivoli, xiv, lx, xciii, 116.
Torbay from Brixham, xci, 59.
Tower of London, The, lxxxvii, 8.
Townley Hall, lxxxix, 26.
Trematon Castle, xciv, 139.
Tunbridge, lxxxvii, 9.
Turin from the Portico of the Superga
Church, xcii, 85.
Turner, Charles, xxiv, xii.
Turner, J. M. W., early connection
with engraving, ix ; his first com
mission for drawings for engraving,
xviii; elected A. R.A. and R.A.,
xxi ; tendency to the overcrowding
of small lights and foreground de
tails, xxxi, xxxii; defects in his
figures, xxxiii; quarrel with Cooke,
xxxiii-xxxiv; adopts steel plates,
xl; abandons mezzotint, xliii; guest

of Sir Walter Scott, Ivii ; his famili
arity with every engraving process,
lxiv; his desire for brilliance in
engravings, lxiv; his pains over
every detail of his engravings,
xxviii, lv, lxiv ; his relations with
his engravers, lxvi ; his large stores
of his engravings, Ixvii ; examples
of his methods of conveying his
views to engravers, lxix; engrav
ings erroneously ascribed to.lxxxiii;
Complete List of engravings after,
lxXXV'CXV
' Turner Gallery, The,' lxi.
' Turner's Annual Tour — Wander
ings by the Loire and the Seine,'
lv.
'Turner and Girtin's Picturesque
Views Sixty Years Since,' 1 ; 'Pic
turesque Views a Hundred Years
Ago,' 1, 2.
Tweedmouth Collection, The, xxxiii.
Tynemouth, xciv, 141.
Ullswater, Cumberland, xcv, 159.
Valle-Crucis Abbey, xciv, 126.
Venice, The Grand Canal, lxi.
Vignettes, exaggerated colouring of
drawings for, li.
Wakefield, lxxxvii, 6.
Walker, John, xviii, xix.
Wallingford, lxxxvii, 9.
Wallis, R., lxvi.
Walton Bridge, xciv, 140.
Warwick Castle, xcv, 148.
Watchet, xci, 57.
Weathercote Cave, xciii, 107.
Westminster Bridge, lxxxvii, 5.
Weymouth, xc, 49.
Whalley, Ancient Crosses at, Ixxxviii,
24.
' Whalley, History of the Parish of,'
Whitaker's, xxii-xxiv, Ixxxviii,
23-26, 138.
Whalley Abbey, Distant View of,
Ixxxviii, 24; Nearer View,
Ixxxviii, 25 ; Cloisters of, Ixxxviii,
24 ; Seals of, Ixxxviii, 23.
Wharton's ' Essays on Gothic Archi
tecture,' lxxxix, 28.
Whitaker, Dr., xxii; his estimate of
Turner, xxiii. See also ' Craven,'
' Leeds ' (Loidis and Elmete),

INDEX.

183

' Richmondshire,' and ' Whalley,'
Histories of.
Whitby, xcvi, 173.
' White's Views in India,' lx.
Whitehaven, xcv, 167.
Whitstable, xci, 68.
Wickham, from the Marlow Road,
lxxxix, 29.
Willmore, J. T., lxvi.
Wilson, Richard, R.A., x, xxiv; in
fluence on Turner, xiv, xlvi.
Wilton House, xciii, 114.
'Wiltshire, Hoare's History of,'
xciii.
Winandermere, xcv, 166.
Winchelsea (' Views in Sussex '), xci,
73.
Winchelsea (' England and Wales '),
xciv, 138.

Winchelsea and Military Canal, 74.
Winchester Cross, Ixxxviii, 22.
Windsor, lxxxvii, 9.
Windsor from the Forest, lxxxix,
31.
Windsor Castle, Berkshire, xcv, 142.
Woollett, William, x, xxvi, xxxiii,
xlvi, 28.
Worcester College, View of, Ixxxviii,
16.
Worcester ('Pocket Magazine'),
lxxxvii, 9.
Worcester ('England and Wales'),
xcv, 160.
Wyatt, J., xxvii, xxviii, 37, 39.
Wycliffe Hall, xcii, 97.
Yorkshire Drawings, Turner's,
xxxviii.

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

BY THE SAME AUTHOR.

In Preparation, in one or more succeeding volumes,
uniform with the present work :
THE ENGRAVED WORK OF
J. M. W. TURNER, R.A.
COMPRISING
LINE ENGEAVINGS ON STEEL,
MEZZOTINTS,AQUATINTS,LITHOGEAPHS AND CHEOMO-LITHOGEAPHS.

BY W. G. RAWLINSON.

TURNER'S LIBER STUDIORUM,
A DESCRIPTION AND A CATALOGUE.
Second Edition (1906). Svo. 20s. net.

SOME PRESS NOTICES.
Westminster Gazette: — "Mr. W. G. Rawlinson's 4 Catalogue of
the ' Liber Studiorum ' of Turner has for nearly thirty years been the
standard work on the subject, and the new revised edition which is now
published may be said to contain the whole of knowledge in this branch
of Turner's art. It is, indeed, as nearly perfect an example of expertise
as may be found among the works of specialists, for it is at once ex
tremely painstaking and scholarly so far as facts are concerned, and
(what is less common in works of this kind) sympathetic and discrimin
ating in its artistic criticism. ... A book of this kind could on no ac
count have been written to order."
Academy : — " All Liber lovers will feel a deep debt of gratitude to
wards the author for the admirable manner in which he has accom
plished his task. The work is a second edition; but the alterations are
so extensive, the additional descriptions of the engravers' proofs so im
portant and full, and the whole work so thoroughly revised and recast,
that it is practically re-written and virtually a new book.''
Saturday Review: — " Mr. Rawlinson's first edition went out of print,
and its second-hand price gradually rose, till it became more costly than
many first states of the plates it described. The collectors' instinct was
right, for Mr. Rawlinson had lavished an amount of enthusiastic labour
upon his subject such as no other theme in the annals of English art
had commanded. . . . The standard of accuracy Mr. Rawlinson has at
tained is singularly high. The constant use of his book during three
months has not brought to light a single important error."

Manchester Guardian : — " Mr. Rawlinson's reprint of his descriptive
Catalogue to Turner's 'Liber Studiorum,' which first appeared nearly
thirty years ago, gives a finishing touch of minute and exhaustive ac
curacy to a work already noted for exactitude of detail and thorough
ness of research. Mr. Rawhnson's reissue of his Catalogue is the last
word in this particular branch of a subject to which he has devoted years
of earnest labour and scholarship."
Tribune: — "For nearly thirty years Mr. Rawhnson's Catalogue of
the ' Liber Studiorum ' has been indispensable to the students and col
lectors of that wonderful series of mezzotint engravings, by which alone
Turner's supremacy among modern landscape artists would be upheld
were all his pictures destroyed. . . . Every student of Turner will, there
fore, be glad to know that Mr. Rawlinson has prepared a second edition,
in which his catalogue has been so thoroughly revised, that it will always
retain its place as the standard work on that subject."
Scotsman: — " To collectors and to all students of Turner this volume
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YALE UNIVERSITY

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