^It.'fiL ,'fhb, H

mm W'^' .t

M " 1 M

, ''U *

Ii

1 'ii _

mimimm
it i»yinil
Mm
ltii'(
it
II .III
I
m
IT PI
I
!
M
5-^.1
!': ?
I 'i Pi Ml ¦
w
1
d^?
1^
^ 'i 1,1 I '"i. I,
^1,' I'll 1^ ^n' I , ' 1/ '1^ '
«,?; .'['¦/!;;' 'I/,.''. i!*>i';;,'>^
, '*' V I ' I i"
'S^'^i-'"' .mV 'litis \',i' r.«i/ III.,
i!
Iitll' .III!
fi'i'ri'H
'' ,^, r"ii .'^'-,-1
iii,i, I
i
Y'
^inijuy'^fjvi :,^!
ri'iiif
'i, ,1
1,1 ' I I
irt
till
1 1 1
I 'i
I I M,i
I I
} I ni
i ill' " I lillll'if
, , 'l'.",,,i'j,,i!l'^, I I ,,
I i Ii I
1 1 ,1
'|i
ii,'ii
i ii'
1 fi
'' I , , s
I lll N I 'i
l,-'lj'l' 1 '^ li
I'^M, I
'"',11'' '. I ,"
'I I \
I M I I
I llllljl)
' 'li'
'ii 111
|| 1 'I h
I llM
1 i ,1 'V
" I ll l"ll ,1
I ,! , i i"' II
'Vi ,|. ll
1 LillV
ll ill i
i U ri
I h
:;3''viT!liii!i'; f"f^
'M
iii
1 1 ll '' •> f ill ,v
, t ">, , ll III \ t i'Hi' >.
i_ I I, I
I I
1 I i
I I
r
4«^i
' I
1 i
fU'Viv i H^>',,' I
*^jipiJS'^ u
,.&'St4.Js.l,  .„
NOTES

ON tHE

COLLECtlON OF DRAWINGS

BV

J. W. W. TURNER, R. A.,
WiinUv (Bf^Mtien of tbt iSlOKal ^[calremg,
1887.

' . ' ^^ '
W. G. RAWLINSON.

¦^ LONDON:! ;,
PuIbLISHED BY THE FINE ART SOCIETY, LIMITED,
148, NEW' 30ND STREET.

PRICE ONE SHILLINCt.

Any .profits arising frorjfi the sale of these Notes -wilt .be given, to the
Artisti General Benevolent Fifudi

Having had the opportunity during the last few weeks
of seeing the Drawings now on view at Burlington House,
and various facts concerning them being in my possession, it
appeared to me that the following Notes -might be of interest
to students of Turner's art and to tke public. Should any
profits arise from their sale, they will be given to the A rtists'
General Benevolent Fund.
W. G. RAWLINSON.
December 30, 1886.

The Royal Academy, who last year devoted one
gallery, at their Winter Exhibition to a preliminary
display of fine dra-wings by J. M. W. Turner, have
this year again filled the same gallery and an adjoin
ing one -with a second series of examples of the ¦work
of England's greatest landscape-painter, arranged in
chronological sequence.
So much has been written, both in his own generation
and in ours, about Turner's art, that it is needless here
to attempt any general disquisition on that theme.
Before entering on a review of the present Collection,
it will be sufficient, without in any way detracting from
the value of his pictures painted in oil colours, to say
that, on the whole, his career can be better followed,
and his aims and successes better understood, in his
water-colour pictures. Although in the former and
greater medium, he may have achieved greater results,
yet in it he has undoubtedly displayed many and con
spicuous failures. Not only is it inherently less suited
to depict those evanescent changes on the face of
Nature, which from the first Turner's genius led him
to seize upon and to record, but his oil pictures, from
the time that he left the comparatively limited range

of colour of his early manhood, have deteriorated so
seriously, sometimes from the defects of the pigments he
employed, but more frequently from the extraordinary
methods which he adopted in using them, that in a
large number of cases they can no longer be regarded
as in any true sense what he intended them to be.
This is especially the case because Turner was, before
all things, a great colourist ; and it is in this most vital
point of colour, that the oil pictures of his middle and
later time have so fatally suffered.
His water-colour pictures, on the other hand, where
they have been carefully treated, and protected from
undue exposure to light and damp, have preserved
their original colouring absolutely intact, and are
virtually the same to-day as Turner left them. But,
whatever may be the decision ultimately arrived at on
the question, now sub judice, of the permanence of
water-colour art generally, it cannot be too strongly
affirmed or too earnestly insisted on, both in the
interests of the present owners and of posterity, as well
as for the sake of the painter's fame, that Turner's
drawings (except those of the brown period) cannot be
continuously exposed on the walls of any room, with
out sooner or later suffering in their most delicate and
beautiful parts, and, in the long run, coming to absolute
ruin. It is impossible that slight washes, containing
only the most attenuated particles of colouring matter,
<;an long bear the bleaching effects of even ordinary
light. Yet it is precisely by the constant use, with such
consummate skill as has never been attained before
or since, of these delicate washes, that Turner obtained
his most charming and most characteristic effects. If

any one doubts the truth of these assertions, let him
compare Miss Swinburne's drawings, Nos. 57, 59, and
61, in the present Exhibition, which have never till
now been out of the portfolio, with the general appear
ance of Turner drawings of the same period. Their
extraordinary brilliance and freshness cannot fail to
be at once apparent, even though, in the present
Collection, it has been the especial aim (achieved
indeed with some difficulty) to exclude as far as
possible faded drawings.
The first drawing, in the smaller gallery, Wanstead
Church, Essex, and the next, Isleworth Church on the
Thames, are lent by Mr. Hardwick, In the office of
whose grandfather (himself also an eminent architect)
Turner worked in 1789. These two drawings may
have been among those which were displayed In the
window of 14, Maiden Lane, Strand, where, in 1787,
Turner's father carried on the business of a barber, and
gladly sold for a few shillings apiece the early produc
tions of his son William, then about twelve years old.
Whether or not they may now be thought to show any
latent talent, there is no question but that the boy's
work attracted notice from artists (Stothard was a
customer of old Turner's), and led to his being taken
from school, and sent to various 'drawing academies,'
and ' schools of perspective,' and afterwards to Mr.
Hardwick's office. How he subsequently took lessons
from Paul Sandby, R.A., and from Dayes, the water-
colour painter, and finally was admitted as a student
at the Royal Academy, may be learnt, with much
other interesting detail of his early life, from Mr.
Cosmo Monkhouse's excellent biography of Turner.

No. 3, The Archbishop' s Palace-, Lambeth, Turner's
first exhibited work, appeared at the Royal Academy
Exhibition (then held In Somerset House) in 1790.
In the contrast between its careful and accurate
treatment of the buildings, as compared with the
weak drawing of the trees, may already be seen the
value to Turner of that architectural training which
stood him In such good stead throughout his life.
Nos. 4 and 6, Trees in Lullingstone Park, and
View of the Mouth of the Avon, near Bristol, though
still but the work of a boy, mark a transition in colour,
as well as in subject and style. The last-named is
one of several drawings made by Turner about 1790
or 1791, while on a visit to relatives at Bristol of the
name of Narraway, In which family some still remain.
One of them may also be seen on the walls of the
Turner room, in the basement of the National Gallery.
He was evidently struck by the romantic scenery around
Clifton, and seems especially to have aimed — not
always successfully — at depicting the striking effects
of large merchant ships under sail, looked down upon
from the heights of the richly-wooded, rocky ravine,
through which the Avon flows from the port of Bristol
to the Severn Sea. Of the same time is Mr. Cosmo
Monkhouse's interesting Portrait by Turner of Him
self (No. 5), which he painted at about the age of
sixteen, while staying with the family In question.
Belonging to the following year, and similar in
colouring, though broader and more masterly in
handling, is Mr. Hardwick's Ruins of the Pantheon,
Oxford Street, the Morning after the Fire. This was
exhibited at the Royal Academy in 1792, and is as

far as I know the earliest example which displays that
love for painting striking and dramatic effects which
Turner afterwards developed.
Nos. 8 and 9, Mountain Scene, with a Cascade, and
Landscape seen through an Arch, mark another change
of style and subject. About this period (1792), Turner,
along with GIrtin and other clever lads, was invited
by Dr. Munro, a well-known connoisseur and patron
of the arts, to make copies from the sketches and
drawings of the gifted and poetical painter John
Cozens, who had just returned from a tour on the
Continent with the renowned Beckford. Dr. Munro
was the possessor of many of Cozens's works, and at
his chambers iu the AdelphI, and at his house at
Bushey, Turner and Girtin made a large number of
copies, such as the two now before us, often showing
extreme beauty and delicacy, of scenes in Switzerland
and Italy, as well as compositions such as No. 9.
The same strong influence of Cozens is to be seen
in the three Studies at Dover (Nos. 10, 11, and 12)
which follow. Mr. Ruskin has pointed out {Notes on
his Drawings, 1878, pp. 13 and 16) Turner's already
perfect command of his means, and decisive drawing
of whatever he desired to represent, even at this early
period. In these, as well as in other studies of the
same time and place, his extraordinary knowledge,
and accurate rendering of all the details of shipping,
may also be observed.
The succeeding drawings, Nos. 13 to 25, dating from
1792 to 1794, are mainly In the lightly ' washed ' or
' tinted ' manner then prevalent, and represent the
result of various journeys of Turner, chiefly afoot, and

accompanied by his friend Girtin (whose early death
in 1802 cut short a career of rare promise), among the
towns, churches, abbeys, mills, and bridges in the
southern, western, and midland counties of England,
and in Wales. These journeys were generally
commissioned by publishers who required drawings for
engraving in the numerous Illustrated books on archi
tecture and topography then fast coming Into, vogue.
Conspicuous among the examples of this period may
be noted Ruins of an Abbey ( Waltham Abbey ?)
No. 13, in which the fine and accurate drawing of
the masonry deserves attention ; Old Water-Mill
(No. 15), on the mount of which is still the address,
in Turner's handwriting, of 2, Hand Court, Maiden
Lane, his first studio ; Mr. Taylor's St. Anselnis
Chapel, Canterbury Cathedral (No. 19), his Malmes
bury Abbey (No. 25), and Mr. Vaughan's West Gate
Canterbury (No. 21).
The following year, 1795, shows a distinct advance
in power, and Dr. Percy's beautiful Llanthony Abbey
(No. 27) will be of especial interest, not only from
its own charm, but also as the first conception of the
same scene so superbly rendered by Turner thirty years
later in the drawing belonging to Mr. J. E. Taylor,
which attracted so much notice in last year's Winter
Exhibition. With The West Front of Bath Abbey (No. 29)
— possibly with Tintern Abbey (No. 26) — we pass to
a most remarkable and brilliant series of what may
strictly be called architectural drawings. But they are
much more than architectural drawings. Careful and
accurate in every detail, they display a knowledge and

skill which Turner could only have acquired through
his early training in an architect's office. In the
Ewenny Priory, Glamorganshire (No. 31), Transept
of Salisbury Cathedral (No. 35), Lady Chapel of
Salisbury (No. ¦i,']), and above all In the divine In
terior of Ely Cathedral (No. 36), joined to the fine
draughtsmanship and subtle rendering of the colour,
texture, and surface of the stones of wall, pillar, and
pavement, there is an extraordinary boldness and skill in
composition, a rare felicity in the treatment of light and
shade, and a general charm and poetry of effect, which
had never before been seen in work of this kind. The
Ely Cathedral would Itself alone have been sufficient
to stamp its painter as belonging to the foremost
rank In art. The two Salisbury drawings belong to a
noble series of eight, all formerly in the possession
of the well-known Wiltshire antiquary and historian,
Sir Richard Colt Hoare. They were dispersed at
Christie's in 1883, when two of the finest were for
tunately secured for the nation, and are now to be
seen at the South Kensington Museum.
Before leaving the smaller gallery it may be worth
while to call attention to the contrast between the past
and the present suggested by Turner In Dr. Percy's
Ewenny Priory (No. 31). Here, the nave, In which
are the stately monuments of the dead, is abandoned
to the occupation of poultry, and a woman is seen
driving a pig from the still more sacred precincts of
the choir. The same idea is to be found in the
magnificent Kirkstall Abbey, of about the same time,
now hanging in the Soane Museum, where the cattle
wander at their pleasure in the crypt. Meanings and

8
symbols such as these were not unfrequent with
Turner as he advanced in his art ; and the titles and
quotations attached to his pictures show what a strong
vein of poetry and romance there was in him, hidden
it is true under the roughest of exteriors. The im
possibility of finding fitting expression for his genuine
poetical feeling in words, led him probably to con
centrate it all the more intensely in his pictures.
With the magnificent series on the west wall of the
larger gallery, we enter on a new phase of Turner's
art. No longer hampered in size, style, or choice of
subject by the restrictions of the publisher or the
engraver, or by the necessities of keeping architectural
features mainly in view, he now gave full play to the
romantic side of nature and art which had always been
inherent, if not always at once apparent, in the least
as well as the most important of his sketches. There
is no need to dwell on the splendours which are here
visible to every eye, and which produced at the time
when they first appeared on the walls of the Royal
Academy a perfect furore of admiration from the
artists, the critics, and the public of the day. The
Royal Academicians were not slow in recognising the
rise of a new genius, and In 1797 they elected Turner,
then only twenty-two years of age, an associate of
their body; five years later (1802) they admitted him
to full membership.
The first work here which attracts notice is Mr.
Thwaltes's Norham Castle on the Tweed — Early
Morning (No. 38). Turner was always attached to
Norham, and painted It many times. He considered
that this, his first drawing of it, which was exhibited

in 1798, laid the foundation of his future fame.
Visiting the spot some twenty years after, in company
with Cadell the publisher, Turner took off his hat
as they passed the castle, and on Cadell expressing
surprise, explained in reply, " I made a drawing or
painting of Norham several years since. It took;
and from that day to this I have had as much to
do as my hands could execute."
Mr. Vaughan's Bridge on the Usk (No. 40) is
the finest of three drawings of that subject. One,
much earlier, and taken from a rather different point
of view, was in last year's Exhibition, and was
erroneously described as Llangollen. Mrs. Bolckow's
St. Agatha s Abbey (No. 41) has a singularly sweet and
impressive effect of the calm stillness of evening on
the mouldering walls and the quiet pool, frequented
only by the cattle. Sir Charles Tennant's fine
Distant View of Fonthill (No. 42), apart from its
intrinsic beauties, derives additional interest as
being one of four large drawings of Fonthill com
missioned by the then owner, the celebrated Beckford,
which were exhibited at the Royal Academy in 1800.
The Edinburgh (No. 43) and the Kilchurn Castle
(No. 44) were produced after Turner's first visit
to Scotland, and appeared on the Academy walls
in 1802. Of Kilchurn Castle Turner also painted
an oil picture, probably a year or two later, which
was finely engraved by Miller in 1847.
The superb Lincoln (No. 45) is much in the same
manner as the Edinburgh, and was specially painted
for the Sibthorp family. Two drawings of Lincoln
were exhibited in 1 795 ; these I have never seen.

IO

but there appears to me no doubt, from its colour and
style, that the picture here (which is undated) must be
about ten years later than 1795.
With the Lincoln, we leave the purely English
subjects, which up to 1802 had solely occupied
Turner's pencil. In that year he made his first visit
to the Continent, and spent a considerable time In
France and Switzerland. Miss Swinburne's Castle of
Chillon (No. 46) is the earliest example here of the
results of his tour. The View on the Lake of Thun
(or Brientz ?) (No. 47) Is larger and broader in style,
and is dated 1809. Of the latter year also is the
Scarborough (No. 48), a subject which was several
times painted by Turner. A later drawing of
Scarborough, now in the National Gallery, was
exquisitely engraved in mezzotint by Lupton, In
the ' Ports and Harbours of England,' published
in 1825.
Sir Richard Wallace's companion drawings of 181 3,
Grouse Shooting ["Ho. 49), and Woodcock Shooting (No.
50), are Interesting as showing Turner's taste for sport.
He was a keen fisherman, a rod always forming part of
his slender equipment on his travels ; and when staying
with his friend and patron, Mr. Fawkes of Farnley
Hall, he constantly accompanied the shooters to the
moors and the stubbles. In the Grouse Shooting, he
is said to have introduced his own portrait as the fore
most sportsman. The dogs are believed to be the
work of Stubbs, the well-known academician and
animal painter. Chromo-lithographs from these two
drawings were published in 1851 : they are exceedingly
fine, and in every sense works of art.

1 1

Mr. Morrison's Important drawing of The Swan's
Nest, Stourhead (No. 52), recalls the well-known
Tivoli, Carthages and other classical compositions of
about the same time, and would probably have been
even more effective as an oil picture.
In the Ingleborough (No. 53), the Kirby Lonsdale
Churchyard (No. 54), and the View on a Yorkshire
River (No. 55), we come to the period generally
regarded as the culminating point in Turner's art.
Mr. Ruskin {Modern Painters, vol. I., p. 124), ob
serves of the Yorkshire drawings : "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 atmosphere, and light
" without colour. His early drawings are singularly
" instructive in this definlteness and simplicity of aim.
" No complicated or brilliant colour Is ever thought of
" in them ; they are little more than exquisite studies in
" light and shade, very green blues being used for the
" shadows, and golden browns for the lights. The
" difficulty and treachery of colour being thus avoided,
" the artist was able to bend his whole mind upon the
" drawing, and thus to attain such decision, delicacy,
" and completeness as have never in any wise been
" equalled, and as might serve him for a secure
" foundation in all after experiments."
The Ingleborough and Kirby Lonsdale Churchyard,
with Egglestone Abbey, Heysham, and the matchless
Crook of Lune of last year's Exhibition, formed part
of a series of twenty drawings commissioned by the
well-known Yorkshire topographer and historian. Dr.
Whitaker, in conjunction with Messrs. Longman, his

12
publishers, to illustrate his now famous ' History of
Richmondshire,' which appeared in 1822-3. The
drawings were made about 181 7, and occupied several
years in engraving. These were triumphs of the
engraver's art, and it is owing chiefly to their merits
that the value of the book has continued steadily to
advance. Probably no more striking instance of the rise in
the money value of Turner's, or indeed of any art,
could be found than in these Richmondshire drawings.
Messrs. Longman and Co. paid Turner ^25 apiece
for them in 181 7-8. Four of them, viz.. Simmer
Lake, Wycliffe Hall, Kirby Lonsdale Churchyard,
and the Crook of Lune, were kept by Mr. Orme, a
member of the firm, and after his death were sold
in 1884 by Messrs. Christie and Manson for 630,
590, 820, and 1 100 guineas respectively. The Ingle
borough was bought about forty years ago by the
late Mr. Sackvllle Bale for 150 guineas, and at the
sale of his collections In 1881 It fetched 2,200 guineas.
The exact scene of Sir Richard Wallace's charminsf
View on a Yorkshire River (No. 55) is not known,
but it is most probably on the Wharfe, as it strongly
resembles some of the drawings at Farnley Hall of
about the same period. Possibly It may be recognised
by some visitors to the present Exhibition, familiar with
that river so dear to Turner.
Winchelsea (No. 56) is on a smaller scale throughout
than any other drawings In the present Exhibition.
It was intended for engraving in W. B. Cooke's
' Southern Coast,' which was issued in numbers
between 1814 and 1826. Turner often painted

13
Winchelsea, and seems to have had some association
with it which always ' led him to introduce soldiers.
Views of Winchelsea, both different from this one,
appeared at an earlier date in the ' Liber Studiorum,'
and later on in the ' England and Wales.'
Miss Swinburne's Bonneville, No. 57 (the superb
condition of which, as also of the same lady's two
Rhine drawings, Nos. 59 and 61, I have already
alluded to), is another very favourite subject of Turner's,
and nearly if not all the numerous sketches and pictures
I have seen, are taken from about the same point of
view. The gradations of the mountain ranges and
ravines on the right are exquisitely rendered, and the
amazing skill shown in the arrangement of the lines
of the high road in the foreground is well worthy
of notice.
Mr. Buckley's Cologne (No. 58), glowing with colour,
together with the Castle of Marxburg on the Rhine
(No. 59), and the Biebrich Palace on the Rhine
(No. 61) were painted in 1820, the year following
a short tour of Turner's In Germany. No drawing
here will bear closer examination than this last-named
marvellous production. The details of the palace and
of the distant banks are given with extraordinary grace
and delicacy, every inch of the water has its own tint
of colour and of reflected light ; yet with all this detail
the lines of the composition are simple, and no laboured
effect is apparent.
Mr. Woodd's Temple of Minerva, Cape Colonna{No.
60), is entirely unlike all other work of 1820 — 1825,
and in the absence of any information it Is difficult
to assign a date to it. But in 1825 we find Turner

supplying, as an illustration to Murray's edition of
Byron's Poems, another view of the same spot, taken
from a drawing by Allason, Turner never having
visited Greece. Now it is difficult to imagine that at
the age of fifty, and with an established reputation
such as he then had, the painter would have consented
to make a drawing from an inferior sketch if he already
possessed the far finer drawing before us. These
are the only grounds for placing it in its present
position, as from its general appearance, it would
look to be a work of some ten years earlier date, say
1812 — 181 5. I hope that evidence may be forthcom
ing which may clear up the point. It may not be
without Interest to add that the present owner of this
drawing had the discrimination to see its merits as it,
hung neglected in a pawnbroker's shop, and acquired
it for a few shillings.
With the fine Val dAosta (No. 62) from Italy, the
beautiful and sunny English View on the Brent (No.
63), and the grey paper Coast Scene (No. 64), we pass
to the commencement of the ' England and Wales '
period (1825 — 1837), five examples of which are in the
present Exhibition.
These drawings, it may be desirable to explain, were
all made for engraving in the well-known work —
Turner's ' Picturesque Views in England and Wales.'
Mr. Ruskin in continuation of the passage before
quoted at p. 11, writes of this important series : —
" About the time of their production the artist seems
" to have felt that he had done either all that could
" be done, or all that was necessary in that [i.e. his
" early manner] manner, and began to reach after

" something beyond it. The element of colour begins
" to mingle with his work, and in the first efforts to
"reconcile his intense feeling for it with his careful
" form, several anomalies begin to be visible, and some
"unfortunate or uninteresting works necessarily belong
" to the period. The England drawings, which are
" very characteristic of it, are exceedingly unequal —
" some being among his finest works, others showing
" coarseness and conventionality."
I do not propose to dwell on the varied charms of
these five ' England and Wales ' drawings. The earliest,
Launceston (No. 65), was produced about 1825-6,
and differs considerably ' in style and colouring, as
might be expected, from the Windsor Castle (No. 68),
the Llangollen (No. 66) (beautiful, but slightly faded),
and the Durham Cathedral (No. 70), all the work of
a decade later — 1835-6. Most instructive is it to
compare the last-named magnificent and poetical dream
of colour with the sober, yet hardly less attractive early
rendering of the same scene (No. 69), which recalls In
every touch and tone the work of Girtin, in whose
company it may very possibly have been painted. This
early drawing is the property of the Royal Academy,
and may probably be assigned to about 1800.
We now approach the end of Turner's long art
life, yet Miss Swinburne's fine Castle of Tancarville
on the Seine (No. 71), painted specially for her
in 1839, shows no sign of failing power. There is
perhaps a slight tendency towards the yellowness
which characterises a good deal of the work of this
last period, but is mainly found In the oil pictures.

i6
The Exhibition is fittingly closed by the beautiful
and poetical Righi at Evening (No. 72) — (Mr. Ruskin
calls it The Dark Righi) — one of the series of Swiss
sketches made on Turner's last foreign tour, about 1843,
two of which (the Blue Righi and the Red Righi) at
tracted so much notice in last year's Winter Exhibition,
and the story of which has been so inimitably told by
Mr. Ruskin in his Notes on his Turner Drawings,
published in 1878.
In concluding these Notes I desire to express the
hope that the Royal Academy, to whom all students
and lovers of art are so deeply indebted for these
annual Winter Exhibitions, may vouchsafe us, from the
still unexhausted stores at their disposal, yet further
displays of Turner's art in Water Colours.
W. G. Rawlinson.

RICHARD CLAV AND SONS, LONDON AND BUNGAY.

YALE UNIVERSITY LIBRARY

3 9002 08867 2770

A limited number of Copies of these Notes,
printed' on large paper, for annotation, will shortly
be obtainable (price Fiye, Shillings, each) from the
Publishers, THE FINE, ART SOCIETY, Limited,
148, New Bond Street, W,

liijilt. i: HI

Ifl

m
ii I
¦ 1

i^j:!: : '

ili:>iit>l ,..,,.i

iiPiiiiii'l^iiii

liii:!!':::

.in.S::!iiii^'i
fc::

illllpl

iiillf
SI
"¦¦"'" 'III iiiii

II li
Ipil

illIII IP
1 ir

ii'lllili

M-!i-i
|!:,||!|i'i'JLlIii'Hiiiifilljiiii; 
Ill;  ^
ll!!::!'

i!lii;:i:

iljllljllji: iil! ii:!i!j:

mi. ....

l!;.L ,.
'¦:i'i!-=ii-Mii!'""- ¦!

!i.-:!|:i:j|':.:-i.i.!l: ii:!:;.!: ' '

:lxi> i'lMjilr:!!;! ;:,l
1'ii;iij:iii"t;;i;:!i!: il'iiisiiii-'lj-!!!:!':'- liiii.'^iii:ii!l:';|i;l!:';ll-^§^^ jM:E iH ¦ ' ' :;i:!ii'i I ii! :-:;.'¦;:!  :iiir :¦ -fkt ¦: ; ifi ;i:: ¦ -isi:;.!::!;;;':- ¦ ¦¦ .,
ii'liii;^! :;!;;i::^'^S:;^;lii'y^

|::;|jk ::¦¦¦!:;;:¦: ::!l-:;i;!!:::Ol«jli
.,|lt.!f^':i:ij::iili|i|;:::i;:i;!^i^.i!;;:;:i:''i i'^:jii;::!;i'!';Mi:..iii.i;;^ii:::;-.i
i:ii::;:ii::[;:;!'::i^:;::*!i-^iilS«iii;|:ii;iy

¦|;i:;^:;i.i;i:i:iii:i;;:ii;!;^;-;:.'!;;!i;;!..,:ij|'i!:'i:;:;.-:,;!i^> ¦¦¦¦¦:¦:¦

;!::li:"Si-:!:;:ii.::i:i':iO.:;|;iif::::.iiii:^w^iii'fii i|:=^:;i; '¦::!'! :;-!!.^H, . I;;!.'

Mm

Jllijiili;!!

j'iiil'ii;!:! i^li'j:'!'

,1'ii: »:;!i:^iii
:i:&'L:ii:o|i:i":i:j
N|!hii.il i :(in|-> £>! : ! :KM :::!
:'il!li;i|;ills|iH:-:M::'i!
I iiiiiiiiiiiiiil:

!;! III! I
ill!

jlliil

i!:i;l:;i

;i':,.-:|!':;i';:
i!;ii:iS.;;l:!p;'!:!;;i

:|:i!':i:j!i:!i::ii:ii::fii;i::.:!i:.!!'!':ih'^::':;i:liij;[!l'i!:i:!-.:i:i:
 .:.;;;: I;:::;!;;! ;i*ii::';;!i;;i:;i:N;:!rii|s;i
i!ii:i^:'^^:^':^::iif:f!ir^|yf«iii:|i.::.::;; ¦¦ ¦¦¦¦' !.':.¦¦:¦.!"-¦ -'-^-i ¦-'¦¦''¦¦¦¦"'!i;.:ii:ii!::.i;iij|iNl!!;||

:.::|;.:!!;

'::ln:l|>i:i|l

iS^^^^^^^^^^^^

.¦rir.vri:feiil'. ;.;
ilf;!';:;!.:!:

l||!i!;l!!

"iii^ii;::;:!. i;:i!;i:iiiiii
.ll;;:;;:;,! .

Kill,,,

:!ii'lil

:-.i!': .!.;¦

. !¦:

's!i

 !l;i

¦i:!' iiilffi'iillliiF

.;ii:;::''S;-!ii:M:i;i!i.:|:j:il:;:i.?*l:l:?,N!i:!i''|i:';!l;;E;!.l!i

i

l':!.,Mii::i!][!SMi Ills bi yi. i:ii:i!

»

ii

ilp

if i ..
iiliipiiliiii";j;pl'i!'i;li!il iljiiipil Hi^iil!

i:'iififil;:';:~;i':ili::!ir '
I'siij ill;.. ..
 P

HI

liii;
iil
iiiii
I

iiiii

ilii

I'iiiiiili^iii!

¦li!? :!iii

lllljj;!|!!i|!i|;l::i:iill!;f'|:l-!|iillllilliillN^'liihiiiil'iu'lPl'i

pjiijliilit'illiiiili
iiii¦

...,,111:; i3 I

!li,., 
';!i.ilc
m
m

::::|:|:
^

m

ii||i:ra!!a*ii
!|l|i|:P|:ii|lifii::|li Ih Si I'ii? : il!

!i:|!?:ss:i:i;:1i;:rjiisi:i.! i!lil;3 1 i'-ll-HilS'- i
iiii^ia^i-'ijiiji'liiiijii

¦?;'.i':ll.iis liijii
I.!::l::,i||,|..||;.,'.:.,':.i.:l'.

m

'i.i! .!.::.¦' .!.¦¦¦; :.i''i:i !¦¦¦ 'i.-.V.-'l-.! .!i-:!:':.ii;- ¦ ¦'¦ '. ! .... ".':•.

;!!.!

il-lililii...'SiSIJiilii-

III

i
iiiiiijii;<'|ili

ill :

„,-..,.:....: W'i:;... 'iii i .
i!fc|i;=:|!:f'if;:;':!!t:i':.:i'i::;«;¦.':'!:;:¦¦.... :..i:"'!..-:!!"l;;v,:

i|i^i:M::ilj;iJSi:!
ijiigiiMiij 

.!i.:|iii!'!5:;:!,''i;;;!iji.:iii!;'!!ll'iii|ii; iiiiiiiiiiiig^it ¦

liiiliii'i

mmlltlii!

||il!l|
ilili
rii^li;

liiliii'lji: ;i::-i:

:»ii|i!!!iSy;ii||i

iiili'iiliili'iil;?;!

»,:'!!i|i:i|!|l^i'li;:ii''^''lii;il|.!.,l„l,l.:,||,jp,j,,,.:, ,,, i

liU'il:te||!'!

|:i:;i:!i:N'l'iilil
isliii^iiiii!!
!!i^ii:iij:!'i'li!iii,iiiiiliii^ii!

i:||iiii;ii

iiii iii
iil!'!;i':Hl''
I'iil'iil'iiyi-.

:i.:..;|:.|i;;

li'iiliiilliii

|!:;:;!ii:ifi:iii iii
iii
ill'

JFi;|i:;i:iiii;!iiii|^ii^
f:i::!S:'.: liii .:'ii! ilii:i,:;it';i-: -1;
yii!.-;::- .:¦!¦!! :::•;!¦':;':. ;i-;!|"i:;ii
.;  ^!ilfi::i::|;:i:i=!l:ii:''iri;:!-''-i'
;iili!gi!:!lii;!|iiii'';|:i

¦'!l:'-:"ii:'

!i;i;:ii;s'i;i::;H:|iii,i:ii:i!i'P:-i:liS:^^^
pfllfiiliiilliiiiiiiilii
IN l'ii||iil! i.ii'f :5^:r.'.;'!;!;i..!!:y ill::.'..!.;
I'l:!!':!? :i p IKlt- :'? 1 1 :-iiS ¦'!:: .-i; ! ,:
:lH:!*ws!fe.;:!::;:!;;;:al; ;::¦!¦!;.:!!:'!

m

lljil

iliii'^s iiiliiili;
m
III
iii!lii:ii|i!!ii

«jh'i>i "'vi
 I

:i:li«jl'iiMi::;i!:iiill:ilpiliiUli,: ii;:l
iiiiiSiiiiiiiiiiir?jir:!!;l:liii;i:!i:.;!l

IS'ilji!m.y.

l!|i|,i;li!!

m

Pli;!*:

iLilHi '!;.li'i':i'll.'i!
 I .!;¦ lAi!]' '¦!
lii-liliisiifil'iil i;

l;!i|i:ii'!i:?i:i'i!;i;ii::l! ii;iii;:i.s:l':;:!li::i'

mv"'

IIII

msm

ii

iliP

."¦;::'!'|:i:l!«i!i !|!!!l;,l;!;N!::j v;i:i"'ii|i,!:l;il :;:iiiM;''-l!;!!vii iiili K!
iPiiliiiiii

iS!ii:i:;i:-.iii;i'":iii;: :::¦':
¦'¦;::i|::;,i;i:i;i;::!^-,p::

mm.

irP iii iiii !|ii!||i::i:ii:|/:^::v;ii;^^^^^
i;'S-i!ii|ii^^#;iiils|i|i;ili Iiiliiili
gi ii t!.:iilgfiiliiiii|S;li!y

Iiiii'! ulili-

...iiliii^i
ii'*S"i'|.
 Mm

^m

*!:ii;v::|i:ii^i:'!Si:¥'':-;;!i.'"!;-'i;i

iii:::ili<l':.'l<'''>i»'i::.'l|l!i'lill|i'i'i'ii.ai'£i ¦¦ 'iiiiteliFll:;!!?

1

I
li'i'ii:

liKtSi:. :.:¦ \ lijil'-'ii; Iji; • 'i.iri;- :;.j :;i.:!M,,llis:
JpJi|y:;!ivii'i;i;i'i|;;diS:i;i;;:;i ii
¦|iil;sii;:;'::,iiii.':!ii;:::;ij;:^'U!':iiii;i|i;;:^^

Hf;i

li

'i;i 11 '.'.'' '
51 ifiili
iiii
|!|>:iii'
,..., IB; life
iml^ij !i<|.'i:i...
!;::;lii!p;lii'|Mi:i|ii
j!!;:;i|;:j:i;ii:;!i:1i;|!:iil|i|:''Ssi!i:i''"' "'¦'¦
iilllHij
°'ji!i!i:i:i
m
m
iii !
'i|iij:fii||:|;|ijiii!
ii Ik:;;: ':: 5- ':;:;|;':;;;; lilii^iSfclliiJI,.,.,;.. ... .,..:,,.,.  ,
i^i-iiiiiiii'iSiliYiyijSj'-ii:! ¦^::'::;:!3:pl^^^
 SSSlij liiji ;: .:!.:.''!;!;;-.i':i. ¦! i.p
i|!iii;;i;?i!iiliM:jij;:ji!::;-:i;!::L;i|.;|;:i'|iil|iS'liiiiiiiifii;!:''-: "¦.':,:'*¦::!!:'!! ;ii
 :•:¦ :¦¦'., : ¦.::;.:. i.!!'!;,:!;!:!
II' ::;;¦!¦
ii::?!!;:
'mi-- Tiki
ij.^'ji:;
j!!i|
^"'liii
¦,:ii-|;
I'll.l'
!ii.;ii!iiiiii::ili^y!iiiiii|iiiii:¦¦¦ 1iilii!:iiifei|i:iili
lili'i;;!!;!:::..
¦Nil
¦.|i:;:
n:;!:;!
;ill.'i!ifi;;iiii;>ij:'::.
li! :;!:;|;i!i':.- :''':::.-ii;..::|! :i.i;:;i';;f ;i! iiiV':::.;':'!;;;: .'i; '::j;i
i| Willi i^iiiiiiiiiiili:!
!sii;ii!il:;i:;:|.::iii';:^!!:;;!li':i
iiil:i|£;i iiii:: i!:;ii>
li'li'te :!Sl''i!i:rjli>ii
¦ - ' ;.;iu ;:; ^:i i
!!a:'li:| ;l !
;^1 ii
lllGiilliiiii
lijEil
IIH
^¦iisiiiiiiiyiiii"
:ii;::i'i':i:i;i;
ii:::i!i:i::':.:':.';..i:i:.i|L.,. . ..,-,.,  -, 
 m^4^
  ..,  ¦;:.il|i;i..yii
..... ..... ... ,.:....,.:::,..¦...:.. ' ¦i|ii;|; ::;i:|j-:;i;:i|f,;i !;|:| ii::.;.
:'ii':|i ;!;i;:«!i;::3;.:i;;; iii 1 1'.^ ¦,'.:
,^;¦
iiliiii:;'::
|iNii:ii!'ii.ii;i'i.
!i;|i!l!i.:::!!i:=ii:;';:i-'.i:--:;:^.'i>:i:i!'!!
:'iii:!;:i:!i.i::i:
: !:;j:i|::;;i.i
i-li'i-iiii'iiiiBi
I|i':i!i''!lil^'-'i';'