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 THE NATIONAL GALLERY. 
 
 A COMPLETE INVENTORY 
 
 OF THE 
 
 DRAWINGS 
 
 OF 
 
 THE TURNER BEQUEST: 
 
 WITH WHICH ARE INCLUDED 
 
 THE TWENTY-THREE DRAWINGS BEQUEATHED 
 BY MR. HENRY VAUGHAN. 
 
 ARRANGED CHRONOLOGICALLY 
 
 BY 
 
 A. J. FINBERG. 
 
 0rtin - of tl \)t Etusstees. 
 
 YOLUME I. 
 
 LONDON: 
 
 PRINTED FOR HIS MAJESTY’S STATIONERY OFFICE, 
 By DARLING & SON, Ltd., 34-40, Bacon Street, E. 
 
 And to be purchased, either directly or through any Bookseller, from 
 WYMAN and SONS, Ltd., Fetter Lane, E.C. ; or 
 OLIVER & BOYD, Tweeddale Court, Edinburgh; or 
 E. PONSONBY, 116, Grafton Street, Dublin. 
 
 1909. 
 
 Price , with Vol. II., Fifteen Shillings 
 
CONTENTS 
 
 PAGE 
 
 Director’s Introduction .. iii-iv 
 
 Preface ... v-xviii 
 
 Catalogue of Drawings 1-1214 
 
 Appendix of Doubtful and other Drawings 1215-1246 
 
 List of Sub-sections in Present Arrangement 1247-1256 
 
 List of Sketch Eooks arranged according to the old 
 
 Schedule Numbers ... 1257-1261 
 
 Index of Names of Pictures, Owners, &c 1262-1274 
 
 Topographical Index 1275-1312 
 
The completion of Mr. Finberg’s inventory of the Turner draw- 
 ings, which he has carried out with so much judgment, patience, 
 and success, is but the beginning of the work of making these 
 wonderful records of our great landscape artist’s communings with 
 nature properly available for students and the public. Until they 
 are satisfactorily mounted, for instance, it is impossible to allow 
 the portfolios to be turned over except by responsible persons who 
 are accustomed to handle delicate drawings on thin old paper and 
 under close supervision. The long task of preparing these draw- 
 ings for study must be set about at once, and when the new 
 Turner Gallery, the generous gift of the late Sir Joseph Duveen, is 
 completed there will be more space available for their proper 
 display. 
 
 The system of framing the coloured drawings to fil in cases 
 devised by Mr. Ruskin, and their exhibition in the desks 
 designed by Mr. Charles L. Eastlake, appears to be the most useful 
 arrangement yet suggested, as it allows for the frequent changing 
 of the exhibits. It is sufficiently evident that these delicate 
 visions are not fit for permanent exhibition, but must only be 
 exposed to daylight for short periods. By changing the drawings 
 on view every three months, as has been the custom in the past, 
 Turner students will be continually finding new things to interest 
 them in the gallery, and the drawings will have a needed rest in 
 the darkness of the cases for long periods. Perhaps even then the 
 summer months may be too dangerous for the water-colour draw- 
 ings, and collections of pen and pencil work may be prepared for 
 exhibition at that season. Indeed the pencil drawings might be 
 made more use of for permanent exhibition. As far as I can see 
 they do not suffer by exposure to light, and their beauty has never 
 been enough emphasized. They are the most wonderful landscape 
 drawings for truth and direct interpretation of nature that exist, 
 and as they were nearly always done out of doors on the spot are 
 of especial value as expressing Turner’s thoughts in nature’s own 
 presence. Students will find them full of instruction and 
 inspiration. If they are photographed and the prints compared 
 with the actual scenes represented, Turner’s genius gains a new 
 aspect and the student experiences a marvellous delight. 
 
 By re-arranging the sketch books in order Mr. Finberg has 
 rendered a special service to students of the master. A method 
 must be devised for keeping them together by mounting the 
 
 1000. wt 7593. 12/08. D& 8. 26. 32796. b 
 
iv 
 
 drawings on separate sunk mounts so as to see both sides of the 
 leaves and then binding them together or arranging them in 
 special portfolios. It is delightful to follow the master’s rambles 
 page by page and town by town. Some of the best of these books 
 might be framed and hung on turning desks for this purpose. 
 Mr. Finberg and many of the Turner students who have so 
 generously assisted him in his difficult task have identified the 
 subjects of a great number of the drawings, but there are still 
 many without their local names. I need hardly add that the 
 officials of the gallery will be very grateful, and will heartily 
 welcome anyone who is able by his local knowledge or experience 
 to help in identifying these unnamed drawings. It is most 
 desirable that all should be known for what they are. 
 
 As these drawings are mounted and arranged it will gradually 
 be possible to make several more collections illustrating the whole 
 life work of Turner, without really weakening the central 
 collection. Such collections to be added to the loan sets already 
 in circulation in the Provinces, where they appear to be much 
 valued, as they are frequently asked for, and some of the galleries 
 have to wait a considerable time before the drawings are free for 
 them. 
 
 So, gradually, it is hoped that the nation -will enter more fully 
 into the possession of this great heritage and will learn duly to 
 appreciate its unique value. There is nothing like it anywhere in 
 the world. Mr. Finberg’s catalogue for the first time gives us a 
 full and true account of the treasures committed to our charge. 
 
 Charles Holroyd. 
 
 Director. 
 
V 
 
 PREFACE. 
 
 Before saying a few words in explanation of the scope of the 
 present volume, it seems advisable to give a short account of the 
 circumstances under which the Drawings of the Turner Bequest 
 came into the possession of the National Gallery, and their history 
 up to the time when the present re-arrangement was undertaken. 
 This history is clearly recorded in the Annual Reports of the 
 successive Directors of the National Gallery, so that little more 
 is needed for our purposes than the bringing together of these 
 scattered references. 
 
 The Drawings in question formed part of the Turner Bequest, 
 which came to the Nation under a Decree of the Court of 
 Chancery made for the administration of Turner’s will. The 
 decree was dated Wednesday, 19th March, 1856. In this order all 
 Turner’s Pictures, Drawings and Sketches which were in his 
 possession at the time of his death, were given “ for the Benefit of 
 the Public ” to be “ retained by the Trustees for the Time being 
 of the National Gallery.” No conditions were attached to this 
 gift ; but in order to prevent the inclusion in the gift of any 
 works not from Turner’s hand, it was ordered that two Assessors 
 or Referees should be appointed to make the selection, and in case 
 of disagreement they were to appoint an Umpire. The Assessors 
 chosen were Sir Charles Locke Eastlake, President of the Royal 
 Academy, and Mr. John Prescott Knight, the Secretary of the 
 Royal Academy. They were expressly ordered to select only 
 “such of the Pictures, Drawings, and Sketches, as shall in their 
 opinion have been painted, drawn, or sketched by the Testator’s 
 Hand without any Distinction of finished or unfinished, such 
 Selection to be verified by Affidavit.” All the Parties to the 
 Chancery suit agreed through their Counsel to abide by the 
 selection of the Assessors, or in the case of disagreement, to the 
 selection of the Umpire they should appoint. 
 
 Turner’s death had occurred on the 19th of December, 1851, so 
 that a period of over five years intervened before the legal 
 questions raised by his will were disposed of. During the course 
 of the litigation Turner’s Executors became anxious about the 
 safety of the pictures, drawings, and engravings stored in the 
 house in Queen Anne Street. They therefore applied to the First 
 Lord of the Treasury for permission to store all the pictures, &c., 
 in the vacant rooms on the ground-floor of the National Gallery. 
 The request was granted, and the removal, begun on the 
 31st of August, 1851, was completed on the 7th of October follow- 
 ing. After the Chancery decree a subsequent and final delivery 
 of Turner’s works was made on the 25th September, 1856. 
 
 The two Assessors or Referees made their selection during 
 October and November, 1858, and the catalogue they delivered 
 
 b 2 
 
 3279G 
 
VI 
 
 was verified by affidavit during the month following. The works 
 they selected consisted of — 
 
 “ Finished pictures ... ... ••• ••• ••• 100 
 
 Unfinished pictures, including mere beginnings ... 182 
 
 Drawings and sketches in colour and in pencil, 
 
 including about 300 coloured drawings 19,049 
 
 19,331” 
 
 The public were naturally desirous of seeing as many of these 
 works as could be shown to them. The first duty, therefore, 
 which devolved upon the authorities was to decide what could and 
 what could not be advantageously exhibited. With a view to 
 assisting the Director and Keeper in this work, a small Committee 
 was formed, consisting of Mr. H. A. J. Munro, Clarkson Stanfield 
 and David Roberts. This committee attended at the gallery on 
 the 5th December, 1856, and assisted in the selection of drawings 
 for exhibition, and in deciding on the modes of mounting and 
 framing to be adopted. They also inspected such of the paintings 
 as required lining and recommended that a certain number should 
 be so protected. 
 
 Of the oil paintings 34 were almost immediately placed on 
 exhibition. These were constantly added to, until by May, 1857, 
 they had reached the number of 105. During the last year or two 
 further selections have been made from the unfinished canvases. 
 
 Turning now from the oil paintings on canvas, we will confine 
 our attention to the “drawings and sketches in colour and pencil.” 
 The colour sketches and drawings are mostly in water colour, but 
 a few are in oil on paper or millboard, and there are a few pastels. 
 
 During February, 1857, 102 of these coloured drawings were 
 placed on exhibition. 
 
 Writing in April, 1858, the Director said, “ The plan which 
 Mr. Ruskin originally proposed for the preservation of the more 
 delicate coloured drawings from the effects of light, by placing 
 them in cases fitted to contain a given number, has been carried 
 out. A selection of other drawings, requiring only to be carefully 
 mounted, will in due time be made.” (Report, 1858, p. 56.) 
 
 The drawings placed in the cabinets designed by Mr. Ruskin 
 numbered 400. These were ready for exhibition on 15th May, 
 1858. In addition to these 1,000 drawings were provided with 
 raised mounts, “ so that they can be shown and handled.” 
 
 Although in his report to the Director Mr. Ruskin speaks of the 
 400 drawings as selected for exhibition, he did not apparently 
 contemplate that they should be hung on the walls in the ordinary 
 way, They were enclosed in portable mahogany cases, and only 
 handed out when any one wanted to examine them. The 
 additional 1,000 drawings were apparently intended to be kept in 
 portfolios, and to be shown on special application. 
 
 “ In order,” Mr. Ruskin says in his report, “to render this series 
 of 1,400 drawings completely available to the public, nothing more 
 is now necessary than the appropriation of a room to them, and the 
 appointment of an attendant to give out the cases of drawings, as 
 
 * 
 
vii 
 
 iu the Print Room of the British Museum. The observance of 
 such regulations of admission,” he added, “ as are adopted in the 
 Reading-room of that establishment will be necessary ; but no 
 further restrictions need be imposed on the exhibition of the 
 drawings.” (Director’s Report, 1858, pp. 67 and 68.) 
 
 Mr. Ruskin’s suggestion was not then acted on. The mounted 
 drawings were packed at the time in the tin cases in which the 
 remainder of the unexhibited drawings were kept, but a large 
 number of them were subsequently utilised for exhibition. The 
 mahogany cases, however, with their contents have remained as 
 Mr. Ruskin left them and are still in use. The drawings form 
 Nos. 1-400 of the present series of exhibited drawings. But only 
 60 of them are exhibited at one time. These are placed in the 
 desks in the first of the Turner Water Colour rooms. They are 
 changed every three months (on the 1st of January, April, July, 
 and October), but the remainder can be examined at any time in 
 the inner room by any one who chooses to get special permission 
 from the Keeper for that purpose. 
 
 In addition to this work Mr. Ruskin selected and arranged 
 338 drawings, in 153 frames, to take the place of the 102 drawings 
 which had been placed on exhibition at Marlborough House. 
 The majority of these frames were transferred to South Kensing- 
 ton during August, 1859. But the number was periodically 
 increased until it amounted to 194 frames. (Report, 1862, 
 
 p. 111.) 
 
 During June and July, 1869, three small selections of Turner’s 
 sketches were prepared for exhibition in the provinces. These 
 were lent respectively to Dublin, Edinburgh, and Leeds. 
 
 1st Loan Collection consisting of 64 sketches in 53 frames. 
 
 2nd ,, ,, ,, 62 „ ,, 53 ,, 
 
 3rd „ „ „ 70 „ „ 58 
 
 196 164 
 
 In Sir Frederic Burton’s Report for 1878 it is stated that “in 
 conformity with a request made by His R.H. Prince Leopold 
 on behalf of the Curators of the University Galleries, Oxford, 
 249 drawings and sketches by Turner, together with 8 sketch 
 books, specially selected from those not ordinarily exhibited to 
 the public, have, with the approval of the Trustees of the National 
 Gallery, been lent to the University Galleries at Oxford.” This 
 selection was made by Mr. Ruskin, although bis name is not 
 mentioned in the Report. 
 
 The enlargement of the National Gallery having made it 
 possible to withdraw the British pictures and drawings from 
 South Kensington Museum, “ a selection of nearly 300 drawings 
 and sketches by Turner was hung in two rooms on the ground 
 floor of the eastern wing of the Gallery,” during the month of 
 June, 4878. “ The rooms have since remained open to the public,” 
 
 the Report added, “ who are admitted on signing their names in 
 the entrance hall. The drawings are changed from time to time.” 
 (Report, 1879.) 
 
Vlll 
 
 These two rooms were increased to four in 1889. In the 
 Report for the following year it says; “For many years past a 
 large number of drawings and sketches by Turner (slight and 
 unfinished in many instances, but forming an interesting series) 
 have, for want of hanging space in the Gallery, remained stored 
 in tin boxes in a room on the ground floor. From the original 
 Collection, a certain number have, from time to time, been 
 selected for loan to provincial galleries, and in 1879, at the 
 request of Professor Ruskin, 219 (sic) of them were lent to the 
 University Galleries at Oxford, where they still remain. 
 
 “ Last year 319 more of the same series were, by order of the 
 National Gallery Board, mounted, framed, and glazed. Of these 
 200 have been arranged and hung in the ground-floor rooms in 
 the east wing of the Gallery by the keeper (Mr. C. L. Eastlake).” 
 (Report, 1890, p. 6.) 
 
 The following year “ a fourth collection of Turner’s drawings 
 and sketches, comprising 50 examples selected from those not 
 hitherto exhibited to the public,” was formed and lent for twelve 
 months to the Ruskin Art Museum, at Meersbrook Park, Sheffield 
 (Report, 1891.) And in the 1896 Report it is stated that the 
 5th and 6th Loan Collections had been constituted and were 
 “ ready for dispatch.” 
 
 Thus in various ways about 1,800 of Turner’s sketches and 
 drawings have been exhibited to the public. Of the remaining 
 unexhibited drawings, Mr. Ruskin wrote in his 1858 Report that 
 the larger portion “ consists of pocket note-books, containing 
 pencil-sketches on both sides of every leaf. Owing to the 
 dilapidated state of the bindings, the pages in many instances 
 could not be turned or examined without injury to their contents. 
 When this was the case, I have first numbered the pages, and 
 written on the bottom of each leaf the number of the volume to 
 which it belongs in the schedule. I have then taken off the 
 binding, carefully separated the leaves, placed each leaf in a 
 flolded piece of smooth paper, and fastened the w'hole firmly 
 between pasteboards, thus securing the drawings from all injury 
 for the present. Whatever number of them it may hereafter be 
 thought desirable to exhibit, may now be mounted, and shown 
 without difficulty ; only this final arrangement cannot but be a 
 work of time. The mode of mounting adopted, though it 
 conceals one side of the leaf, does not injure the drawing so 
 hidden ; and if it should be thought desirable, any of the leaves 
 may be afterwards removed from the mounts, and attached by 
 their edges in the usual way ; but I thought that where the 
 quantity of drawings was so large, the attainment of ease and 
 safety in the handling might justify, at least for the present, the 
 concealment of drawings on the reverses of leaves. 
 
 “ Thirty-six of the note-books, containing collectively 3,132 
 leaves, most of them drawn on both sides, have been thus divided, 
 and all the note-books, 267 in number, have been examined, and 
 their principal contents (in subject), stated on their envelopes for 
 convenience of reference. My attention has been principally 
 turned during the present season to the pencil drawings, because 
 I saw that these were likely to suffer much more injury, if left 
 
ix 
 
 unprotected, than could, under any ordinary circumstances, 
 happen to the coloured ones ; and many of these pencil sketches 
 have been mounted, not as being specially interesting, but merely 
 because they had been left by Turner in confusion, and I 
 wanted to get them out of the way of chance injury at once, so as 
 leave free room for other operations. A large quantity of very 
 beautiful studies of skies in colour, beginnings of drawings in 
 colour, early finished drawings and studies in Indian ink, are 
 put aside for the present in safe parcels, as I have not yet had 
 time to deal with them. Most of these, being of considerable size, 
 would require, after being mounted, large cabinets to hold them, 
 and I thought it best to defer the planning of these cabinets until 
 some determination had been arrived at respecting the new 
 Galleries. The remainder of the collection consists of drawings 
 of miscellaneous character, from which many might be spared 
 with little loss to the collection in London, and great advantage to 
 students in the provinces. Five or six collections, each com- 
 pletely illustrative of Turner’s modes of study, and successions 
 of practice, might easily be prepared for the Academies of 
 Edinburgh, Dublin and the principal English manufacturing 
 towns. 
 
 “ Among these loose parcels there are also large numbers of 
 sketches so slight or careless as to possess hardly any value. It 
 is difficult at present to determine the extent of this inferior class, 
 as many drawings which at first appear useless, will be found 
 to possess documentary interest in connexion with others. 
 Ultimately, however, there will certainly be a large mass which 
 it would not be desirable to exhibit with the rest of the collection, 
 as their inferiority would cast unjust discredit on the finer works 
 with which they were associated. I should therefore recommend 
 them to be bound in volumes, and shown only on special applica- 
 tion. They ought not to be scattered or parted with, because they 
 form illustrations, often dependent as much on their quantity as 
 on their style, of the habits of life and tones of temper, and, too 
 often, errors of judgment, of the greatest landscape painter who 
 ever lived. 
 
 27 March, 1858. (Sgd.) JOHN Ruskin.” 
 
 (Report, 1858, pp. G8 and 69.) 
 
 These extracts will no doubt be sufficient to indicate the point 
 of view from which the Bequest had been regarded in the past. 
 The only questions that had been seriously considered were, what 
 and how many drawings could be publicly exhibited ; and even 
 Mr. Ruskin’s partial arrangement of the unexhibited drawings 
 seems to have aimed chiefly at the indication of their degrees of 
 suitability for public exhibition. 
 
 The exact nature of this “ partial arrangement ” is perhaps best 
 displayed by the endorsements made on the wrappers of the 
 various parcels (these have been carefully transcribed and will be 
 found embodied in the text of the present volume) and by the 
 manuscript catalogue which Mr. Ruskin handed in to the Gallery 
 on the 14th May, 1862. In this catalogue the whole of the 
 unexhibited drawings were divided into 308 parcels. The cata- 
 logue is too long to be given here in its entirety, but the following 
 
10 
 
 TURNER DRAWINGS. 
 
 [VI.] 
 
 Page 13a. A dwelling house on banks of Avon, with steps leading 
 up to it. 
 
 „ 14. Bath Abbey Church, with shops adjoining. “ Doric with 
 Trigleaves.” Against some sections of mouldings — 
 “ | as wide” and “ high as the houses (?).” 
 
 This sketch, together with details on pp. 13 and 14a, 
 evidently formed the material from which the water 
 colour of Bath Abbey Church (VII, F.) was painted. 
 
 „ 14a. “7 Vie Grove Coffee House. The Grove House Bording, 
 
 G. T. Rappel. Dealer in Foreign Spirits, Licquors. 
 Matt (?) Wi taker. Heath, Ormond and Bradford. 
 Milliners .” These are transcribed from signs over 
 the shops. 
 
 „ 15 Blank, except for small outline of two gables of a house. 
 
 „ 15a. “ Old Passage ,” Severn. Cf. p. 18a. 
 
 „ 16 Small drawing of a Porch and Entablature, and “ Lady 
 
 Lippincott ” (name of owner of house sketched on 
 other side of page). 
 
 „ 16a. View of Stoke House, near Bristol. Light and dark 
 masonry in different parts of building indicated by 
 initials, “ D.S and “ W.S.” ; species of trees some- 
 times noted, as, “ Yew ” and “ Olive ” ; and some 
 undecipherable remarks about a “ Unicorn and Lion ” 
 at top right of page. 
 
 (A water Colour of “ Stoke, near Bristol : seat of Sir H. 
 Lippencote” was given by Turner to Mr. Narraway, 
 the friend with whom he stayed on this visit. The 
 drawing is now in possession of Mrs. Annie Thomas.) 
 
 „ 17. Written in pencil, “ Mr. Fowler's on Durdum Downs, 
 near Bristol and in ink, “ Captain Fowler, Seat 
 on Durdum Down near Bristol.” The drawing this 
 refers to is on reverse of page (17a). 
 
 „ 17a. Capt. Fowler’s Seat, Durdham Downs, seen through 
 
 trees ; on gate the number 27. Water colour, with 
 brown ink outline. 
 
 Part of drawing extends to next page (p. 18) ; this 
 portion in ink only, without any water colour, 
 showing probably that it was Turner’s habit at that 
 time to draw in his subject in ink before applying 
 washes of colour. 
 
 „ 18. About two inches on left of drawing referred to above. 
 
 A few pencil lines on remainder of page. 
 
 „ 18a. Another view of “ Old Passage .” Cf. p. 15a. 
 
 „ 19. Small rough sketch of building (?). 
 
 „ 19a. Three slight sketches of woman with wheel-barrow 
 
 and head of youth with beaver hat, half erased. 
 
 ,, 20. Castle with turrets rising above trees, with view of 
 
 Severn and Welsh Coast beyond. 
 
 ,, 20a. “ Blase Castle and the Deney and Welch Coast. 
 12 Views on the River Avon.” 
 
 „ 21. “ North West Vieiv of Malmsbury Abbey taken from 
 
 the Meadows, 1791.” Abbey framed in trees. Pencil 
 and light brown ink. Trees have names written 
 across their trunks or beneath them — “Apple, Willow , 
 Elm , Ash.” 
 
[VI.] 
 
 BRISTOL AND MALMESBURY 
 
 11 
 
 Page 21a. Title written on back in ink, together with the remark, 
 “ the Abbey not long enough" ; also rough sketch of 
 steeple and tops of houses in pencil. 
 
 The following three leaves from this sketch book are 
 among the framed and exhibited drawings, 523a, 5, 
 and c, N.G. These drawings were included in the 
 first hundi’ed selected by Mi-. Ruskin for exhibition 
 in 1857. In Mr. Ruskin’s third catalogue (188 L) 
 these were put in “ The Students’ Group,” and 
 described as “ Three early sketches at Clifton, when 
 he (the artist) was twelve or thirteen years old.” 
 
 „ 22. “ North West View of Malmshury Abbey, 1791." 
 
 Water colour with pale brown ink outline. Indian 
 ink, brown, yellow and blue seem only colours used. 
 Title and date in ink on back. 523a, N.G. 
 
 „ 23. View on the Avon. “ From Wallace's Wall looking 
 up the River" written in pencil on top right hand 
 corner. Pencil, with preliminary washes of yellow 
 and blue. 5235, N.G. 
 
 „ 24. View on the Avon. On back, in pencil — “ Vieiv from. 
 
 Cook's Folley, looking up the River Avon ivith 
 Wallis Wall and the Hot Wells." Water colour and 
 ink, as p. 22. 523c, N.G. 
 
 (23 leaves drawn on). 
 
 1791* (AET. 16) 
 
 VII. — SUBJECTS CONNECTED WITH 
 BRISTOL. 
 
 A. “ Bristol Cathedral from College Green." 
 
 13^ x 12j. Water colour, with brown ink outlines ; only 
 colours used, Indian ink, brown, red, yellow and blue. 
 
 On back, in ink, above title, with artist’s name, — “ William 
 Turner," and “ Academy. By J. Galindo. Notray Public, 
 Accomptant & Translator. Black and Gold " (probably 
 inscription on sign board of foreground house). 
 
 B. “ View on the River Avon near Wallis's Wall, Bristol." 
 
 9 r °g x Ilf. Water colour, with brown ink outline ; same 
 colours as above. 
 
 On back, title in ink, and pen sketch of old man’s head in 
 profile ; also blotches of gamboge, burnt sienna and blue, as 
 though back had been used as a palette. 
 
 C. Ruins of Tower at West End of Malmesbury Abbey. 
 
 11 x 8§. Water colour, with brown ink outline ; same 
 colours as above. Probably a sketch from nature. 
 
Ils ne savent pas, par example, si le second voyage continental 
 de Turner, celui de 1804, est une realite on une fiction. (Arm- 
 strong, p. 57.) 11s ne savent pas s’il y eut voyage en Italie en 
 
 1822. (Chignell, pp. 79-80.) Ils ne savent pas quelle est la date 
 positive du premier voyage de Turner en Hollande. Ils ne savent 
 meme pas la date exacte de la premiere visite a Venise. (Chignell, 
 p. 138 et Armstrong, p. 167).” (Christian Cherfils. “ Canon de 
 Turner.” Paris, MCMVI. p. 23). Similar complaints could also 
 be cited from all recent books on the subject, and the list of events 
 about which trustworthy information is lacking might easily be 
 extended. 
 
 The chief source of information about the facts of Turners life 
 is undoubtedly Thornbury “ Life and letters, &c.,” first published 
 in 1862 ; but Thornbury’s proved inaccuracy and other defects 
 make it necessary to regard almost all his statements with suspicion. 
 Thornbury is the common source of all subsequent biographies, 
 though writers like the late Mr. Cosmo Monkhouse and Sir Walter 
 Armstrong have brought some valuable facts to light. The 
 question of dates had little or no interest for Mr. Ruskin ; on such 
 questions he is as M. Cherfils grimly remarks “ plus que sobre.” 
 
 More reliable sources of information than Thornbury’s “ Life” 
 are the list of Turner’s exhibited works, compiled from the 
 catalogues of the Royal Academy, British Institution, &c., and the 
 record of Turner’s engraved work. But the information contained 
 in these records though reliable is yet extremely limited. When 
 dealing with the list of exhibited works it is not always possible 
 to trace the pictures themselves simply from the bare record of the 
 title, which is all we have to go upon in many cases. Mr. C. F. 
 Bell’s careful and accurate study of “ Turner’s Exhibited Work” 
 (George Bell & Sons, London, 1901) and Mr. Edward Dillon’s 
 admirable list of the Oil Pictures and Water Colours have here 
 been of great assistance. Another difficulty is connected with the 
 fact that Turner did not always exhibit his pictures immediately 
 after they were painted. No doubt he did so as a rule, but there 
 were exceptions. The dangers of taking the year of exhibition as 
 proof of the date of the work in question is illustrated by the con- 
 tention of the French writer I have cited above, who points to the 
 fact that the “ Venus and Adonis ” was exhibited in 1849, as 
 evidence that Turner was doiug his best work during the last year 
 or two of his life. (Christian Cherfils, op. cit. p. 22, note.) The 
 “Venus and Adonis,” I may add, was designed and painted 
 immediately after Turner’s visit to the Louvre in 1802, though it 
 was not exhibited till over 40 years later. 
 
 A similar caution is needed in making use of the record of the 
 engraved work. Sometimes the engravings w T ere made and 
 published within a year of the completion of the drawings upon 
 which they were founded ; in other cases, periods of from two to 
 thirty or forty years elapsed between the date of the drawing and 
 the date when it was engraved. On such points as these the 
 labours and researches of Mr. W. G. Rawlinson have frequently 
 shed a welcome light. (“ Turner’s Liber Studiorum,” 1st Edn. 
 1878, 2nd Edn. 1906 ; and “ The Engraved Work of J. M. W. 
 Turner, R.A.” Vol. I., MacMillan & Co!, 1908.) 
 
 In addition to all these published sources of information I had 
 the advantages of access to a large collection of private papers and 
 
xiii 
 
 documents in the possession of Mr. C. Mallord W. Turner. 
 Mr. Turner’s legal knowledge was often especially useful in the 
 elucidation of these documents, and I shall ever remember with 
 gratitude the unwearied kindness with which he has helped me 
 in all my difficulties and the unflagging ardour of research with 
 which he pursued every clue. Sometimes our researches produced 
 the happiest results, as when Mr. Turner discovered Sprigg’s 
 “ Catalogue of the Rooker Sale,” and thus proved beyond all 
 doubt that the drawing of “ Margam Priory,” which had long been 
 exhibited as a work of Turner, was really by Michael Angelo 
 Rooker, A.R.A. ; in other cases, however, as it is perhaps needless 
 for me to say, we had to rest content with a merely negative 
 result. 
 
 But the information supplied from all these sources would have 
 been insufficient for the present undertaking, if it had not been 
 supplemented by the information which a careful and minute 
 examination of the sketch books and drawings themselves brought 
 to light. Thus, one of the earlier sketch books was found to 
 contain a list of places with notes of the chief antiquities and 
 curiosities which were to be found there. ( See XIX., “ Matlock ” 
 Sketch Book, pp. 26-28 of Catalogue). On studying the relative 
 positions of these places and the order in which they were 
 arranged, it became evident that they represented the itinerary of 
 a sketching tour. The book in which this list occurred contained 
 sketches of some of the places mentioned ; among them I 
 recognised a sketch of Northampton, which was ' evidently 
 connected with the water colour engraved and published in the 
 “ Pocket Magazine,” 1st July, 1795, and another, of the Bridge and 
 Gatehouse, Bridgnorth, connected with the engraving published in 
 the “Copperplate Magazine,” 1st August, 1795. This suggested 
 that the proposed tour had actually been made, and that its date 
 was prior to 1795. 
 
 I then drew up a sketch map of the tour and found that six of 
 the subjects exhibited in May, 1795, at the Royal Academy were 
 connected with it, as well as several others engraved in the 
 “ Copperplate Magazine,” the earliest of which — that of “Notting- 
 ham” — was published on 28th February, 1795. All this pointed 
 to 1794 as the date of the tour. 
 
 Almost all Turner’s important drawings made during this 
 sketching tour happened to have been made upon loose single 
 sheets of paper, which were scattered at random among the 
 drawings exhibited in the Turner Water Colour Rooms, the six 
 loan collections, the Oxford loan collection, and the three hundred 
 odd parcels of unexhibited drawings. But with the sketch map as 
 a clue I was able to draw them gradually together, and as a result 
 we have the two groups of drawings described as “ First Midland 
 Tour ” (XXI. and XXII.). 
 
 In a case like this, where the chronology of a group of drawings 
 has seemed to me guaranteed by its connexion with the whole 
 series and by its concordance with all the external facts, I have 
 ventured to assume that we may take the date as established. But 
 when, for one reason or another, I have not felt quite satisfied on 
 this point I have printed the date with an asterisk. All the dates 
 
xiv 
 
 marked with an asterisk must therefore be taken as more or less 
 hypothetical, but in each case the degree of uncertainty varies 
 considerably. Thus I have marked the date of the “ Marford Mill 
 Sketch Book ” (XX.) as hypothetical, because its connexion with 
 the first Midland Tour depends at present upon the doubtful 
 identification of the water colour drawing in the Manchester 
 Whitworth Institute, entitled “ An Old Mill,” with the drawing 
 exhibited at the Royal Academy in 179f), which bore the title of 
 “ Marford Mill, Wrexham.” If the drawing at Manchester does 
 represent Marford Mill, then the sketch on pp. 18a-19, of the 
 sketch book also represents Marford Mill, and the book is certainly 
 rightly classed among the work of this tour. But until this point 
 is settled, or until some of the other drawings in the book are 
 identified with some of the places included in the tour, there 
 remains a certain doubt about the exact place of the book in our 
 chronological series ; and it is this doubt that the asterisk is meant 
 to call attention to. But as the nature of a series does not permit 
 of a gap I have been compelled to come to at least a provisional 
 conclusion on all doubtful points. The actual place in the series 
 must therefore be taken as an indication of what seems to me the 
 most probable conclusion under the circumstances. Thus, on the 
 whole, I think it probable that the “ Marford Mill ” book does 
 belong to the 1794 tour, but this opinion is subject to the 
 reservations made above.* 
 
 The proved usefulness of a sketch map in the case of the First 
 Midland Tour drawings suggested the advisability of its general 
 application. 
 
 Having arranged the whole of the drawings roughly upon 
 stylistic and other grounds, 1 therefore began to work out in detail 
 the itinerary of each separate sketching tour. I should have liked 
 to have published several of these maps on the present occasion, 
 but it has been found practicable to give only one of them — that 
 of Turner’s first continental tour in 1802. By working in this way 
 the various sketch books were drawn together, or rather the actual 
 
 * The list of bank notes written on p. 2a of this book ( see p. 30 of Catalogue) 
 may perhaps be taken to point to 1802 as the probable date of this book. Similar 
 lists of notes are a frequent feature of the sketch books and they have presented 
 a series of difficult problems to me. Apparently Turner did not keep a banking 
 account, at least during the earlier part of his life. When he had money he seems 
 to have bought stock of one kind or another, and when he wanted money he sold 
 stock (see pp. 298-299). In this way lumps of ready-money were at intervals 
 brought into the household, and on their arrival it seems to have been felt 
 advisable to make a list of the dates, numbers and face value of the bank notes 
 of which they consisted. These lists are generally either in Turner’s hand- 
 writing or in what I take to be his father’s. In the present case the list is I 
 believe in the father’s hand, and the dates of the notes point to 1802 as the year 
 when the entry was made. But it does not follow that these memoranda would 
 necessarily be made in the sketch books either in use at the time or in the 
 book most recently used. When Turner made the entry he may cf course have 
 taken out any book he had on his person, that is to say the one in use at that 
 time, or he may have taken up any one which may have been at hand and which 
 may have been in use years before. When the father made the record it seems 
 to me probable that he would have been tempted to utilize some of the blank 
 leaves in the older sketch books, and that is what I fancy has happened in the 
 present case. 
 
 Generally speaking the character of the actual sketches seems to me ought to 
 outweigh the evidence of more or less accidental data. 
 
XV 
 
 bonds of connection between them were clearly brought out ; 
 as sketches of the same places sometimes occurred in two or more 
 of the books, they were found to dovetail into one another in a 
 most satisfactory way. In the case of the 1802 tour no list of the 
 places proposed to be visited came to light, as in the case of the 
 1794 tour, but by marking on the map all the places of which we 
 actually possessed sketches I was enabled to form a tolerably 
 accurate inference as to the route Turner pursued. One great 
 advantage of such knowledge was the help it afforded in the 
 identification of the very large number of undescribed drawings 
 in the collection, both by pointing out the likely places within the 
 route and by offering a prim a facie case against places distinctly 
 off the route. 
 
 I will venture to give one instance of the way this method 
 worked, both because it will serve to introduce a subject which 
 I must allude to, viz. the presence in the collection of a 
 considerable number of drawings by other artists than Turner, 
 and also because I think it will help to draw attention to the kind 
 of mutual support and corroboration which the present arrange- 
 ment possesses. When I came to work out in detail the North of 
 England tour of 1797 I traced Turner as far north as Melrose, when 
 he seemed to turn off in a south-westerly direction for Carlisle 
 and the Cumberland lakes. But amongst the group of sketches 
 which seemed to belong to this tour was a single pencil drawing of 
 the Cathedral at Glasgow (Exhibited Drawings, No. 460, N.G.). 
 Now if Turner went to Glasgow on this occassion it seemed 
 reasonable to expect to find either some more sketches of that 
 city or sketches of some of the places between it and Melrose. 
 There were indeed sketches of Edinburgh as well as others of 
 Glasgow in the collection, but these clearly belonged to a later 
 tour — that of 1801, and the particular drawing of Glasgow to 
 which I refer was so clearly marked off on stylistic grounds from 
 the work of that year that I could not possibly include it in that 
 tour, or connect any of those drawings with the 1794 tour. After 
 exhausting all kinds of desperate hypotheses I found myself 
 driven to ask, “ Can the Glasgow drawing be by some other artist 
 than Turner ? ” As a result of the researches thus prompted I 
 came to the conclusion that it was not by Turner but by Girtin. 
 
 The drawings included in the Appendix which I have described 
 as probably not by Turner are drawings which were certainly in 
 Turner’s possession at the time of his death, and which the two 
 referees or assessors referred to above had judged to be “ by the 
 Testator’s hand.” In a sense too these drawings may be described 
 as those which my system of arrangement and classification was 
 unable to assimilate. But it would be wrong to take the rejection 
 of these drawings as due merely to this fact. Such rejection 
 simply formed the starting point for further investigations. 
 “ If these drawings are not by Turner,” I asked, “ whose are they, 
 and how did they come to be in his possession ? ” For the 
 results of these researches I must refer the reader to the text of 
 the Appendix, but I may add that the discovery of the occasions 
 upon which a number of these drawings had been bought, and 
 the proofs that the entries in the auctioneers’ catalogues afforded 
 that Turner had bought the drawings in the open market as 
 
xvi 
 
 ostensibly the work of de Loutherbourg, Dayes, Rooker, &c., 
 could not but seem to me welcome evidence in support of 
 my arrangement. Further justification of my rejection of the 
 drawings in the Appendix seems to me to be supplied by the 
 agreement in points of style and material which exists between 
 the various batches of drawings, and the correspondence in these 
 respects which they exhibit with the known works of the various 
 masters to whom they are ascribed. 
 
 One of the most formidable difficulties I have had to face has 
 been the absence of any precise indication as to the subject- 
 matter of a very large proportion of the drawings. In the case 
 of the sketches from nature the absence of this kind of informa- 
 tion has often seriously interfered with the system of geographical 
 arrangement. On a small proportion of the drawings Turner has 
 indeed scribbled some kind of note which no doubt would have 
 been sufficient indication to himself of the name of the place 
 represented ; but the artist’s phonetic methods of spelling 
 (especially in the case of foreign names), and the appalling 
 illegibility of his handwriting render these indication less useful 
 than they might have been. 
 
 I have done all I could, both by the use of engravings and 
 photographs and by hurried visits to various neighbourhoods, to 
 establish the identity of the places and buildings Turner has 
 sketched, but to introduce a satisfactory kind of order into the 
 large mass of Continental sketches would have involved the 
 making of several journeys abroad, and these would have unduly 
 retarded the present work. But the need for the kind of informa- 
 tion which can only be obtained in this way still remains ; its 
 possession would add considerably to the interest, value and 
 usefulness of the collection ; and in my opinion the task of 
 gathering this information ought to be now undertaken. 
 
 Indeed the work which is represented by the present publica- 
 tion must on no account be regarded as anything more than a 
 beginning or first instalment of the task of putting the Drawings 
 of the Turner Bequest into proper order and making satisfactory 
 arrangements for their preservation and public use. At present 
 the unexhibited drawings are arranged in 108 solander cases, 
 duly numbered and labelled with their contents, and I have done 
 what I can to protect these drawings from being rubbed or soiled 
 by a liberal employment of sheets of clean white thin paper. But 
 they cannot be shown to the public until large numbers of them 
 have been mounted and until the dismembered sketch books have 
 been rebound. A large number of the drawings on the reverses 
 of the leaves mounted by Mr. Ruskin ought not, in my opinion, 
 to be concealed in this way ( see p. viii.). The present selection 
 of exhibited drawings is neither representative nor in a satis- 
 factory condition. Amongst them are included works not by 
 Turner, and a large number of the authentic drawings have been 
 seriously affected by prolonged and undue exposure to the light. 
 The history of the collection shows that much of this damage is 
 due to what are invariably called the “ temporary ” exhibition of 
 drawings, that is to say, valuable works which are well known to 
 be highly susceptible of injury by light are exposed to the full 
 
xvii 
 
 glare of the exhibition galleries for what is announced to be 
 a “ temporary exhibition ” ; they are then left in this position for 
 thirty or forty years or until it becomes evident that the work has 
 been completely ruined. When the first batch of finished 
 drawings was exhibited, February, 1857, Mr. Ruskin and others 
 drew attention to the dangers of continual exposure to the light. 
 For the reassurance of all lovers of English art a statement was 
 published in the Director’s Report dated April, 1857. After 
 announcing that 102 of Turner’s drawings were then on exhibition 
 at Marlborough House the Report added : “ It is well known to 
 those who are conversant with tinted drawings, that such works 
 are in time injuriously affected by light. It is, therefore, to be 
 understood that the exhibition of the drawings above mentioned, 
 or of others which may be added, is a temporary exhibition only ” 
 (National Gallery Report, 1857, p. 38). Several of the drawings 
 in question are still on exhibition, and their condition proves that 
 Mr. Ruskin’s apprehensions for their safety were only too well 
 founded. The damage already done in this way to the collection 
 is irreparable. I would urge, therefore, that the question of the 
 conditions of exhibition of the coloured drawings should be 
 seriously reconsidered, and that a time limit should be fixed and 
 adhered to. 
 
 I cannot bring these remarks to a close without a word of public 
 acknowledgment and thanks to those who have helped me in 
 this work. I have already referred to the assistance which Mr. 
 Mallord Turner has given me in the matter of research ; 1 have 
 also to thank him for the loan of practically the whole of Turner’s 
 engraved work for the purposes of reference during my work at 
 the gallery. I cannot think but with gratitude of the ready kind- 
 ness with which the private owners of Turner’s pictures have 
 given me access to their treasures, and done all in their power to 
 facilitate my investigations and make my visits enjoyable. On all 
 hands I found the present undertaking hailed with the utmost 
 satisfaction, and the satisfaction provoked by the initiative of the 
 authorities found vent in kindness to their agent. Some of those 
 who encouraged and helped me at the commencement of the 
 work have not lived to see it finished. Amongst those who have 
 thus passed beyond the reach of my thanks I think with 
 particular affection of the late Mr. John E. Taylor, who came to the 
 gallery to look through Turner’s first sketch-book only a few days 
 before his death, and of the late Mr. Irvine Smith and Mr. R. D. 
 Holt, all three whole-hearted, though discriminating, lovers of 
 Turner’s genius. Amongst those fortunately still with us to 
 whom I wish to offer my grateful acknowledgments are the Earl 
 of Yarborough, the Earl of Lonsdale, Lord Leconfield, Lord Joicey, 
 the Honourable Lady Leighton Warren, Sir Alexander Acland- 
 Hood, Mr. F. H. Fawkes, Mr. W. G. Rawlinson, Mr. Thomas 
 Brocklebank, Mr. Ralph Brocklebank, Mr. Naylor, the Rev. 
 W. MacGregor, the Rev. E. S. Dewick, Mrs. Beausire and 
 Mrs. Holt. In addition to their other kindnesses Mr. Frederick 
 H. Fawkes, the present master of Farnley, lent me the diary 
 which Mrs. Fawkes had kept during the years that Turner was a 
 visitor and friend of the family, and the Lady Leighton Vvkirren 
 has favoured me with copies of Turner’s letters and receipts 
 
XV111 
 
 referring to the pictures painted for her grandfather, Sir John 
 Leicester (afterwards Lord de Tabley). A number of gentlemen 
 have also been good enough to aid me in the attempt to identify 
 the scenes of Turner’s undescribed sketches. Amongst those 
 whom I wish to thank most heartily for help of this kind are 
 the Earl of Carlisle, Mr. J. P. fleseltine, the Rev. E. S. Dewick, 
 the Rev. T. W. Jackson, Professor C. J. Holmes and Mr. Iiallam 
 Murray. The Director and Keeper of the Gallery have both 
 helped me repeatedly in this way and have also given me the 
 most valuable assistance and encouragement in all my difficulties. 
 
 A. J. FINBERG. 
 
 The National Gallery, 
 
 23rd April, 1909. ‘ 
 

 
 
 
 
 
 
 
 
 
 
THE NATIONAL GALLERY. 
 
 A COMPLETE INVENTORY 
 
 OP THE 
 
 DRAWINGS 
 
 OP 
 
 THE TURNER BEQUEST. 
 
 All the titles, descriptions, notes, &c., in Turner’s 
 handwriting are printed in italics. 
 
 1787 * (AET. 12). 
 
 I.— COPIES AND DRAWINGS BASED ON OTHER 
 ARTISTS’ WORK. 
 
 A. Folly Bridge and Bacon’s Tower. 
 
 12] x 17. Ink outline, with washes of Indian ink, blue, 
 Indian red and yellow. 
 
 Copy of steel engraving by J. Basire, of drawing by 
 E. Dayes (?), entitled “North-West View of Friar Bacon’s 
 Study, &c.” (12 x 17|), published in the Oxford Almanack 
 for 1780. 
 
 The colouring is probably Turner’s own invention. 
 
 Signed and dated, W. Turner , 1 787. 
 
 Exhibited Drawings, No. 613, N.G. 
 
 B. Clifton, Nuneliam Harcourt, nr. Abingdon. 
 
 11| x 16f. Water colour, with ink outline. 
 
 Possibly copy from an engraving. 
 
 Scribbled in pencil on back — “ Do. House from grounds ”(?). 
 Signed and dated, W. Turner , 1787. 
 
 Exhibited Drawings, No. 852, N.G., as “Newnham Court, 
 near Oxford.” 
 
 C. Eton, from the River. 
 
 10] x 16]-. Water colour, with heavy ink outline. 
 
 Probably a copy or adaptation. 
 
 32796 
 
 * An asterisk indicates that the date is approximate only. 
 
 A 
 
2 
 
 TURNER DRAWINGS. 
 
 [I.] 
 
 D. “ Dacre Castle." 
 
 9 x Ilf. Oval. Water colour, with ink outline. 
 
 On back, in ink — “ Daker Castle .” 
 
 (Dacre Castle is in East Cumberland, miles S.W. of 
 Penrith.) 
 
 Based on an engraving published in Gilpin’s “Northern 
 Tour,” Vol. II, facing p. 85. Turner has followed the 
 engraving fairly carefully, but has introduced two figures of 
 his own in the foreground. 
 
 E. “St. Vincent's Tower , Naples." 
 
 8 x 10. Oval. Pencil outline, with washes of Indian ink, 
 red, yellow, lake, brown, and blue. 
 
 The title inscribed on back in ink. 
 
 Adapted from central portion of an aquatint by Paul 
 Sandby, entitled “ Part of Naples, with the Ruin’d Tower of 
 St. Vincent,” after Fabris, published 1st January, 1778. 
 
 The buildings are not copied with such minute accuracy as 
 those in “Folly Bridge” drawing (I, A.). A vessel near 
 the foreground has been removed, and a different foreground, 
 with figures, added. The colour scheme is probably original. 
 
 On the back a system of painting the bricks in a building 
 has been tried. 
 
 F, The Old Kitchen at Stanton Harcourt, Oxfordshire. 
 
 lOf x 16f. Paper folded in halves ; each quarter drawn on. 
 (a) Two groups of figures ; also a group of Knights 
 fighting. Pencil. 
 
 (5) Castle, with ruined wall. Pencil. 
 
 (c) Old Kitchen, Stanton Harcourt. Pencil. 
 
 Apparently copied from the engraving in Grose’s 
 “ Antiquities.” 
 
 (cl) Tower, with ruined wall ; also a group of figures. 
 Pencil. 
 
 G. A Frontier Bridge. 
 
 x 14f. Pencil. 
 
 Water Mark, “ S. Lay.” 
 
 Rustic foot-bridge across river, with frontier posts on either 
 side ; the arms of Prussia on one of the posts. 
 
 H. Bridge among Rocks. 
 
 9 x 12. Oval. Water colour. 
 
 On back, in pencil, “ 44.” 
 
 Based upon an engraving published in Gilpin’s “ Northern 
 Tour,” Vol. II, facing p. 227. The engraving represents a 
 view of Dove Dale, Derbyshire. The bridge and river in the 
 drawing are Turner’s invention. 
 
[Ij 
 
 COPIES, Ac. 
 
 3 
 
 I. House among 1 Trees. 
 
 x 7§. Water colour, with ink outline. 
 
 Two corners torn. 
 
 On back, in pencil, “ 45. J. M. W. Turner , esq." 
 
 (9 drawing's.) 
 
 1789 * (AET. 14). 
 
 II .—OXFORD SKETCH BOOK. 
 
 Schedule No. 274. 
 
 Sketch book, bound in paper boards, apparently 
 home-made. 
 
 Turner’s label on back, “ 76. Oxford 
 Executor’s endorsement, “ No. 274. 19 sketches — 
 17 in pencil, 2 in color. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Size of page, 6f x 9§. 
 
 Water Mark, “ J. Taylor.” 
 
 Mr. Ruskin’s endorsement on wrapper, “27 4. 
 Earliest book : of original sketches of the 1790 
 subjects. Most interesting.” 
 
 All drawings are in pencil only, unless otherwise 
 specified. 
 
 Page 1. A few numbers and diagrams. 
 
 „ 2. Blank. 
 
 „ 2a. Doorway, north front of Radley Hall, near Abingdon. 
 
 Of. p. 9. 
 
 „ 3. Dwelling houses, enclosed by wall and wooden palings. 
 
 „ 4. Same buildings and same view. Water colour (trans- 
 
 parent washes of Indian ink, blue, yellow, and red). 
 
 „ 5. Study of trees. 
 
 „ 6. Rough sketch of Clifton, Nuneham Harcourt (then 
 
 Nuneham Courtenay), near Abingdon : view from 
 River. 
 
 „ 6a. ) Distant View of Oxford from the Abingdon road. 
 
 „ 7. j Sketch for large water colour entitled, “Turner’s First 
 
 View of Oxford,” signed and dated 1789 (III, A.). 
 
 „ la.) Study of a tree. Pen and ink and wash, 
 n 8. j 
 
 „ 8a. Slight sketch of stag. 
 
 ., 9. North front of Radley Hall, near Abingdon, with trees 
 
 on either side and in foreground. Squared for 
 enlargement. 
 
 A a 
 
 32T96 
 
4 
 
 TURNER DRAWINGS. 
 
 [II.] 
 
 Page 10. Nuneham Harcourt, with river in foreground. 
 
 „ 11. A group of three cows. 
 
 „ 12. Sunningwell Church* (about 2 miles from Radley and 
 
 3 from Abingdon). 
 
 „ 12 a. Slight sketch of a figure. 
 
 „ 13. Another view of Sunningwell Church. 
 
 „ 13a. A combat. 
 
 „ 14. Radley Hall, near Abingdon : north and east sides. 
 
 Carefully worked out in perspective ; guiding lines 
 still left. Gf. p. 9. 
 
 (Page torn out.) 
 
 ,, 15. Another view of Clifton, Nuneham Harcourt. 
 
 „ 16. Another view of Clifton, Nuneham Harcourt. Written 
 in corner, “ Tuscan , Ionic T 
 
 „ 17. Stableman fondling a dog and holding a white horse, 
 
 saddled. Pencil and wash of Indian ink, with a 
 little colour added. 
 
 „ 17a. Slight sketch, figure. 
 
 „ 18. Whole page squared and numbered, but no drawing. 
 
 „ 18a. Slight sketch, two figures. 
 
 „ 19. Squared and numbered, but otherwise blank except for 
 
 small drawing of seated stag near centre of page. 
 
 (A page has been torn out here.) 
 
 „ 20. Commencement of sketch of buildings. 
 
 „ 20a. A roughly-sketched Cupid with lyre. 
 
 „ 21. Tower with buildings. Query ruins of Pope’s Tower, 
 
 Stanton Harcourt. 
 
 „ 21a. Slight sketch of boat with sails. 
 
 „ 22. Church, with river and barges in foreground. Isleworth 
 
 Old Church. 
 
 „ 23. Blank. 
 
 „ 24. Bridge with one arch : waterfall seen through arch. 
 
 Water colour (Indian ink, brown and blue). 
 
 (Apparently not English scene, therefore probably a 
 copy.) 
 
 , 25. Blank, except for few small squares and numbers. 
 
 „ 25a. A dog, various architectural details, “ 55/75/5,” and other 
 numbers. 
 
 26. Lodge buildings, with trees and palings. Probably 
 Radley Hall Lodge, at the Abingdon road entrance. 
 
 (Squared for enlargement.) 
 
 26a. “ Tuscan , Doric, Gorintli .” 
 
 (25 leaves drawn on.) 
 
 * I have to thank the Rev. T. VV. Jackson, of Worcester College, Oxford, for his 
 kindness in identifying this drawing. The church, Mr. Jackson informs me, 
 was built by Jewell, once rector of Sunningwell and afterwards the famous 
 Bishop of Salisbury. 
 
[III.] 
 
 5 
 
 1789 * (AET. 14). 
 
 III.— DRAWINGS CONNECTED WITH THE 
 “OXFORD” SKETCH BOOK. 
 
 A. Turner’s First View of Oxford. 
 
 9| x 17. Water colour. 
 
 Signed and dated, “ W. Turner , 1 789." 
 
 Based on pencil drawing, “Oxford” sketch book (II, p. 7). 
 Oxford Loan Collection. 177-1. 
 
 B. “A View of the City of Oxford." 
 
 12 x 18f. Water colour ; buildings outlined in pencil, 
 trees in ink, with washes of Indian ink, blue and red. 
 
 Border, with title engrossed, by the artist. 
 
 C. Radley Halit : North Front and West Side. 
 
 13^ x 17^. Water colour. 
 
 Leading lines of building and the palings have been ruled 
 in ink, foliage outlined loosely in brown ink : washes of 
 Indian ink, red, yellow, brown, and blue. 
 
 Border by artist, part of which has been cut away. 
 
 There are two different views of this building on pp. 9 and 
 14, “ Oxford ” sketch book. 
 
 D. Radley Hall: South Front and East Side. 
 
 Ilf x 17f. Water colour. 
 
 Similar in workmanship to above- 
 
 Border by artist, part of which has been cut away. 
 
 Signed, “ Wm. Turner, ynnxt." 
 
 No. 8, 4th Loan Collection : withdrawn August, 1905. 
 
 E. Sunningwell Church. 
 
 Sheet of paper, 6g- x 15f, folded in halves. Three sketches 
 in pen and ink. 
 
 (a) Sunningwell Church. Cf. p. 12, “ Oxford ” sketch 
 book. 
 
 (&) A Pegasus, 
 
 (c) Country Road, with sign-post and cottage on left, 
 
 waggon about to descend hill in centre. 
 
 (d) Blank. 
 
 (5 drawings.) 
 
 t Radley Hall, nr. Abingdon, was built about 1726, by Sir John Stonehouse, 
 Comptroller of the Household to Queen Anne. In 1792 the property passed by 
 marriage into the possession of the family of Bowyer. The building now 
 forms part of St. Peter’s College, Radley. 
 
0 
 
 TURNER DRAWINGS, 
 
 [IV, V.] 
 
 1789 - 1790 * (AET. 14-15). 
 
 IV.— MISCELLANEOUS. 
 
 A. Wanstead New Church. 
 
 8§ x 12^. Pencil outline, squared for enlargement. 
 
 Against belfry is written the word, “ Ionic ” ; there are 
 several sections of mouldings in margin, also the word 
 “ Sum." 
 
 (This Church was built by P. Hardwick, in whose 
 office Turner worked. 
 
 A water colour of Wanstead Old Church was 
 exhibited at the Royal Academy, 1887, in possession 
 of Mr. P. C. Hardwick. 
 
 According to Thornbury (p. 30) Turner also exe- 
 cuted a water colour of the New Church for Mr. 
 Hardwick. 
 
 The Church was finished in 1790, and consecrated 
 24th June, 1790. Cf. Lyson, p. 237, vol. iv.) 
 
 B. Mansion, with Trees. 
 
 SJ x 8J. Pencil and pen and ink. 
 
 C. Houses, with Trees. 
 
 74 x 11]-. Pencil. 
 
 (3 drawings.) 
 
 1790 - 1793 * (AET. 15-18). 
 
 V— DRAWINGS FROM THE ANTIQUE. 
 
 Most of these drawings were probably made in 
 the Royal Academy Schools, but a few may repre- 
 sent the preliminary work that would have been 
 done before being admitted to the schools. 
 
 One of the executors has written on the wrapping 
 paper, — 
 
 “ Very doubtful. 
 
 (Sgd.) George Jones.” 
 
 But I see no good reason for rejecting them. They 
 are evidently the work of a beginner and by the 
 same hand ; the note on the back of “ D ” is in Turner’s 
 boyish handwriting ; and we know that Turner 
 worked in the Plaster Academy of the Royal Academy 
 Schools 
 
[V.] 
 
 DRAWINGS PROM THE ANTIQUE. 
 
 7 
 
 Several of the Academy Registers are now in the 
 Library of the National Gallery, having been gene- 
 rously presented by Mr. C. Fairfax Murray. 
 
 The earliest register begins on 21st July, 1790, 
 and as Turner’s name appears among the students’ 
 signatures on that day, it is probable that it was not 
 his first attendance. His latest signature appears 
 under the date, 8th October, 1793. Between 21st 
 July, 1790, and 8th October, 1793, Turner’s signa- 
 ture appears 137 times, but two of the registers (viz., 
 one between 27th November, 1790 to 24th March, 
 1791, and one between 10th November, 1792 to 
 8th March, 1793) are missing. These attendances are 
 at the “ Plaister Academy ” ; for those at the Life 
 Class, see below (XVIII. Studies from the Nude). 
 
 A. Head of Paris. 
 
 lOf x 10-£. Stump, on grey paper. 
 
 On back — “ Paris from the Antique , 38 .” 
 
 B. Jason. 
 
 16| x 10)r. Stump, on grey. 
 
 C. The Belvedere Apollo. (Full-length.) 
 
 18^ x Ilf. Stump, on grey. 
 
 D. Belvedere Apollo : Head and Torso. 
 
 1G^ x 10^. Black and white chalk and stump on brown 
 paper. 
 
 On back : — 
 
 “ 1 Get an Etching Ground, 26. 
 
 C 2 Heat the Back of the P. 
 
 3 Rub it over ivith the Ball, 
 uz n n t ) 4 Dab it over with the Dabber of 
 ell tLut \ 5 Smoke it over with Wax Tapur 
 
 | 6 Put some . . at back of the Palte (J Plate) 
 l 7 Re. . of Wax 
 
 Turpentine Varnish and Lamp black." 
 
 E. Belvedere Apollo : Full-length, unfinished. 
 
 18£ x 12. Chalk and stump, on Whatman. 
 
 F. Venus of Medici. 
 
 14f x 10-£. Front view. Chalk and stump on Whatman. 
 
 On back, front view of head (perhaps the Venus), unfinished. 
 
 Chalk and stump. 
 
 G. Venus of Medici. 
 
 15 1 x 10^. Three-quarter front view. Black and white. 
 
 Chalk on brown. 
 
8 
 
 TURNER DRAWINGS. 
 
 [V.] 
 
 H. Meleager (Vatican). 
 
 14f x 13. Chalk and stamp on Whatman. 
 
 I. Meleager. 
 
 16 x 10 U Without Boar’s Head and Dog. Black and 
 white chalk and stump on brown paper. 
 
 On back, some figures sketched lightly in white chalk. 
 
 K. Figure Seated on Ground. 
 
 11 x 15|. Perhaps a version of “ Dying Gladiator.” 
 
 Black and white chalk and stump on brown. 
 
 On back, some figures sketched lightly in outline. 
 
 L. Mercury. Sometimes called the Belvedere Antinoiis. 
 
 15^ x 8f. Front view. Black and white chalk and 
 stump on brown. 
 
 M. Bacchus. 
 
 16j x Ilf. Full length. Chalk on Whatman. 
 
 N. Bacchus. 
 
 18f x 14. Three-quarter length. Black and white chalk 
 on brown. 
 
 On back, figure standing with legs crossed (? Mercury) 
 lightly sketched in outline. Chalk. 
 
 On margin : No. 3, Thames Street .” 
 
 O. The Diskobolus. 
 
 17^ x 11. Front view. Black and white chalk and 
 stump on brown. 
 
 On back, head of the Belvedere Apollo (profile). Ditto. 
 
 P. Diskobolus. 
 
 18£ x Ilf. Front view, little more to left than preceding 
 drawing. Chalk outline, unfinished, on Whatman. 
 
 On back, Fighting Gladiator : chalk. 
 
 Q. Fighting Gladiator. 
 
 15§ x 9f. Black and white chalk and stump on brown. 
 
 JR. Fighting Gladiator. 
 
 13§ x 11. Black and white chalk, past stump, on brown : 
 unfinished. 
 
 On back, Head of Roman Warrior, with Helmet. Black 
 and white chalk and stump. Also sketch of boy with long 
 curly hair, seen in profile, drawing with portecrayon. Red 
 and black chalk. 
 
 S. Fighting Gladiator. 
 
 22f x 17 Jj. Black and white chalk. 
 
 (18 drawings.) 
 
[VI.] 
 
 9 
 
 r 
 
 1791 (AET. 16). 
 
 VI.— BRISTOL AND MALMESBURY SKETCH 
 
 BOOK. 
 
 Schedule No. 157. 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 Sketch book, bound in cardboard covers. The 
 covers are broken and the book is in a generally 
 dirty and dilapidated condition. 
 
 Executor’s endorsement — “ No. 157. 
 
 (Signed) Geo. Jones.” 
 
 Water Mark, 
 
 Size of page, 7f x 10 r \. 
 
 Mr. Ruskin’s endorsement on wrapper, — “ 157. 
 The youngest book,” 
 
 1. Houses, with foreground tree ; only just commenced. 
 
 2. Small bead of middle-aged lady, wearing frilled cap. 
 
 3. “ The Back View of the Rot Wells f rom Gloucestershire 
 
 Side." 
 
 Pencil, with a few preliminary washes of Indian Ink. 
 Gf. water colour based on this sketch, XXIII, O. 
 
 4. Profile view of Cliff. 
 
 (Four leaves have here been cut out.) 
 
 5. “ The Ruins of a Chapel standing on an Island in the 
 
 Severn." On foreground is written — “ Stones " and 
 “Sea-weed." 
 
 5a. View of Avon, with tower on right bank. 
 
 6. View on Avon, with ship in middle distance. 
 
 (One leaf cut out.) 
 
 7. Blank. 
 
 7 a. Another view of ruins of Chapel on Island in Severn, 
 sketched on p. 5. 
 
 (One leaf cut out.) 
 
 8. No drawing ; has been used as a palette : colours — 
 
 Indian ink, crimson lake and Indigo. 
 
 (Two leaves out ; one cut, one torn.) 
 
 9. “ View of Welch Coast from Cooks Folly." 
 
 (Six leaves out.) 
 
 10. “ Malmshury Abbey, taken from the Meadows" ; Abbey 
 
 on hill in middle distance, cottages and trees in fore- 
 ground. 
 
 10a. Another View of Ruins of Chapel sketched on pp. 5 
 and 7. 
 
 11. Commencement of sketch ; probably of Malmesbury 
 
 Abbey. 
 
 12. “ South East View of Malmshury Abbey, 1791." Water 
 
 colour with light brown ink outline ; the only colours 
 used are Indian ink, brown, gamboge and blue. 
 
 13. Two inches of page on right form continuation of pre- 
 
 ceding drawing ; water colour and brown ink outline. 
 Remainder of page taken up with various details of 
 drawing of Bath Abbey Church, sketched on next page 
 (p. 14). Gf. VII, F. 
 
10 
 
 TURNER DRAWINGS. 
 
 [VI.] 
 
 Page 13a. A dwelling house on banks of Avon, with steps leading 
 up to it. 
 
 „ 14. Bath Abbey Church, with shops adjoining. “ Doric with 
 
 Trigleaves ." Against some sections of mouldings — 
 “ \ as wide ," and “ high as the houses (?).” 
 
 This sketch, together with details on pp. 13 and 14a, 
 evidently formed the material from which the water 
 colour of Bath Abbey Church (VII, F.) was painted. 
 
 „ 14a. “The Grove Coffee House. The Grove House Bor ding, 
 
 G. T. Rappel. Dealer in Foreign Spirits , Licquors. 
 Matt (?) Witaker. Heath , Ormond and Bradford. 
 Milliners.' 1 ' These are transcribed from signs over 
 the shops. 
 
 „ 15 Blank, except for small outline of two gables of a house. 
 
 „ 15a. “ Old Passage," Severn. Cf. p. 18a. 
 
 „ 16 Small drawing of a Porch and Entablature, and “ Lady 
 
 Lippincott " (name of owner of house sketched on 
 other side of page). 
 
 „ 16a. View of Stoke House, near Bristol. Light and dark 
 
 masonry in different parts of building indicated by 
 initials, “ D.S." and “ W.S." ; species of trees some- 
 times noted, as, “ Yew " and “ Olive ” ; and some 
 undecipherable remarks about a ‘■'•Unicorn and Lion" 
 at top right of page. 
 
 (A water Colour of “ Stoke, near Bristol : seat of Sir H. 
 Lippencote ” was given by Turner to Mr. Narraway, 
 the friend with whom he stayed on this visit. The 
 drawing is now in possession of Mrs. Annie Thomas.) 
 
 „ 17. Written in pencil, “ Mr. Fowler's on Durdum Downs, 
 near Bristol and in ink, “ Captain Fowler, Seat 
 on Durdum Down near Bristol." The drawing this 
 refers to is on reverse of page (17a). 
 
 „ 17a. Capt. Eowler’s Seat, Durdham Downs, seen through 
 
 trees ; on gate the number 27. Water colour, with 
 brown ink outline. 
 
 Part of drawing extends to next page (p. 13) ; this 
 portion in ink only, without any water colour, 
 showing probably that it was Turner’s habit at that 
 time to draw in his subject in ink before applying 
 washes of colour. 
 
 „ 18. About two inches on left of drawing referred to above. 
 
 A few pencil lines on remainder of page. 
 
 „ 18a. Another view of “ Old Passage." Cf. p. 15a. 
 
 ,, 19. Small rough sketch of building (?). 
 
 „ 19a. Three slight sketches of woman with wheel-barrow 
 
 and head of youth with beaver hat, half erased. 
 
 „ 20. Castle with turrets rising above trees, with view of 
 Severn and Welsh Coast beyond. 
 
 ,, 20a. “ Blaze Castle and the Deney and Welch Coast. 
 12 Views on the River Avon." 
 
 „ 21. “ North West View of Malmshury Abbey taken from 
 
 the Meadoivs, 1791." Abbey framed in trees. Pencil 
 and light brown ink. Trees have names written 
 across their trunks or beneath them — “Apple, Willow, 
 Elm, Ash." 
 
[VI.] 
 
 BRISTOL AND MALMESBURY. 
 
 11 
 
 Page 21 a. Title written on back in ink, together with the remark, 
 “ the Abbey not long enough " ; also rough sketch of 
 steeple and tops of houses in pencil. 
 
 The following three leaves from this sketch book are 
 among the framed and exhibited drawings, 523a, b , 
 and c, N.G. These drawings were included in the 
 first hundred selected by Mr. Ruskin for exhibition 
 in 1857. In Mr. Ruskin’s third catalogue (1881) 
 these were put in “ The Students’ Group,” and 
 described as “Three early sketches at Clifton, when 
 he (the artist) was twelve or thirteen years old.” 
 
 „ 22. “ North West View of Malmsbury Abbey , 1791." 
 
 Water colour with pale brown ink outline. Indian 
 ink, brown, yellow and blue seem only colours used. 
 Title and date in ink on back. 523a, N.G. 
 
 „ 23. View on the Avon. “ From Wallace's Wall looking 
 up the River" written in pencil on top right hand 
 corner. Pencil, with preliminary washes of yellow 
 and blue. 5235, N.G. 
 
 „ 24. Yiew on the Avon. On back, in pencil — “ View from 
 Cook's Folley , looking up the River Avon ivith 
 Wallis Wall and the Hot Wells." Water colour and 
 ink, as p. 22. 523c, N.G. 
 
 (23 leaves drawn on). 
 
 1791* (AET. 16) 
 
 VII. — SUBJECTS CONNECTED WITH 
 BRISTOL. 
 
 A. “ Bristol Cathedral from College Green." 
 
 13^ x 12j. Water colour, with brown ink outlines ; only 
 colours used, Indian ink, broAvn, red, yellow and blue. 
 
 On back, in ink, above title, with artist’s name, — “ William 
 Turner ,” and “ Academy. By J. Galindo. Notray Public , 
 Accomptant & Translator. Black and. Gold ” (probably 
 inscription on sign board of foreground house). 
 
 B. “View on the River Avon near Wallis’s Wall , Bristol." 
 
 9 r 9 (i x Ilf. Water colour, with brown ink outline ; same 
 colours as above. 
 
 On back, title in ink, and pen sketch of old man’s head in 
 profile ; also blotches of gamboge, burnt sienna and blue, as 
 though back had been used as a palette. 
 
 C. Ruins of Tower at West End of Malmesbury Abbey. 
 
 11 x 8§. Water colour, with brown ink outline ; same 
 colours as above. Probably a sketch from nature. 
 
12 
 
 TURNER DRAWINGS. 
 
 [VII, VIII.] 
 
 D. “The Ruins of the Tower at the West End of Malmbury 
 
 Abbey, taken from the Friars Walk. 1791.” 
 
 13 x 9f. Water colour, with brown ink outline. Worked 
 more cautiously than preceding sketch. Point of view a 
 little to the left and higher. 
 
 (The drawing “Malmesbury Abbey,” in the possession 
 of Mr. Herbert A. Day, seems to be a combination of this 
 and the preceding sketch. The alterations and omissions 
 show great skill and taste. See Illustration, p. 43, Arm- 
 strong’s “ Turner.” This is probably the drawing exhibited 
 at the R.A., in 1792.) 
 
 E. West End of Malmesbury Abbey. 
 
 7§- x 10. Different view from “ C.” and “ D.” Watercolour 
 with brown ink outline, but stained, dirtied and partly 
 rubbed or washed out. Based on sketch, pp. 12 and 13 of 
 “ Bristol and Malmesbury ” sketch book. 
 
 F. Bath Abbey from the North-East. 
 
 12 x 10. Water colour, worked from sketches on pp. 13 
 and 14 of “ Bristol and Malmesbury ” sketch book. Turner 
 has added a carefully designed border, which is concealed by 
 present mount. 
 
 No- 61, in First Loan Collection, under title of “ Battle 
 Abbey.” 
 
 G. The Avon, near Bristol. 
 
 9f x Ilf. Water colour, with light brown ink outline. 
 On the back in ink: — “ View on the River Avon , near Bristol. 
 Wm. Turner." 
 
 Second Loan Collection, No. 59. 
 
 (7 drawings.) 
 
 1791 - 1792 * (AET. 16-17). 
 
 VIII.— OXFORD AND WINDSOR SUBJECTS. 
 
 A. “Christ Church, Oxford.” 
 
 10| x 13|. The Cathedral, with Tom Tower, seen from 
 Merton Fields. Water colour, similar in workmanship to 
 “ Bath Abbey.” Title printed by the artist within the de- 
 corative border which he has added to drawing ; part of this 
 border has now been cut down in framing. 
 
 Till August, 1905, it formed No. 60, in Third Loan 
 Collection. 
 
 B. Corpus Christi College, with Merton Tower, Oxford. 
 
 7f x 10. Pencil. 
 
OXFORD AND WINDSOR 
 
 13 
 
 [VIII.] 
 
 C. Road, with. Building’s and Church. 
 
 11 x fU. Pencil. 
 
 D. Windsor Castle from the River. 
 
 85 x lOf. Pencil. 
 
 E. St. George’s, Windsor. 
 
 lOf x 85 . On margins : — “ 2 first, broke," (referring to 
 pinnacles), and “ Yellow and Gold, Stone, the Octagon Gold." 
 
 F. St. George’s, Windsor; another view. 
 
 8 ^ x 10|. On back, rough sketch of foliage and “ Yellow 
 Stone." 
 
 (6 drawings.) 
 
 1792 (AET. 17). 
 
 IX.— BURNING OF PANTHEON, OXFORD 
 STREET, 14 JAN., 1792. 
 
 A. Scene in Oxford Street, the morning after the Fire. 
 
 15-g x 20^. Carefully worked water colour with large 
 number of figures ; on left, firemen in their uniforms with 
 hoses and engines, crowd of spectators and passers-by on right 
 and in centre. 
 
 Signed and dated, “ Wm. Turner, 1 792 ” ; the date being 
 very indistinct and perhaps questionable. 
 
 (A drawing entitled “ The Pantheon, the Morning after 
 the Fire ” was exhibited at the R.A. in May, 1792. It was 
 bought from the exhibition by Mr. P. C. Hardwick, the 
 architect in whose office Turner had been working, and it 
 was in the possession of his family in 1887. 
 
 Mr. Hardwick’s drawing is thus described by Dillon : — 
 “ 11| x 9|. Ruins, with brick columns and arched door- 
 way. High walls beyond. Two figures in F.”) 
 
 B. Sketch of the Ruins (1). 
 
 9| x 7f. Brick columns and arched alcove, with walls 
 behind. Probably sketch for Mr. Hardwick’s picture. Water 
 colour with brown ink outline. 
 
 C. Sketch of Ruins (2). 
 
 8 x 12|. Ink and pencil. On back, in pencil, — “ Neale 
 Joiner ,” and “ James V., Oxford Road." 
 
 (Mr. Mallord Turner possesses another sketch of ruins of 
 this building, in ink and wash.) 
 
 (3 drawings.) 
 
14 
 
 TURNER DRAWINGS. 
 
 [X, XI.] 
 
 1792 * (AET. 17). 
 X.— ANATOMICAL STUDIES. 
 
 These drawings were probably made at the Royal 
 Academy, after working from the antique and before 
 entering the life class, in November, 1792. 
 
 A. Full Length Anatomical Figure. 
 
 18| x 10|. Drawing in black chalk of well-known 
 anatomical model. 
 
 Reverse : Slight sketch of two figures. 
 
 B. Portion of Figure. 
 
 12 x 9^. Chalk. Probably copy from engraving. 
 
 (2 drawings.) 
 
 1792 * (AET. 17). 
 
 XI. -GUILDFORD AND OXFORD. 
 
 A. Guildford, from the River. 
 
 8^ x 10§. The water colour engraved in the “ Pocket 
 Magazine,” and published October, 1795, was based on this 
 sketch. 
 
 B. Magdalen Tower and Bridge. 
 
 10t x 8f . View from river bank. “ Magdalen Colledge 
 and Bridge ,” and on part of the water — “ Water Dark." 
 
 The finished water colour, which formed part of Dr. Monro’s 
 collection, is now in Man. Whit. Inst. It is signed and dated, 
 1794. 
 
 A replica or copy of this drawing is in the Print Room, 
 British Museum. 
 
 C. Entrance to Christ Church. 
 
 10| x 8}. “ Entrance to Christ Church— from Peckwater 
 
 Colledge , Oxon .” 
 
 D. Merton College Chapel, from the East. 
 
 94 x 8f . “ Merton Colledge .” 
 
 (4 drawings.) 
 
[XII.] 
 
 15 
 
 1792 - 93 * (AET. 17-18). 
 
 XII.— WELSH AND MONMOUTHSHIRE 
 SUBJECTS. 
 
 A. “Chepstow Castle." 
 
 7£ x 10^. Pencil. Ruins of the Castle from the N.W. 
 
 On back, a view of the Round Tower at the S.E. angle. 
 
 (An engraving of “Chepstow,” with R. Wye and Bridge 
 
 in foreground — a different view from either of the above — 
 
 was published in “ Copper Plate Magazine,” November 1st, 
 
 1791.) 
 
 B. “ Tintern Abbey, Monmouthshire." 
 
 8] x 10f. Pencil. Small wooden footbridge in fore- 
 ground; Abbey running from right to left, transept in centre ; 
 hills beyond. View from south. 
 
 On back, commencement of sketch of central arches. 
 
 C. “ Part of the East Window, Tintern Abbey." 
 
 10g x 8J. Pencil. 
 
 D. “West Window, Tintern Abbey." 
 
 10f x 8j. Pencil. 
 
 The water colour made from this drawing is in Print Room, 
 B.M. (Henderson Bequest), 16^ x 12. 
 
 Oxford Loan, 61-70. 
 
 E. The Transept, Tintern Abbey. 
 
 10| x 10. Pencil. View looking south, along transept. 
 Drawing very much rubbed, with large linseed oil stain in 
 centre. 
 
 The water colour in V. and A. Museum (W. Smith Bequest) 
 is based upon this drawing. 
 
 Of. XXIII, A. 
 
 F. Llanthony Abbey. 
 
 8 x 101?. Pencil. On back, in pencil, “ Mr. Dashwoocl ” 
 (crossed out) ; “ Mr. Clithero, /, New Ormond Street" ; and 
 “ Mr. Clutterhuck , 2 On. ^.” 
 
 The unfinished water colour of “ Llanthony Abbey,” 
 No. 688, N.Gr., appears to have been based on this drawing. 
 
 A later, and completed, version of this subject — on a 
 smaller scale — is now in possession of T. E. Watson, Esq., J.P. 
 of Newport, Mon., signed and dated 1795. 
 
 G. Ruins of Llanthony Abbey. 
 
 10| x 8|. Pencil. 
 
 Written in margin — “ Laneycird , Orickarne ” (?). 
 
 On back, another view of ruins of central tower. 
 
16 
 
 TURNER DRAWINGS 
 
 [XII.] 
 
 H. " First Fall , Monack.” 
 
 10| x 8|. Pencil. First Fall of River Mynacb, seen from 
 side, 'with figure in foreground descending rocks. 
 
 I. A Fall of the River Mynach. 
 
 lOf x 8]. Pencil. 
 
 On back, a rough diagram of Devil’s Bridge and Falls of 
 Mynach, showing the two bridges and four stages of the falls. 
 On the second leap is the figure “ SO" on the third “25,” on 
 the fourth “ 50." 
 
 (A water colour of the “ Second Fall of the River Monach, 
 Devil’s Bridge, Cardiganshire,” was exhibited at the R. A. in 
 May, 1794.) 
 
 J. Grickhowell Ghurch and Craig’hywel. 
 
 10§ x 81. Pencil. 
 
 On one side of sheet (a) Grickhowell Church (?). Pencil. 
 On other side (6) “ Grcdg a Vole" Pencil drawing, with 
 part of foreground rock carefully finished in water colour. 
 (Grickhowell is near Abergavenny, on the Brecon road.) 
 
 K. A Waterfall. 
 
 8§- x 6f. Pencil. On thin ribbed blue paper. Pencil? 
 with centre finished in water colour. 
 
 L. A Mountain Stream. 
 
 x 8. Pencil. On thin ribbed blue paper, like above. 
 Pencil. 
 
 M. A Mountain. 
 
 x 8]r. Same paper. Pencil. 
 
 N. Llandewi Skyrrid, with St. Michael’s Mount in 
 
 Distance (?) 
 
 8§ x 10|. Pencil. 
 
 On back, in pencil, “ Mr. Brydges .” 
 
 Llandewi Skyrrid is a farmhouse on the road between 
 Abergavenny and Ross, from whence the ascent of Skyrrid 
 Mawr, or St. Michael’s Mount, may be commenced. 
 
 O. Unfinished Water Colour of same subject. 
 
 14 x 9-g. Water colour. 
 
 Back view of man in blouse carrying two milk pails in fore- 
 ground ; farmhouse with barns, &c., beyond, and mountains 
 in distance. 
 
 Based on preceding drawing (XII, N.).; abandoned before 
 completion in favour of next drawing (XII, P.). 
 
[XII.] WELSH AND MONMOUTHSHIRE. 
 
 17 
 
 P. Finished Water Colour of same subject. 
 
 9§ x 13J. Water colour. 
 
 Exhibited drawings, No. 530, N.G., as “ Early Study of a 
 Cottage.” 
 
 Mr. Ruslan says of this drawing in his catalogue, that it is 
 “ very notable already for a kind of irised gradation of tender 
 colour quite unprecedented in English art at the time.” 
 
 (16 drawings.) 
 
 1792 - 93 * (AET. 17-18). 
 
 * 
 
 XIII— HEREFORD AND WORCESTER 
 SUBJECTS. 
 
 A. “ Chapter House, Hereford." 
 
 8* x lOf. Pencil. 
 
 Sketch for water colour in Humphrey Roberts’s sale 
 (Christie’s, May, 1908), incorrectly described as “Glastonbury.” 
 12f x 17 in. 
 
 B. Hereford Cathedral, from the River. 
 
 8]- x lOf. An arch of Wye Bridge in foreground, through 
 which the cathedral is seen. Pencil, with washes of Indian 
 ink and blue. 
 
 C. Part of Exterior of Hereford Cathedral. 
 
 10§ x 8 tj. Pencil. 
 
 D. Porch of Great Malvern Abbey. 
 
 16 j x 20. Sheet folded in halves. Porch on left, cottage 
 and mountains on right. Pencil. 
 
 Water colour based on this drawing was exhibited in R.A., 
 1794, under above title. It is now No. 73, Man. Whit. Inst. 
 (Mrs. Worthington Bequest). 
 
 E. The Blackfriars Cross, Hereford. 
 
 161 x 95. 
 
 A finished water colour based on this drawing is now in 
 the Oldham Corporation Art Gallery and Museum (Lees 
 Donation). 
 
 F. Woman with Stall on Worcester Cathedral Green. 
 
 8j: X 5|. Pencil. 
 
 Woman seated by stall, with broadsheets displayed . — “ Blue 
 and Yellow .” 
 
 Figure and accessories were introduced into foreground of 
 the water colour of “Worcester Cathedral” (about 1794), now 
 in Print Room, B.M. (Henderson Bequest). 
 
 32796 B 
 
18 
 
 TURNER DRAWINGS. 
 
 XIII, XIV.] 
 
 G. Worcester Cathedral seen under one of the Arches 
 
 of Bridge. 
 
 x 10]-f. Pencil. 
 
 1st Loan Collection, No. 37. 
 
 H. Two Sketches near Malvern. 
 
 x 10]-. Pencil. 
 
 Paper folded in halves. On one half two pencil sketches: — 
 
 (а) View of distant mountains with foreground cottage 
 
 and trees ; and other 
 
 (б) A roadway with foreground trees. Underneath this 
 
 drawing is written : “ The distance last with the 
 sky a lovely tint of Blue Lake and Indian — more 
 as it approaches 
 
 Other half of page blank except for a few colour blots on 
 margin (red, burnt sienna, blue, yellow and lake). 
 
 On back, a curious diagram of the country round Great 
 Malvern. Apparently the point of departure is the house of 
 “ Mr. Arrow smith," from which position “ Coltwall ” (Col- 
 wall) lies between the spectator and “ Great Malvern .” On 
 the right lies “ Ledbury ” and “ Hereford ,” and the road 
 branches off on the left to “ Worcester .” From Worcester 
 roads run to the right to “ Evesham, Breedon , Tewksbury " 
 and “ Upton-by -Severn." At the side is written : — 
 
 “ Distance : 
 
 Hereford 20 
 Ledbury 16 
 Golwall 4 j 
 Malvern 2 > 
 
 Worcester 9 ) 
 
 Upton 9 (? 4), 
 
 Tewksbury 6." 
 
 (8 drawings.) 
 
 1793* (AET. 18). 
 
 XIV.— OXFORD SUBJECTS. 
 
 A. Tom Tower, Christchurch. 
 
 16]- x 10|. Front view from St. Aldate’s, with part of 
 Pembroke College on right. Pencil. 
 
 The water colour of Tom Tower, 805, N.G., is based on this 
 drawing. 
 
 B. Tom Tower, Oxford. 
 
 10f x 8|. Water colour. Based on XUv, A 
 Exhibited Drawings, No. 805, N.G. 
 
[XIV.] 
 
 OXFORD. 
 
 19 
 
 0. St. Mary’s, from Oriel Lane. 
 
 10§ x 8g. Water colour. 
 
 Oxford Loan, 85—2. Of. XXVII, x. 
 
 (3 drawings.) 
 
 1793 * (AET. 18). 
 
 XV— CANTERBURY AND ROCHESTER 
 SUBJECTS. 
 
 A. Christchurch Gate, Canterbury. 
 
 10f x 8i. Pencil. 
 
 Spires of cathedral seen above gateway. 
 
 A water colour of this subject was exhibited at R.A., 1794 ; 
 it is now in Fitzw. Mus., Cambridge (Ruskin Donation). 
 
 B. Rochester, Distant View of. 
 
 8] x 10|. Pencil. 
 
 Distant view of town and bridge, with shipping and trees 
 in foreground. 
 
 Water colour based on this view was published in “Copper 
 Plate Magazine,” May 1, 1794, being the earliest published 
 engraving of Turner’s works. 
 
 C. Rochester, Nearer View of. 
 
 8J x 10j. Pencil. 
 
 Bridge in foreground, castle beyond, and town on left. 
 
 D Rochester Castle. 
 
 8^ x 10f. Stormy effect ; river in foreground with boats, 
 cottages on the banks, and castle beyond. Water colour, with 
 Indian ink foundation. 
 
 E. The West Gate of Canterbury. 
 
 8^ x lOf. The river Stour in foreground, paper factory on 
 left bank, and Church of the Holy Cross on right bank. 
 Carefully finished water colour. 
 
 (The “ Canterbury : West Gate ” in National Gallery of 
 Ireland (Vaughan Bequest) is a different view and appears 
 to be a year or two later in execution.) 
 
 F. Ruins of St. Augustine's 
 North-East View, 
 x 10f. Pencil. 
 
 Monastery, Canterbury : 
 
 (6 drawings.) 
 
 B 2 
 
 32796 
 
20 
 
 TURNER DRAWINGS. 
 
 [XVI.] 
 
 1793 * (AET. 19). 
 
 XVI.— DOVER SUBJECTS. 
 
 A. Dover Castle and Pier. 
 
 6| x 10. Pencil. 
 
 Wooden pier with shipping from the sea, Castle Cliff rising 
 beyond. 
 
 A water colour connected with this drawing is in the Print 
 Room, B.M. (Henderson Bequest), described as “ by Turner, 
 after J. Henderson, Senr.” If it is actually by Turner it 
 must have been based on this drawing, which is probably by 
 Turner, and therefore the drawing is incorrectly described as 
 “after Henderson.” But in my opinion the Print Room 
 drawing is not by Turner ; it is probably a copy by 
 Henderson, Senr., of a water colour which Turner may have 
 made from this drawing. 
 
 B. Wooden Wharf, with Shipping 1 . 
 
 9| x 7. Pencil. 
 
 A drawing, in Indian ink and blue, based on this sketch 
 was sold at Christie’s, in Mrs. Worthington’s sale, April, 1905. 
 
 C. Inner Harbour, with Houses and Shipping 1 . 
 
 7j x 9£. Pencil. 
 
 Fishing smacks and boats aground in foreground, wooden 
 pier on left, with background of old houses. 
 
 A water colour based on this sketch is in the possession of 
 Mr. C. M. W. Turner. 
 
 D„ Wooden Pier, seen from the Shore. 
 
 7^ x 9|. Pencil. 
 
 Also, in top right-hand corner, two sketches of fishing 
 smacks in full sail. 
 
 E. End of same Pier, with Flagstaff. 
 
 7g- x 9|. Pencil. 
 
 F. Flagstaff and Windlass on same Pier. 
 
 6| x 8. Pencil. 
 
 G. Storm off Dover. 
 
 10 x Iff. Water colour, unfinished. 
 
 In foreground the pier sketched in three previous drawings; 
 the flag is at half-mast, beyond the pier a stormy sea and sky, 
 vessel with lowered sails in the offing. 
 
 Based chiefly on preceding sketch, XVI, F. 
 
[XVI.] 
 
 DOVER. 
 
 21 
 
 H. Study of Shipping. 
 
 9^ x 6. Pencil. 
 
 Sailing vessel and boats aground in foreground (seen from 
 above), a fleet of larger vessels in the offing. 
 
 I. Wooden Landing Stages, with Shipping. 
 
 x 7b Pencil. 
 
 J. Boats Aground, with Houses beyond. 
 
 x 6J. Pencil. 
 
 In top left-hand corner, “ Dover." 
 
 K. Group of Red-tiled Cottages at Foot of Cliff. 
 
 6J- x 8. Pencil. 
 
 L. Study of Fishing Boat, seen from above. 
 
 5£ x 7^. Pencil. 
 
 3rd Loan Collection, No. 6. 
 
 M. An Old Church. 
 
 6[-| x 8 t V- Pencil. 
 
 (13 drawings.) 
 
 1793 * (AND EARLIER). 
 
 XVII.— MISCELLANEOUS. 
 
 A. Gateway to the Priory, Bridlington, Yorks (?). 
 
 8| x 10^. Water colour. 
 
 B. A House, 
 
 About 4 x 7], Pencil. 
 
 C. Ruined Abbey, covered with Foliage. 
 
 8-| x 10§. Pencil. 
 
 D. Ruined Tower, with Cottages. 
 
 8i x 10f. Pencil. 
 
 E. Ruins among Foliage, with Cottages in the Distance. 
 
 8-£ x 10§. Pencil. 
 
22 
 
 TURNER DRAWINGS. 
 
 [XVII.] 
 
 Fo Group of Half-Timbered Cottages. 
 
 8f x 10|. Pencil. 
 
 On back, small sketches of foliage and cottages, also two 
 small compositions — one of rocks and pines in foreground 
 with distant mountain, the other of road and trees in fore- 
 ground, with wagon descending road towards cottages in 
 middle distance, and mountain beyond. 
 
 G. Bridge, with Town. 
 
 81 x lOf. Pencil. 
 
 Bridge, with small groined arches and heavy buttresses, 
 seen from river ; beyond, several houses, and over them is seen 
 a square castellated tower with wooden steeple. 
 
 On back, slight sketch of man with pipe in mouth. 
 
 H. Ruined Castle on Hill. 
 
 Sf x lOf. 
 
 On back, rough sketch of same ruins. 
 
 I. Ruined Abbey, with Water-Gate. 
 
 10 x lH. Water colour ; figures in foreground perhaps 
 not finished. 
 
 Drawn on large piece of thick Whatman (17| x 11|) which 
 has been folded. On lower portion a sign-post and other 
 posts have been drawn in pencil. 
 
 On back, a Ruined Tower with Cottages in foreground. 
 The whole drawn in with pale ink outlines, only sky washed 
 in with water colour. 
 
 J. Tower of a Church or Abbey. 
 
 10g x 8|. Pencil, parts commenced in water colour. 
 
 Square, castellated tower with heavy buttresses. 
 
 Exhibited Drawings, No. 803, N.G. 
 
 K. House, with Trees. 
 
 8 x Ilf. Unfinished water colour ; ink outline with pre- 
 liminary washes of yellow, Indian red, blue, and Indian ink. 
 
 L. Cottage Interior: Firelight. 
 
 9^ x 12f. Water colour. 
 
 Three children playing before a fire ; the two girls playing 
 with a cat, the boy kneeling and breaking twigs across his 
 knee. 
 
 It once had border by the artist, which has since been cut 
 down. 
 
[XVII.] 
 
 MISCELLANEOUS. 
 
 23 
 
 M. A London Square (!) 
 
 2§ x 41). Water colour, on board, with border. 
 
 Possibly not by Turner. 
 
 N. Study for Seated Figure of Man in Armour. 
 
 5| x 3§. Pencil. 
 
 Reverse : Commencement of two other figures. 
 
 Possibly study of a drawing of Don Quixote, in possession 
 of C. Mallord W. Turner, Esq. 
 
 O. A Tower. 
 
 About x 4j. Pencil. 
 
 P. A Man Running ; back view. 
 
 About 4^ x 3^. Pencil. 
 
 Q. Tree and Tower. 
 
 5f x 4f. Water colour. 
 
 On back is written, — “ In the shadow the Stones the same. 
 Some Umber and S. Green — the Broken part umber and 
 Bister , the distance part a Blue Green Sap and B." 
 
 Exhibited Drawings, No. 815a, N.G. 
 
 R. A Church Wall. 
 
 6f x 5f. Water colour. 
 
 Written in margin — “ Mr. Arrowsmitli." 
 
 Exhibited Drawings, No. 815c, N.G. 
 
 S. A card with five small figure sketches : Grave- 
 
 diggers (?) and despairing Female. 
 
 4| x 3^. Pencil. 
 
 On back, several lines in pencil, partially defaced — 
 
 “ trusty Brother strode 
 
 Shall do for him what he has done fur thousands 
 
 Prone on the grave of the dead she drops." 
 
 T. Small card with Houses, 
 
 x 3|. Pencil. 
 
 (20 drawings.) 
 
24 
 
 TURNER DRAWINGS. 
 
 [XVIII.] 
 
 1792 - 1796 * (AET. 17-21). 
 XVIII— STUDIES FROM THE NUDE. 
 
 Turner began to work in the “ Life Academy ” of 
 the R.A. Schools in June, 1792. His first signature 
 in the Registers is on 25th June, 1792, and his last 
 on 17th October, 1799. The Registers, however, are 
 missing after the 25th November, 1799, as are also 
 those for 24th January-4tli December, 1795, and 
 from 4th December, 1795, -18th February, 1799. 
 
 Turner’s signature appears 26 times between 
 25th June, 1792, and 13th November, 1792, and 
 between 14th November, 1792, and 26th February, 
 1793, he put in 50 attendances out of a possible 70. 
 
 Between 27 th February, 1793, and 14th October, 
 1793, he attends 11 times and is absent 104 times. 
 
 From 15th October, 1793,-23 January, 1794, he only 
 attends once. 
 
 From 22nd January, 1794, -17th August, 1794, he 
 only attends twice. 
 
 From 18th August, 1794, -23rd January, 1795, he 
 only attends once. 
 
 The Register for 24tli January, 1795, to 4th Decem- 
 ber, 1795, is missing. 
 
 From 4th December, 1795, to 16th August, 1796, 
 he puts in 10 appearances. 
 
 The Registers from 4th December, 1795, to 
 18th February, 1799, are missing. 
 
 Between 18th February, 1799, and 25th Novem- 
 ber, 1799, there are three appearances. 
 
 Total number of signatures 104. 
 
 It is very doubtful whether all these drawings 
 are by Turner. 
 
 Mr. George Jones’s endorsement, “ Very doubtful,” 
 referred to these drawings as well as to the studies 
 from the antique, which were in the same parcel. 
 
 See also a reference to Academy studies by 
 “ Ryley, R.A.,” which Turner had in his possession 
 (CXXIX., p. 8). 
 
 Some of the drawings may probably be copies 
 from other drawings or from engravings. 
 
 The drawings on blue Michallet paper (A, G, 
 H, and I) seem to me most probably by Turner. 
 
 A. Lower Portion of a Male Ascending- Figure. 
 
 14 x 11R Black and white chalk on blue. 
 
 On back, drawing of Venus of Medici, almost effaced. 
 
[XVIII.] STUDIES FROM THE NUDE. 
 
 25 
 
 B. Kneeling- Figure with upraised head and arm. 
 
 18f x Ilf. Black, white and red chalk on brown. 
 
 0. Seated Figure with arm on head. 
 
 18f x Ilf. Black, white and red chalk on brown. 
 
 D. Standing Figure holding Cross. 
 
 18g x Ilf. Black, white and red chalk on brown. Rocky 
 background to figure. 
 
 E. Standing Figure with upraised arms, 
 
 18f x Ilf. Black, white and red chalk on brown. 
 
 F. Figure with arms clasped behind back. 
 
 17f x Ilf. Black and white chalk on brown. Broken 
 column background. 
 
 G. Back View of Striding Figure with right arm 
 
 upraised. 
 
 20f x 14. Black and white chalk on blue, with a few 
 touches of water coloui\ 
 
 On back, a seated figure leaning forward. Chalk. 
 
 H. Stooping Figure ; three-quarter back view. 
 
 22f x 14. Black and white chalk on blue. 
 
 1. Standing Figure with arms supported in loop above 
 
 head. 
 
 19f x Ilf. Black and white chalk on blue. 
 
 J. Seated Figure with hand supporting chin. 
 
 20f x 16. Black, white and red chalk on light buff. 
 
 K. Figure lying on ground with one leg raised in air. 
 
 Ilf x 18. Black and white chalk on brown. 
 
 (11 drawings.) 
 
26 
 
 TURNER DRAWINGS. 
 
 [XIX.] 
 
 1794 (AET. 19). 
 
 XIX.— " MATLOCK" SKETCH BOOK. 
 
 Schedule No. 290. 
 
 Sketch book, bound in boards. 
 
 Turner’s label on back — “ 85, Matlock, Northampton, 
 First Tour." 
 
 Executor’s endorsement — “ No. 290. Contains 21 
 Sketches in Pencil. (Sgd.) H. S. Trimmer, 
 
 C. Turner.” 
 
 Watermark, . 
 
 Size of page, 4^ x 7£. 
 
 The book seems to have been bound after being 
 used. Inside of cover, numerous daubs of colour, 
 and — 
 
 “ Peterborough 1 
 Chester 2 
 Ely 3 
 
 Matlock 4 
 Bridgnorth 5 
 Parkgate 6 
 Birmingham 7 .” 
 
 Page 1. Small group of three figures, one carrying milk-pails. 
 
 Some illegible writing, among which the name of 
 “ W. C. Chandlers ” occurs. 
 
 „ 2. The following, in ink — 
 
 “ Northampton , a Cross 1 Mile and \ near London. 
 
 “ Warwick, a Castle , Bridge , Town Hall , and a 
 Gothic Church Dedicated to St. Mary. 
 
 “ Birmingham , the lowest part of the Town the most 
 Ancient. 
 
 “ Sutton Colefield or Coldfield , a large old Gothic 
 Church in the road to Lichfield. 
 
 “ Coleshill , a Gothic Church. 
 
 “ At Maxstoke , near C , some part of a stately 
 
 Abbey , a mile further a Castle remaining. 
 
 “ Lichfield, a Cathedral, 3 Churches, a fine Portico 
 to the Cathedral ornamented ivith the Kings of Judah. 
 
 “ Bridgnorth , a remarkable Toiver on a steep rock, 
 an upper and lower town ivith steps for Foot Passengers. 
 A Bridge ivith 7 arches and Gatehouse. 
 
 “ Great Wenlock. . . .” (Bottom line cut off during 
 re-binding.) 
 
[XIX.] 
 
 MATLOCK SKETCH BOOK. 
 
 27 
 
 Page 3. “ To the Eastward of Shifneal is Tong, a magnificent 
 Castte and Church in the style of a Cathedral. 
 
 “ At the Foot of a mountain call'd Wrekin, near the 
 Severn, Buildews Abhy. 
 
 “ Shrewsbury , a Castle, Abby, two Bridges. 
 
 “ Wrexham, a stately Church. 
 
 “ Chirk, on the left between W. & Ellesmere, on the 
 northern bank of the river Dee. 
 
 “ Near Chirk — Dinas Bran. 
 
 “ Chester, a Bridge of Twelve A., a Tower on the B , 
 
 a Town Hall, a Cathedral, & 8 P. Churches. The 
 Walls in a square Form with walks on the top, a 
 large ancient Castle, several Gates. 
 
 “ South of C , a Rock with a Figure in a Field — 
 
 Pcdlas. 
 
 “ Keswich, the r. of a Castle. 
 
 “ Easham [? Eastham] an elegant B. by Inigo Jones. 
 
 “ Helbury [? Helsby], a Priory. 
 
 “ Eastward of Leek is . . ." (Probably a line cut off.) 
 
 „ 4. “ Eastward of Leek is Ecton Hill, on the Banks of the 
 
 Dove. Near the Base of the Hill is an opening 
 through which you walk about 4 Hd. Yards. 
 
 “ Uttoxeter, S. on the Dove. N.N.E. to Ashbourn. 
 
 “ Do. to Wirksworth, near which is Matlock, a 
 winding Dale for 3 Miles, River Derwent. 
 
 “ The best tour of this Dale to cross the R. at the turn- 
 pike, up the winding rock to Hag rock, advance to 
 an larg Elm, then to severall Ash Trees, above th. 
 to the right a rock 150 F. High. Still f urther till 
 a Adams bench, from ivhich cl Walk leads to the 
 Bottom, where is another ivhich leads, by the river 
 Bank, by a Thick Wood [which] leads to a Cascade. 
 A small distance a Rock, 450 F. perpendicular. 
 Crumford [Cromford]. 3 miles from Ashbourne is 
 Dove Dale, a narrow Glen for 2 miles. Thorpe . . .” 
 (Rest of line cut off.) 
 
 „ 5. “ Derby, near ivhich is Dale Abbey. 
 
 “ Nottingham, 3 Churches, St. Mary, Gothic, a large 
 Castle, romantic situated. In the Market Place, 
 one end Justice , the other a Cross supported, by 4 
 Doric Columns. A Bridge of 19 arches. 
 
 “ Linton, a mile from N., a Abbey. 
 
 li At Southhill or Southwell is a Collegiate Church. 
 There is remains a Battlement Tower of a Castle N. 
 
 “ Newark, a Bridge, a Gothic Church and Castle. 
 
 “ At Stamford, R. of a Castle. 
 
 “ At Crowland a triangular Bridge, pure Gothic. 
 Great part of the Abbey still remains — the Steeple, 
 with the west isle, with carv'd, Figure. 
 
 “ Peterborough Cathedral. 
 
 “ F other ingar [Fotheringhay], near Castor remains 
 a stately . . ." (Line cut off.) 
 
28 
 
 TURNER DRAWINGS. 
 
 [XIX.] 
 
 Page 6. In pencil : — 
 
 “ F. W. [? Warwick] to Knowl, 11. 
 
 K. [Knowle] to Solihul. * Birmingham , 15 from 
 
 S. [Solihull] to B* [Birmingham], 9. 
 
 Bridgnorth to Morvill , 3. 
 
 M. [Morvil] to Wenlock , 5.V. 
 
 W. [Wenlock] to Shrewsbury, 12\. 
 
 S. [Shrewsbury] to Ellesmere, 19. 
 
 E. [Ellesmere] to Wrexham, 12\." 
 
 In ink : — 
 
 “ Derby to Chester. 
 
 “ To Mickle Over, 3\. 
 
 “ To Uttoxeter, 19. 
 
 “ Stramshall, Beamurst [Beamhurst], Checkley , 
 Upper Tean , Draycott, Meere Lane, Meere, Lane End, 
 Delph Lane, Stoke, Newcastle-under-Lyme. < 36 Ԥ from 
 Derby. 
 
 “ Chesterton, Audley, Cor sty Hill, through Narnpt- 
 wich, 32 ; Chester, 71 f 
 
 “ Uttoxeter, Strath, Crakemarsh, Rowcester, Ellaston, 
 Mathfield [? Mayfield], Ashbourn, 12 miles. 
 
 “ Litchfield to Wolverhampton, 15\. 
 
 “ To Bridgnorth, 18\. 
 
 “ Southwell to Newark , 7 miles. 
 
 “ Ely to Peterborough, 29 1 . 
 
 “14 /. Derby to Matlock. 
 
 “ To Bakeivell, 9\. 
 
 “ Nottingham to Red Hill, 4. 
 
 “ To Oxton, 4\. 
 
 “ To Southwell, 4 ; or 13\. 
 
 “ To Upton, 2. 
 
 “ To Kilham, 3. 
 
 “ Newark . 2 ; or 21." 
 
 “ Wisby Wood, 8±. 
 
 “ To Brace Bridge, 7 |. 
 
 “ Lincoln, l\or 38b 
 “ Northampton to Daventry, 11. 
 
 “ Southam 22, to Warwick 32. 
 
 7. St. Sepulchre’s Church, Northampton. Against the 
 steeple is written: — “ Pure [?] A7. Yellow Ocker. 
 Colour with Creen ” (or Greys), “ very little Lake;" 
 and two other words, undecipherable. 
 
 „ 12. View in Northampton. (The drawing engraved and 
 published in “ Pocket Magazine,” July 1, 1795, was 
 based on this sketch.) 
 
 „ E3. “ Llangollen." View of Bridge, with town beyond. 
 
 Meriden. 
 
 Blank. 
 
[XIX.] 
 
 MATLOCK SKETCH BOOK. 
 
 29 
 
 Page 14. An outline drawing of a mountainous view. Names 
 and initials of colours written over the various 
 planes. On foreground plane, “ Green " ; middle- 
 distance planes, “ Russet , R.G.R . ,” and “ P.G." ; 
 distances, “ Blue, Grey," and “ G." 
 
 „ 15. Winding River with Foliage on both Banks. (Probably 
 near Matlock.) 
 
 „ 15a. Beginning of Foliage. 
 
 (Page torn out.) 
 
 „ 16. Blank. 
 
 (Page torn out.) 
 
 „ 17. Slight sketch of upper storeys of old gabled houses. 
 
 Underneath sketch is written, “ Wrexham." Gf. 
 Water-colour of “ Wrexham," 1923-’00, Y. & A. M. 
 
 „ 17a. “ View on R. Derwent." On margin, “ Matlock." 
 
 „ 18. Blank. 
 
 „ 19. Front View of Bridge and Gatehouse, Bridgnorth. 
 
 „ 20. Foreshortened View of Bridge and Gatehouse, Bridg- 
 north. 
 
 On margin, the number “ 5 ” (cf. the list of commis- 
 sioned drawings on inside of cover). 
 
 (This is the View engraved and published in the 
 “ Copper Plate Magazine,” August 1, 1795.) 
 
 „ 21. A Market Place with Booths. 
 
 „ 22. Upper Part of a Church Tower. (Probably Wrexham 
 
 Church.) 
 
 „ 23. A Ruined Cottage among Foliage and Rocks. (Probably 
 near Matlock.) 
 
 „ 24. Winding River with Houses and high Cliffs. (Probably 
 near Matlock.) 
 
 „ 25. “ High Tor Mine," Matlock. 
 
 „ 26. Another View of High Tor Mine (?). 
 
 „ 27. Blank. 
 
 „ 27 a. A saddled pony and wheelbarrow. 
 
 „ 28. Blank. 
 
 „ 29. Buildings with round archway ; tombstones in front. 
 
 “ Southwell." 
 
 „ 30. Blank. 
 
 „ 31. Blank. 
 
 „ 31a. Triangular Bridge at Croyland, with buildings beyond. 
 
 „ 32. Blank. 
 
 „ 33. Blank. 
 
 „ 33a. Part of Southwell Cathedral. 
 
 „ 34. “ Wollaton Hall." 
 
 „ 34 a. Drawing of Front of Hall. 
 
 „ 35. Distant view of Hall, with trees in foreground. “ Wol- 
 
 laton Hall," written in ink, and “ Lord Middleton," 
 in pencil. In top right-hand corner is written : — 
 Tuscan , Doric and Ionic with E.B.P. to each. The 
 wings have niches. ’ 
 
 (Wollaton Hall is about 2 miles from Nottingham.) 
 
 (Page torn out.) 
 
 ., 36. Ground Plan of a quadrangular Building ; probably 
 
 Wollaton Hall. 
 
 „ 36a. Beginning of sketch. 
 
30 
 
 TURNER DRAWINGS. 
 
 [XIX, XX.] 
 
 Page 37. Blank. 
 
 „ 37a. The Queen’s Cross, near Northampton : armorial and 
 decorative details at side. 
 
 „ 38. Blank. 
 
 (3 pages torn out). 
 
 to: } Biank - 
 
 „ 41. Blank. 
 
 „ 42. Blank. (On back, commencement of drawing of 
 
 Cathedral.) 
 
 „ 43. Lichfield Cathedral, from south-west ; seen above houses 
 
 and foliage. Pencil, partly coloured. Exhibited 
 Drawings, No. 815c/, N.G. 
 
 This page was torn from between the pages now 
 numbered 38 and 39. 
 
 (23 leaves drawn on.) 
 
 1794 * (AET. 19). 
 
 XX.-MARFORD MILL SKETCH BOOK. 
 
 Schedule No. 305. 
 
 Sketch book, bound in leather. 
 
 Turner’s label on back, “ 49 .” 
 
 Executor’s endorsement: “No. 305. Contains 31 
 Leaves. Pencil Sketches on both sides. 
 
 (sgd.) H. S. Trimmer 
 C. Turner.” 
 
 Water mark, . 
 
 Size of page, 6 x 3|. 
 
 Mr. Ruskin’s endorsement on wrapper : “ 305. 
 Earliest Pencil. Rather interesting.” 
 
 Page 1. Blank. 
 
 „ la. Lists of figures. 
 
 (Page torn out.) 
 
 „ 2. A mill and press (?). 
 
 „ 2a. The following in ink, not, I think, in Turner’s hand- 
 
 writing : — 
 
 “ X 
 
 Ten. 
 
 N. 
 
 288. Walker. 
 
 1802. 
 
 Ten. 
 
 Sep. 22, No 
 
 '. 7335. 
 
 
 1802. 
 
 Ten. 
 
 Se. 15. No. 
 
 2813. 
 
 
 X 
 
 Ten. 
 
 Au. 25, 082. 
 
 N. 2563 
 
 Cas (?). 
 
 X 
 
 Ten. 
 
 Au. 25, 802. 
 
 N. 1984. 
 
 Turner(P). 
 
 X 
 
 Ten. 
 
 Ju. 13, 802. 
 
 N. 1643. 
 
 
 Ten. 
 
 Sep. 22, 802. 
 
 N. 3984. 
 
 Wyatt. 
 
 
 Twenty. Ju. 6, 802. N. 
 
 
 X 
 
 Ten. 
 
 Sep. 22, 802. 
 
 N. 3031. 
 
 Morrison. 
 
 -L Cil. jJ. <0^, UUrW. . dudl. 1'lUl I iob 
 
 Twenty. Jul. 6, 802. N. 3981. 
 x Twenty. Ju. 6, 801. N. 3517. Tur.” 
 
[XX.] MARFORD MILL SKETCH BOOK. 
 
 31 
 
 Page 3. Blank. 
 
 „ 4. Study of branches. 
 
 „ 5. Blank. 
 
 „ 6. Study of waterfall. 
 
 „ 7. Horse and cart. 
 
 „ 8. Branches of tree. 
 
 „ 9. Figures on a wooden staging with steps ; also a woman 
 
 playing on a pipe. 
 
 „ 9a. List of figures. 
 
 „ 10. List of figures. 
 
 „ 11. A booth. 
 
 „ 12. Branches of trees. 
 
 „ 13. Branches of trees. 
 
 „ 14. A merry-go-round ; also a wheel and sleeping dog. 
 
 „ 15. Group of showmen’s vans. 
 
 „ 15a. Stalls, with figures. 
 
 ,, 16. Stalls, with figures. 
 
 „ 16a. Donkey, with water cart. 
 
 „ 17. Commencement of sketch ; also — 
 
 “ Major Frazer. 
 
 April 6. 1 Hour <£■ Half. 
 
 8 Lessons .” 
 
 „ 17a. Seated figure. 
 
 „ 18. Man ploughing. 
 
 „ 18a. ) A water mill. 
 
 „ 19. i 
 
 The water colour at the Manchester Whitworth Insti- 
 tute, entitled “ An Old Mill ” (260), is founded on 
 this sketch. 
 
 It is probably the “ Marford Mill, Wrexham, Denbigh- 
 shire,” exhibited Royal Academy, 1795. 
 
 „ 20. Groups of figures. 
 
 „ 21. Blank. 
 
 „ 21a. I Interior of foundry. 
 
 „ 22 . I 
 
 „ 23. Blank. 
 
 „ 23a. i House with trees. 
 
 „ 24a. Study of tree. 
 
 „ 25. Blank. 
 
 „ 25a. Study of tree with weeds. 
 
 „ 26. Blank. 
 
 „ 26a, ) Group of houses, with church. 
 
 „ 27. f 
 „ 28. Blank. 
 
 (Leaf torn out.) 
 
 „ 29. Commencement of sketch. 
 
 „ 29a. Seated figure of old woman. Pencil and water colour. 
 
 Written in margin : 
 
 “ Folio Pencil ruler rubber 
 Pencil 
 S. Rubber ” 
 
 „ 30. An upturned cart. 
 
 ,, 30a. Man on ground. 
 
 „ 31. Groups of figures. 
 
32 
 
 TURNER DRAWINGS. 
 
 [XX, XXL] 
 
 Page 
 
 11 
 
 11 
 
 11 
 
 11 
 
 *1 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 '1 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 31a. 
 
 32. 
 
 33. 
 33a. 
 
 34. 
 34a. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37a. 
 
 38. 
 38a. 
 
 39. 
 
 40. 
 40a, 
 
 41. 
 41a, 
 
 42. 
 42a, 
 
 43. 
 43a, 
 
 44. 
 
 A tree. 
 
 A tree. 
 
 A tree. 
 
 | Study of trees ; also two men on ground. 
 
 Landscape with windmill. 
 
 Head of old lady, sleeping, with mob-cap on. 
 Stalls or booths. 
 
 Blank. 
 
 Two studies of men on rocks. 
 
 Blank. 
 
 Studies of two men climbing. 
 
 Blank. 
 
 Trees. 
 
 “ Wood slab. Brushes I. Rubber 
 Bells Ink. B 
 
 Slab Book 
 
 Atkinson. I. Rubber Purdy I. Rubber Book 
 
 Dinns{?) Pencil Brushes .’ 
 
 Blank. 
 
 Waterfall. 
 
 Blank. 
 
 Studies of three men on rocks; one lying exhausted, 
 the other two dragging at a rope. 
 
 A hoe ; also a cat. 
 
 Blank. 
 
 Life study ; seated male figure, with arms raised. 
 Blank. 
 
 (37 leaves drawn on.) 
 
 1794 (AET. 19). 
 
 XXI.— FIRST MIDLAND TOUR (1). 
 
 For projected itinerary of this sketching tour see 
 pp. 2-6 of “ Matlock ” Sketch Book (XIX). 
 
 All these sketches are on loose sheets of paper, 
 which do not appear to have formed part at any time 
 of a sketch book or books. 
 
 A. Caesar’s Tower, Warwick Castle. Pencil. 
 
 lOf x 8£. 
 
 B. Warwick Castle. 
 
 8i x lOf. 
 
 C. Warwick Castle. 
 
 11^ x 16. Unfinished water colour, based on XXI, B. 
 
 No. 144 in Third Loan Collection, now at Royal College of 
 Art South Kensington. 
 
 (For another view of Warwick Castle of same date see 
 No. 301. Manchester Whitworth Institute.) 
 
[XXL] 
 
 FIRST MIDLAND TOUR, 
 
 33 
 
 D. Old Welsh Bridge, Shrewsbury. 
 
 8* x 10| . Pencil. 
 
 Old houses over first arch of bridge, under which a barge 
 is moored, and through which a second bridge is seen in 
 course of construction ; classical church tower (New St. Chad.) 
 seen over second buttress of bridge. Colour notes over many 
 of the spaces, as “ jB,” “ G," &c. 
 
 A water colour based on this drawing was exhibited in the 
 Royal Academy, 1795; now in the Manchester Whitworth 
 Institute (Taylor Bequest), No. 276. 
 
 E. New Welsh Bridge, Shrewsbury. 
 
 x 10§. Pencil. 
 
 Bridge with six arches stretching across mid-distance, town 
 with spires and churches beyond. 
 
 On back. “ Mr. Lyte 
 
 (A water colour based on this drawing was in Messrs. 
 Agnew’s Gallery, 1901. Also Nettlefold sale, Christie’s, 
 
 11 June, 1909.) 
 
 F. “Chirk Castle.” 
 
 5^ x 8J. Pencil. 
 
 G. Llangollen Bridge. 
 
 8j x 11. Pencil. 
 
 Houses and foliage on left, first arch of bridge and buttresses 
 in centre, and part of second arch on right ; mountains 
 beyond. 
 
 H. (1.) Eliseg’s Pillar. 
 
 (2.) Valle Grusis Abbey. 
 
 8§ x 11. Pencil. 
 
 Paper folded in halves, one subject on each half. 
 
 (1.) Beneath the drawing is written : — “ Read Inijus recteris 
 Monument i Superst. Dieu re seulis retmolum et neglectum 
 tandem restatit T. Lloyd de Trevati Hall ad 1779." 
 
 On the back : — 11 for Wm. Blake , Esqre, Newhousf , to the 
 care of Mr. Collins , Booksr. on the Canal." 
 
 (2.) Ruins of Valle Crucis Abbey. East End (P). 
 
 I. Nant Mill, near Bettwys Garmon. 
 
 lOf x 84 -. Pencil. 
 
 J. Waterfall, near Nant Mill (?). 
 
 10§ x 8f . Pencil. 
 
 K. Water Mill and Mountains (? Nant Mill), 
 
 10| x 8|. Pencil. 
 
 (It is possible that these Welsh drawings, XXI, G — K, do 
 not belong to this tour. In that case they would come in at 
 the end of next year’s tour, 1795.) 
 
 32796 C 
 
34 
 
 TURNER DRAWINGS. 
 
 [XXI.] 
 
 L. “ Mar ford Mill , Denbighshire." 
 
 8] < 5f. Pencil. 
 
 A water colour with the title “ Marford Mill, Wrexham, 
 Denbighshire,” was exhibited R.A., 17'J5. 
 
 Reverse ; View of town. Probably Wrexham 
 
 M. The High Tor, Matlock. 
 
 8| x lOf. Pencil. 
 
 N. Buxton (?) 
 
 8^ x 21], Pencil. Paper folded in halves. Drawing on 
 one half (8| x lOf.) Bird’s eye view of town, with hills 
 beyond. 
 
 O. Lincoln Cathedral, from the South-West. 
 
 IOtj x 8]. Pencil. 
 
 Towers of Cathedral seen above Exchequer Gate and houses, 
 a butcher’s and cabinet-maker’s shops in foreground. 
 
 Large water colour (17] x 13]) of this view in Print Room, 
 B.M., signed and dated “W. Turner, 1 7D5.” This is probably 
 the drawing exhibited R.A., 1795, under the title “Cathedral 
 Church at Lincoln.” 
 
 P. South-East Porch, Lincoln Cathedral. 
 
 lOf x 8§. Pencil. 
 
 On right of porch Bishop Russell’s Chantry-Chapel. 
 
 Q. South Side of Nave, Lincoln Cathedral. 
 
 lOf x 8A Pencil. 
 
 R. Entrance to Cloisters (Lincoln Cathedral ?). 
 
 8 x 12 ]. Pencil. 
 
 S. Entrance to Cloisters (Lincoln Cathedral ?). 
 
 8] x 10]. Pencil. 
 
 T. West Front, Peterborough Cathedral. 
 
 8 x 11. Pencil. 
 
 A water colour of “Peterborough Cathedral — West 
 Entrance ” was exhibited R.A., 1795. 
 
 U. South-West Spire, Peterborough Cathedral. 
 
 10] x 8f. Pencil. 
 
rxxij 
 
 FIRST MIDLAND TOUR. 
 
 35 
 
 V. Peterborough Cathedral, from the North. 
 
 8 x 10f. Pencil. 
 
 On back, “ Mr. Tonneriau , 16, Hereford Rond, 3^.” 
 
 A finished water colour based on this drawing is in the 
 possession of W. G. Ravvlinson, Esq. 
 
 An engraving of this drawing was published in the “Copper 
 Plate Magazine,” May 1, 1796. 
 
 W. West End Ely Cathedral : exterior. 
 
 10| x 8. Pencil. 
 
 X. Ely Cathedral, from the South-West. 
 
 10| x 8^. Pencil. 
 
 Figures with houses in foreground, towers of cathedral 
 rising above houses. Unfinished. 
 
 Y. The Western Tower, Ely Cathedral. 
 
 8j x 11. Pencil ; the Western Tower only finished in 
 water colour. 
 
 No. 38 in 2nd Loan Collection. 
 
 Z. King’s College Chapel, Cambridge. 
 
 8j x 10 J. Pencil. 
 
 An engraving of this view by T. Tagg was published in the 
 “ Pocket Magazine,” June 1st, 1795. 
 
 (26 drawings.) 
 
 1794 (AET. 19). 
 
 XXII.— FIRST MIDLAND TOUR (2). 
 
 A. King’s College Chapel, Cambridge. 
 
 lOf x 8§. Pencil. Written in margin, “ Kings ” ; on 
 back. “ Mr. Lyte." 
 
 (Drawing of “ Choir in King’s College Chapel, Cam- 
 bridge,” in R.A., 1795.) 
 
 B. Waltham Cross. 
 
 10-j x 8§. Pencil. 
 
 On back, “ Revd. Thos. Leman, 
 
 “ Crescent, 
 
 “ Bath. 8 Gr 
 
 Finished water colour based on this drawing in Palser 
 Gallery, 1905. 
 
 C. Waltham Cross ; another view. 
 
 8j x 5f. Pencil, 
 
 View showing sign-board of inn. In corner, “ To Waltham 
 Abbey." 
 
 32796 C 2 
 
36 
 
 TURNER DRAWINGS. 
 
 [XXII.] 
 
 D. Ely Cathedral. 
 
 8]- x 11. Pencil ; central tower finished in water colour. 
 2nd Loan Collection, No. 38. 
 
 E. Gothic Porch, partly bricked up. 
 
 10| x 7|. Water colour. 
 
 2nd Loan Collection, No. 65. 
 
 (Query Porch at West End of Chichester Cathedral). 
 
 F. West View of Croyland Abbey, near Spalding:, Line. 
 
 lOf x Pencil. 
 
 G. Newark Castle, with Bridge and Church. 
 
 8 x 10|. Pencil. 
 
 H. Part of Ruins of Croyland Abbey. 
 
 10f x 8. Pencil. 
 
 I Part of Ruins of Croyland Abbey. 
 
 lOf x 8. Pencil. 
 
 J. Commencement of drawing’ of West Front, Lich- 
 
 field Cathedral. 
 
 10f x 8f. Pencil. 
 
 K. Lincoln Cathedral : West Front. 
 
 8| x 10-J-f. Pencil. 
 
 Oxford Loan, 61 — 58, as “ Wells Cathedral.” 
 
 L. Lichfield, from the South-West. 
 
 8^ x 10*. Pencil 
 Oxford Loan, 67 — 59. 
 
 M. Lichfield Cathedral, from the South-East. 
 
 10f x 8|. Pencil. 
 
 Oxford Loan, 68 — 60, as “ Lichfield Towers.” 
 
 N. Studies of Animals. 
 
 8J x 13L Pencil. 
 
 Sketches of hind-quarters of a horse, two donkeys’ heads, 
 and pigs. 
 
 Oxford Loan, 100 — 1615, as “ Donkeys.” 
 
 O. Landscape, with Sheep and Rocks ; a Town in 
 
 middle distance. 
 
 8j x 10L Pencil. 
 
 The name of the place has been written at the bottom of 
 
 drawing but is now almost illegible : U P Kingsdown 
 
 Noad." (?) 
 
FIRST MIDLAND TOTJR. 
 
 37 
 
 [XXII.] 
 
 P. Ely Minster : Transept and Choir. 
 
 26^ x 20L Pencil. 
 
 Same view as the water colour in collection ot' the late 
 R. D. Holt, Esq., which was (probably) exhibited at the 
 R.A., 1796. 
 
 Q. Part of Town, with Church Spire seen from Ruins. 
 
 11 x 81;. Pencil. 
 
 (Query Wakefield.) 
 
 R. Part of the exterior of Lichfield Cathedral. 
 
 10 ]-£ x 8-jQ- Pencil. 
 
 S. Houses with the West End of Ely Cathedral 
 
 beyond. 
 
 10-J x 8|. Pencil. 
 
 T. St. Paul’s Cathedral from the Thames. 
 
 11|- x 8f. Pencil. 
 
 (20 drawings.) 
 
 1794* (AET. 19). 
 
 XXIII.— MISCELLANEOUS WATER COLOURS, &c. 
 
 A. Inside of Tintern Abbey. 
 
 14|- x 10]?. Finished water colour. 
 
 View looking through the great arches of the crossing to 
 the choir and east window. Masses of fallen stone in fore- 
 ground, with two men standing to the left. Based upon 
 pencil drawing XII, E. 
 
 A water colour entitled “ Inside of Tintern Abbey ” was 
 exhibited at the R.A. in 1794. The exhibited drawing is pro- 
 bably the “ Interior of Tintern Abbey,” now in the V. and 
 A. M. (1683-71). This resembles in a few details the original 
 study from nature (XII, E.) rather more closely than the 
 present drawing. 
 
 I have also seen another version of this view in the collec- 
 tion of the late John E Taylor, Esq. (O.M. 1887, No. 26), 
 which Mr. Bell describes as a “view looking down the 
 transept, ”f and which he therefore suggests may have been 
 the drawing of the “ Transept of Tintern Abbey ” which 
 Turner exhibited at the R.A. in 1795. But it is a view of 
 the choir, like the above two drawings, and is probably not 
 by Turner. 
 
 t “ List of the Works contributed to Public Exhibitions by J. M. W. Turner, 
 R.A.,” by C. F. Bell, 1901, p. 29. 
 
38 
 
 TURNER UR A WINGS. 
 
 [XXIII. 1 
 
 B. St. Brevals Castle, Gloucester. 
 
 x 1\. Water colour. 
 
 C. An Old Mansion. 
 
 x 8|. Pencil. “ Withington .” 
 
 D. Old Mansion, Withington, Lancashire (another view). 
 
 x 8|. Pencil. 
 
 E. Buildings, in a Cathedral Close (?). 
 
 10f x 8}. Water colour. The buildings worked all in 
 grey ; perhaps this represents the first stage of the topo- 
 graphical drawings of this period. 
 
 Water-mark, J. Whatman. 
 
 F. Groups of Figures, &c. 
 
 StV x 10x|. Paper folded in halves. Pencil. 
 
 Reverse : Blots of water colour. 
 
 G. An old Church. 
 
 About 5^ x If. Pencil. 
 
 Written in margin : — Iron Lights up the glass." 
 
 Of. Water colour of this building, 816c, N.G. 
 
 H. Old Church. 
 
 x 6^-. Water colour. 
 
 On back — “ Win. Tamer'' in ink, and in pencil ; also 
 “ June SO," and “ September 1st, 1797." 
 
 Exhibited Drawings, No. 816c, N.G. 
 
 I. Group of Figures outside Booth. 
 
 About 4^ x 5L Pencil. 
 
 J. Entrance Battle Abbey, Sussex. 
 
 11 x 9. Pencil. 
 
 K. South-West Window of St. Alban's Abbey. 
 
 8 x 7. Pencil. 
 
 L. Church, with square castellated Tower. 
 
 94 x 12^. Pencil. 
 
 Churchyard with tombs in foreground. 
 
[XXIII.] 
 
 MISCELLANEOUS. 
 
 39 
 
 M. St. Alban’s Abbey. 
 
 11^ x 15^. Pencil. 
 
 N. River Scene in South Wales (?) 
 
 8f x 10f. Water colour ; a portion near centre — where 
 the figures come — has been partially taken out, doubtless 
 with a vie w to alterations. 
 
 O. Back view of Hotwells, from Gloucestershire side. 
 
 7£ x 10|. Water colour. 
 
 Based on pencil drawing, p. 3, “Bristol and Malmesbury” 
 sketch book (VI). 
 
 P. River between Mountains. 
 
 8f x 9J. Pencil, part in water colour. 
 
 Q. Storm on Rocky Coast. 
 
 8^ x 10|. Water colour. 
 
 On back, in ink — “ Wm. Turner." 
 
 R. Storm on Rocky Coast ; shipwrecked sailors on 
 
 rocks in foreground. 
 
 6f% x D-f’y. Water colour. 
 
 S. Vessel at Sea. 
 
 7| x 8|, Pencil. 
 
 T. Sailors getting Pigs on Board. 
 
 8t? x 11. Water colour. 
 
 On back, pencil sketch of figures with dog on board a 
 vessel ; also another rough sketch of figures embarking. 
 
 U. Bird’s-eye view of Vessel in a Storm. 
 
 7| x 9|. Pencil, partly coloured. 
 
 V. Scene on Rocky Coast. 
 
 8§ x lOf. Water colour. 
 
 Small fishing-boat in bay in rn.-d., with back view of 
 fisherman and dog running in foreground. 
 
 W. Fishermen on Stormy Shore (1). 
 
 8^ x 10^, Pencil. 
 
40 
 
 TURNER DRAWINGS. 
 
 [XXIII.] 
 
 X. Fishermen on Stormy Shore (2). 
 
 8^ x lOf. Pencil. 
 
 Another study of same subject. It may have been con- 
 nected with XXIII, v, as the figures of running fisherman 
 and dog in that water colour are similar to the figures on left 
 of this drawing. 
 
 Y. Sketches of Fishwives, Boats, Carts, &c. 
 
 85 x lOf. A number of small pencil drawings, the first 
 few coloured. 
 
 Z. Ship and. Boat off the Coast. 
 
 11 x 14-^. Pencil. 
 
 (2<o drawings.) 
 
 A.D. 1794 (AET. 19). 
 
 XXIII.— MISCELLANEOUS {continued). 
 
 a. “ Isleworth Mill." 
 
 10 x 7f. Pencil ; on part of a sheet of an account book. 
 
 Written on water — “ Reflections." 
 
 b. Part of Cathedral or Abbey Church, with Shops and 
 
 Houses in foreground. 
 
 6 | x 4L Pencil. 
 
 Written on top right hand corner — “ Turtle Street , John 
 Jorldns, Baker." The name of “ Sidebottom ” over fore- 
 ground shop. 
 
 c. Half-Timbered House with Gable Roof. 
 
 8 ^ x 5 tj. Pencil. 
 
 On different parts of the surface of building initials are 
 written, as “ B ”, “ P ”, “ C ”, “ D." 
 
 d. Part of a Building. 
 
 9| x 4^. Pencil. 
 
 e. Building in Market Place. 
 
 84 x 10|. Pencil ; paper folded in halves, drawing on 
 one half 
 
 f. Gothic Archway. 
 
 8 ] x 10j. Water colour. 
 
 3i’d Loan Collection, No. 72. 
 
 (6 drawings.) 
 
[XXIV.] 
 
 41 
 
 1795 (AET. 20). 
 
 XXIV —' “ISLE OF WIGHT” SKETCH BOOK. 
 
 Schedule No. 264. 
 
 Sketch book, bound in calf, with four brass clasps. 
 Turner’s label on back — “-95, Isle of Wight." 
 Executor’s endorsement — “No. 264. 42 leaves with 
 sketches — some in colour. (Sgd.) H. S. Trimmer.” 
 Water mark, “ E. and P., 1704.” 
 
 Size of page — 10f x 8. 
 
 Written on inside of front cover — 11 Size of Steephill 12 x 8 ” 
 (pn ink), 
 
 and “ Steephill 12 
 10 
 
 8 ” (in pencil) : 
 
 On inside of end cover (in ink), — “ Church at Newport, Isle 
 of Wight. November 2, 1800. 
 
 Winchester Cross. Mr. Alexander 
 
 On fly leaf (in ink) : — 
 
 “ Order'd Drawings. 
 
 * God shill ) 
 
 t Colwill Bag >10 • 7f Mr. Landseer. 
 
 *Brading Harbour 1 
 
 Carrisbrook Castle 10 by 7. Mr. Landseer and Sketch 
 
 (in pencil) 
 
 }Chale Farm ) s d size% M Landseer. 
 
 Mottestone Mill j 
 
 t Totnell Bay 10 . 7\. Mr. Landseer. 
 
 Salisbury Porch 1 Sir Richard Hoare. 
 
 Front of Salisbury ) Size of Ely. 18." 
 
 And in top right hand corner (in pencil) — 
 
 “ Steephill Cove 
 Bembridge Mill, dec. 
 
 God shill 
 \Carisb. Cas. 
 
 iA TfwZrt mb ^ } Six y / Steephill. 
 
 Motteston Mill. Size of Chale, i.e., by 6 1." 
 
 Page 1. A Mill ; probably Winchester City Mill. 
 
 „ 2. “ Winchester City Mill." Pencil, with washes of Indian 
 
 ink, sepia and red. 
 
 „ 3. “ West Gate, Winchester." 
 
 * With pencil line drawn through 
 f Pencil cross against name. 
 
 1' Crossed through in pencil. 
 
 § A cross in ink at side of name 
 
42 
 
 TURNER DRAWINGS. 
 
 [XXIV.] 
 
 Page 4. “ Winchester Gross." (The Butter Cross, Winchester.) 
 
 A water colour based on this drawing is now in Man. 
 
 Whit. Inst., No. 269 (Taylor Bequest). x 6|. 
 
 An engraving of this water colour was published by 
 Win. Alexander and J. Powell, 30 July, 1800. 
 
 See note of commission for this drawing on inside of 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 cover. 
 
 5. Hill-side. (? St. Giles’ Hill.) 
 
 6. Large cruciform Church with central tower, with trees 
 
 and houses on bank of stream. (? St. Cross.) 
 
 7 . i 
 
 8. > Blank. 
 
 9. ) 
 
 10. The Bargate, Southampton. 
 
 11. Winchester Cathedral ; from the Avenue. Pencil, with 
 
 washes of Indian ink and sepia. 
 
 12. Southampton (?). (Half of page cut away.) 
 
 13. Blank. 
 
 14. (a) Winchester Cathedral and St. Cross (?). 
 
 (h) “ Salisbury, from Old Sarum . . .” 
 
 (A strip of paper cut out in centre of page.) 
 
 15. Blank. 
 
 16. West Front, Salisbury Cathedral. 
 
 17. Part of Exterior, Salisbury Cathedral. 
 
 18. “ Poultry Cross, Sarum." 
 
 19. Close Cate, Sarum." 
 
 20. Blank. Half page cut away. 
 
 21. Old Building, Salisbury. 
 
 22. Netley Abbey (near Southampton). 
 
 23. Another view of Netley Abbey. 
 
 24. Carisbrook Castle, from distance. 
 
 25. Carisbrook Castle, from a distance. Slightly different 
 
 view from p. 24. Water colour. 
 
 Cf. a later drawing based on this, No. 781, N.G. 
 (CXXI, R). 
 
 25 a. Gate of Carisbrook Castle. Partly finished in water 
 colour. No. 532, N.G. 
 
 26. A Church (? Arreton). 
 
 27. “ Chale Church." Written on foreground, “ Weeds and 
 
 Briars." 
 
 28. “ Chale Farm." 
 
 29. “ St. Lawrence, Orchard's Bay." Partly finished in 
 
 water colour. 
 
 30. “ Steep Hill Cove." 
 
 31. “ Mill Bay." 
 
 32. “ Niton Church." 
 
 33. Mill with water wheel. 
 
 34. Fishermen with boats, &c., in foreground ; windlass 
 
 and cottage beyond. 
 
 35. Cottages on Cliff. 
 
 36. View from a height ; ploughmen with horses in fore- 
 
 ground, bill with obelisk (?) in mid-distance. Appul- 
 durcomb Park. In margin is written, “ Pilasters 
 between the windows and dresser." 
 
[XXIV.] ISLE OF WIGHT SKETCH BOOK. 
 
 43 
 
 Page 37. 
 
 55 
 
 38. 
 
 59 
 
 39. 
 
 99 
 
 40. 
 
 95 
 
 41. 
 
 95 
 
 42. 
 
 95 
 
 43. 
 
 y> 
 
 44. 
 
 99 
 
 45. 
 
 55 
 
 46. 
 
 95 
 
 47. 
 
 55 
 
 47a. 
 
 55 
 
 91 
 
 48. 
 
 49. 
 
 Goclshill Church. Church on hill, village below, sheaves 
 of corn in foreground. 
 
 “ Mottestone Mill." Written on foreground, “ Broken G." 
 
 Freshwater Bay. Sea, sky, and part of cliff finished 
 in water colour. 
 
 Commencement of sketch of clouds, distant cliff’s, &c. 
 
 Alum Bay. Water colour. 
 
 “ Tolland Bay." 
 
 “ Colwell ” Bay. Sky and water left blank, the rest 
 carefully finished in water colour. 
 
 “ Newport." River in foreground, town and church in 
 mid-distance, Carisbrook Castle in distance. 
 
 Blank. 
 
 Commencement of drawing of gable only. 
 
 Market Place, Newport. 
 
 Newport Church. Water colour. Based on pencil 
 drawing opposite on p. 48. The blue is faded 
 through exposure, except in parts under mount. 
 
 First Loan Collection, No. 16 (now withdrawn). 
 
 See Note of commission for this drawing on inside of 
 end cover. 
 
 “ Newport Church,." 
 
 “ Nunwell and Brading from Bembridge Mill." Part 
 of mill and distance finished in water colour. 
 
 The following loose leaves may have belonged either to this 
 book or to the “ South Wales ” sketch book (XXVI.) : — 
 
 „ 50. Cliffs, with distant sea. Water colour. 
 
 „ 51. Cliffs, with sea and a seated figure sketching. Water 
 colour. 
 
 „ 52. A cutting, with cart and horses. Water colour. 
 
 (45 drawings.) 
 
 1795. 
 
 XXV.— SMALLER SOUTH WALES SKETCH BOOK. 
 
 Schedule No. 295. 
 
 Sketch book bound in calf, with three clasps (now 
 broken); printed on'back, in gold on red — “Sketches.” 
 
 Turner’s label on back — “ 84. S. Wales." On 
 outside of cover is written in ink, “ South Wales." 
 
 Water mark — “ E. & P. 1794.” 
 
 Size of page — 5]- x 8|. 
 
 Executors’ endorsement, — “ No. 295. Contains 32 
 Sketches in pencil and colors. 
 
 (Sgd.) H. S. Trimmer, 
 
 C. Turner.” 
 
 Mr. Rusbin’s endorsement on wrapper, — “295. 
 Very early, and of little interest. 5 leaves taken 
 out which were burnt at the edge.” 
 
 On inside of cover is written in pencil, — “ Lent 
 Mr. Nixon , 2.12.6." 
 
44 
 
 TURNER DRAWINGS. 
 
 [XXV.] 
 
 Page 1 . 
 
 „ 9. 
 
 „ 10 . 
 
 The following is written in pencil : — 
 “ Sir Henry Mildmay , 21 f 
 Marquis of Lome, 21: 
 
 Earl of Essex, 10.10. 
 
 If. Mr Lacelles, 5.5 * 
 
 1 Mr. Murwith (?).* 
 
 • 1 Mr. .Tones of Lewisham. 
 
 )■ 
 
 Mr. M unden, 2.12.0* 
 
 Caller, 10.10 * 
 
 Mr. Landseer .* 
 
 Colwell Hermitage Old House.* 
 
 Chale Farm.* 
 
 Mr. Walker of.* 
 
 Rosomonds Row. 
 
 Mr. Beckford for the: 
 
 Plague of Egypt."* 
 
 Commencement of sketch of exterior of building. 
 Ivy.” 
 
 The Chain Gate. Wells. 
 
 Part of West Front, Wells Cathedral. 
 
 No. 1, in 1st Loan Collection, as “Gothic Tower.” 
 
 A Gateway, “ Wells." No. 19, in 5th Loan Collection. 
 (These are the five leaves referred to by Mr. Ruskin as 
 “ taken out ” and “ burnt at the edge.”) 
 
 “ New Passage, Monmouth." 
 
 “ Penllyne Castle, Cowhridge " — a distant view of. 
 
 In margin is written : — 
 
 “ 1. Blue Grey. 
 
 2. Grey. 
 
 3. Grey Grey hut D. G. 
 
 4. Same with Part Green. 
 
 5. Shadows 3 ivith W. Green. 
 
 6. More Green yet Warm. 
 
 Sky Warm Ocker Grey." 
 
 There is a “6” on foreground, but no other numerals 
 on the drawing. 
 
 “ Llanblithan Castle, Cowhridge." 
 
 “ Newport on Usk." 
 
 “ Cardiff." Bridge and Castle. 
 
 Interior of Ewenny Priory, 
 
 This represents exactly the same view as the water 
 colour in the Corporation Art Gallery, Cardiff (Pyke 
 Thompson Bequest), which was probably exhibited 
 at the Royal Academy in 1797. 
 
 * Names starred are crossed through. 
 
SMALLER SOUTH WALES. 
 
 45 
 
 [XXV.] 
 
 Another version of this view is in possession of the 
 Rev. E. S. Dewick ; this is described by Dillon as 
 ‘■similar to above, but less highly finished,” and he 
 dated it conjecturally as “1795-96.” I am inclined 
 to think it may be a copy of the Cardiff picture by 
 another hand. 
 
 Page 12. “ Margam Hill.” 
 
 ,, 13. Blank. 
 
 „ 14. Swansea Bay. 
 
 „ 15. “ Neath.” 
 
 A water colour based on this drawing was engraved by 
 G. Murray, and published in the “ Pocket Magazine,” 
 October 1, 1795. 
 
 „ 16. Ruins : probably of the Abbey Church, Neath. 
 
 „ 17. “ Milford Haven.” 
 
 „ 18. A large rock. 
 
 „ 19. Rocks on the sea coast. 
 
 „ 20. “ St. Bride's Bay.” 
 
 „ 21. Rocks on sea coast. 
 
 „ 22. Rocks on sea coast. 
 
 „ 23. Distant mountains. Pencil, with wash of light crimson 
 
 lake over paid. 
 
 „ 24. On the quay, with shipping and figures. 
 
 ,, 25. Trees by side of lake. Water colour. 
 
 „ 26. Study of foliage on hill-side. Water colour. 
 
 „ 27. Commencement of a sketch of distant trees, &c. 
 
 „ 28. Distant town among foliage, with ploughed fields in 
 
 middle distance. Water colour. 
 
 „ 29. Blank. 
 
 „ 30. Distant view of valley and mountains. Water colour. 
 
 „ 31-34. Blank. 
 
 „ 35. Blank. 
 
 „ 35a. Rough sketch of trees. 
 
 „ 36-79. Blank. 
 
 „ 80. Blank. 
 
 „ 80a. Rough sketch of trees. 
 
 „ 81. Blank. 
 
 „ 81a. Rough sketch of trees, 
 
 „ 82. Blank. 
 
 „ 82a. Two mounted figures descending mountainous path 
 by sea shore. 
 
 „ 83. Blank. 
 
 „ 83a. Rougher version of same subject. 
 
 „ 84-86. Blank. 
 
 (32 leaves drawn on.) 
 
46 
 
 TURNER DRAWINGS 
 
 [XXVI.] 
 
 1795. 
 
 XXVI .-“SOUTH WALES" SKETCH BOOK. 
 
 Schedule No. 176. 
 
 Sketch book bound in calf, with four clasps. 
 Turner’s label on back, — “ South Wales — Mon." 
 Size of page, 10f x 8 (10f is the measurement on 
 extreme right of page, on left it is rather larger, but 
 it never quite reaches 10j). 
 
 Water mark, J. Whatman, 1794. 
 
 Executor’s endorsement, — “No. 176. (Sgd.) George 
 •Tones.” 
 
 Mr. Wornum’s endorsement, “ Two out, R.N.W., 
 1868.” 
 
 On inside of cover and on first two fly-leaves the following 
 is written (most of it in ink, not in Turner’s writing : — Turner’s 
 own remarks are in pencil, and have been printed in italics) : — 
 “ Wells. 120 miles from London, x 
 The Cathedral, the painted windows in do. — particularly 
 the East — Chapter House, and Cloister very fine. A good 
 library. The Bishop’s Palace. Market Cross. 
 
 Wokey Hole, 2 miles. 
 
 Wokey Hole, a cavern on the Mendip Hills. 
 
 Chedder, 10 miles. 
 
 On the Mendip Hills— view the deep valley or cleft that 
 runs into the hill. These rocks are very beautiful. 
 
 To Cross, 3 miles (nothing particular). 
 
 To Bristol Wells, 20 miles (and City), x 
 
 Bush Inn. 
 
 St. Mary Radcliffe — view Hogarth’s Pictures in do. at 
 the Altar Piece. 
 
 To the AllSt Passage, 12 miles to the Passage 
 house at Beachdey. 
 
 To Newport, 19 miles. 
 
 Pass through Chepstow and Carwent. View the walls 
 and the tessalated pavements, Newport Castle. 
 
 Cardiff, 12 miles. Cardiff Arms, x 
 View the Castle and Church. 
 
 To Landaff, 2 miles. No inn. 
 
 The ruin of an old cathedral. 
 
 To Cowbridge, 11 miles. Only the gate re- 
 maining. x 
 
 2 miles before Cowbridge, 1 mile towards St. Donats , 
 distant uieiv of Penlyn Llanblythan Castle Gale. 
 Castle. 
 
 To St. Donats, 8 miles. 
 
 The old castle near the sea shore. There are some 
 remarkable caverns about 2 miles off worn into the cliff. 
 
[XXVI.] SOUTH WALES SKETCH BOOK. 
 
 47 
 
 To Ewenny or Wonny (as it is commonly called), 
 6 miles. No inn. 
 
 An ancient fortified priory. Tlie church. Saxon. 
 
 To Pile, a small village, fi miles. 
 
 Nothing mentioned.” 
 
 (End of first page.) 
 
 (Commencement of first fly-leaf.) 
 
 “ To Margram, a seat of Mr. Talbot, 3 miles. 
 
 An abbey and chapter house. The church and monu- 
 ments, — An old Saxon cross in the village. Part of the 
 Chapter House fallen since 1795. 
 
 To Aberavon, 3 miles. 
 
 View the copper works. 
 
 To Neath by Breton Ferry, 6 miles. 
 
 1 mile from Neath Abbey. Inn. x Neath Castle. 
 
 Very fine views along the shores. See the cascade at 
 Molincourt, 7 miles up the Neath River, return by the turn- 
 pike road which leads from Neath to Brecknock. 
 
 To Aberdyllis, 2 \ miles from Neath. 
 
 Rocks and waterfall well worth attention. Neath Abbey. 
 
 On the road. One mile. 
 
 To Swansea, 9 miles. Mackworth Arms. 
 
 Nothing is mentioned but the ruins of an old castle. 
 
 To Morris Town, 2 miles above Swansea. 
 
 The turnpike road crosses the River Tawy over a very 
 fine bridge. 
 
 To Pont Aberdulos, 10 miles. 
 
 Here ends the County of Glamorgan. No particular 
 curiosity is mentioned. 
 
 To Kidwelly, Id miles. 
 
 Ruin of a castle worth notice — and the church. 
 
 Kidwelly to Lam Ferry , 4 miles. 
 
 ) Remains of the Castle. 
 
 To Carmarthen, 9 miles. ( No mention is made of 
 
 To St. Clear, 9 miles. ( the antiquities of either of 
 
 ) these places here. 
 
 Lam to Llanstephen , 5 
 miles along the shore. 
 
 To Tenby, 20 miles. Walls, x White Lyon Inn. 
 
 Before you visit Tenby view the Castles at Llanstephen 
 and Laugharn (Larn, as it is called). Llanstephen Castle 
 stands at the entrance of the River Towy. At Tenby view 
 the cliffs, caverns, rocks, Islands, &c., &c. 
 
 To Pembroke, 10 miles. Manobeir Castle , 2 miles 
 from Tenby. 
 
 Carew Castle, the woods of Laurenny form some of the 
 views exhibited on the road. At Lamphey Village is the 
 ruins of a bishop’s palace. Pembroke Castle and Round 
 Tower. Car etc, 2 miles from Pembroke .” 
 
 (End of second page.) 
 
48 
 
 TURNER DRAW ING S. 
 
 [XXVI.] 
 
 (Commencement of third page of itinerai’y.) 
 
 “ To Haverfordwest, 16 miles (by water), x 
 
 The old castle hardly worth notice. Converted into a 
 goal. 
 
 Picton Castle and back, 10 miles. 
 
 The old castle scarcely worth visiting. A seat of Lord 
 Minto. 
 
 To St. David’s and back, 36 miles. No inn. 
 
 On the right you pass the (...?), a considerable tower, 
 the remains of Roche Castle. At St. Bride’s Bay a fine 
 sea view. St. David’s Church. The ruins of the Bishop’s 
 Palace. 
 
 To Narbeth, 10 miles. 
 
 On the left, about 2 miles distant, stands Langhaddon 
 Castle, a considerable ruin. 
 
 To St. Clear, 13 miles. 
 
 On coming out of Narberth you have a view of the 
 remains of a castle. All this road is very picturesque. 
 
 To Carmarthen, 9 miles. Ivy Bush Inn. 
 
 Nothing worth visiting. Caerkinnan Castle , o miles 
 from Landilo. 
 
 To Landilo, through Lord Dynever’s grounds, 18 
 miles. 
 
 The River Towy (which passes by Carmarthen and 
 empties itself into the sea at Lanstephan) in the middle of 
 the valley, and on a hill stands Druslwyn Castle. A little 
 farther is Grongar Hill, Newton (Lady Dincoor’s seat), very 
 beautiful. 
 
 To Landovery, 12 miles. 
 
 A good bridge and an old castle. 
 
 To Brecknock, 20 miles. 3 bridges and a castle. 
 x Golden Lion Inn. 
 
 Fine mountainous view along this road. Ascend the 
 highest mountain, called the Van of the Beacon. The 
 Priory Church at Brecknock. 
 
 x To Abergavenny (by Langhors Pool), 22 miles. 
 
 View this pool. On the road you will pass the Castles of 
 
 Rlllcll, Crickhowel, and Tretover. A castle and bridge. 
 
 To Monmouth, 16 miles. Munoiv Bridge. 
 
 To Ross, 12 miles by land. Goodrich Castle. 
 
 Fine views on the River Wye.” 
 
 (End of 3rd page of itinerary.) 
 
 (Commencement of 4th page of itinerary.) 
 
 “ To Monmouth by water, 22 miles. 
 
 Very fine picturesque country. 
 
 x To Chepstow by water, 24 miles. 
 
 Tintern Abbey, the rock and woods of Piereefield, 
 Chepstow Castle. 
 
[XXVI.] SOUTH WALES SKETCH BOOK. 
 
 49 
 
 To Nuneham Passage House, 16 miles. 
 
 Fine views of the River Severn — very curious to see the 
 bore of head of the tide come in, when the wind is 
 favourable. 
 
 To Newport, 14 miles. 
 
 To Berkley Castle, 2 miles. Inhabited by Lord Berkley, 
 
 To Thornbury, 8 miles. 
 
 Curious Gothic architecture in this town. 
 
 To Bristol, 10 miles. 
 
 To Bath, 13 miles. 
 
 To Salisbury, 38 miles. 
 
 x Places mark'd thus have good inns. 
 
 Monmouth .* 
 
 Vieivs up the Wye from Wye Bridge to New Weir and 
 Which Church, The Castle Walls and Castle Bridge. 
 Monnow and Wye Bridges. The Iron Works. King's 
 Arms Inn. x ” 
 
 (End of 4th page.) 
 
 (Commencement of 5th page.) 
 
 The following is in ink and in Turner’s handwriting ; the 
 x against some of the titles is in pencil : — 
 
 “ Order’d Drawings. 
 
 x 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 
 x 
 
 Landajf Cathedral 
 Fisherman's Cottage 
 
 Dr. Mathews, Here- 
 ford. Size of the 
 sketch . 4 t 2f 
 
 Lord 
 
 Cascade (“ Hampton" added) 
 and smudged out) 
 
 Oak 
 
 Chaple. 13.17. 
 
 N. Front 
 S. Front 
 
 W alls of Tenby — Size of the sketch 
 Brecknock Castle ] 
 
 r>° SS nr l t tt 1 Lambert 
 
 Boss Market House )- 
 
 Walls of Tenby 
 
 St. Davids Pall ace J 
 
 
 J 
 
 Viscount 
 
 Malden, 
 
 Hampton Court. 
 Mr. Landseer. 
 
 the sketches." 
 
 Size of 
 
 (The following is all in pencil.) 
 
 “ Landotvrow AIM, — Mr. Laurie, 
 x Aberdillias Mill, — Mr. Mitchells. Size of Landilio 
 Bridge. 
 
 Newport Castle. — Mr. Kershaw. 
 
 N. Front of Hampton Court 
 
 S.F. 
 
 1 Sir Richard Hoar 
 
 ■e. 
 
 * This paragraph is in Turner’s writing — the ink as well as nencil additions. 
 
 (f “ 4 t 2 ” is written over “ 2 G,” which was written first and then smudged 
 with the finger. The numbers seem to refer to the price of the drawings, and 
 mean four guineas (or pounds) for the 2.) 
 
 32796 
 
 P 
 
50 
 
 TURNER DRAWINGS. 
 
 [XXVI.] 
 
 Page 
 
 Written in pencil by Turner on inside of end cover, — 
 “ Mr. Thomas Edwards , Carmarthen , Attorney." 
 
 This book was lent to Oxford, and was described in the 
 inventory as, “ 7th Extra Piece,” “Early English Book.” 
 Whilst at Oxford 25 pages were cut out, mounted and 
 framed, no record being made of positions of these leaves. 
 As the first 39 pages of the book were numbered in pencil by 
 Turner it has been possible to reconstitute this part of the 
 book. 
 
 1. Wells Close. 
 
 2. Wells Cathedral. Exhibited Drawings, No. 449, N.G. 
 
 3. Ruined Castle at Newport. Exhibited Drawings, No. 443 
 
 N.G., as “ Caernarvon Castle.” 
 
 4. Llandaff Cathedral. 
 
 (The water colour of Llandaff Cathedral — 
 XXVII 1, A — (Exhibited Drawings, No. 795, N.G.) 
 is based upon this drawing. It was probably the 
 drawing exhibited at the Royal Academy in 179(5.) 
 Written in margin — “ Purple and Green . . .” 
 
 Written on back — “Dr. Matthews , 2." 
 
 5. Gateway, &c., of ruined castle. Probably Llandaff 
 
 Castle. 
 
 6. Aberdulais Mill. 
 
 7. A waterfall. 
 
 3. Melincourt Fall, Vale of Neath (near Abergarnedd, on 
 River Clydach). Pencil, part in water colour. 
 
 Oxford Loan, 89-18, as “ High Force of Tees.” 
 
 9. A waterfall. Pencil and water colour. 
 
 10. Two wheels of water mill. 
 
 11. A water mill. 
 
 12. Rocks and torrent. Pencil, part. worked in watercolour 
 
 (black, blue, and light red or burnt sienna only). 
 5th Loan Collection, No. 30. 
 
 13. Hilly country beside river ; vessels in river. 
 
 Written in corner : — 
 
 “ Warm Purple yet Greenish. 
 
 Shadows Water /. 
 
 Stronger 
 
 Warm Shadow of Grey. 
 
 Sand." 
 
 14. “ Breton Ferry." 
 
 15. A boat, nets, boat-hook and oars, with overhanging 
 
 branches ; a fisherman’s cottage beyond. On back, 
 written in pencil, — “ Dr. Matlieivs 2." 
 
 An unfinished water colour (XXVIII, s) based on this 
 sketch was reproduced in Cook’s “Hidden Treasures ” 
 (p. 42) as “ Bay in the Isle of Wight (?).” 
 
 10. “ Kidwelly Castle." 
 
 Written in corner: — “ Bright Orange staines Bright 
 S.G. and Ocher K. Irony Grey on the I).B. 
 Umber." (Oxford Loan Collection. 72 — G2A) 
 
 16(7. Blank. 
 
 17. Part of Kidwelly Castle. 
 
[XXVI.] SOUTH WALES SKETCH BOOK. 
 
 51 
 
 Page 18. Ruins of Llanstephen Castle, with kiln in foreground. 
 Cf. XXVIII, D. 
 
 ,, 19. Llaugharne Castle. Written in corner : — 
 
 “ / B. Grey. 
 
 2 Grey. 
 
 ■3 W. Grey. 
 
 4 ... . Green Water" {?). 
 
 (Oxford Loan Collection, 71-63.) 
 
 ,, 20. “ Gate Holm Stack." Pencil, part in water colour. 
 
 (Sixth Loan Collection, No. 2.) 
 
 ,, 21. “ Laugharne Castle." (Fourth Loan Collection, No. 1.) 
 
 ,, 22. A rocky bay (probably in Carmarthen Bay). Partly 
 
 finished in water colour. 
 
 See XXVIII, E, for a drawing based on this study. 
 
 „ 23. “ Walls of Tenby." (Sixth Loan Collection, No. 14.) 
 
 „ 24. Part of ruins of Carew Castle. 
 
 „ 25. Carew Castle. (Exhibited drawings, No. 622a, N.G.) 
 
 „ 26. “ Carew Castle Mill." 
 
 ,, 27. “ Hook, Pembrokeshire." Pencil, part water colour. 
 (Exhibited Drawings, No. 759, N.G.) 
 
 „ 28. Ruins, with winding river and mountains in distance. 
 
 ,, 29. u St. David's Head, from Porthsallie Bay." Finished 
 water colour, signed, and mounted by artist. The 
 title, “ St. David’s Head,” was printed by artist on the 
 decorative border of mount. 
 
 Exhibited Drawings, 401, N.G., as “ The Mewstone, 
 Plymouth Sound” (about 1791). Mr. Ruskin’s note 
 in his second catalogue, — “ Interesting as the first 
 thought of one of his best known works.” 
 
 „ 30. Rocky Coast. Probably in St Bride’s Bay. 
 
 „ 31. “ Knolton Bay Mill." (Nolton Haven, St. Bride’s 
 
 Bay.) 
 
 „ 32. Rocks on Coast. “ Ramsey Island." 
 
 „ 33. “ Bishop and, Clerks." 
 
 „ 34. Rocks on Coast, with boats. Partly finished in water 
 
 colour. (Oxford Loan Collection, 16, as “ Sea surf. 
 Earliest try at it.” 
 
 „ 35. Ruins of Bishop’s Palace, St. David’s. 
 
 „ 36. “ Bishop's Throne, St. David's Cathedral." 
 
 „ 37. “ Bishop Vaughan's Chapel, St. David's." Pencil, 
 
 partly coloured. (Fifth Loan Collection, No. 31.) 
 
 ,, 37a. Blank. 
 
 „ 38. “ Llandoivro Mill." Cf. XXVIII, B. 
 
 „ 39. Gateway of ruined Abbey. 
 
 „ 40. Interior of St. David’s Cathedral (?). Pencil, part water 
 
 colour. 
 
 „ 41. Rocks on Coast. Written on water, — “ Dark O. Green." 
 
 „ 42. Missing. 
 
 „ 43. Water Mill and dock leaves. 
 
 „ 44. Blank. 
 
 „ 45. Water Mill, with figures. 
 
 „ 46. Missing. 
 
 ,, 47. “ Wye Bridge, Hereford." 
 
 „ 48. Porch on north-west of Hereford Cathedral. 
 
 32796 P 2 
 
52 
 
 TURNER DRAWINGS. 
 
 [XXVI.] 
 
 Page 49. An old oak tree in the grounds of Hampton Court. 
 
 See “Order’d Drawing ” of “ Oak ” for Lord Malden, 
 on p. 5 of this sketch book. 
 
 This is probably the water colour, now in the Man- 
 chester Whitworth Institute, described as “ Cassiobury 
 Park, near Watford ” (No. 78). 
 
 „ 50. The Cascade, Hampton Court. 
 
 See order for water colour of this subject for Viscount 
 Malden, afterwards the Earl of Essex, p. 5. 
 
 This is probably the drawing now at the Victoria and 
 Albert Museum described as “A waterfall ” (1682 — ’71). 
 It is signed and dated 1795, and said to be from the 
 collection of Lord Essex. 
 
 „ 51. A view of Hampton Court, Herefordshire. An engrav- 
 ing of a water colour of this view was published in 
 the “ Copperplate Magazine” on 1st September, 1797. 
 
 „ 52. Another view of Hampton Court. The “ Chaple ” for 
 
 Lord Malden. 
 
 Water colour now in Manchester Whitworth Institute 
 as “Cassiobury — View of Chaple” (No. 77). 
 
 „ 53. Hampton Court, Herefordshire. Water colour for Lord 
 Malden ; now in Manchester Whitworth Institute as 
 “ Cassiobury — Front” (No. 79). 
 
 „ 54. View of “Ross” Hereford. 
 
 ,, 55. Ross Market Place. This drawing was cut out and 
 
 loose. It probably belongs here. See order for “ Ross 
 Market House ” from Mr. Lambert, p. 5. 
 
 „ 56. “ Goodrich Cattle," on the River Wye. 
 
 „ 57. Missing. 
 
 » 58. River, with steep banks ; probably the River Wye. 
 
 „ 59. Another view on same river. 
 
 „ 60. Blank. 
 
 „ 61. River scene. 
 
 ,, 62. “ Monmouth .” 
 
 „ 63. “ Monow Bridge , Monmouth sometimes called “ Gate- 
 
 way and Bridge, Ragland.” 
 
 ,, 64. Blank. 
 
 „ 65. “ West Gate Bridge , Gloucester . ” 
 
 „ 66. Blank. 
 
 „ o'/. Building in Market Place. 
 
 „ 68. Blank. 
 
 Reverse : Gloucester Cathedral, from the south-west. 
 
 „ 69. Blank. 
 
 Reverse : Hereford Cathedral. 
 
 „ 70. Missing. 
 
 ,, 71. Blank. 
 
 Reverse : The Hereford Chair, Hereford Cathedral. 
 
 „ 72. The Crypt, Hereford Cathedral. Water colour. 
 
 Exhibited Drawings, No. 634, N.G., as “ Crypt, Canter- 
 bury Cathedral.” 
 
 ,, 73. Blank. 
 
 Reverse : A cottage. 
 
 „ 74. Mill and stream, rough water. Pencil, part water 
 colour. (Oxford Loan, 87 — 15.) 
 
 „ 7,), Old cottages and sheds beside river, 
 
[XXVI.] SOUTH WALES SKETCH BOOK. 
 
 53 
 
 Bridge, with houses on banks. Part in water colour. 
 Bridge, with houses and church. 
 
 Blank. 
 
 Reverse : Part of bridge, with houses, and figure in 
 punt. (Same bridge as pp. 76 and 77.) 
 
 River scene. Pencil, part water colour. 
 
 | Missing. 
 
 Blank. 
 
 Reverse : Mansion, with pond in foreground ; cart, 
 with two horses, dogs, &c., on road. 
 
 Missing. 
 
 Blank. 
 
 Reverse : Cottage, with figure 
 Missing. 
 
 Blank. 
 
 Reverse : Landscape, with figures. 
 
 „ 88-90. Blank. 
 
 The following pages appear to have belonged to this book, but 
 I am unable to place them in position : — 
 
 ,, 91. “ Brecknock Castle .” Exhibited Drawings, No. 6236, 
 N.G. (Probably the missing page 42.) 
 
 „ 92. A gateway. 
 
 „ 93. A gateway. Pencil, part in water colour. Exhibited 
 
 Drawings, No. 806, N.G., described (erroneously) as 
 “ Woodcroft Castle, Northamptonshire.” 
 
 „ 94. Maidstone Bridge, with houses and shipping. Pencil, 
 
 part in water colour. (Oxford Loan Collection, 
 90 — 12.) On back, in ink— “ Maidstone Bridge , 110." 
 
 „ 95. Ruins of Allington Castle, near Maidstone. Pencil, 
 partly finished in water colour. On back, in ink — 
 “ Alington Castle , on the Medway , 109." 
 
 „ 96. A kiln. Pencil, part in water colour. 
 
 „ 97. Christchurch, Oxford. Pencil, part in water colour. 
 
 (Oxford Loan, 86 — 3.) 
 
 „ 98. Ruins. 
 
 „ 99. “ North West " view of “ St. Mary Bedel iff," Bristol. — 
 “ The stone grey and brown," and “ Queen with 
 Croivn and Book." Pencil. Exhibited Drawings, 
 No. 524a, N.G. 
 
 (83 leaves drawn on.) 
 
 1795 * (AET. 20). 
 
 XXVII. — MISCELLANEOUS. 
 
 A. Ruins of Norman Church, with cylindrical columns. 
 
 lOf x 8|. Pencil. 
 
 B. South-East* View of St. Martin’s Church, Salisbury, 
 
 with Spire of Salisbury Cathedral in distance. 
 
 9^ x 17. Pencil. 
 
 Page 76. 
 „ 77. 
 „ 78. 
 
 79. 
 
 80. 
 81. 
 82. 
 83. 
 
 84. 
 
 85. 
 
 86 . 
 
 87. 
 
54 
 
 TURNER DRAWINGS. 
 
 [XXVII.] 
 
 C. Castle : ■beginning- of Sketch. 
 
 About x 9R Pencil. 
 
 D. Christchurch, from the Cornmarket, Oxford: with 
 
 the “ ROE BUCK ” in foreground, 
 x lOg-. Pencil. 
 
 Written in margin, — “ Randall , Hat Manufacturer . 
 Turner (?), Branch/ Merchant.'" 
 
 Water mark— “ J. Whatman, 1791.” 
 
 E. Oxford High Street, with St. Mary s. 
 
 8j x 9-L Pencil. 
 
 F. Cowes Castle, Isle of Wight. 
 
 x 17f. Water colour. 
 
 In foreground, fishermen with boats, vessels with sails set 
 on the Solent ; beyond, the coast of Hampshire. 
 
 A 11 unfinished engraving of this subject (with slight differ- 
 ences from this view) is included among J. Landseer’s 
 unpublished “Views in the Isle of Wight.” 
 
 G. Salisbury Cathedral. 
 
 Wash drawing, in blue and brown. 
 
 4th Loan Collection, No. 3. 
 
 H. Trees and their Reflections. 
 
 x 10§. Water colour. 
 
 I. Windmill on Hill. 
 
 7 1 x 11. Water colour. 
 
 Windmill on crest of hill, with valley and winding river in 
 middle distance ; sunset effect. Mounted, with border worked 
 by Turner. 
 
 J. Church and Churchyard near River. 
 
 8| x 13|. Water colour. 
 
 K. View from Richmond Hill. 
 
 5^ x 8|. Water colour, unfinished. 
 
 L. View of River, with Bridge and Town in middle 
 
 distance. 
 
 x lAg. Water colour. 
 
 M. Town and Bridge. 
 
 94 x 13^. Water colour, unfinished. 
 
 Probably the same place as preceding drawing. 
 
 Exhibited Drawings, No. fi9S, N.O. 
 
[XXVII.] MISCELLANEOUS, CIRCA 1795. 
 
 55 
 
 N. A Water Mill. 
 
 10 x 15. Water colour, unfinished. 
 
 On back: — “70S. Honilon ” (or Houston, or Hainton) 
 “ Mill." 
 
 Exhibited Drawings, No. 531, N.G., as “ Early study of a 
 cottage roof.” 
 
 O. A Water Mill. 
 
 Ilf x 19. Watercolour, unfinished. 
 
 A different mill from preceding drawing, 
 
 P. A Windmill. 
 
 10| x 7f. Water colour. 
 
 Exhibited Drawings, No. 804, N.G., as “ Cottage and Wind- 
 mill (early).” 
 
 Q. Llanthony Abbey. 
 
 10§ x 17f. Water colour, unfinished. 
 
 Abbey in middle distance, with mountains beyond, and 
 torrent in foreground. 
 
 Probably about 1793 or 1791. Cf. next entry. 
 
 R. Llanthony Abbey. 
 
 12| x 16J. Water colour, with decorative border, most of 
 which has been cut away. 
 
 Signed and dated in ink — “ W. Turner , 1795 " ; the name 
 partly erased with knife. 
 
 Another (and, I think, later) version of preceding drawing. 
 
 Exhibited Drawings, No. G38, N.G. 
 
 (A smaller version of this subject is now in possession of 
 T. E. Watson, Esq., J.P., of Newport, Mon. ; signed and dated 
 1795.) 
 
 S. Cottages and Boats on Coast. 
 
 8f x lOf. Water colour. 
 
 Fishermen’s cottages with boats drawn ashore in fore- 
 ground ; on one of the sails the name “ Turner" on the other 
 “ Gravesend." 
 
 On back “ Turner ” is written in ink and the number “46’” 
 twice in pencil. 
 
 T. A Lighthouse, from the Land. 
 
 9-£ x 14f. Water colour, unfinished. 
 
 Evening scene, storm approaching, with lighthouse in 
 middle distance ; fishermen hauling boats up the beach in 
 foreground. 
 
 U. Cottage, with Ruins on a Hill. 
 
 Sf x 10|. Pencil. 
 
56 
 
 TURNER DRAWINGS. [XXVII, XXVIII.] 
 
 V. Mill and Stream. 
 
 lOf x 13f. Pencil, part in water colour. 
 
 (Oxford Loan, 14-14.) 
 
 W. Buckingham Gate (near Hungerford Bridge). 
 
 Ilf x 16 x 7 g-. Pencil, with parts finished in water colour. 
 Exhibited Drawings, No. 441, N.G. 
 
 X. St. Mary’s and the Radcliffe Camera from Oriel 
 
 Lane. Oxford. 
 
 2CMf x 15f. Unfinished water colour. 
 
 Probably based one arlier drawing of same subject (XIV, c). 
 
 (24 drawings.) 
 
 1798 * (AET. 21). 
 
 XXVIII.— WATER COLOURS CONNECTED WITH 
 “SOUTH WALES” TOUR, Sc c. 
 
 A. Llandaff Cathedral. 
 
 14T« x 10^. Water colour. 
 
 Exhibited Drawings, No. 795, N.G. 
 
 Based on sketch, “South Wales” Sketch Book (XXVI), 
 
 p. 4. 
 
 This was probably the drawing exhibited at the Royal 
 Academy in 1796. 
 
 B. Llandowror Mill. 
 
 16f x 9f. Monochrome wash. 
 
 Based on sketch, “South Wales” Sketch Book (XXVI), 
 p. 38. 
 
 C. Gateway of ruined Abbey. 
 
 16^ x 10. Unfinished water colour. 
 
 Based on sketch, “South Wales” Sketch Book (XXVI), 
 p. 39. 
 
 D. Llanstephen Castle : Moonlight. 
 
 8f x 10J. Unfinished water colour. 
 
 Moon rising above ruins on hill in middle distance ; boats 
 in river below, with furnace in foreground. 
 
 Based on sketch, “ South Wales ” Sketch Book (XXVI), 
 p. 18. 
 
 E. Scene in Caermarthen Bay. 
 
 9| x 13f. Unfinished water colour. 
 
 Based on study, “ South Wales ” Sketch Book (XXVI), 
 
[XXVIII.] 
 
 SOUTH WALES TOUR. 
 
 57 
 
 F. The Top of the Hill. 
 
 7 x lOg-. Water colour. 
 
 Top of hill, with trees, and a traveller nearing the top ; 
 beyond, landscape with winding rivers and mountains. 
 
 G. Water Mill, with Bridge. 
 
 x 10. Water colour. 
 
 H. A Transparency. 
 
 J2J x 9f. Water colour. 
 
 A cottage, with peasant leaning on wall, and smoking a 
 pipe, a lighted lantern on the ground at his feet. 
 
 On back, the cottage, &c., darkened with indigo and black, 
 except where light of lantern comes ; sunset effect on the sky. 
 
 When held up to the light, the daylight scene becomes 
 transformed into an evening etfect. 
 
 I. A Church. 
 
 lOf x 8|. Water colour. 
 
 J. Old London Bridge, with St. Magnus the Martyr 
 
 and the Monument. 
 
 10f x 7|. Pencil. 
 
 Once No. 66 in 3rd Loan Collection (withdrawn September, 
 1901). Cf. next entry. 
 
 K. Old London Bridge. 
 
 13f x 8f. Water colour. 
 
 Based on preceding drawing (XXVIII, J). 
 
 L. Woody Landscape. 
 
 About 13 x 17. Water colour. 
 
 1st Loan Collection, No. 118. 
 
 M. Moonlight between Trees. 
 
 About 16 tt x 11. Wash drawing in brown and black. 
 
 1st Loan Collection, No. 139. 
 
 N. Water Mill and Farm Buildings. 
 
 About 11 x 8£. Pencil, partly finished in water colour. 
 
 6tli Loan Collection, No. 3. 
 
 O. Ruined Castle beside River. 
 
 About 8 A x 10} jj. Pencil. 
 
 6th Loan Collection, No. 11. 
 
58 
 
 TURNER DRAWINGS. [XXVIII, XXIX.] 
 
 P. On Coast, with distant Cliffs. 
 
 About + 10§. Water colour. 
 
 Possibly leaf from a sketch book. 
 
 On back in ink — “ 126." 
 
 Q. Cardiff Castle and Bridge. 
 
 0 x 13f. Water colour. 
 
 Formerly No. 36 in 4th Loan Collection, as “Warkworth 
 Castle and Bridge.” 
 
 Of. p. 10, “ Smaller South Wales,” Sketch Book (XXV). 
 
 R. Ruins of Valle Crucis Abbey. 
 
 18§- x Ilf. Water colour. 
 
 Pool, with pigs in foreground, Dinas Bran in distance. 
 
 S. Fishermen's Cottages on Coast. 
 
 lOf x 15. Water colour. 
 
 Based on pencil sketch, p. 15, “ South Wales ” Sketch Book 
 (XXVI). 
 
 T. Fisherman’s Cottage seen through Arch of Bridge. 
 
 13j x 17g. Water colour. 
 
 (20 drawings.) 
 
 1796 * ( AET. 21). 
 
 XXIX.— MISCELLANEOUS. 
 
 A. Cornfield with Reapers. 
 
 6 x 7. Water colour. 
 
 B. Bridge, with Church beyond. 
 
 x ‘Iff. Sepia. 
 
 Small cardboard, mounted. 
 
 (Query by Turner.) 
 
 C. Sea Piece : Vessels off Coast. 
 
 3 t V x 4[f. Water colour. 
 
 Cardboard, mounted. 
 
 (Query by Turner.) 
 
 D. Landscape with Mountains : reapers in a field in 
 
 middle distance. 
 
 3 t V x Iff. Water colour. 
 
 Cardboard, mounted. 
 
 (Query by 7 Turner.) 
 
[XXIX.] 
 
 MISCELLANEOUS. 
 
 59 
 
 E. Various Figures. 
 
 9 x 6 §. Pencil. 
 
 Man on horseback talking with man on foot, a child and 
 dog standing near ; beyond, a figure leaning against boat. 
 
 On back, rough sketch of vessel in full sail. 
 
 F. Study of Masonry, &c. 
 
 10 x 7. Water colour. 
 
 Piece of paper folded in halves. On one half a small study 
 in water colour of part of brick wall; on other a rough pencil 
 sketch of group of seated figures. 
 
 G. Studies of Cows. 
 
 x 10f. Pencil, some in water colour. 
 
 H. Study of Dock Leaves 
 
 7f x 5£. Pencil. 
 
 Also a group of children, seated. 
 
 I. A Boar Hunt. 
 
 7 1 x 11. Pencil. 
 
 Water mark, 1795. 
 
 Probably a copy. 
 
 J. Distant Buildings : two landscape strips. 
 
 fi x 7^. Water colour. 
 
 K. Boreas. 
 
 4-f x 5§. Pen and ink. 
 
 L. Studies of Clouds. 
 
 85 x 6 ^. Water colour ; blue and black. 
 
 M. A Cottage. 
 
 34 x 4\. Pen and wash. 
 
 (Query by Turner.) 
 
 N. An Aged Beggar. 
 
 10| x 9-f. Pencil, red chalk and wash. 
 
 Reverse : A sleeping cat. Red chalk and wash. 
 
 Water mark, 1794. 
 
 O. An Old Man and Boy. 
 
 13| x 9|. Water colour. 
 
 Signed, “ W. T 
 
 P. Two Soldiers. 
 
 13^ x 94. Water colour. 
 
 Reverse : Profile of man with open mouth. Pencil. 
 
 Signed, “ W. T." 
 
 (Query copy.) 
 
60 
 
 TURNER DRAWINGS. [XXIX, XXX.] 
 
 Q. A Man’s Head. 
 
 9] x 6§. Stump, black and red chalk. 
 
 R. A Lost Profile and Hands. 
 
 131 x 10 2 - Pencil and red chalk. 
 
 S. Landscape, with Ruined Castle on Hill in centre 
 
 and Town beyond. 
 
 10]- x 14]. Water colour. 
 
 T. Landscape, with Building's and Ruined Castle on 
 
 Hill. 
 
 9| x 13]. Water colour. 
 
 U. The Mouth of the Severn (?). 
 
 11] x 18 J. Water colour. 
 
 V. Part of Interior of Ely Cathedral (?). 
 
 12] x 10]. Pencil, on sugar loaf paper. 
 
 W. Part of Interior of Ely Cathedral (?). 
 
 12] x 10]. Pencil, on sugar loaf paper. Written in margin, 
 in ink — “ Out of Invent. 378. J.R.” 
 
 X. Cottag’e Interior. 
 
 7] x 10]]. Water colour, carefully finished and signed in 
 two places, “ IF. Turner .” 
 
 Exhibited Drawings, No. 406, N.G. 
 
 Perhaps “ Internal of a Cottage : a study at Ely,” exhibited 
 R.A., 1796. 
 
 (24 drawings.) 
 
 1798 * (AET. 21). 
 
 XXX .-" STUDIES NEAR BRIGHTON” SKETCH BOOK. 
 
 Schedule No. 349. 
 
 Sketch book, bound in leather, with title “Views’ 
 printed in gold letters on red label on back. 
 
 Turner’s label on back — “ 22 . Studies, Brighton f,” — 
 “ Studies near Brighton ” written in ink on one of 
 covers. 
 
 Executor’s endorsement — “ No. 349. Contains 27 
 leaves in pencil and color. (Signed) C. Turner.” 
 
 Water mark — 1794. 
 
 Size of page — 4] x 5. 
 
 Some of the leaves are white, the remainder blue ; 
 a number of the blue leaves have been prepared with 
 a wash of brown. 
 
 Mr. Ruskin’s endorsement on wrapper — “349 i nvent. 
 Two studies of pigs cut out. One or two interesting 
 waggons and sheep left.” 
 
[XXX.] STUDIES NEAR BRIGHTON. • 
 
 61 
 
 Page 1. Commencement of sketch. 
 
 „ 2. Line of cliffs on coast. 
 
 ,, 3. A waggon, with team of horses and waggoner. Water 
 
 colour. 
 
 (Leaf cut out.) 
 
 „ 4. Studies of sheep. Water colour. Also, A pack-horse. 
 
 Pencil. 
 
 „ 5-25. Blank. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 ’9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 26. Prow of sailing packet. 
 
 2 6a. ) The Town Cross, Chichester. 
 
 27. [ 
 
 28. Vessel sailing. 
 
 29. Scene on deck of sailing vessel ; passengers sitting 
 
 about. 
 
 30-31. Blank. 
 
 31a. ) Hills sloping to the sea. 
 
 32. \ 
 
 32 a. Capital of pillar and other architectural details. Pro- 
 bably of the interior of Chichester Cathedral. 
 
 33. 
 
 Part of interior of Chichester 
 
 Cathedral (?). 
 
 33a. 
 
 Do. 
 
 Do. 
 
 34. 
 
 Do. 
 
 Do. 
 
 35. 
 
 (Leaf torn out.) 
 Lighthouse and cliffs. 
 
 
 (Leaf torn out.) 
 36-47. Blank. 
 
 
 48. 
 
 Ruins of church. 
 
 
 48a. 
 
 Side view of sailing boat. 
 
 
 49. 
 
 Blank. 
 
 
 49a. i 
 
 | Cottages and cliffs. 
 
 
 50. ' 
 50a. j 
 
 f 
 
 1 Front view of fishing boat. 
 
 
 51. j 
 
 51a. 
 
 ► 
 
 Passengers on sailing boat. 
 
 
 52. : 
 
 Blank. 
 
 
 52a. Side view of sailing vessel. Water colour. 
 
 53-57. Blank. 
 
 58. Sailing boat. 
 
 5 8a. Rowing boats. 
 
 59-84. Blank. 
 
 85. Study of clouds. Water colour. 
 
 86. Blank. 
 
 87. Study of clouds over sea. 
 
 88. Blank. 
 
 88a. Waggon with horses ; back view. Pencil and white 
 chalk. 
 
 89. Peasant women and children. Pencil and white chalk. 
 89a. Study of sea. Water colour. 
 
 90. Blank. 
 
 90a. Boat with fisherman. 
 
 91. Two students in caps and gowns walking. 
 
 92. Unloading vessel at low tide. Water colour. 
 
62 
 
 TURNER DRAWINGS. [XXX, XXXI.] 
 
 Page 93. Study of pigs, — Exhibited Drawings, No. 565a, N.G. — 
 together with a study of a donkey. 
 
 [Mr. Ruskin says of these studies : — “ Both 
 wonderful, quite beyond telling. There is an 
 etching of Rembrandt’s which approaches the upper 
 study, but by no means equals it. Examine it for 
 a quarter of an hour through a magnifying glass and 
 you will see something of what it is.” See Cook’s 
 “ Ruskin on Pictures,” p. 232.] 
 
 „ 94. Study of pigs. Exhibited in frame of “ Five Studies,” 
 
 No. 407, N.G. 
 
 „ 95. Study of head of rowing boat. Sepia and Chinese white. 
 
 No. 5345, N.G. 
 
 ,, 96. Study of stern of rowing boat. Sepia and white. 
 
 No. 534c, N.G. 
 
 „ 96a. Group of men and women walking and holding hands 
 
 of a little girl. Reverse of No. 534c, N.G. 
 
 (30 leaves drawn on.) 
 
 1796 * (AET. 21). 
 
 XXXI.— MONOCHROME DRAWING COPIES- 
 
 It is difficult to account for the existence of these 
 drawings or to be sure that they are Turner’s work, 
 the style being so different from his ordinary manner. 
 
 It is possible that they may have been done as 
 drawing copies, or improvised in the presence of 
 pupils, as was the habit with drawing masters of 
 this period. The notes at the back of some of the 
 drawings — “ Win. Turner” and “Mr. Turner’s 
 drawing,” with a number — also point to their use as 
 drawing copies. 
 
 A. " Pont-y-Pridd, Glamorganshire.” 
 
 10^ x 14f. Wash ; blue and black. 
 
 Title written in pencil on back by Turner 
 
 B. Cottage with Trees. 
 
 6| x 94. Wash ; black and green. 
 
 On back — “ 67 ." 
 
 C. Houses and Trees. 
 
 64 x 94. Wash ; Indian ink. 
 
 On back — “Mr, William Turner ,” written twice in pencil 
 
[XXXI.J MONOCHROME DRAWING COPIES. 
 
 63 
 
 D. Group of Houses. 
 
 7 x 10f. Wash ; Indian ink. 
 
 Reverse : Commencement of sketch of Bridge, Lewes, 
 Sussex, in pencil. Of. XXXI I. B. 
 
 E. Warehouses beside River, with Vessels. 
 
 9| x 10|. Wash ; Indian ink. 
 
 On back, in ink — “ Mr. Turner." 
 
 F. Bridg*e with Hills ; large rocks in stream 
 
 9g x 12f. Wash ; Indian ink. 
 
 Probably a scene in Wales. 
 
 On back, in ink — “ W. Turner. 59." 
 
 G. Scene at Lewisham. 
 
 9| x 1()§. Wash ; Indian ink. 
 
 On back — “ 63. Lewisham." 
 
 H. Landscape with Tree. 
 
 8£ x 10j. Wash ; Indian ink. 
 
 I. River, with Ruins and Mountains. 
 
 9^ x 11. Wash ; blue and black. 
 
 On back — “ 66." 
 
 J. Bridge, with Tower and Houses. 
 
 9| x 12j. Wash ; blue and black. 
 
 On back — “ K." 
 
 K. An Inn, with Trees and Figures. 
 
 10g x 131?. Wash ; Indian ink. 
 
 On back— “ 57." 
 
 L. River Scene, with Ruins of Castle on Hill in 
 
 middle distance. 
 
 10i x 14f. Wash ; black and blue and brown. 
 
 M. A Church ; Query at Mickleham, Surrey. 
 
 7} x 9. Wash ; Indian ink. 
 
 N. Moonlight, with Ruin and Trees. 
 
 About 10g x 12|. Chalk and Indian ink on rough grey 
 paper. 
 
 2nd Loan Collection, No. 80. 
 
 (14 drawings.) 
 
64 
 
 TURNER DRAWINGS. 
 
 [XXXII.] 
 
 1796 # (AET. 21). 
 
 XXXII— COLOURED DRAWING COPIES. 
 
 All these drawings are worked over a monochrome 
 basis. See also remarks under “ Monochrome Draw- 
 ing Copies ” (XXXI). 
 
 A. Battersea Bridge. 
 
 8 x 13. Water colour. 
 
 Water mark— “ E. R. 179—.” 
 
 2nd Loan Collection, No. 62. 
 
 B. Bridge ; Lewes, Sussex. 
 
 5 8 x 8^. Water colour. 
 
 On back — “ 68. Lewes, Sussex." 
 
 0. A Water Mill. 
 
 lOf x 8. Water colour. 
 
 On back — “ 39." 
 
 D. Bridge, with Ooach and Horses crossing 
 
 8| x 11. Water colour. 
 
 On back, in ink — “ W. T." and “ Mr. Turner's drawing ” 
 (written twice). 
 
 E. River, with Church and distant Mountains. 
 
 6f x 8|. Water colour, mounted, with border. 
 
 On back, in pencil — “ Bad." 
 
 F. River Scene, with Ferry and Ruins of Castle on 
 
 Hill. 
 
 8^ x lOlr. Water colour. 
 
 On back, in pencil — “ Mr. Turner." 
 
 G. Castle hy the Road Side. 
 
 8-g x 11. Water colour. 
 
 H. “Aylesford, Kent.’’ 
 
 8-£ x 10|. Water colour. 
 
 On back, in pencil — “ 70. Aylesford, Kent." 
 
 1. Cottage and Church. 
 
 9 x 10-L Water colour. 
 
[XXXII.] COLOURED DRAWING COPIES. 
 
 65 
 
 J. Barn beside Stream, with distant Church Tower. 
 
 8 t V x 10J. Water colour. 
 
 K. Blasted Oak beside Stream, with distant Church 
 
 Tower. 
 
 lOf x 10^. Water colour. 
 
 L. Cottage, with Hop-poles. 
 
 7£ x 11 J. Water colour. 
 
 Mounted, with small border. 
 
 On back, in pencil — “ Mrs. Elizabeth Davies. Lewisham, 
 Kent ,” &c. 
 
 M. Bridge, with Cottages and Church on distant Hill. 
 
 5§ x 9£. Water colour. 
 
 N. A Water Mill. 
 
 9£ x 6|. Wash ; Indian ink and brown. 
 
 O. Raglan Castle (?). 
 
 About 8-j x 10|. Water colour. 
 
 Exhibited Drawings, No. 857, N.G. 
 
 (15 drawings). 
 
 1796 - 1797 * vAET. 21-22). 
 
 XXXIII.— WATER COLOURS, &c. : FINISHED AND 
 UNFINISHED. 
 
 A. One-arched Bridge, with distant Mountains. 
 
 10§ x 17. Water colour. 
 
 Rocks in bed of stream in foreground, cottage with trees 
 beside bridge, three cows about to cross bridge, with two 
 women washing clothes on river bank. 
 
 Welsh scene, showing influence of Richard Wilson. 
 
 Water mark — “ J. Whatman, 1794.” 
 
 On back — A ground-plan and an architectural diagram, in 
 pencil. 
 
 B. An Iron Foundry. 
 
 9| x 13^. Water colour. 
 
 32796 E 
 
66 
 
 TURNER DRAWINGS. [XXXIII.] 
 
 G. Road beside River, with Trees, Rocks, and distant 
 Houses. 
 
 9 x 134. Water colour. 
 
 D. River, with steep rocky banks. 
 
 9^ x 15. Water colour. 
 
 Water mark — J. Whatman, 1794. 
 
 E. A Gravel Pit : Workmen lunching*. 
 
 17 x 14f. Water colour, with pen outlines. 
 
 F. Ruined Abbey, with Gattle. 
 
 6f x 9|. Water colour. 
 
 Water mark — .J. Whatman, 1794. 
 
 G. Oottag*e, with Garden and distant Ohurch Tower, 
 
 7 1 x 11. Water colour. 
 
 H. A View of Windsor Gastle. 
 
 18 x 28|. Water colour. 
 
 Hill, with river, vessels at a wharf and houses in fore- 
 ground ; the castle in middle distance. 
 
 I. Copy of Wilson’s “ Landscape, with Fig*ures.’ 
 
 7f x 9^. Water colour. 
 
 On back, in ink — “ 107. Study from Wilson .” 
 
 The original of this drawing is now in the National Gallery 
 (No. 1290), having been bequeathed by Mr. J. S. Beckett, in 
 1889. 
 
 From the numerous differences in detail between the copy 
 and original, I am inclined to think Turner must have been 
 working to some extent from memory. 
 
 J. Carisbrook Gastle from the River. 
 
 7| x 10|. Water colour. 
 
 Formerly No. 49, 4th Loan Collection, as “ River Lock, with 
 Castle in distance.” 
 
 K. Foreshortened study of Sailing* Boat. 
 
 About, 7f x lOJ. Water colour, on coarse grey paper. 
 Printed on boat — “ Bri . . ton." 
 
 Exhibited Drawings, No. 534a. N.G. 
 
 L. Sea Breeze. 
 
 About 5^ x 8R Water colour, on yellow sugar-loaf paper. 
 Exhibited Drawings, No. 699a, N.G. 
 
[XXXIII.] WATER COLOURS, 1796-1797. 
 
 67 
 
 M. Old Westminster Bridge. 
 
 About 5^- x 8-1. Water colour, on yellow sugar-loaf paper. 
 Exhibited Drawings, No. 6995, N.G. 
 
 N. Moonlight on Sea. 
 
 About 5£ x 8^. Water colour, on yellow sugar-loaf paper. 
 Exhibited Drawings, No. 699c, N.G. 
 
 O. Shakespeare Cliff, Folkestone. 
 
 About 7f x lOf. Unfinished water colour, on sugar-loaf 
 paper. 
 
 Exhibited Drawings, No. 718, N.G. 
 
 P. Sea and Boa,ts, 
 
 About 7 1 x lOf. Watercolour, on sugar-loaf paper. 
 Exhibited Drawings, No. 722, N.G. 
 
 Q. Men at Windlass drawing fishing boat out of surf. 
 
 7 t \ x lOf . Water colour, on sugar-loaf paper. 
 
 Exhibited Drawings, No. 726, N.G. 
 
 R. Sea Piece. 
 
 7| x lOy-J-. Water colour, on sugar-loaf paper. 
 
 Exhibited Drawings, No. 730, N.G. 
 
 S. Dunstanborough Castle. 
 
 7^4 x lOf . Water colour, on sugar-loaf paper. 
 
 Perhaps a sketch for Mr. E. F. Milliken’s oil of this subject. 
 See Armstrong’s “ Turner,” p. 215. 
 
 Exhibited Drawings, No. 739, N.G. 
 
 T. Tynemouth. 
 
 About 8 x 11. Water colour, on sugar-loaf paper. 
 Exhibited Drawings, No. 762, N.G. 
 
 U. Old London Bridge. 
 
 10]- x 14|. Water colour, unfinished. 
 
 Exhibited Drawings, No. 788, N.G. 
 
 V. Old Buildings. 
 
 About 5 t V x 8fV Water colour. 
 
 Exhibited Drawings. No. 811 N.G. 
 
 W. Old Westminster Bridge. 
 
 4£ x 6£. Water colour, on sugar-loaf paper. 
 
 See Engraving published in “The Itinerant,” Aug. 1, 1797. 
 Exhibited Drawings, No. 81 6«, N.G. 
 
 32796 E 2 
 
68 
 
 TURNER DRAWINGS. [XXXIII.] 
 
 X. Scene off Coast. 
 
 3f x 5-j. Water colour. 
 
 Exhibited Drawings, No. 8186, N.G. 
 
 Y. A Country Lane. 
 
 3 x 5f\. Water colour, with margin. 
 
 Exhibited Drawings, No. 818c, N.G. 
 
 Z. Abbey Ruins. 
 
 16| x lOf . Water colour. 
 
 On back — '■'•Mrs. Ford.” 
 
 4th Loan Collection, No. 9. 
 
 a. Water Mill and Stream. 
 
 Oval, 9§ x Ilf. Oil, on prepared paper or board. 
 
 The oval had once been mounted on a stout piece of cart- 
 ridge, with decorative margin, probably by Turner himself. 
 Most of this margin has now been cut away. 
 
 Signed, “ W. Turner.” 
 
 This is probably one of Turner’s earliest paintings in oil. 
 
 b. Ruined Cliurch beside River, with Cattle in fore- 
 
 ground. 
 
 About 8x6. Oil, on thick and ragged piece of canvas. 
 
 This may possibly not be by Turner ; if it is, it is an early 
 experiment. 
 
 On back — Two rough sketches of a head, in white chalk. 
 
 c. Town on Hill with Ruined Tower. 
 
 4^- x 6f. Unfinished water colour. 
 
 Perhaps not Turner’s work. 
 
 d. Study of Cows. 
 
 On board, 6x7. Water colour. 
 
 e. Sea Piece. 
 
 13| x 23. Water colour, on sugar-loaf paper. Edges torn. 
 
 f. Sea Piece : Men in small sailing boat taking down 
 
 sail, with large vessel in far distance. 
 
 Ilf x 13f. Water colour, on sugar-loaf paper. 
 
 g. The Port of Leghorn (?). 
 
 17 x 21f. Watercolour. Possibly based on an engraving. 
 
 (33 drawings.) 
 
L xxxiv.] 
 
 69 
 
 1797 (AET. 22). 
 
 XXXIV.— NORTH OF ENGLAND SKETCH BOOK. 
 
 Schedule No. 178. 
 
 Sketch Book, bound in calf, with four brass clasps. 
 
 Turner’s manuscript label on back has been torn off. 
 
 On front of cover the following has been written 
 in colour : — 
 
 “ Derbyshire. 
 
 Yorkshire. 
 
 Durham. 
 
 Northum berland. 
 
 Tweedale, Scotl d . 
 
 Lincolnshire 
 
 Northamptonshire." 
 
 Executor’s endorsement : “ 178. (Sgd.) George 
 Jones.” 
 
 Size of page, lOf x 8|. 
 
 Water mark : “ J. Whatman, 1794.” 
 
 Mr. Ruskin’s endorsement: “ Inventory No. 178. 
 
 Very valuable early pencil, containing original 
 sketches of Kirkstall and Egglestone of Yorkshire 
 series, Dunstanborougli of Liber, Alnwick and Boston 
 of England, and Bamborough, large. A beautiful 
 Jedburgh, Whitby, Tynemouth, Melrose, &c. 3 taken 
 
 out, namely, York, Boston, and Kirkstall crypt.” 
 
 On inside cover is written : — 
 
 “ Mr. Lacelles , Harwood Castle. L. 
 
 Air. Lacelles , Harwood Castle. L. 
 
 Mr. Munden, Holy Island. L. 
 
 Air. Lambert , Holy Island. S. 
 
 Mr. Kirthall, Harwood Castle. S. 
 
 Air. Lamburt , Ambleside Mill. L. 
 
 Hon. Mr. Lacelles , Kirkstall. L. 
 
 Air. Hoivlett , Boston Church. V.S. 
 
 Mr. Hewlett , Louth Church. V.S." 
 
 Rage 1. A ruined manor house. Probably Wingfield Manor, 
 Derbyshire. Pencil, with few washes of sepia and 
 Indian ink. 
 
 „ 2. Ruined manor house on hill, seen from a distance. The 
 
 same as page 1. 
 
 „ 3. A church with tall spire, surrounded by houses and trees. 
 
 „ 4. Conisborough Castle ; water mill in foreground. (About 
 
 midway between Doncaster and Rotherham, on banks 
 of River Dun, West Riding, Yorkshire.) 
 
 „ 5. Doncaster Church. 
 
70 
 
 TURNER DRAWINGS. [XXXIV.] 
 
 Page 6. Interior of church or cathedral. Doncaster Church. 
 
 99 
 
 59 
 
 59 
 
 99 
 
 59 
 
 19 
 
 19 
 
 15 
 
 95 
 
 55 
 
 95 
 
 99 
 
 59 
 
 99 
 
 59 
 
 7. Pontefract Church, Yorkshire. 
 
 8. Another view of the same ruins, showing octagonal 
 
 castellated tower. 
 
 9. Another view of same ruins. 
 
 10. The Chantry, Wakefield. On back is written “ G. Z>.” 
 
 (An engraving of Wakefield from a drawing by 
 Turner was published in “ Copperplate Magazine ” for 
 June, 1798. This shows more of both banks of river, 
 but the view of the Chantry is somewhat similar to this 
 drawing.) 
 
 10a. Kirkstall Crypt. Pencil, partly coloured. 
 
 The water colour (exhibited Royal Academy, 1798) 
 of “Refectory of Kirkstall Abbey, Yorkshire,” now in 
 Sir John Soane’s Museum, was based on this drawing. 
 
 Exhibited Drawings, No. 403, N.G., as “ Kirkstall 
 Abbey.” 
 
 11. Kirkstall Crypt. 
 
 12. Kirkstall Abbey. 
 
 13. General view of Kirkstall Abbey. 
 
 14. Another general view of Kirkstall Abbey. 
 
 15. Distant view of Kirkstall Abbey, showing surrounding 
 
 country. 
 
 16. A nearer view of Kirkstall Abbey, with reflections in 
 
 river in foreground. 
 
 The water colour based on this drawing is now in 
 possession of the Rev. E. S. Dewick. It is said to have 
 come from the collection of the Earl of Harewood. 
 
 17. Ruined manor house [?] 
 
 18. Ruined castle on hill. ? Knaresborough. 
 
 19. Ripon Cathedral, from the South-East. 
 
 20. Part of the west front of Ripon Cathedral. 
 
 21. Only a few preliminary lines of an architectural drawing. 
 
 22. Ruins. Probably at or near Ripon, on banks of River 
 
 Nidd. 
 
 23. Ruined abbey among foliage, on banks of winding river. 
 
 24. Rnins of abbey ; perhaps St. Agatha’s, Easby. 
 
 25. St. Agatha’s Abbey, Easby. 
 
 The drawing engraved by J. Le Keux, and pub- 
 lished on 14th February, 1822, in Whitaker’s “ Ricli- 
 mondshire,” was based on this sketch. 
 
 Cf. Large water colour of Easby Abbey in Man- 
 chester Whitworth Institute (No. 74). 
 
 26. Richmond, Yorks. 
 
 27. Egglestone Abbey, near Barnard Castle. 
 
 The engraving published December, 1822, in 
 Whitaker’s “ Richmoudshire ” was based on this 
 drawing, 
 
 28. Cattle crossing one-arched bridge ; ruins of abbey, with 
 
 farmhouse on an eminence beyond. 
 
[XXXIV.] NORTH OF ENGLAND SKETCH BOOK. 71 
 
 Page 29. Barnard Castle ; bridge on right. 
 
 „ 30. Barnard Castle, with bridge on left. 
 
 „ 31. Old houses on Elvett Bridge, Durham. 
 
 „ 32. Ruined abbey among hills, with river in foreground. 
 
 „ 33. Tynemouth Priory. Part finished in water colour. 
 
 „ 33a. Leaf torn out. 
 
 „ 34. River and shipping. Probably near mouth of River 
 Tyne. 
 
 „ 35. Tynemouth Priory seen from opposite bank of Tyne. 
 
 Pai’tly coloured. 
 
 The engraving published in “ England and Wales ” 
 series (1831) seems to have been based on this 
 drawing. 
 
 Exhibited Drawing No. 762 (XXXIII, T) 
 represents an earlier design for same subject. 
 
 „ 36. “ W ernesbeck.” Two figures on rustic wooden bridge 
 
 over River Wansbeck. 
 
 „ 37. Warkworth Castle. 
 
 ,, 38. Warkworth Castle from river. 
 
 A water colour based on this sketch was exhibited 
 at Agnew’s Gallery, 1905. 
 
 „ 39. Interior of Warkworth Castle (?). 
 
 „ 40. Warkworth Castle ; River Coquet in foreground. 
 
 The water colour exhibited Royal Academy, 1799, 
 (now in Victoria and Albert Museum), was based on 
 this drawing. 
 
 „ 41. Warkworth Castle, with bridge in foreground on right. 
 
 „ 42. A gateway, with four square-shaped castellated towers. 
 
 „ 43. A church, with well and figures drawing water in fore- 
 ground. 
 
 ,, 44. Alnwick Castle and bridge. 
 
 Gf. engraving published, 1830, in “ England and 
 Wales ” series. 
 
 „ 45. Dunstanborough Castle. 
 
 Gf. Engraving published March, 1830, in “ England 
 and Wales ” series ; also “Liber” plate (R. 14), and 
 Exhibited Drawing No. 485, N.G. 
 
 ,, 46. Dunstanborough Castle. 
 
 „ 46a. Dunstanborough Castle. Water colom . 
 
 Exhibited Drawing No. 633, N.G. 
 
 „ 47. Bamborough Castle. 
 
 ,, 48. Bamborough Castle. 
 
 „ 49. Bamborough Castle. 
 
 „ 50. Lindisfarne Church, Durham. (Holy Island). Parts of 
 nave and central tower. Pencil and sepia. 
 
 „ 51. Ruins of Lindisfarne, with castle in distance. 
 
 „ 52. Lindisfarne Church. Interior of west end. 
 
 , 53. Lindisfarne Church. Parts of nave and central tower. 
 
72 
 
 TURNER DRAWINGS. 
 
 [XXXIV.] 
 
 Page 54. 
 
 Lind iff arne Church. Interior, showing three rows of 
 Norman columns and arches. (Exhibited Drawing 
 No. 404, N.G.) 
 
 Of. “Liber” plate of “Holy Island Cathedral” 
 (No. 11, published 20th February, 1808). 
 
 Design for “Liber” plate, No. 481, N.G. 
 
 „ 55. 
 „ 56. 
 
 Lindisfarne Church. Interior. 
 
 Town with bridge : Berwick-on-Tweed. 
 
 56a. “ Berwick-on-Tweed." Evening effect. Pencil, with 
 
 „ 57. 
 
 washes of black, blue, and yellow. 
 
 No. 4, in 3rd Loan Collection. 
 
 Norham Castle. 
 
 Gf. Water colours in possession of Laundy Walters, 
 Esq., and Mrs. Thwaites (one of these drawings was 
 exhibited Royal Academy, 1798) ; also “ Liber ” 
 plate, No. 57, published 1st January, 1816 (original 
 drawing, No. 480, N.G.). 
 
 I have not seen either of these water colours, but 
 the reproduction of Mr. Walters’ in Armstrong’s 
 “ Turner,” p. 34, agrees very closely with this sketch. 
 The “ Liber” plate shows considerable alterations. 
 
 „ 58. 
 „ 59. 
 „ 60. 
 „ 61. 
 
 Kelso Abbey ; north transept. 
 
 Kelso Abbey. 
 
 Melrose Abbey ; interior. 
 
 Melrose Abbey. Distant view, with water mill in fore- 
 ground. 
 
 „ 62. 
 „ 63. 
 „ 64. 
 „ 65. 
 „ 66. 
 „ 67. 
 
 Ruins of Dryburgh Abbey. 
 
 Jedburgh Abbey, from the river. 
 
 West front, Jedburgh Abbey. 
 
 Bootham Bar, with York Cathedral. 
 
 Interior of York Minster. 
 
 Ruins of Harewood Castle, Yorkshire ; east side (near 
 Leeds and Harrogate). On back : “ Wm. Blake." 
 
 Gf. Water colour in possession of Holbrook 
 Gaskell, Esq., incorrectly described as “ Hornby 
 Castle.” 
 
 68. 
 „ 69. 
 
 Harewood Castle ; west side. 
 
 Distant view of Harewood Castle from the west ; river 
 in foreground. 
 
 „ 70. 
 „ 71. 
 
 A few lines of commencement. 
 
 Another distant view of Harewood Castle from the 
 west. 
 
 „ 72. 
 „ 73. 
 „ 74. 
 „ 75. 
 „ 76. 
 
 Distant view of Harewood Castle from the N.E. 
 
 Nearer view of Harewood Castle from N.E. 
 
 Portion of Interior of Harewood Castle. 
 
 Ruined abbey. 
 
 Commencement of drawing of front view of gentleman’s 
 seat; faijade with four Corinthian pillars. Harewood 
 House. 
 
[XXXIV.] NORTH OF ENGLAND SKETCH BOOK. 73 
 
 A water colour drawing of Hare wood House, 
 signed 1798, is now in possession of the Dowager 
 Countess of Wharnclyffe, Wortley Hall ; it was en- 
 graved and published in “ LoidiS and Elrnete.” 
 
 Rage 77. Ruins of Howden Chapter House. 
 
 „ 78. Howden Church, showing ruins of Chapter House. 
 
 „ 78a. Leaf cut out. 
 
 „ 79. Cathedral or abbey church, with houses in foreground. 
 
 Query Beverley Minster. 
 
 „ 80. Louth, Lincolnshire. 
 
 The water colour engraved by W. Radclylfe, and 
 published, 1829, in “ England and Wales ” series, was 
 founded on this drawing. 
 
 „ 81. Another view of St. James’s, Louth. 
 
 „ 81a. Tower of Boston, Lincolnshire. 
 
 For continuation of drawing see back of p. 81. 
 Exhibited Drawings, No. 524 c, N.G. 
 
 ,, 82. Boston, Line., from the river. 
 
 The Water colour engraved by T. Jeavons, and 
 published, 1835, in “England and Wales” series, was 
 founded on this drawing. 
 
 „ 83. Sleaford Church. 
 
 Of. engraving published 1801 in B. Howlett’s 
 “Views in the County of Lincoln.” 
 
 Original drawing (much faded), Christie’s, June, 
 1908 — Humphrey Roberts’ sale. 
 
 „ 84. Street with old gateway at end, and church spire rising 
 
 above houses. (? Grantham.) 
 
 „ 85. Front of mansion. 
 
 „ 86. Stamford, Lincolnshire. 
 
 The water colour, engraved by William Miller, and 
 published, 1830, in “England and Wales” series, was 
 founded on this drawing. 
 
 „ 87. Interior of cathedral. Probably Peterborough. 
 
 „ 88. Another view of interior of same cathedral. 
 
 A number of leaves at end of book have been torn 
 or cut out. 
 
 „ 89. Fountains Abbey. Pencil, partly coloured. Exhibited 
 Drawings, No. 727, N.G. 
 
 „ 90. Interior with figures. 
 
 On back : ruins of abbey adjoining modern houses. 
 
 „ 91. Exterior of York Cathedral. South transept, with one 
 
 of the west towers. 
 
 (95 leaves drawn on). 
 
TURNER DRAWINGS. 
 
 [XXXV.] 
 
 74 
 
 1797 (AET. 22). 
 
 XXXV. — " TW'EED AND LAKES” SKETCH BOOK. 
 
 Schedule No. 141. 
 
 Sketch book, bound in calf, with seven brass 
 clasps ; now dismembered. 
 
 On outside of one of the covers — 
 
 “ Yorkshire. 
 
 Tweed. 
 
 Lakes of Cumberland- Westmoreland. 
 
 Lancashire. 
 
 York.” 
 
 The book had at one time a parchment label on 
 the back with an endorsement in Turner’s writing. 
 This has been almost destroyed when the covers 
 were broken off ; the only words of this label that 
 now remain are — “ . . Tweed and Lakes . . .” 
 
 Size of page — 14§ x 10g. 
 
 Water marks — “E. & P. : 1796,” ; and “ J. Whatman, 
 1794.” 
 
 Executor’s endorsement — “ No. 141. f Signed) 
 C. Turner.” 
 
 The following pages were found chiefty in four 
 parcels, marked A.B. 101 P.R., A.B. 102, 103, and 
 104 P.R. The broken covers were found separately. 
 
 Mr. Ruskin seems to have numbered the leaves in 
 pencil on the back when he dismembered this book ; 
 his pagination is followed from pp. 1-76. 
 
 On inside of cover is written — 
 
 “ Anibleside Mill — Mr. Lambert. 
 
 Durham C. Castle — Mr. Hoppner. 
 
 Page 1. The Chapel on Rotherham Bridge, Yorkshire. 
 
 „ 1a. The Chantry, Wakefield. Pencil, partly washed with 
 
 brown and grey. 
 
 „ 2. Interior of ruins of Kirkstall Abbey. 
 
 „ 3. West front of Kirkstall Abbey. On margin, written in 
 
 ink — “ Melrose ? J.R.” 
 
 „ 4. Missing. 
 
 „ 5. Interior of Ripon Cathedral. 
 
 „ 6. Interior of north transept, Ripon Cathedral. 
 
 „ 7. “ East end of Fountain’s Abbey.” 
 
 „ 8. Street in Ripon leading to west front of cathedral. 
 
 „ 9. “ Richmond , Yorkshire.” 
 
 Oxford Loan Collection, 9-29. 
 
 „ 10. Interior of Durham Cathedral. 
 
 No. 11 in 4th Loan Collection. 
 
 ,, 11. Durham from the Low Bridge. 
 
 Oxford Loan Collection, 10-26. 
 
 „ 12. Interior of Durham Cathedral. 
 
 No. 10 in 4th Loan Collection. 
 
 ,, 13. The Nave and North Aisle of Durham Cathedral. 
 
 On back — “ 9 by 12. Mr. Taylor.” 
 
[XXXV.] TWEED AND LAKES SKETCH BOOK. 75 
 
 Page 14. 
 
 99 
 
 15. 
 
 16. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 23. 
 
 24. 
 
 25. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 26. 
 
 27. 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 33. 
 
 99 
 
 34. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 35.. 
 
 36. 
 
 37. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43. 
 14. 
 
 45. 
 
 46. 
 
 47. 
 
 48. 
 
 49. 
 
 50. 
 
 51. 
 
 99 
 
 99 
 
 52. 
 
 53. 
 
 Durham Cathedral and City ; Elvett Bridge in fore- 
 ground. 
 
 Durham from the Weir. 
 
 Oxford Loan Collection, 11-27. 
 
 Interior of Melrose Abbey. 
 
 On margin, written in ink — “ Melrose. J.R.” 
 Oxford Loan Collection, 12-30. 
 
 Melrose. 
 
 Oxford Loan Collection, 13-31. 
 
 “ Keswick." 
 
 View of Cockermouth, with castle on right. 
 
 “ Castle Craig." 
 
 “ Borrowdale." 
 
 Borrowdale. ‘■‘•Do." 
 
 “ Keswick." 
 
 Keswick. “ Do." 
 
 On water is written — “ Perfect Reflec." 
 
 Keswick. “ Do." 
 
 “ Buttermere." 
 
 Buttermere. “ Do." 
 
 “ Cromek Water." 
 
 “ Bassenthwaite ." 
 
 “ Kesivick." 
 
 “ St. John's Vale." 
 
 “ Grasmere." 
 
 Oxford Loan Collection, 7-25. 
 
 “ Rydal." 
 
 Oxford Loan Collection, 6- 24. 
 
 “ Lead Mines." 
 
 “ Langdale." 
 
 *• Ulswater," with Helvellyn in distance. 
 
 Ullswater. “ Do." 
 
 Ullswater. “ Do." 
 
 “ Do. Gobarow." 
 
 Ullswater; Gowbarrow. “ Do." 
 
 Ullswater ; Gowbarrow. “ Do." 
 
 Ullswater ; Gowbarrow. “ Do." 
 
 “ Patterdale." 
 
 Patterdale. “ Do." 
 
 “ Goldrill Bridge." 
 
 Oxford Loan Collection, 4-22. 
 
 “ Browwater." Query Brotherswater. 
 
 “ Do." 
 
 Lake with mountains. 
 
 “ Rydal." 
 
 Oxford Loan Collection, 5-23. 
 
 “ Ambles ide Mill." 
 
 Oxford Loan Collection, 3-21. 
 
 A water colour based on this sketch at Messrs. 
 Agnews’ Gallery, 1905. Probably the drawing 
 exhibited Royal Academy, 1798. 
 
 “ Windermere." 
 
 Windermere. 
 
 Oxford Loan Collection, 1-19, as “ Lower end of 
 Coniston Water.” 
 
76 
 
 TURNER DRAWINGS. 
 
 [XXXV.] 
 
 Page 54. 
 
 11 
 
 11 
 
 11 
 
 11 
 
 56. 
 
 57. 
 
 58. 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 59. 
 
 60. 
 61. 
 62. 
 
 63. 
 
 64. 
 
 65. 
 
 66 . 
 
 67. 
 
 68 . 
 
 69. 
 
 70. 
 
 71. 
 
 72. 
 
 11 
 
 Id. 
 
 74. 
 
 11 
 
 7o. 
 
 76. 
 
 77. 
 
 ,, 78. 
 
 „ 79. 
 
 „ 80. 
 
 » 81 * 
 
 .. 82. 
 
 Lower end of Windermere. 
 
 Part of bottom of page cut off. On back Mr. Ruskin 
 has written — “ Turner’s title, ‘ Lower end of Winder. 
 J.R.” 
 
 Windermere. “ W." 
 
 Windermere (?). 
 
 “ Old Man." Coniston. 
 
 “ Coniston." Old houses beside lake. 
 
 Oxford Loan Collection, 2-20. 
 
 Old houses beside lake. “ Ditto." 
 
 “ Furness Abbey." 
 
 Furness Abbey. “ Ditto." 
 
 Furness Abbey. “ Ditto." 
 
 Fisherman’s cabin beside lake. 
 
 Lancaster. 
 
 Lancaster. 
 
 “ York." 
 
 Lancaster. 
 
 “ Bolton Abbey." 
 
 “ York." Old Ouse Bridge. 
 
 “ St. Mary's Abbey" and liork Minster from river. 
 
 St. Mary’s Abbey. “ Ditto." 
 
 “ Ouse Bridge," York. 
 
 Oxford Loan Collection, 8-28. 
 
 Interior York Cathedral ; looking down east transept 
 from nave. 
 
 Interior York Cathedral. 
 
 On back — Continuation of drawing on next page. 
 
 Interior of York Cathedral ; the choir. 
 
 Interior of York Cathedral. 
 
 [The following pages seem to belong to this book 
 judging by size of paper, style and subject, but as 
 they have been pasted down on pieces of cartridge it 
 is impossible to ascertain what numbers they bore ; 
 hence they cannot be fitted into their places.] 
 
 Lake Derwentwater with Skiddaw. Pencil, partly 
 coloured. 
 
 At one time No. 15 (now No. 9) in 4th Loan Collection. 
 
 Lodore Falls. Pencil, partly coloured. 
 
 View in the Borrowdale (?). (? Hawes Water.) Water 
 
 colour. 
 
 No. 73 in 1st Loan Collection. 
 
 Fountains Abbey. Pencil, partly coloured. 
 
 Exhibited Drawings, No. 625, N.G. 
 
 Fountains Abbey (?). Pencil, partly coloured. 
 
 No. 32 in 4th Loan Collection (now withdrawn). 
 
 Head of Derwentwater, with Lodore Falls and entrance 
 Borrowdale. Distance finished in water colour. 
 
 On back — “ Mr. Farington." 
 
 A water colour based on this sketch is now in 
 possession of Dr. Peatling, of Carshalton, Surrey. 
 This drawing is signed and dated, “ J. M. W. Turner, 
 Keswick, Augt. 1801,” and bears the following in- 
 scription on the back in Turner’s handwriting — “ To 
 Joseph Farrington, Esqre., with W. Turner’s Respects.” 
 
[XXXV.] TWEED AND LAKES SKETCH BOOK. 77 
 
 The drawing was purchased by Dr. Peatling from 
 a member of the Farington family. 
 
 Cf. XXXV1,H, for another version of this subject. 
 
 Page 83. Glaramara. Part finished in water colour. 
 
 „ 84. Buttermere Labe. Water colour. 
 
 Exhibited Drawings, No. 696, N.G. 
 
 „ 85. Mountain torrent. Part finished in water colour. 
 
 Oxford Loan Collection, 15-17. 
 
 „ 86. Transept and tower of York Cathedral. — York. 
 
 Exhibited Drawings, No. 5245, N.G. 
 
 ., 87. “ Grasmere Lake , Rydal Water." Part finished in 
 
 water colour. 
 
 On back — the above inscription and the number 
 “ 63." 
 
 Exhibited Drawings, No. 687, N.G., as “Welsh 
 Lake.” 
 
 „ 88. Rosthwaite Bridge, Borrowdale. 
 
 A water colour (painted about 1802) based on this 
 sketch is now in possession of Lord Joicey. 
 
 89 Durham, from Prebends’ Bridge. 
 
 (89 leaves drawn on.) 
 
 1797 * (AET. 22). 
 
 XXXVI.— SUB J EGTS CONNECTED WITH NORTH 
 OF ENGLAND TOUR. 
 
 A. The Chantry on Wakefield Bridge. 
 
 11| x 20. 
 
 B. York. 
 
 9f x 14f. River near foreground ; south-west view of 
 Cathedral above houses. 
 
 The same view as the large water colour of York in Print 
 Room (Henderson Bequest), described as a copy by Girtin 
 from Turner. 
 
 This drawing and the next (XXXYI, c), may be by Girtin. 
 
 C. York. 
 
 2% x 3y|. Drawing in blue and grey of above design ; on 
 small card. 
 
 D. Ripon, Yorkshire. 
 
 8^ x 10i Bridge near foreground, town with Cathedral 
 beyond. 
 
 Water mark, J. Whatman, 1794. 
 
 E. Ripon. 
 
 8£ x 101?. Town and cathedral from lower down river. 
 
78 
 
 TURNER DRAWINGS. [XXXVI.] 
 
 F. Interior of Ripon Cathedral. 
 
 15 x 17. 
 
 G. Interior of Durham Cathedral : Nave and South 
 
 Aisle. 
 
 30 x 23. Water colour. 
 
 H. Derwentwater, with the Falls of Lodore. 
 
 - 194 x 25. Water colour. 
 
 Water mark — T. Whatman, 1794. 
 
 Based on sketch on p. 82, “ Tweed and Lakes ” Sketch 
 Book ” (XXXVI). 
 
 I. Head of Derwentwater. 
 
 14^ x 21R Water colour. 
 
 J. Langdale Pikes (?). 
 
 21f x 30.7. Water colour. 
 
 K. Skiddaw from Derwentwater. 
 
 21| x 30. Water colour. 
 
 L. Coniston Old Man. 
 
 2L]- x 30. Water colour beginning. 
 
 M. A Water Mill. 
 
 x 10,V 
 
 N. Interior of Cathedral. 
 
 K + 10*. 
 
 Written in margin — 
 
 “ Starch." 
 
 and on hack — 
 
 “ x Louth , 
 
 Doncaster , 
 
 Wakefield, 
 
 Dronfield, 
 
 Kirkstall, 
 
 Sheffield , 
 
 Knaresborough." 
 
 O. Exterior of Chapel, with Norman gateway. 
 
 1011 x 8i. 
 
 Written on back — 
 
 “ Mr. Harris, 
 
 Wolverhampton , 
 
 Salisbury , 
 
 Keswick, 
 
 Cambridge, 
 
 Malsbury ( Malmesbury ), 
 
 Peterborough, 
 
 Acrington 
 
[XXXVI.] NORTH OF ENGLAND SUBJECTS. 
 
 79 
 
 P. Exterior of Giiapei. 
 
 10b 3 x 8*. 
 
 Written in margin, and on various parts of drawing — 
 
 “ Not half, 
 
 Red & Green, 
 
 Clay & Flint, 
 
 A light Beautyfull Pearly Green, 
 fine warm tint, rather red in part, 
 
 Cole (?) Brown & rather Gold, 
 
 Door almost white, 
 
 Broke, 
 
 Moss (?) at all the angles." 
 
 Q. Heath Old Hall (? near Wakefield). 
 
 x 10 X V. Paper tinted pink. 
 
 R. Dunstanborough Castle (1). 
 
 About 8f x 11^. Pencil and white chalk on rough brown 
 paper. Edges ragged. 
 
 S. Dunstanborough Castle (2). 
 
 About 10$ x 13. Pencil, white chalk and wash on rough 
 brown paper. 
 
 T. Dunstanborough Castle (3). 
 
 Ilf x 18f. Charcoal on white paper, very much dirtied 
 and blotted. 
 
 This drawing resembles closely the oil painting in posses- 
 sion of Mr. E. F. Mil liken, reproduced — Armstrong’s 
 “ Turner,” p. 215. 
 
 These three drawings may be studies for the oil painting 
 exhibited at the Royal Academy, 1798, and now in the Mel- 
 bourne City Art Gallei'y (presented by the late Duke of 
 Westminster). 
 
 U. Coniston Old Man (?). 
 
 26J x 33b Water colour beginning. 
 
 V. Richmond, Yorks. 
 
 16^ x 21-];. Water colour. 
 
 For later drawing based on this see CXCV1I, H. 
 
 W. A Mountain Stream. 
 
 21£ x 14b Water colour. 
 
 (23 drawings.) 
 
80 
 
 TURNER DRAWINGS. rXXXVII.] 
 
 1797 * (AET. 22). 
 
 XXXVII— THE " WILSON " SKETCH BOOK. 
 
 Schedule No. 361. 
 
 Leaf 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Small pocket book, bound in green leather, with 
 one brass clasp. 
 
 Labelled on back by Turner — “ 84. Studies for 
 Pictures. Copies of Wilson.''’ 
 
 The leaves are of grey paper, over which a wash 
 of brown has been passed. 
 
 Size of page, 4| x 3§. 
 
 Executor’s endorsement — “ No. 361 — 60 leaves of 
 sketches in colour. — (Signed) H. S. Trimmer.” 
 Inside cover is written in ink — 
 
 “ 2866 4 Dec'. 97. 
 
 6906 8 Dec. 97. 
 
 6765 3 Nov. 97. 
 
 4459 1 Dec r . 97." 
 
 1. View looking out to sea, with vessels in distance. 
 
 Water colour. 
 
 2. ) Study of sky. Water colour. 
 
 3. f 
 
 4. I On the sea shore. Water colour and white chalk. 
 
 5. I 
 
 6. I An autumn sunset. Water colour. 
 
 7. f 
 
 8. Sun setting over the sea ; lighthouse in middle 
 
 distance. Water colour. (Black and yellow.) 
 
 9. Foliage. Black and white chalk. 
 
 10. Soldiers bivouacking (?). Watercolour. 
 
 11. Vessels with sails set. Black and white chalk. 
 
 12. ) Study of clouds. Black and white chalk. 
 
 13. f 
 
 14. Woman carrying a baby. Water colour. 
 
 15. A few pencil lines, almost obliterated. 
 
 16. Boy running. Water colour. 
 
 17. Woman holding a baby in strong wind. Water colour. 
 
 18. Blank. 
 
 19. Seated nude female figure : a life study. Body colour. 
 
 20. Blank. 
 
 21. Peasants seated round a camp fire. Water colour. 
 
 22. ( River scene : evening effect,. Water colour. 
 
 23. ) 
 
 24. ( River scene : sunset. Water colour. 
 
 25. f 
 
 26. I Interior of a church, with figures partaking of Holy 
 
 27. ) Communion. Water colour. 
 
 The “ Liber ” plate (70 R.) “ Interior of a church ” 
 is based on this drawing. 
 
 Cf. pp. 30-31, 32-33, 34-35, 36-37. 
 
[XXXVII.] WILSON SKETCH BOOK. 
 
 81 
 
 Leaf 28. 
 „ 29. 
 
 „ 30. 
 
 „ 31. 
 
 32. 
 
 33. 
 
 34. 
 
 35. 
 
 36. 
 
 37. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43. 
 
 44. 
 
 45. 
 
 46. 
 
 47. 
 
 48. 
 
 49. 
 
 50. 
 
 51. 
 
 52. 
 
 53. 
 
 54. 
 
 55. 
 
 56. 
 
 57. 
 58 
 60 
 61. 
 62. 
 
 63. 
 
 64. 
 
 65. 
 
 66 . 
 
 67. 
 
 68 . 
 
 69. 
 
 70. 
 
 71. 
 
 72. 
 
 73. 
 
 74. 
 
 75. 
 
 76. 
 
 77. 
 
 78. 
 
 79. 
 
 80. 
 81. 
 
 ) Town in middle distance on the sea coast, with distant 
 1 white chalk cliffs. Water colour. 
 
 1 Interior of church during service ; through the open 
 / door a glimpse of green trees and blue sky. Same 
 church as pp. 26-27. Water colour. 
 
 Interior of church. Pen and ink and a few washes of 
 monochrome. 
 
 | Interior of church during sermon. Water colour. 
 
 ) Interior of church. Pen and ink, washes of Indian 
 f ink and sepia, and a few touches of Chinese white. 
 
 | Study of clouds. White chalk and water colour. 
 
 [ Landscape, with lake in centre of design. Black and 
 j white chalk and a wash of colour. 
 
 Front view of a cow. Colour. 
 
 Back view of cow. Water colour. 
 
 | Mouth of a river. Black and white chalk. 
 
 ) Lincoln Cathedral from the north-west. Black and 
 ) white chalk. 
 
 [ Large church and houses on brow of hill in mid- 
 i distance ; rainbow in sky above. Water colour. 
 Sketch at Greenwich (?). Black and white chalk. 
 
 [ Interior of a church during sermon. Water colour. 
 
 ) 
 
 | Interior of a church. Pen and ink and wash. 
 
 ) Distant view of London, with St. Paul’s (?). Water 
 ) colour. 
 
 and 59. Omitted, through error in pagination. 
 
 Blank. 
 
 Group of large stones. Black and white chalk. 
 
 ) Pathway across a common, with windmill in distance, 
 f Water colour. 
 
 Snow scene at Lewisham. Watercolour. Cf. XXXI, d. 
 
 [ Sailing vessel at sea. Monochrome wash and white 
 j chalk. 
 
 | The promenade : snow scene. Water colour. 
 
 [ Clouds. Black and white chalk. 
 
 ) 
 
 | Clouds. Black and white chalk. 
 
 | Study of sky. Water colour. 
 
 | On the beach (?). Black and white chalk. 
 
 ( Classical building near river. Monochrome wash and 
 ( white chalk. 
 
 River scene with boats. Water colour. 
 
 32790 
 
82 
 
 TURNER DRAWINGS. [XXXVII.] 
 
 Leaf 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 
 11 
 
 11 
 
 11 
 
 1? 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 91 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 82. ) At Ramsgate (?). Vessels inside harbour, with white 
 
 83. j cliffs and town beyond. Water colour. 
 
 84. ) The wooden footbridge. Water colour. 
 
 85. f 
 
 86. ) A bridge, with figures. Monochrome wash and white 
 
 87. j chalk. Sketch, partly from memory, of Wilson’s 
 
 “ Bridge of Augustus at Rimini.” See Engraving 
 by Joseph Farington, published by Boydell, 1776. 
 
 88. I Shipwreck. Large vessel on her side, with broken 
 
 89. J masts, seen from above. Monochrome wash and 
 
 white chalk. 
 
 90. ) River, with boats : sunset. Water colour. 
 
 91. 1 
 
 92. 1 Ruined circular temple on hill by river : sunset. 
 93. J (Probably copy of Wilson’s “ Morning.”) Water 
 colour. 
 
 £4. ) Circular tower on cliff by the sea. Water colour and 
 
 95. f white chalk. 
 
 96. Back view of cow with head turned. Black and white 
 
 chalk. 
 
 97. Cows. Pencil and white chalk. 
 
 98. [ Building on height near river, with bridge. Water 
 
 99. j colour. 
 
 100. I Bridge, with tower on it. Water colour. 
 
 101 . ( 
 
 102. ) Forge scene. Water colour. 
 
 103. f 
 
 104. \ Large vessel lying on her side in bay on rocky coast. 
 
 105. J (Query copy of Vernet’s “ Shipwreck.”) Water 
 
 colour. 
 
 106. \ Sailing boats at sea. Water colour. 
 
 107. f 
 
 108. | Fishing boat running before the wind. Water colour. 
 
 109. | 
 
 110. ) Fishing boats at sea. Water colour. 
 
 111. f 
 
 112. [ Sailors washing an upturned boat. Water colour. 
 
 113. j 
 
 114. Sunset over the sea. Water colour. 
 
 115. Blank. 
 
 116. I Church on the coast, with figures in foreground and 
 
 117. 1 distant sailing vessels. Water colour. 
 
 118. ) A cutting leading to the beach, with horses and cart 
 
 119. j in foreground. Water colour. 
 
 120. Bare trees silhouetted against sunset sky. Water 
 
 colour. 
 
 (Leaf torn out.) 
 
 121. Blank. 
 
 122. Three-masted vessels with sails set. Water colour and 
 
 white chalk. 
 
 123. Blank. 
 
 124. Three-master with sails set. Water colour and white 
 
 chalk. 
 
[XXXVII.] WILSON SKETCH BOOK. 
 
 83 
 
 Leaf 125. A diagram ; “ St. Noots ” and some other undecipher- 
 able words. 
 
 „ 126. Some foliage and undecipherable words. 
 
 „ 127. A list of places, among which I can only decipher the 
 following — 
 
 “ York. 
 
 Knaresborough. 
 
 Ripon. 
 
 Dunstanborough (?). 
 
 Richmond. 
 
 Durham .” 
 
 „ 128. Study of cow. Chalk and water colour. Exhibited 
 
 Drawings, No. 407 /, N.G. 
 
 „ 128a. Study of dismantled three-master, heeled over on 
 
 side. Pencil and colour. Reverse of 407 /, N.G. 
 
 (63 pages drawn on.) 
 
 1798 # (AET. 23). 
 
 XXXVIII .-" HEREFORD COURT” SKETCH BOOK. 
 
 Schedule No. 153. 
 
 Sketch book, bound in calf ; has had four brass 
 clasps, now broken. 
 
 Parchment label stuck on back — “ 94. Lakes. 
 Hereford Court. Lakes. Malmesbury .” 
 
 Scratched on one cover — “ South Wales and North 
 Wales .” 
 
 Executor’s endorsement — “ No. 153, 
 
 (Signed) George Jones.” 
 
 Size of page, 13 x 9. 
 
 Water mark, J. Whatman, 1794. 
 
 Inside cover is written — ■“ M r - Morris , Newbury ” ; 
 on fly-leaf — “ Manffordd , Blue Lion ” ; on one of the 
 fly-leaves at end of book — 
 
 “ Tlios. Wakefield, 
 
 Northwick, 
 
 Cheshire. Oil Picture £ " 
 (amount crossed out ; it looks like 20 or 25) ; on 
 another fly-leaf, in ink — 
 
 “ Anthony Bacon near Newbury Berks. 
 
 “ 4 Drawings of the Iron Works of Rich d - Craw- 
 shay Esq™ ■ at Cyfaithfa, near Merthyr Tidvil — 
 18 miles from Cardiff — 16 from Brecon — 
 
 10 g\ by 13 Inches — 5 G. each — 
 
 “ 2 M r - Blackshaw (Esq. erased) Carfilly Castle .” 
 (Leaf with water colour on torn out.) 
 
 F 2 
 
 32796 
 
84 
 
 TURNER DRAWINGS. [XXXVIII.] 
 
 Page 1. Malmesbury Abbey ; distant view from the north-west. 
 
 Water colour, engraved by J. C. Varrall, and published 
 1829 in “ England and Wales ” Series, probably 
 founded on this drawing. 
 
 „ 2. Malmesbury Abbey ; nearer view from north-west, 
 
 with cottages in foregrounds 
 
 „ 3. Malmesbury Abbey ; remaiDS of western front. Water 
 
 colour ; preliminary washes of blue and brown. 
 
 „ 4. Interior of Malmesbury Abbey. Pencil, with washes 
 
 of sepia. 
 
 On back— “ Sir Richard Colt Hoare, Bart." 
 
 (Leaf cut out ; now numbered p. 74.) 
 
 „ 5. Distant view of Malmesbury Abbey ; low three-arched 
 
 brick bridge in foreground. 
 
 „ 6. Malmesbury Cross ; ruins of Abbey in background. 
 
 On back — “ Sir Richard, Colt Hoare , Bart." 
 
 ,, 7. Malmesbury Abbey ; south view of the nave. 
 
 ,, 8. Distant view of town of Malmesbury ; town with 
 
 church on slight eminence in mid-distance, river or 
 stream near foreground, ruins of Abbey in back- 
 ground. 
 
 „ 9. Southern porch of Malmesbury Abbey. Unfinished ; 
 
 subject only roughed in. 
 
 On back — “ Sir Richard Colt Hoare , Bart." 
 
 „ 10. Town of Malmesbury, with Abbey ruins in distance on 
 
 the left. 
 
 „ 11. Castle dominating a town by side of winding river ; 
 
 mountains beyond. Probably Chepstow and Castle. 
 
 „ 11a. Chepstow Castle. Pencil, part finished in water colour. 
 
 Oxford, 16-13. 
 
 Written on back — “ Pope" “ Munden" and “ Earl 
 of Essex." 
 
 „ 12. The River Wye (?). 
 
 (Leaf torn out.) 
 
 „ 13. Tintern Abbey and Village. 
 
 (Leaf containing a water colour drawing torn out.) 
 
 „ 14. Blank. 
 
 „ 15. Brecon Bridge and Castle. 
 
 „ 16. Ruined castle on eminence near river. Query Llan- 
 
 dovery Castle. 
 
 (Two leaves cut out.) 
 
 „ 17. Ruined castle on steep hill : Carreg Cennen Castle, near 
 
 Llandilo-Fawr. 
 
 On back — 
 
 “ Hon ble - Edward Spencer Coivper, 
 
 Lord Coivper , 
 
 George Street Hanov. Sq r - 
 “10 Guineas." 
 
 „ 18. Another view of same. 
 
 19. Do. 
 
 51 
 
XXXVIII.] HEREFORD COURT SKETCH BOOK. 85 
 
 Page 21. Large stone bridge, with three centre arches broken. 
 
 Probably the old bridge at Llandilo-Fawr on River 
 Towy. 
 
 „ 22. River with ruined castle on hill in distance. 
 
 „ 23. Blank. 
 
 „ 24. River with same castle on hill to left. 
 
 ., 24a. River with same castle on left. Water colour. 
 
 „ 25. River with same castle in distance. 
 
 (Leaf with water colour on it torn out.) 
 
 „ 26. Mouth of wide river with castle in distance on right. 
 
 „ 27. River with castle in distance on right. 
 
 (Leaf with water colour on it torn out. Gf. p. 77.) 
 
 „ 28. Kilgarren Castle. 
 
 „ 28a. “ Kilgarren Castle on the Tivey .” Water colour. 
 
 „ 29. Kilgarren Castle. 
 
 Oil painting of Kilgarren, now in possession of 
 Mrs. Bischoffsheim, may have been founded on this 
 sketch. Gf. Illustration, p. 10, Armstrong. 
 
 „ 30. Valley with river and distant mountains. Probably 
 
 Dolgelly, with Cader Idris beyond. 
 
 „ 31. Hilly country with range of mountains in distance. 
 
 On back — “ Pont Neiveclcl ” (Pont Newydd, near 
 Festiniog). 
 
 (Page cut out.) 
 
 „ 32. Mountain with small torrent. 
 
 On back — “ Dolancon , Dolyddylan ,” and “ line of 
 Cader Idris ” (accompanied by an outline). 
 
 (Leaf out. Gf. p. 70.) 
 
 „ 33. “ Pandy doigf 
 
 On back — “ Pandy Dol Sarogf and “ Pandy Mill." 
 
 „ 34. River with distant mountains. 
 
 On back — “ Massy garnedd." 
 
 „ 35. Road, with cottages and figures, and distant mountains. 
 
 On back — Outlines of crests of mountains, and 
 “ Dolyffanog." 
 
 (Leaf torn out ; had been used for water colour. Gf. 
 p. 72. Perhaps two leaves.) 
 
 „ 36. Cader Idris and Plynlimmon in distance. 
 
 (Leaf cut out.) 
 
 37. Old house in foreground on right, broad river flowing 
 between mountains on left. 
 
 On back — “ Hon Uc • M'- Lascelles." 
 
 „ 38. Mountains with river in foreground. 
 
 (Leaf torn out ; has been used for water colour.) 
 
 „ 39. Another view along same estuary. 
 
 ,, 40. Harlech Castle. 
 
 (Leaf torn out. Gf. p. 75.) 
 
 „ 41. Harlech Castle, from the south-east. 
 
 „ 42. Harlech Castle, from Tremadoc Road. 
 
 On back — “ Meyer Jun r • ” and “ Cattle at the 
 Bottom (?).” 
 
 „ 42a. Harlech Castle. Mouth of estuary and distant mountains 
 in water colour. 
 
 On back, in ink — “ III. Harlech Castle ." 
 
86 
 
 TURNER DRAWINGS. [XXXVIII.] 
 
 Page 43. 
 
 )? 
 
 44. 
 
 45. 
 
 46. 
 
 47. 
 
 48. 
 
 „ 49 . 
 
 „ 50. 
 
 ,, 50 a. 
 
 >5 
 
 51. 
 
 52. 
 
 Snowdon from Capel Curig(?). 
 
 (Four leaves cut out.) 
 
 Snowdon from Capel Curig (?). 
 
 Distant view of Snowdon (?). 
 
 Falls of Ceunant Mawr (?). 
 
 Dolbadarn Castle. 
 
 On back — 
 
 “ W‘“ ■ Blake , immecP (crossed out) ; 
 
 “ M r - John Trower, 
 
 Clanton (crossed out) 
 
 “ N°- 2 Tan field Court , Temple , 
 
 “11 (altered from 10) Guineas " ; and 
 “ M r N . Power , Dublin , 
 
 or N" 18 Old Bond Street." 
 
 (Leaf torn out. Cf. p. 79.) 
 
 Snowdon, &c., in distance. 
 
 On back — “ Phabut " or “ Mabut (?).” 
 
 (Two leaves cut out, one of which has been used for 
 water colour ; these are (probably) p. 78 and (cer- 
 tainly) p. 71.) 
 
 Pont-y-Pair, Bettwys-y-Coed. 
 
 Conway Castle. 
 
 (Two leaves cut out ; one of them was No. 15 (45) in 
 the 3rd Loan Collection, now numbered p. 50«.) 
 Conway Castle. (Castle in mid-distance on rocky point, 
 stormy sea on right foreground.) 
 
 On back — 
 
 “ Pope ” ; 
 
 “ W m - Blake ” ; 
 
 “ M r - Leader 
 4 F. 8 . long. 
 
 3 F.G . wide. 70." 
 
 [Dillon mentions three water colours of Conway 
 Castle, of about this date ; the description of one 
 agreeing with this drawing was lent by Mr. A. M. 
 Blake to the Royal Academy in 1889. 
 
 The oil painting from the Leader Collection is now 
 in possession of the Duke of Westminster (size 
 41 x 55). This was evidently based on this di’awing.] 
 Conway Castle (another view). 
 
 Conway Castle. Nearer view, with long, low, one- 
 arched brick bridge over inlet from sea. 
 
 On back — 
 
 “ Rev' 1 - M r - Lancaster , 
 
 45 Gower Street ” ; 
 
 “ Barrington (?) ” ; 
 
 “ Rev' 1 - M r - Dunford 
 10 G. 
 
 Sandleford near Newburg " ; and 
 “ Rev d M' Ogle, 
 
 Aldermaston, 
 
 3 Miles S. from Reading." 
 
 [A water colour based on this sketch in the 
 Humphrey Roberts’ Sale, May, 1908 : another draw- 
 ing in possession of Mrs. Ashton ( see Dillon)]. 
 
 (Leaf cut out. Cf. p. 82.) 
 
[XXXVIII.] HEREFORD COURT SKETCH BOOK. 87 
 
 Page 53. 
 „ 54. 
 „ 55. 
 
 95 
 
 59 
 
 9' 
 
 56. 
 
 57. 
 
 58. 
 
 95 
 59 
 99 
 9 * 
 
 59. 
 
 60. 
 61. 
 62. 
 
 „ 63. 
 
 5 5 
 
 „ 65. 
 
 „ 66 . 
 
 95 
 
 67. 
 
 55 
 
 55 
 
 68 . 
 
 69. 
 
 55 
 
 70. 
 
 95 
 
 71. 
 
 95 
 
 72. 
 
 59 
 
 55 
 
 73. 
 
 74. 
 
 Conway Castle. (Another view.) 
 
 Conway Castle. (Another view.) 
 
 Valle Crucis Abbey, with Castell Dinas Bran in distance. 
 [(7/. engraving of “ Valle Crucis Abbey ” in“England 
 and Wales” Series, published March 1, 1828.] 
 
 Castell Dinas Bran in distance. 
 
 Llangollen Bridge in mid-distance. 
 
 (Leaf, with water colour on it, cut out.) 
 
 Castell Dinas Bran, with River Dee in foreground. 
 
 On back — 
 
 “ Tlio s - Jones, Esq e • 
 
 Landuilio." 
 
 Llangollen Bridge in foreground. 
 
 Castell Dinas Bran in extreme distance. 
 
 Powis Court (near Welshpool, Montgomeryshire). 
 
 Powis Court. 
 
 (Cf. engraving of “ Powis Court,” published 1836 
 in ‘‘ England and Wales” Series.) 
 
 Town and Castle of Ludlow, Shropshire. 
 
 On back — 
 
 “ L. Essex ” and “ Earl of Essex." 
 
 Cf. Water colour founded on this sketch, XLIV, i. 
 (Leaf with water colour on cut out. Cf. p. 89. Weir 
 Bridge, Ludlow.) 
 
 Ruined castle on hill. Probably Montgomery Castle. 
 Same Ruins from distance. 
 
 Hampton Court, Herefordshire. (Steen’s Bridge, about 
 15 miles from Hereford.) 
 
 On back — 
 
 “ Earl of Essex 
 
 Hampton Court. (Another view.) 
 
 On back — 
 
 “ Earl of Essex." 
 
 Blank. 
 
 (4 leaves torn out.) 
 
 Mountainous view. 
 
 The following loose leaves seem to belong to this 
 sketch book. (They are numbered continuously, as 
 their original positions cannot be discovered with 
 certainty.) 
 
 “ Pool on the Summit of Cader Idris." Water colour, 
 unfinished, and spotted with rain, 
 
 (Its position, I believe, was between pp. 32 and 33.) 
 Waterfall near Bettwys-y-Coed. Probably Conway 
 Fall. Water colour. 
 
 (This leaf should be numbered 485.) 
 
 Study of mountains and sky. Water colour, 
 
 (Its position was probably immediately before 
 p. 36 — i.e., either p. 35 a or 355.) 
 
 See No. 28«. 
 
 Malmesbury Abbey, part of the ruins of. Pencil. 
 
 On back — 
 
 “ Sir Richard Colt Hoare , Bar 1 '' 
 
 No. 40 (“Norman Ruin”) in 1st Loan Collection. 
 (Should be p. 4 a in Sketch Book.) 
 
88 
 
 TURNER DRAWINGS. [XXXVIII..] 
 
 Page 75. 
 
 „ 76 . 
 ,, 77 . 
 „ 78. 
 „ 79. 
 
 5? 
 
 80. 
 
 81. 
 
 82. 
 
 „ S3. 
 
 59 
 
 55 
 
 81. 
 
 85. 
 
 ,, 86 . 
 
 55 
 
 87. 
 
 88 . 
 
 89. 
 
 55 
 
 90. 
 
 91. 
 
 92. 
 
 Harlech Castle. Pencil. 
 
 No. 43, in 1st Loan Collection. 
 
 (Probably p. 40a.) 
 
 “ Snowdon, from Quathlynn .” Watercolour. 
 
 Exhibited Drawing, No. 703, N.G. ; described as 
 “ Skiddaw.” 
 
 Landscape, with ruined castle on hill in distance. 
 Distance partly finished in water colour. 
 
 (Probably p. 27a). 
 
 Near Snowdon (?'). Distance partly finished in water 
 colour. 
 
 (Probably p. 48a). 
 
 Near Snowdon (?). Part water colour. 
 
 (Probably p. 47a.) 
 
 Harlech Castle. Altered to p. 42a. 
 
 River with distant mountains. Probably junction of 
 Wye and Severn. Distance and mid-distance partly 
 finished in water colour. 
 
 Conway Castle. Pencil. (Probably the leaf cut out after 
 p. 52.) 
 
 2nd Loan Collection, No. 44. 
 
 Path up mountain. Water colour. 
 
 5th Loan Collection, No. 32, as “Yorkshire Moor- 
 land Scene.” 
 
 Mountains beside river. Part in water colour. 
 
 Llan Idwell, near Bettwys-y-Coed. Water colour. 
 
 Exhibited Drawings, No. 688, N.G. 
 
 Malmesbury Abbey. 
 
 On back — 
 
 “ Sir Richard Galt Hoare, Bar 1 ." 
 
 Exhibited Drawings, No. 402, N.G. 
 
 A castle. Possibly Harlech Castle. 
 
 Exhibited Drawings, No. 822, N.G. 
 
 Kilgarren Castle. Water colour (stuck down tight on 
 board). 
 
 On back, in Mr. Ru skin’s handwriting : 
 
 “ ‘ Kilgarren Castle on the Tivv.’ Turner’s title, 
 J. R.” ; also 
 
 “ M r . Fidler. 2 feet by 
 
 M r . Woodhouse. 14| x 10|.” 
 
 Exhibited Drawings, No. 802, N.G. 
 
 Weir Bridge, Ludlow. Water colour. (Should be 
 p/63a.) 
 
 Exhibited Drawings, No. 809, N.G., as “ Rowsley, 
 on the Derwent.” 
 
 A Landscape : Sunset. Water colour. 
 
 Exhibited Drawings, No. 823, N.G. 
 
 A Mountain Tarn. Water colour, unfinished. 
 
 Exhibited Drawings, No. 797, N.G. 
 
 Beddgelert Church, North Wales : Moonlight. Water 
 colour. 
 
 Exhibited Drawings, No. 796, N.G. 
 
tXXXVIII.] HEREFORD COURT SKETCH BOOK. 89 
 
 Page 93. 
 
 55 
 
 94. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95. 
 
 93. 
 
 97. 
 
 98. 
 
 99. 
 
 100 . 
 
 55 
 
 101 . 
 
 Caernarvon Castle. 
 
 Oxford Loan Collection, 156a-74. 
 
 Caernarvon Castle. 
 
 Oxford Loan Collection, 1566-75. 
 
 Valley, with river and distant mountains. Water colour. 
 Dinas Bran. Water colour. 
 
 “ Quetlillyn Pool, N. Wales." Water colour. 
 
 River, with mountains. Water colour. 
 
 Lake, with mountains. Water colour. 
 
 Kilgerran Castle. Water Colour. 
 
 On back — 
 
 “ Mr. Fidler 
 
 2 Feet by 17 ) ,, 
 
 26 | 
 
 presumably Mr. Ruskin’s copy of Turner’s note on 
 margin of mount. Of. p. 88. 
 
 Dryslwyn Castle, Vale of Towy. Water colour. 
 Exhibited Drawings, No. 457, N.G. 
 
 (103 leaves drawn on.) 
 
 1798 * (AET. 23). 
 
 XXXIX. NORTH WALES" SKETCH BOOK. 
 
 Schedule No. 145. 
 
 Sketch book bound in calf ; has had two clasps, now 
 broken off. 
 
 Turner's label on back — 
 
 “37, North Wales." 
 
 Size of page, 10| x 6f. 
 
 Water mark, 1794. 
 
 Executor’s endorsement — “ No. 145, 
 
 (Sgd.) H. S. Trimmer.” 
 
 Inside cover is written : — 
 
 C. P. P. C. (or G.) 
 
 “ Miss H. B. 1 1 Stump 1. 
 
 H. B. 1 1 Do. Rubber. 
 
 H. B. 
 
 So 1. 1. 
 
 St. 1 1 Rubber. 
 
 M. 1 
 
 F. B. 1. 1. Stump;" 
 
 Also sketch of a bay on rocky coast, with tumble-down 
 cottage in foreground. 
 
 On inside of back cover — Diagram of tracery of large 
 window, other diagrams, and “ Ysgobnoueth." 
 
90 
 
 TURNER DRAWINGS. [XXXIX.] 
 
 Page 1. 
 
 91 
 
 yy 
 
 yy 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 8. 
 
 9. 
 
 yy 
 
 yy 
 
 19 
 
 19 
 
 10 . 
 
 11. 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 99 
 
 19 
 
 99 
 
 99 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 
 99 
 
 22 
 23 
 „ 24 
 li 25 
 99 26 
 
 19 
 
 99 
 
 99 
 
 99 
 
 91 
 
 99 
 
 99 
 
 27. 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 33. 
 
 99 
 
 19 
 
 99 
 
 34. 
 
 35. 
 
 36. 
 
 37 . 
 
 Winding river among mountains. “ Penezoj ” (? Penegos, 
 near Machynleth). 
 
 One-arched bridge over stream, with cottage by its side, 
 and mountains beyond. 
 
 House with mountains beyond. 
 
 River, with mountains in distance. 
 
 On back — Outline of mountains. 
 
 Winding river, with mountains beyond. 
 
 One-arched bridge, with mountains in distance. 
 
 Bridge, with five arches, over river ; mountains beyond. 
 Probably the Vale of Ffestiniog, from near Tan y 
 Bwlch. 
 
 A waterfall. “ Tigil ." 
 
 A waterfall, with one-arched bridge above. Probably 
 the Cynfael Falls, near Ffestiniog. 
 
 A water mill. 
 
 Waterfall. 
 
 Blank. 
 
 Pathway with distant estuary and mountains ; cottage 
 and trees in foreground. 
 
 Mountain pass. 
 
 Pathway between mountains. Probably between 
 Ffestiniog and Harlech. 
 
 Distant range of mountains. 
 
 Mountains. 
 
 Mountains. 
 
 Rocky coast, with castle and distant sea. 
 
 Ruined chapel in foreground ; same castle in distance 
 on left, with sea and mountains in distance, 
 
 (Leaf cut out.) 
 
 Harlech Castle, from the south-east. 
 
 Harlech Castle, from the north-east. 
 
 Criccieth Castle, from the west (?). 
 
 Criccieth town and castle. 
 
 Criccieth Castle from hill inland, showing view of coast. 
 Llyn Cwellyn. “ Quatlilin .” Cf. p. 76, “Hereford 
 
 Court ” Sketch Book. 
 
 On back — Distant view of Snowdon range. 
 
 Llyn Cwellyn, with Craig Cwm Bychan in mid-distance. 
 Craig Cwm Bychan. 
 
 Llyn Cwellyn. 
 
 Distant view of Beddgelert. “ Bed." 
 
 Distant view of mountains. 
 
 Distant view of mountains. 
 
 Dolbadarn Castle, Llanberis. 
 
 (Two leaves torn out. Cf. p. 94). 
 
 Town with church and two ruined castles. (? Denbigh). 
 River, with distant mountain. 
 
 Valley, with aqueduct in course of construction. Pro- 
 bably the Vale of Llangollen, with the Pont-y- 
 Cyssyltan. (This aqueduct was begun in 1795.) 
 Street leading to a large church. 
 
 On back — 
 
 “ Brom field." 
 
[XXXIX.] NORTH WALES SKETCH BOOK. 
 
 91 
 
 Page 38. Vale of Llangollen, with Dinas Bran in distance. 
 
 55 
 
 55 
 
 *5 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 39. Do. do. 
 
 40. Mountain tops. 
 
 41. River (or lake) with distant mountains. 
 
 42. “ Glynn." 
 
 On back — beginning of sketch of a vessel. 
 
 (Leaf cut out.) 
 
 43. Ruined castle with church ; small, two-arched bridge 
 
 with vessels in foreground. Rhuddlan Castle, Flint- 
 shire. Gf. p. 88. 
 
 (2 leaves torn out. Gf. pp. 92 and 93.) 
 
 Leaves 44-86 are thick, rough, and pinkish coloured. 
 
 44. Blank. 
 
 45. Blank ; on back, a waterfall. Pencil and white chalk. 
 46-48. Blank. 
 
 49. A rocky scene. 
 
 50-58. Blank. 
 
 59. Blank ; on back, river scene with foliage ; bridge or 
 aqueduct in mid-distance. Probably the Vale of 
 Llangollen. Pencil and white chalk. 
 
 60-65. Blank. 
 
 66. Blank ; on back, lake with distant mountains. Pencil 
 and monochrome wash. 
 
 67-81. Blank. 
 
 82. Blank ; on back, small town with church beyond and 
 
 ruined castle on mountain. 
 
 83. Blank ; on back, distant mountain with tower on 
 
 summit. 
 
 84. Blank ; on back, commencement of mountainous view. 
 
 85. Blank ; on back, mountain tops. Pencil and white chalk. 
 
 86. Lake in foreground, a few houses in mid-distance, 
 
 mountains beyond. 
 
 On back — Beginning of sketch of vessel with sails. 
 
 87. Blank ; on back, extensive ruins of castle (or castles) on 
 
 mountain, with church and a few houses. Denbigh. 
 
 88. Blank ; on back, two-arched bridge, with ruined castle 
 
 and church beyond. (Rhuddlan Castle. Gf. p. 43.) 
 (Loose leaves, which seem to belong to this book.) 
 
 89. Distant mountains. Black and white chalk, on rough 
 
 pinkish paper. 
 
 90. Distant mountains. 
 
 91. Bridge, with church and houses beyond. 
 
 On back — A group of grotesque figures. 
 
 A water colour (of about 1799) based on this 
 sketch, was sold at Christie’s on 19th June, 1908, 
 under the title of “ Bedington.” (Bedington is in 
 Surrey, and the probabilities seem to indicate that 
 this is a Welsh scene). 
 
 92. A waterfall, with cottage. ) Probably Cynfael Falls. 
 
 Pencil and wash. ( Gf. pp. 8-11. 
 
 93. A mountain torrent. ( (2 loose leaves torn out from 
 
 Pencil and wash. ) between pp. 43 and 44.) 
 
92 
 
 TURNER DRAWINGS. [XXXIX, XL.] 
 
 Rage 91. Near Llanberis. Perhaps Conway Valley. Water 
 colour. 
 
 Exhibited Drawings, No. 635, N.G., as “ On the 
 Thames.” 
 
 (Leaf torn out after p. 33. Should be p. 33 a.) 
 
 ,, 95. Study for picture of “ Harlech Castle, from Trwgwyn 
 
 Ferry.” (Oil painting, exhibited Royal Acadeim’, 
 1799). Water colour. 
 
 Exhibited Drawings, No. 858, N.G., as “ River 
 Scene (early).” 
 
 ,, 96. A waterfall. Probably the Rhayadr Du, or the Black 
 
 Cataract, near Ffestiniog. Water colour. 
 
 Exhibited Drawings, No. 799, N.G. 
 
 (61 leaves drawn on.) 
 
 1798 * (AET. 23). 
 
 XL .—“DINEVOR CASTLE” SKETCH BOOK. 
 
 Schedule No. 380. 
 
 
 Sketch Book, bound in calf ; has had four clasps. 
 Blank parchment label on back. 
 
 Size of page, 5]- x 3|. 
 
 Water Mark, “ J. Whatman. 1791.” 
 
 Executor’s endorsement — “ No. 380. 98 leaves of 
 
 sketches in pencil, 1 leaf in colour. 
 
 (Signed) H. S. Trimmer.” 
 Mr. Ruskin’s endorsement — “ 380. Early pencil. 
 Valuable for distribution.” 
 
 On inside of back cover, sketch of ruined castle, 
 underneath which is written “ Di never” and 
 “ Dinevor Castle .” 
 
 On inside of front cover is written in ink : — 
 
 “ Croxden P. 3 Cheadle 
 Dudley P. x C 
 Hilton 5 Newcastle 
 Roivton Tulberry 
 A Iton 
 
 Cave shall 8 Clieadle. 
 
 Charsley 4 Stafford 
 Tutherry Eccleshall Pal. 
 Hagley 8 Tixley P. House (?) 
 
 1 
 
 )■ Stafford. 
 
 y 
 
 j J 
 
 Maxtoke 3 Coleshill 
 Do. 1 Murval (? Morvil) P. 
 Ather stone 
 
 Brownsover C i Rugby 
 Bradon Stoke, 7 Chippenham 
 Farley C. 2 Phillip's Norton. 
 Bordesley 4 Bromsgrove. 
 
 Warwick. 
 
[XL.] DINEVOR CASTLE SKETCH BOOK. 
 
 98 
 
 Brecknock, 'j Dolforwin C 
 
 Bramlys 0 ( St. Dogmael 1 Car- 
 
 f digan 
 
 P inkelly 4 J Lehaiden Narbetli 4 
 
 Carmarthenshire. Kilgarron 3 Cardigan 
 Ahergwilly' CC. 
 
 Blanchard A. 
 
 Green C 3 Carmarthen 
 Newcastle 8 Cardigan 
 
 Caernarvon. 
 
 Olysmog CC Aber 
 Crickheath 
 Dolwydcllelen 
 Gin g den. 
 
 Flint. 
 
 St. Asaph 
 
 Basihgwick 1 Holywell. 
 
 Rhudland 3 St. Asaph. 
 
 Northop Ch. 2 Flint 
 Harwarden Rudland 
 Glamorgansh. 
 
 Coity C. 3 Bridgend 
 St. Donat 5 Cowburgh 
 Morlash C 
 Pennarth Penrice (?) 
 
 Coche Landajf 4 
 Webley Wormshead Point. 
 
 Powis 1 W. Pool." 
 
 On fly-leaf (in pencil, almost illegible) : — 
 
 “ Axminster 
 Credit on 
 Exeter 
 Ford 
 
 Tavistock A 
 Okhampton C 
 Rougemont C 
 Powderham C 
 Berry Pomeroy 
 Ludford C. 
 
 Abbotsbury A 
 „ ( Came R 
 ° { Mitton A 
 W inham A. 
 
 Corfe 4 Wareliam. 
 
 Lulworth (?) 8 
 Brownsea , Poole. 
 
 Thornbury 
 Berkley 
 Beverston (?) 
 
 I Wigmore Pens . . . 
 
 Ray staff (?) 
 
 Brampton B . . , 
 
94 
 
 TURNER DRAWINGS. 
 
 [XL.] 
 
 Clifford 
 Bradwardine 
 Penyard .... 
 Chipston Cold . . . 
 Skin . . . 
 
 Napton (?) 
 
 Ludlow . . .” 
 
 In ink : — 
 
 “ Shifnal , Dunster. 
 
 Ilchester Ditl 0 8 Minehead. 
 Nunny 3 Frome 
 Stoke Curry Bank." 
 
 On back of fly-leaf (in ink) : — 
 
 828. 
 
 22 May. 98. 
 
 —10 
 
 81. 
 
 1 Oct. 98. 
 
 5 
 
 7107 
 
 14 June '98. 
 
 5 
 
 8368 
 
 30 Nov. 98. 
 
 10 
 
 AO 27 
 
 1 Dec. 98. 
 
 2. 
 
 Several leaves cut out. 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. Blank. 
 
 la. | Sun behind clouds. 
 
 2. f 
 
 2a. Three heads of a young girl. Ink. 
 
 3. Blank. 
 
 3 a. ) A Castle. Pencil, and part wash. 
 
 4. f 
 
 4 a. Mountains. 
 
 5. Mountains. 
 
 5 a. \ Malmesbury Abbey, with church. Cf. p. 1, “ Here- 
 
 6. J ford Court” Sketch Book. 
 
 6a. 1 Studies of climbing and falling figures. Pencil and 
 
 7. j wash. 
 
 7a. \ Malmesbury Cross. Cf. p. 6, “Hereford Court” 
 
 8. J Sketch Book. 
 
 8a. Sketch for historical composition : perhaps one of the 
 Plagues of Egypt. 
 
 9. Blank. 
 
 9a. 1 Distant view of Malmesbury Abbey. 
 
 10. J 
 
 10a. Ship at sea, with storruv sky. 
 
 11. Blank. 
 
 11a. \ Malmesbury Abbey. 
 
 12. J 
 
 13. Roman soldiers climbing. Pencil and ink. 
 
 13a. \ Ruins of Malmesbury Abbev. 
 
 14. J 
 
 (Leaf out.) 
 
 15. Blank. 
 
 15a. 1 River Severn. 
 
 16 . J rkuui 
 
 17. Blank. 
 
[XL.] DINEVOR CASTLE SKETCH BOOK 
 
 95 
 
 Page 17a. \ Chepstow Castle (?). 
 
 „ 18. J 
 
 (Leaf out.) 
 
 Blank. 
 
 | Chepstow Castle (?). 
 
 | Bridge over Usk (?). 
 
 1 Ruined castle on right bank of river, with bridge and 
 j town in mid-distance. 
 
 | Bridge, with town and ruined castle. 
 
 1 Bridge leading to town, with mountains beyond. 
 
 19. 
 19a. 
 
 20. 
 20a. 
 21. 
 21a. 
 22 . 
 22 a. 
 
 23. 
 23a. 
 
 24. 
 24a. 
 
 25. 
 25a. 
 
 26. 
 26a. 
 
 27. 
 27a. 
 
 28. 
 
 29. 
 29a. 
 
 30. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 
 35. 
 35a. 
 
 36. 
 
 37. 
 37 a. 
 
 38. 
 
 39. 
 39a. 
 
 40. 
 40a, 
 
 41. 
 41a, 
 
 42. 
 
 43. 
 43a. 
 
 44. 
 
 45. 
 45a, 
 
 46. 
 
 47. 
 
 | Study for figure of David, with head of Goliath. 
 
 | Ruined castle, with one-arched bridge. 
 
 | Study of nude male figure. 
 
 1 One-arched bridge, with castle and distant mountains. 
 J Cf. pp. 25a and 26. 
 
 Distant mountain with ruin. 
 
 | Ruins in mid-distance, with distant mountains. 
 
 Blank. 
 
 | Distant mountains. 
 
 | Bridge, with distant mountains. 
 
 | Mountainous view. 
 
 (Leaf out.) 
 
 Blank. 
 
 1 Town, with bridge and square church tower, in mid- 
 J distance ; mountains beyond. 
 
 (Leaf out.) 
 
 Blank. 
 
 1 Ruined castle on mountain summit. (? Caer Cennen.) 
 j Water colour. 
 
 Blank. 
 
 | Ruined castle on mountain top. (? Caer Cennen.) 
 
 Village with distant mountains. 
 
 Blank. 
 
 \ Ruined castle on coast. Query Aberystwith Castle, 
 J Cardiganshire. 
 
 Blank. 
 
 | Landscape with wooded mountains. 
 
 Bridge, with ruined castle and mountains beyond. 
 
 | Ruined castle on hill, 
 
 Blank. 
 
96 
 
 TURNER DRAWINGS. 
 
 [XL.] 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 *9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 47a. 
 
 48. 
 
 49. 
 49a. 
 
 50. 
 
 51. 
 51a. 
 
 52. 
 52a. 
 
 53. 
 53a. 
 
 54. 
 54a. 
 
 55. 
 55a. 
 
 56. 
 56a. 
 
 57. 
 57a. 
 
 58. 
 58a. 
 
 59. 
 59a. 
 
 60. 
 60a. 
 61. 
 61a. 
 62. 
 
 63. 
 63a. 
 
 64. 
 
 65. 
 65a. 
 
 66 . 
 
 67. 
 
 67a. 
 
 68 . 
 
 69. 
 69a. 
 
 70. 
 
 71. 
 71a. 
 
 72. 
 
 73. 
 73a. 
 
 74. 
 
 75. 
 75 a. 
 
 76. 
 76a. 
 
 77. 
 77a. 
 
 78. 
 
 | Buildings among foliage on hill. 
 
 Blank. 
 
 | Castle on hill. 
 
 Blank. 
 
 | Bridge leading to town, with castle. 
 
 1 Mountains with castle. 
 
 ] Ruined castle on hill. 
 
 J 
 
 \ Fishermen with boats beneath walls of castle. 
 
 i 
 
 } Studies of dock-leaves, &c. 
 
 | Ruined castle and town on rocky coast. 
 
 ( Ruined castle on small hill. (Cf. L, K.) 
 
 | Rough for historical design. 
 
 \ Mountains, with sun breaking through clouds. 
 
 J 
 
 ( Historical design. Black and red chalk. 
 
 | River and mountains seen through trees. 
 
 J 
 
 Blank. 
 
 | Ruined castle on mountain. 
 
 Blank. 
 
 I An estuary, with mountains on either side ; ruined 
 J castle on distant promontory. 
 
 Historical design : An army on mountains looking at 
 distant country. Probably Hannibal invading Italy. 
 \ Ruined castle. 
 
 i 
 
 Blank. 
 
 | Ruined castle. 
 
 Blank. 
 
 ] Mountains. 
 
 Nude recumbent figure. Pen and ink. 
 
 \ Ruined castle. 
 
 Blank. 
 
 \ Village on hill. 
 
 | Distant mountains. 
 
 | River with vessels and distant castle. 
 
[XL.] DINEVOR CASTLE SKETCH BOOK. 
 
 97 
 
 Page 
 
 78a. 
 
 79. 
 79a. 
 
 80. 
 80a. 
 81. 
 81a. 
 82. 
 82a. 
 
 83. 
 83a. 
 
 84. 
 84a. 
 
 85. 
 85 a. 
 
 86. 
 86a. 
 
 87. 
 87a. 
 
 88 . 
 88a. 
 
 89. 
 89a. 
 
 90. 
 90a. 
 
 91. 
 91a. 
 
 92. 
 
 92a. 
 
 93. 
 
 94. 
 
 95. 
 
 96. 
 
 Ruined castle. 
 
 Blank. 
 
 | Hilly country. 
 
 | Castle on hill. 
 
 | River scene, with clouds. 
 
 | Castle on rock. 
 
 | Architectural details. “ Malmesbury " and “ Lay cock." 
 Castle on hill. Wash. 
 
 Architectural details. “ Laycock door , window , stairs" 
 | Church, with dwelling-house. ? Laycock. 
 
 | Castle on hill in mid-distance ; rocky foreground. 
 
 1 Church surrounded with trees. Same building as 
 J pp. 85 a and 86. 
 
 | A mountain top. 
 
 Architectural details. 
 
 Blank. 
 
 Architectural details. 
 
 Mountainous view. Pen and ink. 
 
 River, with distant mountains. 
 
 Written in corner — 
 
 “ St. (?) B K - P. 
 
 F. Br. P. 
 
 M. H. P. 
 
 H. P. 
 
 W. B. P." 
 
 Sunset. 
 
 | Ruins of castle. 
 
 1 In a wood. Water colour. Exhibited Drawings, 
 J No. 8165, N.G. 
 
 (95 leaves drawn on.) 
 
 1798 # (AET. 23). 
 
 XLI.— “CY FA RTH FA” SKETCH BOOK. 
 
 Schedule No. 209. 
 
 Dismembered leaves of large sketch book. Covers 
 missing. Nothing to indicate the original order of 
 pages. 
 
 Size of page, 18 x 11^. 
 
 Water mark, “ J. Whatman, 1794.” 
 
 Executor’s endorsement (on first page) — ‘-No. 209. 
 
 (Sgd.) Geo. Jones.” 
 
 Written on first page in pencil — “Left for Exhibi- 
 tion. J. R.” 
 
 32796 
 
 G 
 
98 
 
 TURNER DRAWINGS. 
 
 [XLI.] 
 
 Page 
 
 1 . 
 
 2 . 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 8 . 
 9. 
 
 10 . 
 
 10a. 
 
 11 . 
 
 12 . 
 
 13. 
 
 “ Gafara Works." 
 
 “ Garfara Works." On water in foreground is 
 written — “ Reflecns. clear." 
 
 “ Garfara Works from Brecon Road." 
 
 “ Garfara Works from Coady curnar , looking down the 
 Vale-" also “ Pendaren " and “ Plymouth." On 
 back is written “No. 5,” but I cannot tell in whose 
 handwriting it is. 
 
 “ Castle Metis." 
 
 “ Castle Metis." 
 
 “ Bulcke Van." Probably the Brecknock Van. - 
 
 Caerphilly Castle. 
 
 Caerphilly Castle. 
 
 Caerphilly Castle (?) 
 
 Caerphilly Castle. No. 129, 3rd Loan Collection. 
 
 Bocks and mountains. 
 
 Pont-y-Prydd, Glamorganshire. 
 
 Cardiff Bridge and Castle. 
 
 (Almost same view as sketch on p. 10, “ Neath ” Sketch 
 Book.) 
 
 ■Blank. 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 26a. 
 
 27. 
 
 28. 
 
 28a. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 Rocks, with distant castle. 
 
 River, with castle on hill in mid-distance ; sunset 
 effect. Water colour. 
 
 Castle, with distant tower. 
 
 River, with high mountainous banks. 
 
 Ruined castle on rocky sea-coast. Query Flint Castle. 
 
 Ruined castle on coast (probably same as p. 20), with 
 fishermen drawing up their boats. Gf. p. 28a. 
 
 Powis Castle (?), near Welshpool. 
 
 Powis Castle, near Welshpool. 
 
 Ruined Castle. “ B .” 
 
 Group of men-of-war. Pencil and sepia. Some inches 
 cut off top of sheet. 
 
 Boats towing men-of-war along river with steep banks. 
 Pencil and wash. 
 
 Boats towing men-of-war. Pencil, with washes of 
 black and brown. No. 135, 3rd Loan Collection, as 
 “ Dartmouth.” Withdrawn September, 1905. 
 
 Men-of-war being towed along a river. Pencil and wash. 
 Probably River Usk, near Crickhowell. See “ Swans” 
 sketch book, p. 23. 
 
 Boats towing men-of-war. Pencil and wash. 
 
 Sketch of shipping and boats. Ruined castle sketched 
 on p. 21 in background. Pencil, with washes of 
 brown and black. Cabinet Drawings, No. 459, N.G. 
 
 Estuat’y, with vessels. 
 
 Castle on hill, with vessels passing below. 
 
 The estuary, from above. 
 
 Town, with bridge ; mountains in distance, river in 
 foreground. No. 130, 1st Loan Collection ; described 
 (probably erroneously) as “ Yorkshire.” 
 
[XLI.] CYFARTHFA SKETCH BOOK. 
 
 99 
 
 Page 33. 
 
 99 
 
 99 
 
 34. 
 
 35. 
 
 ,, 36. 
 
 99 
 
 37. 
 
 99 
 
 38. 
 
 99 
 
 39. 
 
 99 
 
 40. 
 
 99 
 
 99 
 
 41. 
 
 42. 
 
 See p. 10a. 
 
 See p. 26a. 
 
 Five-arched bridge, with town and castle on right bank. 
 Water colour. Withdrawn from No. 10, in 4th Loan 
 Collection (described as “Usk, Monmouth (?)”), on 
 account of indigo fading. Numbered “42” in ink 
 at bottom of left-hand corner. 
 
 Bridge, with mountains on left. Water colour. Num- 
 bered “32” (or 37) in ink at bottom right-hand 
 corner. Formerly No. 153, in 3rd Loan Collection, 
 as “ Highland Bridge.” Withdrawn August, 1905, 
 on account of fading of the indigo in the drawing. 
 
 Rocks off coast. 1st Loan Collection, No. 145, as “ The 
 Needles.” All blue is bleached from exposed por- 
 tion ; only indication that the drawing once contained 
 blue is in part concealed by the mount. (?) Oxwich 
 Bay, Gower. 
 
 River scene. Water colour. 2nd Loan Collection, 
 No. 146. (Seriously damaged by undue exposure to 
 the light.) 
 
 Group of boats. Pencil and wash. (The page has been 
 cut down, but it seems to have belonged to this 
 book.) 
 
 Boats at landing stage. Water colour. In ink, at 
 bottom right-hand corner — “ 36.” Exhibited Draw- 
 ings, No. 631, N.G. 
 
 River scene, with ruins of castle. In ink, in corner 
 — “39.” Exhibited Drawings, No. 853, N.G. 
 
 Rocks and stream. Water colour. In ink, in corner 
 — “ 42.” 
 
 (41 leaves drawn on.) 
 
 1798 * (AET. 23). 
 
 XLII— THE “ SWANS ” SKETCH BOOK. 
 
 Schedule No. 288. 
 
 Sketch book, bound in calf, with one brass clasp. 
 
 Turner’s label on back — “26. South Wales.” 
 
 Size of page, 6f x 4§. 
 
 The leaves are of coarse brown paper. 
 
 Executors’ endorsement — “ No. 289 (altered to 
 288). Contains 60 Leaves with Pencil, Chalk & 
 Color’d Sketches on Tinted Paper. 
 
 (Sgd.) H. S. Trimmer 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement — “No. 289. Invent. 
 Two leaves with swans cut out for M. H. (Marl- 
 borough House). A book of great interest. Should 
 not be cut up.” 
 
 U 2 
 
 32796 
 
100 
 
 TURNER DRAWINGS. 
 
 [XLIL] 
 
 Inside cover is written in ink : — 
 
 “ Recipt for making an Efficable (?) ointment for 
 Gut 
 
 “ Solomons Seal leaves and Buds 
 “ Comfreu Do. 
 
 “ Bay 
 “ Elder 
 “ Valerian. 
 
 “An equal quantity to ivhicli may be added a handfull 
 of Parsley these herbs must be cut small bruise in a stone 
 mortar boil'd for some hours in a Bell mold Kettle over a 
 slow fire in a sufficient quantity of unwashed butter to 
 make the Herbs thoroughly moist it must stand ten or 
 12 days after which strain thro a Cloth , the Juice then to 
 be boild and well skimm'd and run into small Jars or 
 Pots. 
 
 “ Given by Miss N arraway of Bristol." 
 
 On the inside of end cover is written in ink — 
 
 “ Tell me Babbling Echo why 
 Babbling Echo tell me why 
 You return me sigh for sigh 
 When I of slighted love complain 
 You delight to Mock my Pain. 
 
 2 . 
 
 Bold intruder Night and Day 
 t , 1 censor 
 
 y ( telltale hence away 
 Me and my care in silence leave 
 Come not near me while I grieve. 
 
 s. 
 
 But should my Swain 
 
 Return to Bless my longing arms 
 I'd call the from thy dark retreat 
 The joy full tidings to repeat. 
 
 4 . 
 
 Repeat Repeat Repeat thy strain 
 Tell it o'er and o'er again 
 From Morn to Night prolong the tale 
 Let it ring from vale to vale." 
 
 On Fly-leaf at end is written in ink : — 
 
 “ Thee Breeze was fresh the Ship in stays 
 Each breaker hush'd the shore a haze 
 When Jack no more on duty call'd 
 His trtie love's tokens overhaul'd 
 The broken gold the braided hair 
 The tender motto writ so fair 
 Upon lvis bacco box he views 
 Nancy the Poet love the muse 
 If you loves I as I loves you 
 No pair so happy as we two. 
 
[XLIL] 
 
 SWANS SKETCH BOOK. 
 
 101 
 
 The storm that like a shapless (?) wreck 
 Had strew' d with rigging all the deck 
 That tars for shark had given a feast 
 And left the ship a hulk — had ceas'd 
 When Jack no more as with his mesmates dean 
 Who shared their grog their hearts to cheer 
 Took from his bacco’ box a quid 
 And starv'd for comfort on the lid. 
 
 The battle that ivith horror grim 
 Had madly ravaged life and limb 
 That scuppers drench'd with human gore 
 And widow'd many a ivife was o'er 
 When Jack to his companions dear 
 Just pay'd the tribute of a tear 
 Then as his tobacco Box he held, 
 
 Restor'd his comfort as he spell'd." 
 
 Continued on part of p. 139 : — 
 
 “ The voyage that had been long and hard 
 But that had yielded full reward 
 That brought each sailor to his friend 
 Happy and rich was at an end 
 When Jack his toils and perils o'er 
 Beheld his Nancy on the shore 
 Then as his bacco he display'd 
 And cry and seized the charming maid." 
 
 On p. 130 the following verses are written in ink : — 
 
 “ 1. ' Twas post meridian , half past four 
 By Signal I from Nancy parted 
 At six we linger'd on the shore 
 With uplift hands and broken hearted. 
 
 2. At seven while taughtning the fore stay 
 I saw her faint or else ivcis fancy 
 
 At eight we all got under way {weigh) 
 
 And bade a long adieu to Nancy. 
 
 3. Night came and now 8 Bells had rang 
 While careless Sailors ever cheery 
 
 On the mid watch so jovial sung 
 With tempers toil can never iveary. 
 
 4. I little to their mirth inclin'd 
 
 Wh ile tender thoughts rush'd o'er my fancy 
 And my warm sighs increas'd the wind. 
 
 Look'd on the Moon and, thought on Nancy." 
 
 “ 5. And now arrived that jovial night 
 When every true bred tar carouses 
 When o'er the grog all hands delight 
 To toast their sweethearts and, their spouses. 
 
 6. Round went the can the jest the glee 
 
 While tender thoughts rush't o'er each fancy 
 And when on turn it came to me 
 I heav'd a sigh and toasted Nancy. 
 
102 
 
 TURNER DRAWINGS. 
 
 [XLII.] 
 
 7. Next morn a squall came on at 4 
 At 6 the elements in motion 
 
 Plung'd me and three poor sailors more 
 Headlong within the foaming Ocean. 
 
 8. Poor wretches they soon found their graves 
 Fur me it mag he only fancy 
 
 But love seem'd to forbid the waves 
 To snatch me from the arms of Nancy." 
 
 Continued on p. 129 : — 
 
 “ 9. Scarce the foul hurricane was clear'd, 
 
 Scarced winds and waves had ceased to rattle 
 
 When the bold enemy appear'd 
 
 And undaunted we prepar'd for Battle. 
 
 10. And now while some lov'd friends or ivife 
 Like lightn ing rush'd on every fancy 
 
 To providence I trusted life 
 
 Put up a prayer and thought on Nancy. 
 
 11. At last 'twas in the month of May 
 The crew , it being lovely weather 
 At 3 a.m. discover'd day 
 
 And England's chalky cliffs together. 
 
 12. At 7 up channell — how we bore 
 
 While hope and fears now drowned each fancy 
 
 ^ { we gaily jump'd ashore 
 
 And to my throbbing heart press'd Nancy." 
 
 “ A. F wearily the ivay worn traveller 
 
 Plods uncheerily afraid to stop. 
 
 S. Wandring drearily and sad unraveller 
 Of the Mazes toward the Mountain top. 
 
 A. Doubting fearing while his course he's steering. 
 
 S. Cottages appearing , as he's nigh 
 
 B. Oh how . . . kly then the way worn traveller 
 Threads the mazes towards the Mountains top. 
 
 A. Tho' so melancholly day has past by 
 I would be jolly now to think on't more. 
 
 S. Blithe and jolly he the can held fast by 
 As he's sitting at the Goatherd's door." 
 
 Continued on p. 128 : — 
 
 “ A. Eating quaffing at past labours laughing 
 S. Better far by half in spoils than before 
 A. Oh how merry then the rested, traveller 
 Seems while sitting at the Goatherd's door." 
 
 Page 1. Figures of countrymen. Pen and ink. 
 
 2. 1 Caerphilly Castle (“ Caerfilly "). Pencil and white 
 „ 3. J chalk. 
 
 ,, 4 A tree trunk. 
 
 „ Caerphilly Castle (“ ditto 
 
[XLIL] 
 
 SWANS SKETCH BOOK. 
 
 103 
 
 Page 
 
 £} 
 
 8. 
 
 Group of trees. 
 
 99 
 
 99 
 
 A wharf, or timber yard. 
 
 99 
 
 9. 
 
 Vessels at a wharf. Pencil and pen and ink. 
 
 9 ? 
 
 10. 
 
 Blank. 
 
 99 
 
 11. 
 
 Two turkeys. Pen and ink. 
 
 99 
 
 12. 
 
 Hilly country, with river. 
 
 99 
 
 13. 
 
 View of Fonthill Abbey, in course of construction, 
 from river (? River Nadder). Continuation of 
 drawing on p. 12. In corner, “ Fonthill''' Reverse 
 
 of p. 14. 
 
 99 
 
 14. 
 
 Flying swan. Ink and Chinese white. Exhibited 
 Drawings, No. 609, N.G. 
 
 99 
 
 15. 
 
 Two swans. Ink and Chinese white. Exhibited 
 Drawings, No. 609, N.G. — “ Studies of Swans.” 
 
 99 
 
 13. 
 
 Upper half of a drawing of broken trees. Ink and 
 water colour. Reverse of p. 15. 
 
 99 
 
 17. 
 
 Lower half of drawing of fallen trees. Ink and water 
 colour. 
 
 99 
 
 18.) 
 
 Fallen trees. Ink and water colour. 
 
 99 
 
 19. J 
 
 ► 
 
 99 
 
 20.1 
 
 Blank. 
 
 99 
 
 21. j 
 
 ► 
 
 99 
 
 22.1 
 
 [ Winding river with steep banks and distant castle. 
 
 99 
 
 23. J 
 
 ( Pen and ink. Probably Crickhowell (“ Crick 
 Howell " (?)) and River Usk. 
 
 99 
 
 24. 
 
 Man-of-war, with boats. Ink and Chinese white. 
 
 99 
 
 25. 
 
 A sailing vessel. Pen and ink. 
 
 99 
 
 26.1 
 
 1 The docks at “ Bristol." Pencil and white. 
 
 99 
 
 27. j 
 
 f 
 
 99 
 
 28. ' 
 
 ( Vessels in dock at Bristol : St. Mary Redclifle (with 
 
 9 *> 
 
 29., 
 
 | half-built spire) in distance. Pencil and pen 
 
 and ink. 
 
 99 
 
 30.1 
 
 1 Distant mountains. Pen and ink. 
 
 99 
 
 31. j 
 
 r 
 
 9 ’ 
 
 32.1 
 
 1 Distant mountains. 
 
 99 
 
 33. j 
 
 r 
 
 99 
 
 34.1 
 
 1 Pont-y-Prydd, with the River “ Taff." Pencil and 
 
 99 
 
 35. j 
 
 I white. 
 
 99 
 
 36.1 
 
 I Blank. 
 
 99 
 
 37. J 
 
 r 
 
 99 
 
 38.1 
 
 I Distant view of the “ Malvern Hills." 
 
 99 
 
 39. j 
 
 r 
 
 99 
 
 40-47. Blank. 
 
 99 
 
 48.1 
 
 1 “ E." Probably ruins of Ewenny Priory. Pencil and 
 
 99 
 
 49. 
 
 ( white. 
 
 99 
 
 50.' 
 
 Rocky coast scene. 
 
 99 
 
 51. 
 
 Sky. Pencil and Chinese white. 
 
 99 
 
 52.1 
 
 1 Blank. 
 
 99 
 
 53. J 
 
 f 
 
 99 
 
 54. 
 
 “ E." Interior of Ewenny Priory. Pencil and white. 
 
 99 
 
 55. 
 
 Blank. 
 
104 
 
 TURNER DRAWINGS 
 
 [XLII.] 
 
 Page 
 
 95 
 
 95 
 
 95 
 
 59 
 
 5 ' 
 
 99 
 
 55 
 
 99 
 
 55 
 
 59 
 
 ’5 
 
 99 
 
 59 
 
 59 
 
 59 
 
 59 
 
 99 
 
 95 
 
 59 
 
 99 
 
 99 
 
 99 
 
 99 
 
 95 
 
 99 
 
 99 
 
 59 
 
 99 
 
 59 
 
 99 
 
 95 
 
 •5 
 
 95 
 
 99 
 
 99 
 
 *9 
 
 59 
 
 99 
 
 99 
 
 55 
 
 55 
 
 95 
 
 55 
 
 99 
 
 95 
 
 99 
 
 99 
 
 55 
 
 95 
 
 55 
 
 99 
 
 56. \ Ruined castle. (Name illegible.) 
 
 57. / 
 
 58. 1 Interior of Ewenny Priory. Pencil, Chinese white 
 
 59. / and red. 
 
 60. 1 Belfry, with figures. Pen and ink, Chinese white 
 
 61. / and red. 
 
 62. ( Caerphilly Castle, near Cardiff. “O'.” Pencil and 
 
 63. / Chinese white. 
 
 64. ( Ruined priory on banks of river, with bridge in mid- 
 
 65. / distance. “ U .” Pencil and Chinese white. 
 
 66. ) Ruined castle, with distant church. On part of fore- 
 
 67. / ground is written “ Ditch." 
 
 68. 1 Ruined abbey or priory. (Same building in following 
 
 69. / drawing.) 
 
 70. 1 Ruined castle on hill, with houses and ruins below. “ O." 
 
 71. / (? Ogmore Castle). 
 
 72. \ Another view of same building. “ 0." Pencil and 
 
 73. / white. 
 
 74. 1 Another view of same ruins. “ O" 
 
 75. / 
 
 76. Blank. 
 
 77. Blank. 
 
 78 \ Castle in mid-distance, with distant mountains. “ G." 
 
 79. J Probably Caerphilly. 
 
 80. \ Rough sketch. ? Subject. 
 
 81. / 
 
 82-85. Blank. 
 
 86. \ Ruined towers. “ St. D." Probably St. Donat’s. 
 
 87. / 
 
 88. \ A waterfall. Pencil and Chinese white. 
 
 89. / 
 
 90. Blank. 
 
 91. Sun behind clouds. 
 
 92-95. Blank. 
 
 96. 1 Range of mountain tops. Pencil and white. 
 
 97. / 
 
 98. \ Town with distant mountains. Pencil and white. 
 
 99. / 
 
 100. Storm clouds. 
 
 101. Clouds. 
 
 102. \ “ Hay." 
 
 103. / 
 
 104. 1 Ruins among trees. “77. on B." (?). Pencil and 
 
 105. / white. 
 
 106. Ruined castle. 
 
 107. Ruined castle. “ 77. on 73.” (or “ H. or B.”). 
 
 108. 1 Ruined castle on hill, with winding x-iver. “ C. A." 
 
 109. / Pencil and white. 
 
 110. { Ruined castle on hill. Pencil and white. 
 
 HI./ 
 
 112. ) Bridge, with distant castle and hills. Pencil and 
 
 113. ) white. 
 
 114. Sunset. 
 
[XLII.] 
 
 SWANS SKETCH BOOK. 
 
 105 
 
 Page 115- 
 118. 
 119. 
 120 - 
 
 124. 
 
 125. 
 
 126. 
 
 127. 
 
 128. 
 
 129. 
 
 130. 
 
 131. 
 
 132. 
 
 133. 
 134 
 
 135. 
 
 136. 
 
 137. 
 
 138. 
 
 139. 
 
 117. Blank. 
 
 | A blasted tree. Pencil and white. 
 
 ■123. Blank. 
 
 | Cliffs. “ Turkey ” (?). Pencil and white. 
 | A landscape. Pencil and white chalk. 
 
 Eor verses on these pages, see above. 
 
 *:} 
 
 Clouds round sun. Pencil and white. 
 | Rocks. Pencil, white and red. 
 
 On sea-coast. Pencil and white. 
 
 A woodland scene. Pen and ink, and water colour. 
 | Study of tree trunks. Pen and ink, and wash. 
 
 (60 leaves drawn on.) 
 
 1798 * (AET. 23). 
 
 XLIII.— “ACADEMICAL" SKETCH BOOK. 
 
 Schedule No. 156. 
 
 Sketch book, bound in calf. 
 
 Turner’s label on back — “ 35. Academy ” ; and 
 on side — “ Academical." 
 
 Size of page, 8^ x 5^. 
 
 Paper, blue, with reddish-brown wash over it. 
 
 Executor’s endorsement — “ No. 156. 
 
 (Sgd.) Geo. Jones.” 
 
 Marked “0.43” in Mr. Ruskin’s List. His com- 
 ment is — “ S. 156. One glowing dark Carnarvon, 
 fine. Academy studies, base.” 
 
 Page 1. Life study ; standing male figure. Coloured chalks 
 and water colour. 
 
 „ 2. Life study ; seated male figure. Coloured chalks and 
 
 water colour. 
 
 „ 3. Life study ; seated male figure. Coloured chalks and 
 
 water colour. 
 
 „ 3a. Life study ; female figure. Coloured chalks and water 
 
 colour. No. 35 (105), in 3rd Loan Collection. 
 
106 
 
 TURNER DRAWINGS. 
 
 [XLIII.] 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 >5 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 4. Life study ; female figure. Coloured chalks and water 
 
 colour. 
 
 5. Life study ; seated male figure. Water colour. 
 
 6. Life study ; seated male figure. Water colour. 
 
 7. Life study ; male figure. Water colour. No. 28, in 
 
 1st Loan Collection. 
 
 8. Life study ; seated female figure. Water colour. 
 
 9. Life study ; seated female figure. Water colour. 
 
 10. Life study ; seated male figure. Water colour and 
 
 chalk. 
 
 11. Landscape. Pencil and white chalk. 
 
 12. Life study ; back view of seated male figure. Pencil 
 
 and white chalk. 
 
 13. Life study ; standing female figure. Water colour and 
 
 coloured chalks. 
 
 14-38. Blank. 
 
 39. Blank. 
 
 39a. Caernarvon Castle ; sunset. Ink and water colour. 
 
 (Study for drawing of Caernarvon Castle, exhibited at 
 the Royal Academy, 1799, and lent by Mrs. Thwaites 
 to the Old Masters, Royal Academy, 1.887.) 
 
 40. Blank. 
 
 40a. River, with mountains. Ink and sepia. 
 
 41. Blank. 
 
 41a. Caernarvon Castle and shipping. Blue monochrome 
 and white. 
 
 42. Shipping, with Caernarvon Castle in mid-distance. Blue 
 
 monochrome. 
 
 42a. Caernarvon Castle ; sunset. Water colour. 
 
 43. Caernarvon Castle. Blue and white. 
 
 43a. Caernarvon Castle ; sunset. Water colour. 
 
 44. Blank. 
 
 44a. Caernarvon Castle, with shipping. Blue and white. 
 
 45. Blank. 
 
 45a. River, with ships. White chalk and washes of blue 
 and burnt sienna. 
 
 46. Blank. 
 
 46a. Study for picture, or copy from Wilson. Body colour. 
 
 47. Blank. 
 
 48. Blank. 
 
 48a. -Mountain scene. Water colour and white chalk. 
 
 49. Blank. 
 
 49a. Mountain scene. Water colour and white chalk. 
 
 50. Blank. 
 
 Inside end cover, a name, crossed out and partly erased 
 (possibly “ Mr. Charles Thomson ”), and the address — 
 
 “ No. 40 Castle Street, 
 
 Oxford Road." 
 
 (34 leaves drawn on.) 
 
LXLIV.] 
 
 107 
 
 1798 * (AET. 23). 
 
 XLIV.— MISCELLANEOUS. 
 
 A. Pembroke Castle. 
 
 11^ x 16 tj. 2nd Loan Collection, No. 143. 
 
 Water colour — not quite finished, but design, &c., well 
 established. Was apparently mounted by artist, and margin 
 of dark red and grey prepared by him. The present mount 
 covers up Turner’s margin and from a quarter to half an inch 
 of the drawing on different sides. 
 
 B. House Gable. 
 
 I4i x 11. Water colour. 
 
 1st Loan Collection, No. 67. 
 
 I am inclined to doubt whether this drawing is by Turner. 
 It seems to me too clumsy and mechanical in workmanship. 
 
 C. Two- Arched Bridge, with heavy buttresses ; houses 
 
 on either side. 
 
 x IO 5 . Pencil, part water colour. 
 
 D. Lake, with Mountains. 
 
 85 x lOf. Monochrome wash. 
 
 E. Tree, with Shipping in Harbour. 
 
 9| x 16. Pencil. 
 
 F. Castle, with Trees and Cattle. 
 
 10^- x 12£. Pencil, part water colour, on rough grey paper. 
 
 G. Somerset House (?). 
 
 3^ x 6 . Pencil, on card tinted brown. 
 
 On back, in ink : — 
 
 “Learn. Substantives 
 No Gomparsion but by 
 Adjectives , as, good bonne 
 bad, Beau, fine Positive 
 Plus Beau finer Gomparitive 
 le Plus Beau Superlitive of 
 Finer. 
 
 Masculine Le 
 
 White Blanc Positive 
 
 Whiter Plus Blanc Comparative 
 
 Whitest Le Plus Blanc Superlitive." 
 
 H. Caernarvon Castle. 
 
 4^ x 7. Pencil, on board. 
 
 I. Eagle Tower, Caernarvon Castle. 
 
 6x7. Pencil, on board. 
 
108 
 
 TURNER DRAWINGS. 
 
 [XLIV.] 
 
 J. -Powis Castle. 
 
 6x7. Pencil, on board. 
 
 K. Powis Castle. 
 
 6x7. Pencil, on board. 
 
 On back, group of trees. 
 
 L. Cliurcli, with Gravestones. 
 
 6 x 7. Pencil, on board. 
 
 On back, another view of same church. 
 
 M. Monument, with Two Seated Figures. 
 
 6x7. Pencil, on board. 
 
 N. A Niche, with Terminal Figure, and various Archi- 
 
 tectural Details. 
 
 11^- x 8A Pencil. 
 
 One detail, “ Henery 8 Arms." 
 
 O. Ruined Castle, with Cattle and Trees. 
 
 9| x 14J. Water colour. 
 
 P. Landscape, with distant Mountains. 
 
 x 3. Pencil. 
 
 Q. A Gothic Arch, Details of Window, &c. 
 
 7f x 121j, folded. Pencil. 
 
 Water mark, “G.R. 1791.” 
 
 R. Tracery of Windows, &c. 
 
 6x7. Pencil, on board. 
 
 S. River, with distant Mountains. 
 
 6x7. Pencil, on board. 
 
 T. Tracery of Windows. 
 
 6x7. Pencil, on board. 
 
 U. Road, with Trees and distant Windmill. 
 
 5| x 7. Pencil. 
 
 V. Interior of St. Paul’s, with Figures. 
 
 29^ x 24f. Pencil. 
 
 Looking west, from the nave. Crowds of figures, with 
 Yeomen of the Guard, &c. 
 
 The drawing appears to have been pasted down on to a 
 large drawing board while being executed ; it was then taken 
 off and folded up small, and endorsed by Turner on the back, 
 in ink : — 
 
 “ St. Pauls with the King dec. Ac. Ac. after his recovery 
 28 April." 
 
 Water mark, 1794. 
 
 The water mark proves that this cannot represent the scene 
 in St. Paul’s, on the 23rd April, 1789, when the King visited 
 
[XLIV.] 
 
 MISCELLANEOUS. 1798. 
 
 109 
 
 the Cathedral to return thanks for recovery from his first 
 illness — a subject of which Edward Dayes, Girtin’s master, 
 published two engravings, one taken from almost the same 
 point of view as this drawing. 
 
 W. Interior of Covent Garden Theatre, from the 
 
 Gallery, with Figures. 
 
 9f x 14|, folded. Pencil. 
 
 X. Ruined Castle on Hill beside River. 
 
 7^ x 10£. Water colour. 
 
 Y. Caernarvon Castle. 
 
 About 8-J x 11. Water colour, unfinished. 
 
 Exhibited Drawings, No. 770, N.G. 
 
 Z. Landscape, with Fig-ures and Cattle, 
 
 13f x 9f. Water colour. 
 
 4th Loan Collection, No. 12. 
 
 a. Manor House Gateway. 
 
 10 x 13^. Water colour. 
 
 4th Loan Collection, No. 33. 
 
 b. Fishing Boats, with distant Castle on Rock. Probably 
 
 Harlech Castle. 
 
 About 9| x 12£. Monochrome wash. 
 
 Perhaps a study for the picture of “ Harlech Castle, from 
 Trwgwyn Ferry, &c.,” exhibited R.A., 1799. 
 
 On back — Several slight sketches of boats, in pencil. 
 
 c. Group of Fishing Boats in an Estuary. 
 
 About 10 x 12^. Water colour. 
 
 See the previous drawing. 
 
 d. Bridge, with Town and Ruined Castle on the right. 
 
 12 x 18||. Water colour. 
 
 The drawing is much dirtied and rubbed ; it has also been 
 cut in halves. Apparently based on sketch, “ Cyfarthfa ” 
 Sketch Book (XLI), p. 35. 
 
 e. “Cross at Stourton , Wilts.'’ 
 
 15f x 21^. Water colour. 
 
 f. At Stourhead, Wilts, the Seat of Sir Richard Colt 
 
 Hoare. 
 
 16f x 21f. Unfinished water colour. 
 
110 
 
 TURNER DRAWINGS. [XLIV, XLV.] 
 
 g\ At Stourhead, Wilts. 
 
 17-^ x 23^. Water colour. 
 
 h. A Water Mill 'between Steep Hills. 
 
 17J x 22. Water colour. 
 
 i. Ludlow Castle and Bridge. 
 
 17 x 20^. Water colour. 
 
 Based on pencil sketch, “Hereford Court” Sketch Book 
 
 (XXXVIII), p. 63. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 (35 drawings.) 
 
 1799 * (AET. 24). 
 
 XLV.— " LANCASHIRE AND NORTH WALES" SKETCH 
 
 BOOK. 
 
 Schedule No. 140. 
 
 Sketch book, bound in calf, with two broken 
 clasps. 
 
 Written on cover — “ Lancashire & North Wales." 
 Size of page, 13 x 9. 
 
 Water mark — “ J. Whatman. 1794.” 
 
 Executors’ endorsement — “ No. 140. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Inside cover is written in pencil — 
 
 “ KirJcby ; 
 
 W. Turner ; ” 
 
 and two or three words, which have been erased. 
 
 On fly-leaf, in ink, in Turner’s writing — 
 
 “ Snowdon Mountain while every House 
 croiv usually croachs 
 there is no good of much sleep. 
 
 Snowdon Mountain ravenous snow (or shore) 
 me el ted windy often 
 in Distress Lest is a relation. 
 
 Translated by M r Lloyd from Pennant 
 
 On back of fly leaf, in pencil — 
 
 “ Mr. Edw d Swinburne , 
 
 to be left at Payne & MacKinley's . Booksellers , Strand 
 (Six leaves have been cut out.) 
 
[XLV.] LANCASHIRE AND NORTH WALES. 
 
 Ill 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 5 * 
 
 55 
 
 55 
 
 55 
 
 >5 
 
 55 
 
 5 ? 
 
 5) 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 1. Interior of Sherburne Chapel in Mitton Church, with 
 
 recumbent figures on tombstones. 
 
 Along top of drawing : — 
 
 “ Quant je puis ” ; and 
 
 “ Here lieth the Bones of S. Ric d Sherburne , Kt., 
 Master Forrest of Xy. F. of Bowland , Steward of 
 ye Manor of Stidbourne, Ld. of the Isle of Man , 
 and one of her . .” 
 
 Sketch for the drawing engraved in Whitaker’s “ Histy. 
 
 & Antiquities of the Deanery of Craven.” 
 
 On back, rough sketch of a picture of shipping, and a 
 coast scene, described as “ Storm and Calm." 
 
 (Three leaves torn out.) 
 
 2. Part of the battlements of a castle. 
 
 3. Part of a castle, with sea and rocks beyond. Possibly 
 
 Flint Castle. 
 
 4. Blank. 
 
 (Leaf torn out.) 
 
 5. Distant mountains. 
 
 5 a. Tower, with clouds. Probably part of Caernaiwon 
 Castle. 
 
 (Six leaves out.) 
 
 6. Blank. 
 
 7. Blank. 
 
 7 a. Welsh mountains, with torrent and one-arched bridge 
 in foreground. Monochrome, wash drawing. 
 
 8-9. Blank. 
 
 (Two leaves out.) 
 
 10-12. Blank. 
 
 (Leaf torn out ; has contained monochrome wash 
 drawing.) 
 
 13. Blank. 
 
 (Two leaves torn out.) 
 
 14. Blank. 
 
 14a. | A country house, surrounded by palings and trees. 
 
 15. J 
 
 16. Blank. 
 
 16a. Windmill, with path over hill. Gf. XLIV, U. 
 
 17. Blank. 
 
 17a. Clouds. 
 
 18. Blank. 
 
 18a. Clouds. 
 
 19. Blank. 
 
 19a. Range of distant mountains. 
 
 20. Blank. 
 
 20a. Small church and village on shores of bay or estuary, 
 with distant mountains. “ Llandau .” 
 
 21. Blank. 
 
 21a. Caernarvon Castle. 
 
 22. Blank. 
 
 22a. Caernarvon Castle. 
 
 23. Blank. 
 
 23a. Caernarvon Castle. 
 
 24. Blank. 
 
 24a. Caernarvon Castle, with shipping. 
 
112 
 
 TURNER DRAWINGS. 
 
 [XLV.] 
 
 Page 25. Blank. 
 
 „ 25a. Commencement of sketch of Caernarvon Castle. 
 
 „ 26. Blank. 
 
 „ 26a. Caernarvon Castle. 
 
 „ 27. Blank. 
 
 „ 27a. Small chapel, with distant mountain. 
 
 „ 28. Written in ink — “ T, Lister Barker. 40 Guineas. 
 Lomond 
 
 ,, 28a. Chapel on p. 27a in mid-distance. 
 
 „ 29. Blank. 
 
 „ 29a. Another view of same chapel, with river in foreground. 
 
 „ 30. Blank. 
 
 „ 30a. Church and castle on hills, with river in foreground. 
 
 (Leaf torn out.) 
 
 „ 31. Blank. 
 
 ,, 31a. Houses, &c., on river bank ; bridge mid-distance. 
 
 „ 32. Blank. 
 
 „ 32a. Continuation of drawing of foreground on p. 33a. 
 
 „ 33. Blank. 
 
 „ 33a. Group of trees, with houses and mountains in distance. 
 
 As the lower right-hand corner of sheet had been torn 
 part of the drawing is on p. 32a. 
 
 ,, 34. Blank. 
 
 „ 34a. Whalley Abbey, with river near foreground. 
 
 „ 35. Blank. 
 
 „ 35a. Whalley Abbey and Bridge, from the river. 
 
 ,, 36. Blank. 
 
 „ 37. Blank. 
 
 „ 37a. Mountains, with bridge in foreground. 
 
 „ 38. Blank. 
 
 „ 38a. Mountains. 
 
 „ 39. Blank. 
 
 ,, 39a. Mountainous country, with bridge in mid-distance. 
 
 „ 40. Blank. 
 
 „ 40a. One-arched bridge, with mountains. 
 
 (Leaf torn out.) 
 
 „ 41. Blank. 
 
 „ 41a. Foliage. 
 
 Loose Leaves. 
 
 „ 42. Stonyhurst, with lake in foreground. 
 
 Near margin, in pencil, in Turner’s writing — 
 
 “ Black Com 
 Corinthian 
 Ionic 
 Doric." 
 
 Along the bottom, in ink, in Mr. Ruskin’s handwriting — 
 “ Out of Invent. 328. J. R.” 
 
 Splashes of water colour on reverse of leaf. Cf. En- 
 graving published in Whitaker’s “ History of the 
 Original Parish of Whalley and Honor of Clitheroe.” 
 1800-1. 
 
 „ 43. Distant View of Whalley Abbey. Cf. Engraving in 
 Whitaker’s “ Parish of Whalley.” 
 
 On back — “ M r Sherlock & Tomki son." 
 
[XLV.] LANCASHIRE AND N. WALES. 
 
 113 
 
 Page 44. Near view of the ruins of Whalley Abbey. Cf. Engrav- 
 ing, Whitaker’s “Whalley.” 
 
 „ 45. Townley Hall. Cf. Plate V., published August 1, 1800, 
 in Whitaker’s “ Whalley.” 
 
 On back — “ St. Gillum Henrie." 
 
 „ 46. Distant view of Caernarvon Castle. 
 
 ,, 47. A mountain torrent. Indian ink wash. No. 26 (78) in 
 3rd Loan Collection. 
 
 „ 48. The old oak. Pencil. 1st Loan Collection, 46. 
 
 „ 49. Ruins of abbey. Exhibited Drawings, No. 458, N.G. 
 
 „ 50. Mountain scene. Monochrome wash. 1st Loan Col- 
 lection, No. 79. 
 
 (Probably belongs between pp. 7 and 8 or 12 and 13.) 
 
 „ 51. A castle. Pencil. ? Exhibited Drawings, No. 458, N.G. 
 
 (42 leaves drawn on.) 
 
 1799 * (AET. 24). 
 
 XLVI.—DOLBADARN SKETCH BOOK. 
 
 Schedule No. 379. 
 
 Small sketch book, bound in calf, with one brass 
 clasp. 
 
 Turner’s label on back, “ 38. Studies. Col." (pro- 
 bably means “ Colour ”). 
 
 Size of page, 3£ x 5|. 
 
 Water mark, “ J. Whatman, 1794.” 
 
 Executor’s endorsement, “No. 379. 85 leaves of 
 pencil, pen and ink — and colour. 
 
 (Signed) H. S. Trimmer.” 
 
 On inside cover is written in ink, in Turner’s writing : — 
 
 “ Pronouns. 
 
 Sin. 
 
 Moi or je 
 
 / 
 
 Toi or tu 
 
 thou 
 
 Lui 
 
 he 
 
 Elle 
 
 she 
 
 de soi 
 
 one self 
 
 de soi 
 
 one self 
 
 Moimeme 
 
 myself 
 
 Toi 
 
 thyself 
 
 Lui 
 
 them 
 
 Elle 
 
 herself 
 
 Soi 
 
 oneself 
 
 Nous 
 
 ourselfs 
 
 Vous 
 
 yourselfs 
 
 Eux \ 
 
 Elies — — - j 
 
 them seifs. 
 
 Plural. 
 
 Nous ire 
 
 Vous you 
 
 Eau or ils they 
 
 ur them 
 
 Elies they. 
 
 Pronouns. Possessive. 
 
 Mon my. my 
 
 Ma my 
 
 Ton thy — Tes 
 
 Ta Tes. 
 
 Son his — ses 
 
 Sa her — ses 
 
 32796 
 
 H 
 
114 
 
 TURNER DRAWINGS. 
 
 [XL VI.] 
 
 Page 
 
 “ Relative Pro : 
 
 Notre 
 Votre 
 leur 
 Le Sien 
 
 our — Nos. 
 
 Le Mein 
 
 mine 
 
 your — vos 
 
 Le Tien 
 
 thine 
 
 their — leurs 
 
 Le Notre 
 
 ours. 
 
 his 
 
 Le votre 
 
 yours. 
 
 “ Mr. Lowther 
 
 Le leuir 
 
 theirs.' 
 
 On fly leaf is written in ink : — 
 
 “ Demonstrative Pronouns. 
 
 ce this M. 
 cette this F. 
 celui him 
 de celui him 
 celle she 
 ceci this 
 
 Plural these ces 
 ces 
 
 those ceux 
 
 F. celles those 
 cela that. 
 
 Relative Pronouns. 
 
 Qui 
 
 who 
 
 Quoi what 
 
 de Q 
 
 when 
 
 dont whose 
 
 a Q 
 
 whose 
 
 
 Qui 
 
 whom or that 
 
 qui what 
 
 lequel 
 
 which Mas. 
 
 1 Da lui <b 
 
 la quelle 
 
 which F. 
 
 J Le du au." 
 
 Also, in pencil 
 
 : — 
 
 
 Mod Eil/io 
 
 Glydar Fawrf 
 
 On reverse of fly-leaf, in ink : — 
 
 “ Verbs ending l er' is a mark of the infinitive. 
 Present. 
 
 Je donne I give 
 Tu donne thou 
 R donne he 
 nous donnet 
 Vous donnez 
 Rs donnent. 
 
 Imperfect. 
 Je donnerios 
 Tu donnerios 
 II don ” 
 
 1. A harper seated playing a harp 
 On hack : — 
 
 “ Twylight 
 Clear 
 
 D. Rain bow (?) 
 Crimson'd 
 Dewy 
 Cloudy 
 Midday 
 Rain (?) 
 
 Showery 
 Squall (?) 
 
 Storm 
 Sunney 
 
 Sunrise 
 
 Bright. 
 
 . . Rain Red 
 Hazey. 
 
 Dawn (?). 
 
 After Ram 
 Fog. 
 
 Gathering (?) after 
 
 Gathering 
 Gathering 
 Breaking up (?) 
 Tranquil (?) ” 
 
[XLVI.] DOLBADARN SKETCH BOOK. 
 
 115 
 
 Page 2. Slight sketch of foliage. 
 
 „ 2a. Clouds. 
 
 „ 3. Cloud effect. 
 
 „ 4. Figures for a scriptural subject ; perhaps “ Moses 
 
 Praying.” 
 
 „ 4a. Clouds. 
 
 „ 5. Clouds. 
 
 „ 5 a. Clouds. 
 
 „ 6. Blank, and part torn. 
 
 „ 7. House, with tree and figures. 
 
 „ 8. Ruined abbey beside stream. 
 
 „ 9. Three-arched bridge, with houses and mountains 
 
 beyond. 
 
 Arch of ruined abbey spanning stream. Gf. p. 8. 
 
 9a. 
 
 10 . 
 
 10a. Cloud effect, described as “ Rain approaching after 
 Sunrise .” 
 
 11. Blank. 
 
 11a. Ruined abbey. 
 
 12. Blank. 
 
 13. Blank. 
 
 13a. Ruined castle. 
 
 14. Ruined castle on coast. 
 
 15. Blank. 
 
 15a, The pass of “ Aherglaslyn." 
 
 16. Blank. 
 
 16a. 
 
 17. 
 
 17a. v 
 
 18. ) 
 
 1 Interior of cathedral or abbey church. 
 
 ? Flint Castle. 
 
 | Landscape, with mansion on hill. 
 
 1 House on hill, with bridge in foreground. 
 
 18a. 
 
 19. 
 
 / 
 
 (Glyder Fawr, 
 
 19a. Mountains and clouds. (Snowdon range.) 
 
 20. Summits of a group of mountains. Each peak has a 
 separate number on it ; over a lake near centre is 
 written “ Ly duthivch ” (Llyn-dwythwch, near Moel 
 Eilio). 
 
 , 20a. Lake, with mountains. 
 
 , 21. Dolbadarn Castle. 
 
 , 22. Mountain, beside a lake. “ do. 3 " 
 cf. p. 23). 
 
 , 22a. Lake, with mountains. 
 
 , 23. Mountains. “ 2 Glydir Vaur." 
 
 , 24. Blank. 
 
 , 24a. \ Study of plants (thistle, &c.). 
 
 , 25. j 
 
 , 26. Study of briar rose. 
 
 , 26a. Road through a village. “ Lleewnife ' 
 
 , 27. Blank. 
 
 , 27a. A mountain pass. Pencil, with monochrome wash. 
 
 , 28. Blank. 
 
 , 28a. Trees, with distant mountains. 
 
 , 29. House among trees. 
 
 , 30. Among the mountains. Monochrome wash drawing. 
 
 , 31-36. Blank. 
 
 32796 H 2 
 
 (?)■ 
 
116 
 
 TURNER DRAWINGS. 
 
 [XL VI.] 
 
 Page 37. Sunset ; bridge in mid-distance. 
 
 Written underneath — “ One silver streak under 
 Bridge. Sky light grey. Windy in the Bottom till 
 nr. Barge (?). Moon glimmering ." And on one 
 part of sky — “ Red" ; on another — “ G. Yellow." 
 
 „ 38. Blank. 
 
 Dolbadarn Castle. 
 
 „ 39 a. On the coast. 
 
 „ 40. Study of weeds and grasses. 
 
 „ 40a. Castle among mountains. Dolbadarn. 
 
 „ 41. Another view of same castle. 
 
 „ 41a. Group of barges. 
 
 „ 42. Blank. 
 
 „ 42a. Clouds and mountain. 
 
 „ 43. Mountains. 
 
 „ 43a. Sailing vessel. 
 
 „ 41. Lake of Llanberis with Dolbadarn Castle. Pen and 
 
 ink. 
 
 „ 45. Blank. 
 
 „ 46. Group of aspens. “ Aspen Root." 
 
 ,, 46a. \ Group of trees. 
 
 » 47. J 
 
 „ 47a. Sun breaking through clouds. 
 
 „ 48. A tree. 
 
 ,, 48a. Distant mountains. 
 
 „ 49. Mountains. 
 
 „ 49a. A castle, with sunset effect. Probably Caernarvon. 
 
 ,, 50. Blank. 
 
 „ 50a. Same castle. 
 
 „ 51. Same castle, with sailing vessel in foreground. 
 
 „ 51a. A mountain. 
 
 „ 52. Same castle. 
 
 „ 52 a. A mountain. 
 
 ,, 53. View of mountains, “ from Snowdon." 
 
 „ 54. Same castle as above. 
 
 „ 54a. Clouds. 
 
 „ 55. Landscape with figures. “ Bard's Well." 
 
 „ 55 a. Caernarvon Castle. 
 
 „ 56. Blank. 
 
 „ 56a. Landscape. 
 
 „ 57. Blank. 
 
 “ Pass of Sy dent ” (? Sychnant). 
 
 „ 58a. \ Gawthorpe Hall, Lancashire. 
 
 „ 59. J 
 
 „ 59a. Figure subject. 
 
 60. Another version of same figure subject. 
 
 „ 60a. Clouds. 
 
 „ 61. Figure subject. 
 
 „ 62 &. 63. Blank. 
 
 „ 64. Blank. 
 
 64a. Mynydd Drws y-coed, or Moel Hebog. “do" (pro- 
 bably referring to “ Moel Habog” on p. 66). 
 
 „ 65. Blank. 
 
[XL VI.] DOLBADARN SKETCH BOOK. 
 
 117 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 ’5 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 65a. “ Maivr druce coade ” and Moel Hebog. 
 
 66. “ Moel Habog ” (Moel Hebog). 
 
 67-73. Blank. 
 
 74. Blank. 
 
 74a. Snowdon range, with rainbow. Monochrome wash 
 drawing with ink outline. 
 
 75. House with trees. 
 
 76. Blank. 
 
 76a. Mountains. Monochrome wash with ink outline. 
 
 77. Clouds. Monochrome. 
 
 77a. Mountains. Monochrome with ink outline. 
 
 78. Distant mountains. 
 
 79. Study for “ Fifth Plague of Egypt.” Pen and ink. 
 
 80. Blank. 
 
 81. Blank. 
 
 81a. Clouds. 
 
 82. Blank. 
 
 82a. Mountain peaks. “ Between Llanberisin Llanfranco"' 
 (Nant Francon). 
 
 83. Rough for historical composition. Ink and wash. 
 
 84. Blank. 
 
 84a. Sunset over mountains. 
 
 85. Sunset over mountains. 
 
 86. A mountain view. 
 
 87-89. Blank. 
 
 89a. A ruined castle. 
 
 90. A ruined castle. 
 
 90a. Penmanmawr — “ do ,” referring to p. 91. 
 
 91. “ Penmanmawr .” 
 
 92-98. Blank. 
 
 98a. “ Llanberis .” 
 
 99. “ Flinty 
 99a. A castle. 
 
 100. Blank. 
 
 101. Study of trees. 
 
 102. Blank. 
 
 102a. Interior, with figures. 
 
 103. “ Quathlynn,” seen from a mountain. (Llyn Cwellyn). 
 
 104. Blank. 
 
 104a. A castle. Conway (?). 
 
 105. Conway Castle (?). 
 
 105a. Armorial details. Written beside one sketch — 
 “square” ; and the other, “ each knot touches the 
 shield except the upper points'' 
 
 106. ‘ k Snowdon , from Beddgelert.” 
 
 106a. Landscape, with castle. 
 
 107. A castle. 
 
 107a. Conway castle (?). 
 
 108. Conway castle. Pen and ink. 
 
 109. A storm. 
 
 110. Blank. 
 
 111. Landscape, with castle Of, 106a. 
 
 111a. Group of figures. 
 
 112. Blank. 
 
 112a. Groups of figures. 
 
118 
 
 TURNER DRAWINGS. 
 
 [XL VI.] 
 
 Page 113. Landscape. 
 
 „ 113a. Clouds. 
 
 „ 114. A ship of the line, with smaller vessels. Watercolour. 
 
 „ 114a. Design for a picture, or copy of a Wilson. Water colour. 
 
 , 1 15. Blank. 
 
 „ 115a. Sea piece, with vessels and distant castle. Watercolour. 
 
 „ 1 16. Blank. 
 
 „ 116a. Nude recumbent female figure. Water colour. 
 
 „ 117. Figure among clouds. 
 
 ., 117a. Nude recumbent female figure. Water colour. 
 
 ,, 118. Design for a picture, or copy of Wilson or Poussin. 
 
 Water colour. 
 
 „ 118a. The Evening Gun ; a sea piece. Water colour. 
 
 „ 119. List of places of interest, continued from p. 119a. 
 See after p. 1 19a. 
 
 „ 119a. The following list in ink : — 
 
 “ Somersetshire . 838 (?) 
 
 Athelmey. Atlielney. A. <> Lang 'port. 
 
 Bath Abbey 
 
 Bristol Gh. 1148 
 
 Bruton. P. 1005-12 Wells. 
 
 Cleve A. 1188. 
 
 Dunster P. W C. 3 Minehead. 
 Glastonbury A. 954. 
 
 Henton P. 1227. Phillip Norton 
 Keynsham A. 1170 6 Bath 
 
 Montacute P. H. 1. 3 Martock. 
 
 Wells. Stoke Curey. Martock. 
 Witham. 
 
 Castles. 
 
 Dunster. 
 Uchester 
 Nunney 
 Stoke Curey 
 Wells Palace 
 Farley 
 
 3 Frame 
 Bridgwater 
 
 Frame. 
 
 3 Minehead 
 
 Devon. 
 
 Axminster C. C. 
 Crediton Do. 
 Ford Abbey 
 Tavistock A. 
 Okehampton C. 
 Rougemont 
 Powderham C. 
 
 9 Exeter 
 3 Totnes 
 
 Axminster 
 
 „ 119. Berry Pomroy C. 
 Lidford C 
 
 Cornwall. 
 
 St. Buries C. C. 
 
 St. Michael Mount. 
 Launceston C. 
 
 St. Michael 
 Ristormel 
 Foivay 
 Pendennis 
 
 Listwistle. 
 
 Pensanze 
 
[XL VI.] DOLBADARN SKETCH BOOK. 
 
 119 
 
 Page 120. 
 
 120a. 
 
 Dorset. 
 
 Abbotsbury A. 
 
 Gerne 
 Milton A. 
 
 Winburn 
 
 Corfe 
 
 Lulworth C. and Cove 
 Brownsea 
 
 8 Weymouth 
 8 Dorchester 
 8 
 
 4 Warelxam 
 7 W 
 Poole .” 
 
 “ List of Cloathes. 
 
 3 Coats 
 
 4 Waistcoats — White 
 
 5 Breeches 
 
 4 Under waistcoats 
 
 6 Cottonstocking s 
 
 2 Silk Stockings Black 
 8 Cravats 
 
 3 Pockethcindker chiefs 
 3 Boots 
 
 3 Shoes 
 
 5 Colour'd Waistcoats 
 
 6 Shirts 
 
 2 Welch Stockings 
 1 White Silk Stockings 
 1 Silk Handkerchf. 
 
 1 Great Coat 
 1 Overalls 
 1 Blackwaistcoat." 
 
 The following account of expenses, &c. — 
 
 1 15 
 
 47 
 
 Co. 1 
 
 . 14 
 
 
 5 
 
 15 
 
 E. 
 
 . 
 
 6 
 
 5 
 
 15 
 
 E. 
 
 
 fi 
 
 20 
 
 77 
 
 G. 
 
 4 . 
 
 6 
 
 15 
 
 
 C. 
 
 2 . 
 
 6 
 
 60 
 
 
 Derby. 
 
 4 . 
 
 6 
 
 15 
 
 
 Leek 
 
 1 — 
 
 6 
 
 75 
 
 
 
 4 . 
 
 6 
 
 40 
 
 
 Co 
 
 1 
 
 6 
 
 L 230 
 
 
 ( 
 
 5 
 
 ) 
 
 D 1 
 
 
 Manch < 
 
 3 
 
 ( 
 
 l 
 
 N. 1 
 
 
 t 
 
 6 
 
 ) 
 
 L 1 
 
 
 ( 
 
 11 
 
 3 
 
 M 2 
 
 
 Chaise < 
 
 1 
 
 9 
 
 R 1 
 
 
 1 
 
 1* 
 
 9 
 
 
 
 
 
 8 
 
 
 
 to Torrnaston 5 
 
 5 
 
 7 
 
 
 
 at Tor 
 
 8 
 
 
 
 
 Boy 
 
 2 
 
 
 
 
 5 
 
 . 15 . 
 
 7 ' 
 
 * Altered to 2, or vice rurm. 
 
TURNER DRAWINGS. [XLVI, XLVII.] 
 
 Inside end cover — 
 
 6319 
 
 14 May 98. 
 
 15 
 
 19729 
 
 11 May 98. 
 
 2 x 
 
 1221 
 
 24 May 98 
 
 1 X 
 
 465 
 
 23 May 98 
 
 5 
 
 9768 
 
 10 Ap. 98 (? 99) 
 
 5 
 
 6583 
 
 1 March 99. 
 
 20 
 
 7216 
 
 7 June 99 
 
 5 x 
 
 Also — 
 
 “ An Account of Dinas Evans Pennant Snowdon 
 p. 1 72." 
 
 Also — 
 
 “ 5 Nola N° 2857 
 E d Hogs flesh 
 Draw 60 I. Kelley 
 M‘ Power's Drawing 
 19\ by IS." 
 
 (89 leaves drawn on.) 
 
 1799-1804 (AET. 24-29). 
 
 XLVII,— " FONTHILL” SKETCH BOOK. 
 
 Schedule No. 210. 
 
 Loose leaves of a Sketch Book ; covers missing. 
 
 As there was nothing to indicate the proper order 
 of these leaves, the pagination is more or less 
 arbitrary. 
 
 Size of page, 18f x 13. 
 
 Watermark, “ J. Whatman, 1794.” 
 
 Executor’s endorsement (on p. 35) — “No. 210. 
 
 (Sgd'.j Geo. Jones.” 
 
 Called by Mr. Ruskin, “ the Schaffhausen Book,” 
 see p. 32. 
 
 {Note. — Five different views of “ the Gothic Abbey 
 now building at Fonthill, the seat of W. Beckford, 
 Esq.,” were exhibited at the R.A. in May, 1800. 
 This book must, therefore, have been in use at least 
 as early as 1799 ; but the Schaffhausen subjects show 
 that the book was still in use in 1802, while the 
 Cassiobury subjects may be as late as 1804-5.) 
 
 1. Front view of Fonthill Abbey, showing tower in process 
 
 of erection. Pencil. No. 127, in 1st Loan Collection. 
 
 2. Park scene (perhaps a view from the Abbey windows). 
 
 Pencil. No. 133, in 1st Loan Collection. 
 
 3. Fonthill Abbey. 
 
 4. Fonthill Abbey, with lake in foreground. 
 
 5. Fonthill Abbey. Against parts of the unfinished tower 
 
 are written — “ Top," “ x Height of the Floor," 
 and “ x Window." 
 
 6. An aqueduct running across picture near foreground, 
 
 with Fonthill Abbey in the distance. 
 
[XL VII.] FONTHILL SKETCH BOOK. 
 
 121 
 
 Page 7. 
 
 59 
 
 99 
 
 8 . 
 
 9. 
 
 59 
 
 10 . 
 
 » 
 
 11 . 
 
 55 
 
 12 . 
 
 55 
 
 13. 
 
 5» 
 
 59 
 
 55 
 
 5> 
 
 59 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 ]9. 
 
 55 
 
 20 . 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95 
 
 95 
 
 5) 
 
 21 . 
 
 22 . 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 27. 
 
 28. 
 
 55 
 
 95 
 
 95 
 
 5 » 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 55 
 
 33. 
 
 Fonthill Abbey on brow of bill in distance ; river, 
 with bridge in mid-distance. Page numbered “ 6,” 
 in ink, on top right-hand corner. Blotted. 
 
 Distant view of Fonthill Abbey. 
 
 Sheds and a house in ruins in foreground, with Font- 
 hill Abbey in distance. Cf. p. 18. 
 
 Fonthill Abbey, sunset. Water colour. “ 3 ” and 
 “ 66 ” (or “ 99 ”), in ink, in corner. 
 
 Unfinished tower of Fonthill Abbey in distance. 
 Water colour. Page numbered “5,” in ink, on top 
 right-hand corner ; and “ 86 ” (or “ 98 ”) in bottom 
 right-hand corner. Study for water colour, in Man. 
 Whit, Inst., No. 69. 
 
 Fonthill Abbey, on hill to left, in middle distance. On 
 part of foreground is written “ Purple Broom.” Page 
 numbered “ 2 ,” in ink, on top right-hand corner. 
 
 Fonthill Abbey, seen through trees on right. Page 
 numbered “ i,” in ink, on top right-hand corner. 
 
 Study of trees beside a lake. Chalk. 
 
 A lake, with foliage. Chalk and pencil. 
 
 Distant view of Fonthill Abbey. 
 
 Landscape, with unfinished tower of Fonthill Abbey 
 peeping over crest of hill on right. Chalk and pencil. 
 
 Distant view of Fonthill Abbey, with ruined house 
 near foreground. Cf. p. 9. 
 
 Lake, with River God seated among rushes. 
 
 On back, five sketches of landscape compositions, 
 possibly copies from Wilson — 
 
 (1) Coloured. Written on foreground, “ Alex- 
 
 ander ” and “ Gigstor ” (?). 
 
 (2) Pencil. On sky is written, “ rather green,” 
 
 and “ shade ” in foreground. 
 
 (3) Pencil. On foreground, “do.” 
 
 (4) Pencil. On sky is written, “ Mealy.” 
 
 (5) Pencil. 
 
 Two swans fighting, with workmen resting under a 
 fallen tree. 
 
 Study for an historical design. 
 
 Study for an historical design. 
 
 View across country ; hills in distance. 
 
 Village among trees. 
 
 Fonthill House. 
 
 River scene. 
 
 Lauffenbourg Bridge, Cf. p. 28. Oxford Loan Col- 
 lection, 184-53. 
 
 Lauffenbourg Bridge. Cf. “ Liber ” plate, published 
 1 January, 1811 (R. 31). 
 
 Falls of Schaff hausen. See Tabley House picture. 
 
 Water mill at Schaff hausen. 
 
 SchafEhausen Castle and Falls. See picture now at 
 Tabley House, exhibited at R.A., 1806. 
 
 Mountains or clouds. 
 
 Written in pencil on margin by Mr. Ruskin — “ Out of 
 Schaffhausen Book. J. R.” 
 
 Commencement of rough sketch, 
 
122 
 
 TURNER DRAWINGS. 
 
 [XL VII.] 
 
 Page 34. 
 
 99 
 
 35. 
 
 „ 36. 
 „ 37. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 99 
 
 42. 
 
 99 
 
 43. 
 
 99 
 
 99 
 
 99 
 
 44. 
 
 45. 
 
 46. 
 
 99 
 
 99 
 
 47. 
 
 48. 
 
 99 
 
 49. 
 
 99 
 
 50. 
 
 99 
 
 51. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 52. 
 
 53. 
 
 54. 
 
 55. 
 
 56. 
 
 57. 
 
 58. 
 
 Commencement of rough sketch. 
 
 On back — “ Out of the Schaffhausen Book. J. R.” 
 
 Eton, from the Slough road. Cf. engraving published 
 1 July, 1803, in “ Britannia Depicta.” 
 
 Executor’s endorsement on margin — “ No. 210. (Sgd.) 
 Geo. Jones’" ; also “1. J. R.” 
 
 {Note. — The endorsement being on this page probably 
 indicates that it was the first page of the book before 
 dismemberment.) 
 
 Eton, from the Slough road ; a slightly different view. 
 
 View of Oxford, showing Radcliffe Camera, Merton, 
 Christchurch, &c. 
 
 On back, blotches of water colour. 
 
 Cassiobury. 
 
 Cassiobury, from the park. 
 
 Cassiobury, from the park. 
 
 Cassiobury ; north-west view. Cf. water colour in 
 possession of C. Morland Agnew, Esq., reproduced 
 p. 54 in Armstrong’s “ Turner.” 
 
 {Note. — The aquatint by Hill of the Essex drawing 
 differs, chiefly in the figures, from the Agnew one. 
 So there may have been two water colours of this 
 subject.) 
 
 Part of page only. Continuation of a drawing of Cas- 
 siobury. 
 
 The Great Cloister, Cassiobury. Pencil, with stained 
 glass windows in water colour. Cf. aquatint by Hill. 
 
 Cassiobury. 
 
 Cassiobury. 
 
 Fonthill Abbey, from the lake, with oxen ploughing in 
 middle distance. Water colour. No. “ 30 ," in ink, is 
 written in top right-hand corner. 
 
 Fonthill Abbey, with sheep under shelter in fore- 
 ground. Water colour. 
 
 A fallen tree lying partly in water. Water colour. 
 Cf. p. 20. No. “100," in ink, is written in bottom 
 right-hand corner. 
 
 Part of Cassiobury, with lake in foreground. Ink and 
 water colour. 
 
 Cassiobury ; river and bridge in foreground. Same 
 view as p. 39, only a little to the left. No. 46 (132), 
 in 3rd Loan Collection. 
 
 Fonthill Abbey, seen between trees. Water colour. 
 2nd Loan Collection, No. 146. (Seriously affected by 
 exposure to the light.) The number “ 67 ” (or “ 97 ”) 
 in ink in left-hand corner. 
 
 Schaffhausen, from above the fall. Oxford, 187-56. 
 
 Schaffhausen. Oxford, 186-55. 
 
 Basle. Cf. “ Liber ” plate. Oxford, 182-51. 
 
 Lauflfenbourg. Cf. pp. 27 and 28. Oxford, 183-52. 
 
 Lauflfenbourg. Oxford, 185-54. 
 
 Gothic window, Cassiobury. (Part of page only — 7 x 8^.) 
 Pencil and water colour. 3rd Loan Collection, No. 69. 
 
 Cassiobury House, from the park. 
 
 (58 leaves drawn on.) 
 
[XLVIII.] 
 
 123 
 
 1799-1802 (AET. 24-27). 
 
 XLVIII. — " SMALLER FONTHILL" SKETCH BOOK. 
 
 Page 1 
 
 3. 
 
 4. 
 
 5. 
 
 Loose leaves of a dismembered Sketch book. 
 
 Size of page, 16J x IO 5 . 
 
 Water mark, “ J. Whatman, 1794.” 
 
 Distant view of Fonthill Abbey, with unfinished tower. 
 On back — Various small sketches — Back view of 
 horse, a window and turrets, a group of men hoisting 
 large stone blocks. 
 
 Christchurch Cathedral and Tom Tower, seen from the 
 River. Of. Oxford Almanack drawing. 
 
 Castle on distant promontory : large storm clouds above. 
 
 Pencil, with sky washed in in Indian ink. 
 
 Durham Castle and Cathedral. Pencil. 2nd Loan 
 Collection, No. 128. 
 
 Canterbury Gate, Christchurch, Oxford. Water colour, 
 unfinished. Oxford, 178-4. 
 
 A house among trees. Pencil and monochrome wash. 
 Written on wall — “ Red." 
 
 Written on back, “ Mount and frame. Original of 
 vignette to ‘Ital.’ J. R.” ; on margin of mount — 
 “ Original of vignette to ‘ Human Life,’ 
 Rogers, J. R.” 
 
 View of Oxford. Pencil and ink. Page cut down. 
 
 On back — a church spire. 
 
 (7 leaves drawn on.) 
 
 Note. — In the late Mr. J. E. Taylor’s Collection 
 there are at least five leaves of this Sketch book. One 
 of these is of Merton College, Oxford, while others 
 are, I believe, of Lauffenbourg. 
 
 The measurements and water marks of four of the leaves 
 agree with the above, but the “ Merton College ” drawing is 
 slightly smaller — viz., 15| x 10 — having been trimmed. 
 
 In the Ruskin Drawing School, at Oxford, there are six 
 other leaves belonging, I believe, to this Sketch book, viz. : — 
 No. 126 (Case VI.)— 
 
 “ Durham Castle and Bridge.” Pencil. 15§ x 10^. 
 
 No. 141— 
 
 “ Coast of Yorkshire.” Pencil. 16 x 10^. 
 
 (“ Liber ” subject (R. 24) based on this sketch.) 
 
 No. 143— 
 
 “ Solway Moss.” Pencil, with wash of neutral tint. 
 
 7. 
 
 15| 
 
 x 9f. 
 
 (“ Liber ” subject (R. 52), though much altered, is 
 evidently based on this sketch.) 
 
 No. 145— 
 
 “ Dumblane Abbey.” Pencil : showing whole of Abbey 
 with suggestion of figures washing. 15| x 10£. 
 
 (“ Liber” subject (R. 56) based on this sketch.) 
 
124 
 
 TURNER DRAWINGS [XLVIII, XLIX.j 
 
 Case XII. No. 292— 
 
 “ Sketch of Clouds and Hills at Inverary.” Pencil and 
 wash of neutral tint. 15| x 10. 
 
 Ref nee. No. 128. — 
 
 “ Scarborough : Sketch in colour from nature over 
 
 pencil outline. 1 ’ (Looking up at Castle from below.) 
 151 x 9 |, 
 
 The above drawings are all in mounts, and as I was not 
 permitted to remove the back-boards I can only give the sight 
 measurements. 
 
 In the National Gallery of Scotland (Vaughan Bequest) are 
 the following : — 
 
 Durham Cathedral, from N.W. 9| x 16. Water colour. 
 
 Falls of Clyde. 16}- x 20* (two sheets joined). Water 
 
 colour. 
 
 In the National Gallery of Ireland (Vaughan Bequest) is : — 
 
 Edinburgh, from Duddingstone. 10 g x 16}. Watercolour. 
 
 (No. 2110.) 
 
 It will be noted that all these subjects belong to the North 
 of England and Scotch tour which Turner made in 1800 or 
 1801, see below. The Sketch book was therefore in use like 
 the larger « Fonthill ” book (XLVII), from 1799-1802. 
 
 1799 - 1800 * (AET. 24-25). 
 
 XLIX.— " SALISBURY " SKETCH BOOK. 
 
 Schedule No. 308 
 
 Small Sketch book, bound in calf ; parchment label 
 on back, blank but for the number “52” on it in 
 ink. 
 
 Size of page 5j| x 4|. 
 
 Executor’s endorsement, “No. 308. Contains 20 
 leaves in pencil. Sketches. 
 
 (Signed) H. S. Trimmer, C. Turner,” 
 
 Mr. Ruskin’s endorsement on wrapper, “308. 
 Empty except a boat or two and some studies of 
 York. Four taken out for M.H.” 
 
 On by leaf (partly torn) is written : — 
 
 “ W. Turner, 
 
 64, Harley Street.” 
 
 {Note. — 64, Harley Street, first appears in R.A. 
 catalogue as Turner’s address in 1800.) 
 
[XLIX.] SALISBURY SKETCH BOOK. 
 
 125 
 
 Inside cover at one end, in ink : — 
 
 “ 364 14 10 
 
 105 19 3 
 
 470 14 1 
 
 200 
 
 6-8 
 
 Inside other cover : — 
 
 “ Love is like the raging Ocean (?) 
 
 Would thou swag its troubl'd motion 
 Woman's temper well 
 
 “ Man the easy bark which sailing 
 On the unblest treach'rous sea 
 Where Cares, like waves in fell succession, 
 I Frown destruction o'er his days 
 I O'erwelming crews in ... . way. 
 
 Thus thro' life ice tread 
 
 Recrant (?) poor or vainly (?) wise 
 
 see ^ s l the bubble Pleasure 
 
 bears j 
 
 Wh ich Bursts his Grasp (?) or flies." 
 
 Page 
 
 59 
 
 99 
 
 59 
 
 59 
 
 9 
 
 5 
 
 9 
 
 5 
 
 1. ^ Studies of Poultry. Exhibited Drawings, No. 440a, 
 
 2. ( b , c , d, N.O. Taken out for Marlborough House 
 
 3 ( exhibition. See Mr. Ruskin’s note above. 
 
 4. ) 
 
 5. Blank. 
 
 6. Blank. 
 
 6 a. ) Salisbury Cathedral, from the South. 
 
 7. f 
 
 8-20. Blank. 
 
 21. View across country, with hills in distance. Chalk. 
 22-25. Blank. 
 
 25a. Ground-plan of deck of vessel. Chalk. 
 
 26-28. Blank. 
 
 28a. ) Fishing Smack, with figures. Chalk. 
 
 29. { 
 
 29a. 1 Commencement of sketch of smack. Chalk. 
 
 30. J 
 
 30a. ] Fishing smack. 
 
 31. i 
 
 31a. ) Parts of vessels, 
 
 32. f 
 
 32a. ) Bows of barge. 
 
 33. 1 
 
 „ 34-62. Blank. 
 
 „ 62a. 1 Sketches of boats. Chalk. 
 „ 63. J 
 
 „ 64-68. Blank. 
 
 „ 68a. Sunset. Chalk. 
 
 „ 69. Blank, 
 
126 
 
 TURNER DRAWINGS [XLIX, L.] 
 
 Page 69a. Sunset. Numerals and initials on various parts of 
 drawing. Chalk. 
 
 „ 70-76. 
 
 ,, 76a. ) Street with church at end. 
 
 „ 77. I 
 „ 78. Blank. 
 
 „ 78a. Capital of pillar. 
 
 „ 79. Blank. 
 
 „ 79a. Details of capitals and decorations. 
 
 „ 80. Blank. 
 
 „ 80a. Details of decorations. 
 
 „ 81. Blank. 
 
 „ 81a. Details of capitals and ornaments. 
 
 „ 82. Blank 
 
 „ 82a. A diagram. 
 
 „ 83. Rough for composition. 
 
 (22 pages drawn on.) 
 
 1799 - 1801 * (AET. 24-26). 
 
 L.— MISCELLANEOUS (1). 
 
 A. Rood screen of a church seen from north 
 
 Transept. 
 
 28 x 23. Water colour beginning. Gf. L, N. 
 
 B. Study for picture of Norham Castle. 
 
 32 x 26. Water colour. 
 
 C. Another study for picture of Norham Castle. 
 
 21]- x 29]-. Water colour. 
 
 D. Salisbury Cathedral : the Choir— looking East. 
 
 29] x 22. Pencil, with parts coloured. 
 
 E. Interior of All Souls’ College Chapel, Oxford. 
 
 30 x 21]. Pencil, with windows partly coloured. 
 
 F. Screen and Organ, All Soul’s College Chapel (?) 
 
 30 x 21]. Pencil, with parts coloured. 
 
[L.] MISCELLANEOUS. 1799-1801. 127 
 
 G. Interior of Christ Church Cathedral, Oxford ; 
 
 screen and organ. 
 
 30 x 21£. Water colour, unfinished. 
 
 H. A Porch. Possibly at Cassiobury. 
 
 About 16^ x 10L Pencil. 
 
 I. A Porch. 
 
 18| x 13|. Water colour, based on preceding drawing. 
 
 J. Inside view of the Hall of Christchurch. 
 
 About 13| x 18. Pencil. 
 
 Written in margin — “Arms of the Screen Blue." 
 
 Study for the water colour engraved in Oxford Almanack, 
 1807* 
 
 K. Landscape, with ruined castle on hill. 
 
 15 x 18f. Water colour. 
 
 Eased on pencil sketch, pp. 57«-58, “ Dinevor Castle” 
 Sketch Book (XL). 
 
 L. Lake among mountains. 
 
 13 j x 19£. Water colour. 
 
 In margin, in ink — “ 44." 
 
 M. River scene, with mountainous banks and boats. 
 
 10| x Iff. Water colour. 
 
 N. Rood screen of church, seen from north tran- 
 
 sept. 
 
 1(5 x 11. Pencil. 
 
 The large, unfinished water colour (L, a) is based on this 
 sketch. 
 
 O. The Council House, Salisbury. 
 
 9£ x 11|. Pencil. 
 
 On extreme right a highly ornamented half-timbered house, 
 with the name of “ Wheeler ” on front. 
 
 See Hoare’s “ Wiltshire.” 
 
 P. The Council House, Salisbury. 
 
 Ill x 16£. Unfinished water colour, based on preceding 
 drawing. 
 
 A squad drilling in foreground, with numerous other figures. 
 
128 
 
 TURNER DRAWINGS. 
 
 [L.] 
 
 Q. Christchurch, Oxford, from the River. 
 
 x 10L Pencil. 
 
 Water mark, “J. Whatman, 1794.” 
 
 R. An Oxford College. (Query St. John’s.) 
 
 5| x 8. Pencil. Details of ornament in margin. 
 
 On back —architectural details. 
 
 S. “ ISIS BRIDGE, OXFORD.” 
 
 8| x lOf. Pencil. 
 
 Name written on back. 
 
 T. River scene, with town and bridge in middle 
 
 distance. 
 
 8£ x 10 T 7 ff . Pencil. 
 
 U. Landscape, with house and ruins. 
 
 8} x lOy 7 . Pencil. 
 
 V. Part of Christchurch, with Tom Tower. 
 
 9j x 7^. Pencil. 
 
 In margin — “ 9 — 2 \.” 
 
 Watermark — “ G. R. 1795.” 
 
 W. An Interior seen through a partially bricked-up 
 entrance. 
 
 74 x 9£. Pencil. 
 
 X. Christchurch, from the River. 
 
 8| x 10|. Pencil. 
 
 Y. River, with town and bridge in middle distance 
 
 84 x 10)). Pencil. 
 
 Z. A water mill, with barns, trees, &c. 
 
 84 x 10§. Pencil. 
 
 (26 drawings.) 
 
[LI.] 
 
 129 
 
 1799 - 1801 * (AET. 24-26). 
 
 LI— MISCELLANEOUS (2). 
 
 A. Houses beside river. 
 
 8g- x 10 r V Pencil. 
 
 B. Water mill. 
 
 8 s x 10-pg-. 
 
 On back — commencement of landscape, with houses. 
 
 C. Landscape, with road and distant town 
 
 8§- x lOy^. Pencil. 
 
 D. Church, with houses. 
 
 8£ x 10 T V Pencil. 
 
 E. Two rows of sculptured figures . 
 
 24 x 3J. Pencil, on cardboard. 
 
 F. Part of entrance porch. 
 
 3| x 2^. Pencil, on cardboard. 
 
 G. Study of mast and rigging. 
 
 About 20-j x 17. Water colour. 
 
 Exhibited Drawings, No. 614, N.G. 
 
 H. River scene. Probably Welsh. 
 
 8f x 13]-. Water colour. 
 
 Exhibited Drawings, No. 831, N.G. 
 
 I. Study of post-chaise and horses. 
 
 Pencil. 
 
 4th Loan Collectioii, No. 49. 
 
 J. Studies of cows. 
 
 Water colour. 
 
 3rd Loan Collection, No. 63. 
 
 K. Mountainous landscape, with cattle on road leading 
 
 to valley. 
 
 Ilf x 15|. Chalk and stump. 
 
 32796 I 
 
130 
 
 TURNER DRAWINGS. 
 
 [LI.] 
 
 L. Landscape, with, distant mansion on hill. 
 
 About 11 x 15f. Pencil. 
 
 M. A dark landscape, with trees and mountains. 
 
 121 x 15f. Oil, on canvas ; the canvas has been removed 
 from its stretcher. 
 
 NT. Study for the picture of “ AHneas with the Sibyl. 
 Lake Avernus.” 
 
 14f x 21. Pencil. 
 
 No. 463, N.G., now on loan to Stockport Museum. 
 
 O. Study of man-of-war. 
 
 184 x 24. Pencil. 
 
 P. Roadside church, with distant mountain. Probably 
 
 in Cumberland. 
 
 13| x 194. Pencil. 
 
 Q. Landscape, with trees and figures. 
 
 211 x 15. Pencil. 
 
 (The following drawings, R-Y, may be connected with 
 Whitaker’s “ History of the Parish of Whalley.” 1800-1801.) 
 
 R. A mansion. 
 
 114 x 15f. Pencil. 
 
 S. Mansion on hill, with distant prospect. 
 
 10 x 16J. Pencil. 
 
 T. Landscape, with trees. 
 
 10 x 15|. Pencil. 
 
 U. Mansion seen from the grounds. 
 
 10re x 15. Pencil. 
 
 V. A group of trees. 
 
 11 x 16U Pencil. 
 
 W. Landscape, with mansion on hill in distance. 
 
 llg- x 16f. Pencil. 
 
 Water mark, “ J. Whatman, 1794.” 
 
[LI.] 
 
 MISCELLANEOUS. 1799-1801. 
 
 131 
 
 X. Landscape, with, mansion on hill. 
 
 9] x 15f. Pencil. 
 
 Y. Plumpton rocks (?). 
 
 10 x 16]. Pencil. 
 
 (25 dratvings.) 
 
 1801 * (AET. 26). 
 
 LII. — “ GU ISB0R0UGH SHORE” SKETCH BOOK. 
 
 Schedule No. 347. 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 1 . 
 
 la. 
 
 2 . 
 
 3. 
 3a. 
 
 4. 
 
 5. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5 a. 
 
 6 . 
 
 7. 
 
 7a. 
 
 S. 
 
 9. 
 
 9a. 
 
 10 . 
 
 10a. 
 
 11 . 
 
 12 . 
 
 12a. 
 
 13. 
 
 55 
 
 14. 
 
 Small sketch book, bound in calf, with one clasp, 
 broken. 
 
 Turner’s label on back— “30 Guisb. Shore.' 1 '' 
 
 Size of page, 3| x 5 X \. 
 
 Paper like grey Michalet paper. 
 
 Executor’s endorsement — “ No. 347. Contains 36 
 leaves. In pencil. 
 
 (Sgd.) C. Turner.” 
 
 Mr. Ruskin’s endorsement on wrapper — “ 347. 
 Bold, early outlines on poor (?) paper book — of little 
 value.” 
 
 Blank. 
 
 | Trees on cliffs. Pencil and white chalk. 
 
 Blank. 
 
 | Cliffs, with distant sea. Pencil and white chalk. 
 Blank. 
 
 | Cliffs. Pencil and white chalk. 
 
 Blank. 
 
 j Cliffs. Chalk. 
 
 Blank. 
 
 | Study of rocks. Chalk, 
 j Study of rocks. Chalk. 
 
 Blank. 
 
 | Fishing boats on coast. Pencil and white chalk. 
 Blank. 
 
 I 2 
 
 3279fi 
 
132 
 
 TURNER DRAWINGS 
 
 [LII, LIII.] 
 
 Page 14a. ) Ruins on hill. Pencil. 
 
 „ 15. J 
 
 „ 16. • Slight sketch on coast. Pencil. 
 
 „ 16a. 1 Incoming waves. Pencil and white chalk. 
 
 .. 17- j 
 
 „ 18. Blank. 
 
 „ 18a. 1 Fishing boats on coast. Pencil and white chalk. 
 
 „ 19. / 
 
 „ 20. Blank. 
 
 „ 20a. \ Bay on rocky coast. Pencil and white chalk. 
 
 v 21. / 
 
 „ 22. On coast. Pencil and white chalk. 
 
 „ 23. Blank. 
 
 „ 23a. \ Waves breaking on coast Pencil and white chalk. 
 ,, 21. J 
 „ 25. Blank 
 
 „ 25a, 1 Vessel sailing off coast. Pencil and white chalk. 
 
 „ 26. / 
 
 „ 27. Blank. 
 
 „ 27a, 1 Waves breaking on shore. Pencil and white chalk. 
 „ 28. J 
 „ 29. Blank. 
 
 29a. 1 Waves on rocky coast. Pencil and white chalk. 
 
 29a. 1 
 30. / 
 
 31. Blank. 
 
 31a. 1 Fishing boat on shore. Pencil and white chalk. 
 
 32. j 
 
 33. Blank. 
 
 33a. 1 Fishing boats on shore. Pencil. 
 
 31. J 
 
 35. Blank. 
 
 35a. \ Landscape, with trees. Pencil. 
 
 36. / 
 
 37-51. Blank. 
 
 (36 leaves drawn on). 
 
 1801 * (AET. 26). 
 
 LIII.—" HELMS LEY" SKETCH BOOK. 
 
 Schedule No. 313. 
 
 Small sketch book, bound in calf, with one clasp 
 broken. 
 
 Labelled on back by Turner — “ 70. Helmsley to 
 
 Newcastle. Northumberl d . Tweed , .” 
 
 Size of page, 6^ x 1^. 
 
 Water mark, “ J. Whatman. 1791.” 
 
 Executors’ endorsement — “ No. 313. Contains 
 65 Leaves in Pencil & Colors. Most on both sides. 
 
 (Sgd.) H. S. Trimmer, C. Turner.” 
 
[LIIL] 
 
 HELMSLEY SKETCH BOOK. 
 
 133 
 
 On inside of end cover the following jottings in pencil — 
 “12. 10 — 4 — 6 
 
 3 
 
 Gh. 1 — 11 . 
 
 H — 17 
 
 Pick. — 8 — 6 
 
 Scar. 1 . 17 . 3 
 
 Wit. 
 
 1 . 12 . 
 
 6 
 
 4 
 
 1 
 
 co 
 
 1 
 
 Gis. 
 
 8 
 
 
 1 
 
 CO 
 
 1 
 
 Oj 
 
 1 
 
 
 6 — 14 — 
 
 3 
 
 
 8 
 
 Stock. 
 
 10 . 
 
 4 
 
 6 
 
 — 14 — 3. 
 
 Sedg. 
 
 s . 
 
 6 
 
 
 
 Durham. 
 
 2 . 6 . 
 
 
 
 
 Newcas. 
 
 11 
 
 
 10 
 
 — 5 — 1 
 
 Morpeth 
 
 14 
 
 
 
 
 Weldon B. 
 
 8 
 
 
 
 
 Alnwick. 
 
 12 
 
 
 
 
 Wooler. 
 
 9 . 
 
 4 
 
 12 
 
 — 8 — 5 
 
 
 
 £ 
 
 
 s. d. 
 
 
 Gornhill. 
 
 
 
 11 — 0 
 
 
 Berwick 
 
 
 
 9—6 
 
 Press & Dunbar. 
 
 l 
 
 — 
 
 2—0 
 
 North Benvick. 
 
 1 
 
 — 
 
 4—0 
 
 
 Addington 
 
 
 
 13—6 
 
 Dalkeith House (?), Ac. 
 
 
 
 16—6 
 
 
 Edinboro. 
 
 7 
 
 — 
 
 18—1 
 
 
 Queensferry — 
 
 
 
 8 — 
 
 
 Lithgo. 
 
 
 
 13—6 
 
 Gumbernald. 
 
 
 
 9 — 
 
 
 Glascow. 
 
 
 
 15 — 2 
 
 
 Dumbarton. 
 
 
 
 8—6 
 
 
 Buss. 
 
 
 
 14 
 
 
 Arraque. 
 
 
 
 9—6 
 
 
 Cairndow. 
 
 
 
 15 — 6 
 
 
 Inverara 
 
 2 
 
 — 
 
 4 — 10 
 
 
 Dalmaly 
 
 
 
 10 — 9 
 
 
 
 20 
 
 — 
 
 3 — 4 ” 
 
 Page 1. Vessels at sea, with stormy sky. 
 
 „ 2. Sketch of clouds. 
 
 „ 2a. Clouds. 
 
 „ 3. Clouds. 
 
 „ 3 a. Tree trunks, with building beyond. 
 
 (2 leaves cut out.) 
 
 „ 4. Group of sailing vessels. 
 
 ,, 5. River scene, with vessels and distant castle : sunset. 
 
 Water colour. 
 
 „ 6. Whitby, with priory on hill. 
 
134 
 
 TURNER DRAWINGS. 
 
 [LIII.] 
 
 Page 
 
 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 95 
 
 >9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 ’9 
 
 99 
 
 9» 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 7. Whitby. 
 
 8. Whitby. 
 
 8a. Whitby, looking up river. 
 
 9. Whitby. 
 
 9 a. Windmill ; sunset. Water colour. 
 
 10. Windmill on hill. 
 
 10a. Distant hills. 
 
 11. Old woman seated, holding bowl. Water colour. 
 
 12. Old woman seated before cabin. 
 
 13. Figures seated on steps of market cross. Washes of 
 
 neutral tint over distance and sky. 
 
 14. River, with distant mountains. Water colour. 
 
 14a. Clouds. 
 
 15. Blank. 
 
 Durham (?). 
 
 Prebend’s Bridge, Durham, from the river bank (?). 
 Durham Castle, from the river bank. 
 
 Durham Castle. 
 
 Durham Castle. 
 
 Durham Cathedral, from the river. 
 
 Durham Cathedral, from the river. 
 
 Durham Cathedral, from the river. 
 
 Durham, with Prebend’s Bridge near foreground. 
 Durham Cathedral, from river. 
 
 Durham, with castle. 
 
 Durham Castle from the river, with buttresses of 
 bridge on left. Of. “ Durham Castle and Bridge,” 
 No. 126 in Ruskin Drawing School, Oxford, one of 
 the leaves of the “ Smaller Fonthill” Sketch Book 
 (XL VIII). 
 
 27a. \ Durham Castle. 
 
 28. J 
 
 28a. \ Peel Castle, Morpeth. 
 
 29. J 
 
 29a. Peel Castle, Morpeth, with river in foreground. 
 
 30. Peel Castle, Morpeth, with river in foreground. 
 
 31. Peel Castle, Morpeth. 
 
 31a. 1 Morpeth. Of. “Liber” plate (R. 21.), published 
 
 32. J May 29, 1809. 
 
 33. Cows on river bank, with Peel Castle in distance. 
 
 34. Ruined abbey. 
 
 34a. Clouds. 
 
 35. Sheep crossing a. bridge, with houses in distance, and 
 
 groups of sheep, a cow and piss in foreground. 
 
 I 
 
 loa. • 
 16. ) 
 16a. 1 
 
 17. j 
 17a. 1 
 
 18. j 
 
 18a. \ 
 
 19. 
 19a. 
 
 20. j 
 
 20a. 1 
 
 21 . ] 
 
 21a. \ 
 
 22. j 
 
 22a. \ 
 
 23. } 
 23a. \ 
 
 24. j 
 24a. 1 
 
 25. J 
 25a. 1 
 
 26. j 
 26a. \ 
 
 27. J 
 
[LIII.] 
 
 HELMSLEY SKETCH BOOK. 
 
 135 
 
 Page 35 a. Distant view of ruined abbey or castle. 
 
 „ 36. Distant mountains. 
 
 „ 36a. Part of a ruined Gothic cross (?), with distant moun- 
 
 tains. 
 
 „ 37. Ruined abbey or castle on hill. 
 
 „ 37a. 1 Distant hills. 
 
 „ 38. / 
 
 38a. Castle on banks of a river, with distant hills. Water 
 colour. 
 
 On next page is written, “ Melford Castle .” 
 
 39. A seated cow. 
 
 39a. 1 A winding river (probably the Tweed), with distant 
 
 40. / castle on hill. 
 
 40a. 1 Same river and distant castle. 
 
 41. / 
 
 41a. 1 Distant view of town, with river in foreground. 
 
 42. j Water colour. 
 
 42a. \ Nor ham Castle. 
 
 43. j 
 
 43a. 1 Norham Castle. 
 
 44. j 
 
 44a. 1 Norham Castle. Cf. “Liber” plate (R. 57.), published 
 
 45. J January 1, 1816 ; also Exhibited Drawings, 
 
 Nos. 175 and 480, N.G. 
 
 45a. \ Norham Castle in distance. 
 
 46. j 
 
 46a. Ruined castle on hill. Probably another view of Norham. 
 
 47. I Jo. do. 
 
 47a. \ Do. do. 
 
 48. / 
 
 48a. Do. do. 
 
 49. Do. do. 
 
 49a. \ Do. do. 
 
 50. / 
 
 51. Houses on hill, near river. 
 
 52-65. Blank. 
 
 65a. 1 Group of trees, with distant mountains. Pen and ink. 
 
 66 . J 
 
 67. Blank. 
 
 68. Blank. 
 
 68a. 
 
 69 
 
 a. | Bridge, wi 
 
 with castle. 
 
 11 
 
 11 
 
 H 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 70-87. Blank. 
 
 87 a. Boats. 
 
 88. Blank. 
 
 88a. Vessels under sail. 
 
 89. Vessel under sail. 
 
 89a. \ Rocky coast. 
 
 90. j 
 
 90a. 1 Looking out to sea from the coast. Rocky promon- 
 
 91. J lory and vessels in distance. 
 
 91a. \ View of Edinburgh from Holyrood. 
 
 92. / 
 
 92a. \ Bridge, with castle. 
 
 93. / 
 
136 
 
 TURNER DRAWINGS. [LIII, LIV.] 
 
 Page 93a. Figures of — (1) man in kilt (pencil) ; (2) horse and cart 
 (wash) ; and < 3) woman carrying basket on her hack 
 (pencil). 
 
 (Six leaves cut out, of which one had been used for a 
 wash drawing.) 
 
 „ 94. Blank. 
 
 „ 94a. I Newcastle-on-Tyne, from the river. 
 
 „ 95. / 
 
 ,, 25a. Horse drinking at fountain, with figures seated on steps 
 
 beyond. 
 
 „ 96. Blank. 
 
 „ 96a. Ostler attending to horses, with figures looking on. 
 
 „ 97. Durham Cathedral, with rainbow in sky. Watercolour. 
 
 „ 98. Durham Cathedral, with rainbow. Water colour. 
 
 „ 99. Blank. 
 
 „ 99a. Commencement of sketch. 
 
 (Twenty-one leaves cut out, many of which have been 
 used for water colour.) 
 
 ” ‘ | Two fly-leaves. Blank. 
 
 (68 leaves drawn on.) 
 
 J.801* (AET. 26). 
 
 LIV. — “DUNBAR" SKETCH BOOK. 
 
 Schedule No. 227. 
 
 Small Sketch book, bound in calf, with one broken 
 clasp. 
 
 Labelled on back by Turner : — “ 90 Scotland." 
 
 The back of the book has been broken and a 
 number of leaves removed. 
 
 A few of the leaves are white, but the rest seem to 
 have been coated with a wash of pinkish brown. 
 This has enabled the artist to scratch out his lights 
 with a knife. 
 
 Size of page, x 6^. 
 
 Water mark. “ j. Whatman, 1794.” 
 
 Executor’s endorsement: — “No. 227. 88 leaves, 
 
 some in colors in pencil and chalk. 
 
 (Signed) C. Turner.” 
 
 Mr. Ruskin’s endorsement on wrapper : — “ 227. 
 The Brown book at Dunbar. Many fine rough 
 sketches on brown paper.” 
 
 Page 1. A ruined abbey. 
 
 „ 2. On the sea coast. 
 
 „ 2a. f The sea, with distant mountains. Pencil and white 
 
 „ 3. \ chalk. 
 
[LIV.] 
 
 DUNBAR SKETCH BOOK. 
 
 137 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5 * 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 V 
 
 3 a. Waves breaking. Pencil and white chalk. 
 
 4. Distant castle. 
 
 4a. Castle seen above trees. 
 
 5. Blank. 
 
 6. Bridge with castle. 
 
 7-33. Blank. 
 
 (The break in book occurs here. For some of the 
 removed leaves see pp. 109-116.) 
 
 34. Distant hills. 
 
 35. Blank. 
 
 35a. \ Rocky coast scene. 
 
 36. / 
 
 36a. Castle seen through trees. 
 
 37. Castle on hill in middle distance. 
 
 37a. Ruined castle in middle distance. 
 
 38. Ruined castle in middle distance. 
 
 38a. Ruined castle in middle distance. 
 
 39. Ruined castle on hill. 
 
 39a. Roslin Castle. 
 
 40. Roslin Castle. 
 
 40a. Roslin Chapel. 
 
 41. Part of the ruins of Roslin Castle. 
 
 41a. Entrance to ruined castle. 
 
 42. Ruined castle. 
 
 42a. 1 Ruined castle on bank of river. 
 
 43. / 
 
 44. Ruined castle on bank of river. 
 
 44a. Ruins on hill. 
 
 45. Ruins. 
 
 45a. Castle on hill in middle distance. 
 
 46. Castle on hill in middle distance. 
 
 46a. \ Ruined castle. 
 
 47. / 
 
 47a. Ruined castle. 
 
 48. Blank. 
 
 48a. Ruined castle. 
 
 49. Blank 
 
 49a. Ruined castle. 
 
 50. Blank. 
 
 50a. \ The Bass Rock from the shore. 
 
 51. / 
 
 51a. Ruined castle. 
 
 52. Ruined castle. 
 
 52 a. Castle on hill. 
 
 53. Rocks along the coast. 
 
 53a. \ River or estuarv. 
 
 54. / 
 
 44a. 1 Rocky coast. 
 
 55. / 
 
 55a. ) Rocky coast. 
 
 56. / 
 
 56a. \ Tantallon Castle. 
 
 57. / 
 
 57a. Tantallon Castle from below. 
 
138 
 
 TURNER DRAWINGS. 
 
 [LIV.] 
 
 Page 
 
 58. 
 58a. 
 
 59. 
 59a. 
 
 60. 
 60a. 
 61. 
 61a. 
 62. 
 62a. 
 
 63. 
 63a. 
 
 64. 
 64a. 
 
 65. 
 65a. 
 
 66 . 
 
 67. 
 67a. 
 
 68. 
 68a. 
 
 69. 
 69a. 
 
 70. 
 70a. 
 
 71. 
 71a. 
 
 72. 
 
 72a. 
 
 73. 
 73a. 
 
 74. 
 74a. 
 
 75. 
 75a. 
 
 76. 
 76a. 
 
 77. 
 77 a. 
 
 Another view of same castle. 
 
 | Tantallon Castle and the Bass Rock. 
 
 | The Bass Rock with Tantallon Castle in distance. 
 
 | North Berwick Law and the Bass Rock. 
 
 Dunbar Castle. 
 
 Blank. 
 
 | Dunbar Castle. 
 
 | Rocky coast, 
 
 Dunbar Castle. 
 
 Blank. 
 
 | Dunbar Castle. 
 
 Rocks (?). 
 
 Ruined castle on rocks. 
 
 Blank. 
 
 | Dunbar Castle. 
 
 ( Dunbar Castle. 
 
 Dunbar Castle. 
 
 Blank. 
 
 The Peaths Bridge and Ravine, Berwickshire. 
 
 Another view of the Peaths Bridge and Ravine, 
 Berwickshire. 
 
 | Rocks, with distant castle (probably Dunbar). 
 
 I Rocks on sea coast, with distant castle. Pencil and 
 J Chinese white. 
 
 | Rocks. 
 
 Rocks. 
 
 Blank. 
 
 Rocks on sea coast. Pencil and Chinese white. 
 
 Blank. 
 
 Castle on rocks on sea coast. Pencil and Chinese 
 white. 
 
 „ 78. Blank. 
 
 „ 78a. 1 Castle on rocks on sea coast. Pencil and Chinese 
 
 ,, 79. j white. 
 
 „ 79a. Rocky coast. Pencil and Chinese white. 
 
 „ 80. Blank. 
 
 ,, 80a. Castle on rocks. Pencil and Chinese white. 
 
 „ 81. Blank. 
 
 ,, 81a. Fallen trees. 
 
 „ 82. Blank. 
 
 „ 82a. Fallen trees with bridge. 
 
 „ 83. Blank. 
 
 „ 83a. \ Ruined abbey on cliffs by the sea. Whitby Abbey. 
 
 „ 81. J Water colour. 
 
[LIV.] 
 
 DUNBAR SKETCH BOOK. 
 
 139 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 ^9 
 
 yy 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
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 99 
 
 99 
 
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 99 
 
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 99 
 
 V 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 84a. Landing stage. 
 
 85. Blank. 
 
 85a. 1 Landing stage, with vessel in full sail beyond. 
 
 86. j Wash. 
 
 86a, 1 Houses on shore with ruined abbey on cliffs above. 
 
 87. J Whitby. 
 
 87a. 1 Whitby Abbey, from the cliffs. 
 
 88. J 
 
 88a. \ Rocks. 
 
 89. / 
 
 89a. \ Rocks by the sea, sailing vessel in distance. 
 
 90. / 
 
 90a. 1 Rocky coast. 
 
 91. / 
 
 91a. \ Rocky coast, with ruined abbey on cliffs. 
 
 92. / 
 
 92a. \ A pier head. 
 
 93. / 
 
 93a. A mountain road, with horses and carriages. 
 
 94. Blank. 
 
 94a. A rocky bay. 
 
 95. Blank. 
 
 95a. \ Rocky coast with ruins on cliffs. Scarborough 
 
 96. j 
 
 96a. Sunset at sea. 
 
 97. Blank. 
 
 97a. Rocks. 
 
 98. Blank. 
 
 98a. Mountains. 
 
 99. Blank. 
 
 99a. \ Ruined castle on hill. 
 
 100. J 
 
 100a. \ Ruined castle. Query Pickering. 
 
 101 . / 
 
 101a. Two-arched bridge with castle beyond. Water 
 colour. 
 
 102. Blank. 
 
 102a. Ruined abbey with houses. Rivaulx Abbey. 
 
 (Leaf cut out ; Of. p. 108.) 
 
 103. Blank. 
 
 103a. Ruined abbey in valley. Rivaulx Abbey. Pencil, with 
 a few touches of water colour. 
 
 104. Blank. 
 
 104a. Ruined abbey in valley. Rivaulx Abbey. 
 
 105. Blank. 
 
 105a. Rivaulx Abbey. Pencil, with a few washes of water 
 colour. 
 
 106. Blank. 
 
 106a. 1 Ruined abbey in valley. Rivaulx Abbey. 
 
 107. / 
 
 107a. Dismounted cart. 
 
TURNER DRAWINGS. 
 
 [LIV, LV.] 
 
 140 
 
 (The following were loose leaves.) 
 
 Page 108. Skeleton of a bullock, with ruins of Rivaulx Abbey in 
 distance. Pen and ink and Pencil. (This leaf 
 seems to have been cut out between pp. 102 and 
 103.) 
 
 Marked on back, in red ink, by Mr. Ruskin, 
 “ 1002. B.” 
 
 „ 109. Waves breaking on shore. Pencil and a few washes. 
 
 “ 1002. D.” 
 
 (Possibly this leaf and those to p. 116, were taken 
 out between pp. 33 and 34.) 
 
 „ 110. Waves breaking on shore. Wash. “ 1002. 0.” 
 
 „ 110a. Waves breaking on shore. 
 
 „ 111. Study of waves. Pencil and white chalk. Numbered 
 
 in red ink by Mr. Ruskin, “ 7 ” and “ 1003.” 
 
 „ 111a. 1 Waves breaking on shore. Pencil and white chalk. 
 
 „ 112. J “ 8 ” and “ 1004.” 
 
 „ 112a. 1 Waves breaking on shore. Pencil and white chalk. 
 
 „ 113. / “ 9 ” and “ 1005.” 
 
 ,, 113a. 1 A high sea. Pencil and white chalk. “ 10 ” and 
 
 „ 114. / “ 1006.” 
 
 „ 1.14a. \ Rocks on coast. ‘‘1007.” 
 
 „ 115. / 
 
 „ 115a. 1 Waves breaking on shore. Water colour. “ 1008,” 
 
 „ 116. J “4” and “3.” 
 
 „ 116a. Waves breaking on shore. Water colour. 
 
 (Possibly 110a is a continuation of this drawing.) 
 
 (88 leaves drawn on.) 
 
 1801 *' (AET. 26). 
 
 L V.— “ EDINBURGH " SKETCH BOOK. 
 
 Schedule No. 166. 
 
 Sketch book bound in cardboard. 
 
 Turner’s label on back — u 117 Edinburg." 
 
 Size of page, 7| x 5. 
 
 Water mark, “ W. Elgar, 1794,” and “ J. Whatman, 
 1794.” 
 
 Executor’s endorsement — “ No. 166. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement on wrapper — “ 166. 
 Early Studies at Edinburgh. Some coloured, and 
 interesting.” 
 
 On back of fly-leaf, a rough sketch of foliage. 
 
[LV.] 
 
 EDINBURGH SKETCH BOOK. 
 
 141 
 
 Page 1. 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 la. 
 
 2. 
 
 3. ’ 
 
 4. 
 
 4 a. 
 
 5. 
 
 5 a. 
 G. 
 
 7. 
 la. 
 
 8 . 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 15a. 
 
 16. 
 
 17. 
 17a. 
 
 18. 
 
 19. 
 19a. 
 
 20 . 
 
 20a. 
 
 21 . 
 
 21a. 
 
 22 . 
 
 22a. 
 
 23. 
 
 24. 
 24a. 
 
 25. 
 
 26. 
 26a. 
 
 27. 
 
 28. 
 28a. 
 
 29. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 
 33. 
 
 View of Edinburgh, from the west ; Water of Leith in 
 foreground. Water colour. 
 
 \ Edinburgh Castle from the west, with river in fore- 
 J ground. 
 
 Continuation of previous drawing. 
 
 Edinburgh Castle from the east. 
 
 \ Edinburgh Castle from the east, with St. Anthony’s 
 J Chapel in foreground. 
 
 1 St. Giles’ and Edinburgh Castle from the east ; St. 
 J Anthony’s Chapel in foreground. Partly coloured. 
 Blank. 
 
 1 Edinburgh Castle and St. Giles’ from near Holyrood. 
 J Partly coloured. 
 
 Continuation of previous drawing. 
 
 Edinburgh from St. Margaret’s Loch, with Calton Hill 
 on right. Water colour. 
 
 Arthur’s Seat and Salisbury Crags. 
 
 On the Firth of Forth. 
 
 Do. 
 
 Wharf with shipping. 
 
 Blank. 
 
 \ Edinburgh Castle, rising above houses, from the west. 
 / See water colour of “ Edinburgh, from the Water of 
 Leith ” (R.A. 1802), now in possession of Lord 
 Joicey. 
 
 Blank. 
 
 | Edinburgh Castle. 
 
 Blank. 
 
 1 Distant view of Firth of Forth, with St. Bernard’s 
 J Well near foreground. View from Corstorphin 
 Hill. 
 
 Houses and trees. 
 
 Do. 
 
 \ Distant view of Firth of Forth, with St. Bernard’s 
 j Well near foreground. View from Corstorphin 
 Hill. 
 
 1 Edinburgh Castle, rising above foliage ; from the 
 J west. 
 
 Blank. 
 
 | Houses, &c., on banks of river (Water of Leith). 
 Blank. 
 
 | Houses and viaduct. Dean Bridge. 
 
 Blank. 
 
 | Houses, &c., on banks of river (Water of Leith). 
 Blank. 
 
 | Edinburgh Castle, rising above houses. 
 
 | Distant view of the Castle. 
 
 Blank. 
 
142 
 
 TURNED DRAWINGS. 
 
 [LV.] 
 
 Page 33a. 
 
 1 View of Edinburgh from near Murrayfield. 
 
 55 
 
 34. 
 
 J 
 
 55 
 
 35. 
 
 Blank. 
 
 99 
 
 35a. 
 
 1 Commencement of sketch. 
 
 99 
 
 36. 
 
 / 
 
 99 
 
 37-39. Blank. 
 
 99 
 
 39a. 
 
 1 Edinburgh Castle framed in trees. 
 
 99 
 
 40. 
 
 1 
 
 99 
 
 41. 
 
 Blank. 
 
 99 
 
 41a. 
 
 | Edinburgh Castle from the Water of Leith. 
 
 99 
 
 42. 
 
 99 
 
 43. 
 
 Blank. 
 
 99 
 
 43a. 
 
 1 Edinburgh Castle from the Water of Leith. 
 
 99 
 
 44. 
 
 J 
 
 99 
 
 45-46. Blank. 
 
 99 
 
 46a. 
 
 \ Edinburgh Castle and Arthur’s Seat from the Water 
 
 99 
 
 47. 
 
 J of Leith. 
 
 99 
 
 48. 
 
 Blank. 
 
 99 
 
 48a. 
 
 1 Edinburgh Castle and Arthur’s Seat from north-west. 
 
 99 
 
 49. 
 
 J 
 
 99 
 
 49a. 
 
 \ Distant view of Edinburgh, with same ruined castle 
 
 99 
 
 50. 
 
 J as in previous drawing in foreground. 
 
 
 51. 
 
 Blank. 
 
 99 
 
 51a. 
 
 \ Distant view of Firth of Forth and Arthur’s Seat, 
 
 99 
 
 52. 
 
 J with St. Bernard’s Well near foreground. View 
 from Corstorphin Hill. 
 
 95 
 
 53. 
 
 Blank. 
 
 51 
 
 53a. 
 
 | Edinburgh Castle from below. 
 
 99 
 
 54. 
 
 99 
 
 55. 
 
 Blank. 
 
 99 
 
 55 a. 
 
 1 Edinburgh Castle from below. 
 
 59 
 
 56. 
 
 ) 
 
 59 
 
 56a. 
 
 1 Edinburgh Castle. 
 
 99 
 
 57. 
 
 ) 
 
 99 
 
 58. 
 
 Blank. 
 
 55 
 
 58 a. 
 
 f Edinburgh Castle from below. 
 
 9 ) 
 
 59. 
 
 ) 
 
 55 
 
 60. 
 
 Blank. 
 
 99 
 
 60a. 
 
 I Edinburgh Castle from the Grassmarket. 
 
 59 
 
 61. 
 
 i 
 
 99 
 
 61a. 
 
 Rough sketch of buildings and foliage. Probably 
 Roslin Castle. 
 
 99 
 
 62. 
 
 Blank. 
 
 99 
 
 62a. 
 
 1 Roslin Castle. 
 
 99 
 
 63. 
 
 ) 
 
 99 
 
 64. 
 
 Blank. 
 
 19 
 
 64a. 
 
 1 Roslin Castle. 
 
 95 
 
 65. 
 
 J 
 
 99 
 
 66. 
 
 Blank. 
 
 55 
 
 66a. 
 
 1 Roslin Chapel. 
 
 95 
 
 67. 
 
 J 
 
 95 
 
 68. 
 
 Blank. 
 
 55 
 
 68a. 
 
 Roslin Chapel. 
 
 59 
 
 69. 
 
 Blank. 
 
[LV, LVI.] EDINBURGH SKETCH BOOK 
 
 143 
 
 Page 69a. On the banks of the River Esk (?). 
 
 „ 70. Blank. 
 
 „ 70a. \ Ruined castle on banks of river (? Roslin). 
 
 „ 71. / 
 
 „ 72. Ruined chapel in distance (? Roslin). 
 
 „ 72a. \ Ruins of Roslin Castle (?). 
 
 „ 73. J 
 
 „ 74. Blank. 
 
 „ 74a. \ Roslin Castle (?). 
 
 „ 75. / 
 
 „ 75a. The same ruined castle. 
 
 „ 76-77. Blank. 
 
 (72 leaves drawn on.) 
 
 1801 * (AET. 26). 
 
 LVI— SCOTCH LAKES SKETCH BOOK. 
 
 Schedule No. 152. 
 
 Sketch book, bound in calf, with one clasp broken. 
 Turner’s label on back — “39. Scotland.'" 
 
 Size of page, x 4§. 
 
 Water mark, “ C. Wilmott. 1797.” 
 
 Executor’s endorsement — “No. 152. 199 Leaves 
 of sketches in pencil & 3 Do. in Colour — 202 in all. 
 
 (Sgd.) H S. Trimmer.” 
 Sir Charles Eastlake’s note — “ For leaves read pages 
 drawn upon.” 
 
 Mr. Wornum’s note — “Two out. 1868. R.N.W.” 
 Inside cover, in ink, in Turner’s writing — 
 
 “ Edinburgh to Roslyn. 6 m 
 
 Inside end cover — 
 
 “18 of July left Edinburgh and on the 5 of August 
 finish'd this Book at Gretna Green." 
 
 (Note . — The date of this journey cannot be later than 1801, 
 but it may possibly have been 1800.) 
 
 Page 1. 
 
 
 2 , 
 
 Firth of Forth (?) in distance. 
 
 Spire of St. Giles’ rising above houses. Described on 
 back as “ High Church , Edinborough." 
 
 “ Queensferry ,” from the sea. 
 
 “ Queensferry." 
 
 “ Queensferry, looking towards Stirling ; ” Rosyth 
 Castle (?) in middle distance. 
 
 “ Queensferry ." 
 
 “ Queensferry." 
 
144 
 
 TURNER DRAWINGS. 
 
 [LVI. | 
 
 Page 
 
 55 
 
 59 
 
 99 
 
 59 
 
 59 
 
 99 
 
 99 
 
 5 ? 
 
 55 
 
 95 
 
 9? 
 
 95 
 
 15 
 
 9? 
 
 59 
 
 9? 
 
 95 
 
 59 
 
 99 
 
 99 
 
 99 
 
 95 
 
 59 
 
 95 
 
 99 
 
 95 
 
 59 
 
 95 
 
 99 
 
 99 
 
 55 
 
 55 
 
 95 
 
 59 
 
 59 
 
 55 
 
 95 
 
 99 
 
 99 
 
 55 
 
 59 
 
 55 
 
 59 
 
 55 
 
 95 
 
 55 
 
 59 
 
 55 
 
 95 
 
 55 
 
 99 
 
 8. “ Queensferru ." 
 
 9. Blank. 
 
 9 a. 1 “ Linlithgow " Palace. 
 
 10. j 
 
 10a. 1 “ Lmlithgow ” Palace. 
 
 11. J 
 
 12. “ Queensfemi ." 
 
 13. Blank. 
 
 13a. 1 Linlithgow Church. “ Church Linlithgo where James 
 
 14. j is said to have seen the apparition of an old man ” 
 
 15. “ Linlithgow Palace ." 
 
 16. Blank. 
 
 16a. \ “ Linlithgow Palace , built by Robert IP ld ." 
 
 17. / 
 
 18. Blank. 
 
 18a. “ Linlithgow Palace." 
 
 19. Blank. 
 
 19a. 
 
 20 . 
 
 20a. 
 
 21 . 
 
 22 . 
 
 23. ' 
 23a. 
 
 24. 
 24a. 
 
 25. 
 25 a. 
 
 26. 
 26a. 
 
 27. 
 27 a. 
 
 28. 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37a. 
 
 38. 
 
 j “ Linlithgow ” Church and Palace. 
 
 | “ Linlithgow." 
 
 “ Linlithgow " Palace. 
 
 Blank. 
 
 \ “ Glasgow" Part of the Cathedral. 
 
 | “ Glasgow" Cathedral. 
 
 | “ Dumbarton <4 Clyde." 
 
 j “ Douglass Castle on the Clyde." 
 
 | “ Douglass Castle A Dumbarton." 
 
 “ Douglass Castle." 
 
 “ Dumbarton." 
 
 | “ Dumbarton in middle distance.” 
 
 “ Dumbarton." 
 
 “ Dumbarton." 
 
 “ Dumbarton." 
 
 “ Dumbarton." 
 
 “Port Glasgow" and “Dumbarton." 
 
 “ Dumbarton." 
 
 “ Dumbarton." 
 
 “ Dumbarton." 
 
 Blank. 
 
 “ Dumbarton." 
 
 Blank. 
 
 | “ Benlowman from Luss." 
 
 1 “ Benlowman from. Luss." 
 
 
[LVI.] 
 
 SCOTCH LAKES SKETCH ROOK. 
 
 145 
 
 Page 38 a. Ben Lomond. Water colour. 1st Loan Collection, 
 
 No. 10. On back, in Turner’s writing, “ Loch 
 Lowmcm .” 
 
 ,, 39. “ Inverary .” 
 
 „ 39a. A loch, with distant hills. Name. illegible. 
 
 40. Top of a hill. 
 
 „ 40a. 1 “ Inverari/." 
 
 •• 41 . J 
 
 ,, 42. “ Loch Awe." 
 
 „ 42 a. 1 “ Loch Awe." 
 
 „ 43. { 
 
 n 44. “ Loch A we." 
 
 ., 44 a. I “ Garewdenhen Mountains." 
 
 „ 45. / 
 
 „ 45a. Ben Cruanhan Mountains, — “ ditto." 
 
 „ 46. “ Loch Awe." 
 
 „ 46a. 1 “ Loch Aive." 
 
 „ 49. “Loch Awe." 
 
 „ 49a. “ Loch Awe." 
 
 „ 50. “ Loch A we." 
 
 „ 50 a. Unnamed mountains, with numerals (“ 1 , 2 , 3 " and “4”) 
 
 on them. Probably mountains of Glenorchy. 
 
 „ 51. “ Kilchurn Castle, Loch Aive." 
 
 „ 51a. \ “ Kilchurn, Loch Aive." 
 
 „ 52. / 
 
 „ 52a. | “ Kilchern." 
 
 „ 53. j 
 
 „ 53a. ) “ Kilchern." 
 
 „ 54. J 
 
 „ 54a. j “ Kilchern." 
 
 „ 55. J 
 
 „ 55 a. \ “ Kilchern," with bridge (probably Bridge of Awe) 
 
 „ 56. / 
 
 „ 56a. “ Kilchern." 
 
 „ 57. Blank. 
 
 „ 57a. 1 “ Kilchern." 
 
 „ 58. j 
 
 „ 58a. I “ Kilchern." 
 
 „ 59. / 
 
 „ 59a. I “ Kilchern." 
 
 „ 60. j 
 
 „ 60a. ) “ Kilchern." 
 
 „ 61 . f 
 
 ,, 61a. \ “ Kilchern L 
 
 „ 62. / 
 
 ?27nr, jv 
 
 owi/i mu, voi i.v / a. j. cuv^n. 
 
 f Withdrawn (September, 
 | 1905) from 3rd Loan Col- 
 
 ■{ lection (No 15, as “ Moun- 
 j tain Village”) on account 
 l of the blue fading. 
 
 48a. “ Loch Aive." 
 
146 
 
 TURNER DRAWINGS. 
 
 [LVI.] 
 
 Page 
 
 11 
 
 V 
 
 11 
 
 91 
 
 11 
 
 11 
 
 11 
 
 1> 
 
 11 
 
 11 
 
 11 
 
 11 
 
 M 
 
 62 a. ) “ Kilchern." 
 
 63. / 
 
 63a. | “ Kilchern." 
 
 64. j 
 
 64a. I “ Kawachardan High Stack" and names of two 
 
 65. j other peaks — “ Benmoor " and “ Benow" (?). 
 
 (For composition based on this sketch, see LXI, 
 17.) 
 
 65a. I “ 1 in- Drum." 
 
 66. J 
 
 66a. I “ Near Tin-Drum." 
 
 67. i 
 
 67a. ( “ Tin-Drum .’ 
 
 68. j 
 
 68 a. | “ Near Tin-Dram." 
 
 69. j 
 
 69«. Near Tyndrum. 
 
 70. “ Near Tindrum." 
 
 16a. ( “ Near Tindrum." 
 
 71. / 
 
 71a. Ben Moor, from Tindrum." 
 
 72. J 
 
 12a. ( “ Ben Moor." 
 
 73. J 
 
 73a. ) “ Castle Dochart." 
 
 74. J 
 
 74a. Distant mountains. 
 
 75. Blank. 
 
 75a. | “ Loch Dochart." 
 
 76. j 
 
 16a. 1“ Kelli n." 
 
 77. J 
 
 77a. 1 “ Stirling ’ (? il Kelling ’). 
 
 78. j 
 
 78a. Loch, with distant mountains. 
 
 79. Loch, with mountains. 
 
 79a. \ u Ben Moor." (For composition based on this 
 
 80. J sketch, see LXI, 17.) 
 
 80a. 1 “ Ben Moor." 
 
 81. / 
 
 81a. \ “ Ben Moor." 
 
 82. j 
 
 82a. \ “ Ben More." 
 
 83. J 
 
 84. Distant mountains. 
 
 84a. 1 “ Ben More." 
 
 85. J 
 
 85 a. 1 “ Loch Tay." 
 
 86. j 
 
 86a. Distant mountains 
 
 87. Loch Tay. 
 
 87a. \ “ Loch Tag." 
 
 88 . ( 
 
[LVI.] SCOTCH LAKES SKETCH BOOK. 
 
 147 
 
 Page 88a, \ “ Loch Tay." 
 
 89. J 
 
 ► 
 
 89a. | 
 
 A Loch Tay." 
 
 90. J 
 
 
 90a, 1 
 
 Loch Tay. 
 
 91. j 
 
 91a, 1 
 
 “ Brydaibane. 
 
 92. J 
 
 92a. 1 
 
 “ Bradalhane.' 
 
 93. J 
 
 r 
 
 93a. 1 
 
 1 “ Bradalhane.' 
 
 94. j 
 
 i 
 
 94a. 1 
 
 l “ Loch Tay." 
 
 95. J 
 
 f 
 
 95a. ] 
 
 t “ Bradalhane. 
 
 96. j 
 
 ( . 
 
 96a, | 
 
 [ “ Kenmore." 
 
 97. j 
 
 f 
 
 97 a. 1 
 
 | “ Kenmore." 
 
 98. j 
 
 r 
 
 98a, 1 
 
 [ “ Kenmore." 
 
 99. 
 
 f 
 
 99a, 1 
 
 l “ Kenmore." 
 
 100. 
 
 r 
 
 100a. 
 
 101 . 
 
 101a. 
 
 102 . 
 
 102a. 
 
 108. 
 
 103a. 
 
 104. 
 104a. 
 
 105. 
 105a. 
 
 106. 
 106a. 
 
 107. 
 107a. 
 
 108. 
 108a. 
 
 109. 
 109a. 
 
 110 . 
 
 1 10a. 
 111 . 
 112. 
 112a. 
 
 113. 
 113a. 
 
 114. 
 114a, 
 115; 
 
 ^ Ken-more- ." 
 
 1 “ Kenmore ." 
 
 J 
 
 | “ Glen Lynn." 
 
 J 
 
 \ Glen Jaj on. 
 
 “ Castle Garth." 
 
 “ Glen Lyon." 
 
 | “ Auchelyne." 
 
 1 “ Castle Garth , Glen Lyon." 
 
 | Near Glen Lyon. 
 
 | Glen Lyon. 
 
 | “ Near Tummel Bridge." 
 
 | “ Glen Rannan ” (Rannoch). 
 Glen Rannoch. 
 
 \ The Black Wood of Rannoch. 
 | “ Blair Athol." 
 
 “ Dimkeld." 
 
 Blank. 
 
 32796 
 
148 
 
 TURNER DRAWINGS. 
 
 [LVI.] 
 
 Page 115a. 
 
 | “ Dunkeld." 
 
 55 
 
 116. 
 
 1 
 
 55 
 
 116a. 
 
 1 “ Blair Atlwl." The “Liber” Design, “ Near Blair 
 
 55 
 
 117. 
 
 J Athol, Scotland” (R. 30.), published June, 1811, 
 is based on this sketch, 
 
 55 
 
 117a. 
 
 1 “ Blair Athol." 
 
 55 
 
 118. 
 
 ) 
 
 55 
 
 118a. 
 
 1 “ Blair Athol." 
 
 55 
 
 119. 
 
 1 
 
 55 
 
 119a. 
 
 1 “ Blair Athol." 
 
 55 
 
 120. 
 
 1 
 
 55 
 
 120a. 
 
 ) “ Blair Athol" with the Hill of Tulloch (?) in 
 
 55 
 
 121. 
 
 J distance. 
 
 55 
 
 121a. 
 
 1“ Blair Athol L (looking) towards Kilicranky " 
 
 55 
 
 122. 
 
 J (Killiecrankie). 
 
 *5 
 
 122a. 
 
 ) “ Killycranky Mountains." 
 
 55 
 
 123. 
 
 ) 
 
 55 
 
 123a. 
 
 ) Distant mountains. 
 
 55 
 
 124. 
 
 } 
 
 55 
 
 124a. 
 
 ) Distant mountains. 
 
 55 
 
 125. 
 
 1 
 
 <5 
 
 125a. 
 
 \ “ Dunkeld." 
 
 55 
 
 126. 
 
 / 
 
 55 
 
 126a. 
 
 1 “ Dunkeld." 
 
 55 
 
 127. 
 
 ) 
 
 55 
 
 127a. 
 
 1 “ Dunkeld." 
 
 55 
 
 128. 
 
 ) 
 
 55 
 
 128a, 
 
 \ “ Dunkeld." 
 
 55 
 
 129. 
 
 J 
 
 55 
 
 129a. 
 
 1 “ Dunkeld" 
 
 55 
 
 130. 
 
 J 
 
 55 
 
 131. 
 
 “ Dunkeld " 
 
 55 
 
 132. 
 
 “ Village of Killy crankey." 
 
 55 
 
 132a, 
 
 \ Distant mountains. 
 
 55 
 
 133. 
 
 / 
 
 55 
 
 133a, 
 
 \ “ Near Dunkeld" (? the Rumbling Bridge). 
 
 55 
 
 134. 
 
 55 
 
 134a. 
 
 \ “ Near Dunkeld" (the same fall and bridge). 
 
 55 
 
 135. 
 
 55 
 
 135a. 
 
 | “ Near Dunkeld " (same bridge). 
 
 55 
 
 136. 
 
 55 
 
 136a. 
 
 | “ Near Dunkeld " (a water-fall on the River Braan). 
 
 55 
 
 137. 
 
 55 
 
 137 a. 
 
 1 “ Near Dunkeld " 
 
 55 
 
 138. 
 
 ) 
 
 55 
 
 138a, 
 
 ) Mountains. 
 
 55 
 
 139. 
 
 J 
 
 55 
 
 139a, 
 
 1 Monzie Castle. 
 
 55 
 
 140. 
 
 i 
 
 55 
 
 140a, 
 
 \ River between mountains. 
 
 55 
 
 141. 
 
 i 
 
 * 5 
 
 141a, 
 
 \ Another view of Monzie Castle. 
 
 55 
 
 142. 
 
 J 
 
[LVI.] SCOTCH LAKES SKETCH BOOK. 
 
 149 
 
 Page 14 2a. 
 
 „ 143. 
 
 „ 143 a. 
 „ 144. 
 
 „ 144a. 
 „ 145. 
 
 „ 145a. 
 „ 146. 
 
 99 
 
 •*9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 146a. 
 
 147. 
 147a. 
 
 148. 
 148a. 
 
 149. 
 149a. 
 
 150. 
 150a. 
 
 151. 
 151a. 
 
 152. 
 152a. 
 
 153. 
 153a. 
 
 154. 
 154a. 
 
 155. 
 155a. 
 
 156. 
 156a. 
 
 157. 
 157a. 
 
 158. 
 158a. 
 
 159. 
 159a. 
 
 160. 
 160a. 
 161. 
 161a. 
 162. 
 162a. 
 
 163. 
 163a. 
 
 164. 
 164a. 
 
 165. 
 165a. 
 
 166. 
 166a. 
 
 167. 
 167a. 
 
 168. 
 
 | Another view of Monzie Castle. 
 
 | A mountain stream. 
 
 J “ Vale of Earnef Cf. LXI, 44. 
 
 1 “ Dumblane .” Of. “ Liber ” Plate (R. 56.), and page 
 J of “ Smaller Fonthill ” (LII) Sketch Book in 
 Ruskin Drawing School, Oxford (No. 145). 
 
 | Doune Castle. 
 
 ) Bridge of Allan, with Doune Castle in distance. 
 
 | “ Stirling." Of. LXI, 22. 
 
 | “ t Stirling ." 
 
 | “ Stirling " Castle. 
 
 \ “ Stirling .” 
 
 !•***■ 
 
 | “ Stirling." 
 
 | “ Stirling." 
 
 | “ Stirling." 
 
 | “ Stirling." 
 
 | “ Stirling." 
 
 | “ Stirling .” 
 
 | “ Abbey near Stirling." 
 
 | “ Stirling Bridge." 
 
 | “ Stirling." 
 
 | “ Abby near Stirling." 
 
 | “ Bothwell Castle on the Clyde." 
 
 | “ The Abby opposite Bothwell Castle." 
 
 | “ The Abby opposite Bothwell Castle." 
 
 | “ Bothivell Castle." 
 
 | “ Bothwell Castle." 
 
150 
 
 TURNER DRAWINGS. [LVI, LVII.] 
 
 Page 168a. 
 „ 169. 
 
 „ 169a. 
 „ 170. ' 
 ,, 170a. 
 „ 171. 
 
 „ 171a. 
 „ 172. 
 
 172a. 
 „ 173. 
 
 „ 1 73a. 
 „ 171. 
 
 „ 174a. 
 „ 175. 
 
 ., 175a. 
 „ 176. 
 
 „ 176a. 
 „ 177. 
 
 „ 177a. 
 „ 178. 
 
 „ 178a. 
 „ 179. 
 
 179a. 
 „ 180. 
 
 „ 180a. 
 
 ., 181. 
 
 181a. 
 
 „ 182. 
 
 „ 182a. 
 
 ,, 183. 
 
 „ 183a. 
 
 „ 184. 
 
 „ 184a. 
 
 ., 185. 
 
 1 “ Hammilton.” Bridge in foreground. 
 
 I 
 
 | “ Moffat.” 
 
 ( 
 
 | “ Moffat.” 
 
 J 
 
 l “ Remains of Castle of Audi incass, near Moffat. 
 j Regent Mar rag.” 
 
 | Another view of same castle. 
 
 r 
 
 ( Another view of same castle. 
 
 J 
 
 | Another view of same castle. 
 
 J 
 
 | Solway Firth. 
 
 1 Solway Firth. 
 
 1 
 
 | “ Solway Firth.” 
 
 1 “ Solway Firth. Gretna Green.” 
 
 J 
 
 1 “ Solway Moss.” 
 
 f 
 
 | “ Solway Moss.” 
 
 1 Blacksmith's Shop at G relay Green.” 
 
 1 “ Dumbarton.” 
 
 1 Gretna Green. 
 
 | “ Gretna Green.” 
 
 • \ ‘ 
 
 (186 leaves drawn on.) 
 
 1801 * (AET. 26). 
 
 LVII .—TUMMEL BRIDGE SKETCH BOOK. 
 
 Schedule No. 234. 
 
 Small Sketch book, bound in calf, with one clasp. 
 Labelled on the back by Turner, — “ 31 Scotland. ' 
 Size of page, 5§ x 4^. 
 
 The paper has been prepared with washes of 
 stone-colour and pm pie. 
 
 Executor’s endorsement: — “No. 234. Contains 
 31 leaves. Pencil and Col’d sketches. 
 
 (Signed) H. S. Trimmer. 
 
 C. Turner.” 
 
[LVIL] TUMMEL BRIDGE SKETCH BOOK. 
 
 151 
 
 Page 1. 
 
 „ la. 
 
 „ 2 . 
 
 „ 2a. 
 
 3. 
 
 0 ( 1 . 
 
 4 . 
 
 4a. 
 
 o. 
 
 5a. 
 
 6 . 
 
 6a. 
 
 7. 
 7a. 
 
 8 . 
 8a. 
 9 . 
 9a. 
 
 10 . 
 
 10a. 
 
 11 . 
 
 11a. 
 
 12 . 
 
 12a. 
 
 13. 
 
 13a. 
 
 14. 
 14a. 
 
 15. 
 
 15a. 
 
 16. 
 16a. 
 
 17. 
 17a. 
 
 18. 
 18a. 
 
 19. 
 19a. 
 
 20 . 
 20a. 
 21 . 
 21a. 
 22 . 
 22a. 
 
 (Continued over inside of cover.) A row of trees ; and 
 three figure sketches. 
 
 1 Three trees with distant mountains. Cf. LV1II, 56. 
 
 Mountains. 
 
 Distant mountains. Whites 
 scratched out. 
 
 For composition based 
 on these sketches, see 
 
 LVIII, 3. 
 
 Cf. also pp. 6a- 7 of this 
 sketch book. 
 
 1 Monument (?) at side of lake, with distant mountains, 
 j Written in pencil on margin : — “ Colonel Lawles (?) 
 
 . . . . the 12th Regmt. 1745." Water colour. 
 
 (For pencil composition based on this sketch, see 
 LVIII, 1.) 
 
 | Loch Long, with distant mountains. (For composition 
 / based on this sketch, see LVIII, 47.) 
 
 1 Loch Long, with mountains. (For composition based 
 J on this sketch, see LVIII, 46.) 
 
 1 Loch Long and Ben Arthur. Cf. pp. 2 a and 3, also 
 j pencil composition, LVIII, 3. 
 
 \ Ben Arthur in the distance Water colour. (For 
 / composition based on this sketch, see LVIII, 51.) 
 j Mountains. Water colour. 
 
 Mountains. Pencil and Chinese white. 
 
 Mountains. Pencil and Chinese white. 
 
 1 Ben Arthur (?) Pencil and Chinese white. (For pencil 
 J composition based on this sketch, see LVIII, 2.) 
 Mountain tops. Pencil and Chinese white. 
 
 Sun breaking through clouds. 
 
 1 Mountain Pass. “Ret. Gleneroe ” (? Pass of 
 
 j Gleneroe). (For pencil composition based on this 
 sketch, see LVIII, 4.) 
 
 1 Ben Arthur. (For pencil composition based on this 
 J sketch, see LVIII, 5.) 
 
 1 Lake with mountains : probably Loch Fyne. (For 
 j pencil composition based on this sketeh, see 
 LVIII, 7.) 
 
 | Lake with mountains. 
 
 1 Lake with mountains. (For pencil composition based 
 / on this sketch, see LVIII, 8.) 
 
 | A waterfall. 
 
 | A waterfall. 
 
 | Lake with mountains. (Probably Inverness.) 
 
 ) Rustic foot-bridge over falls. 
 
 j Lake with mountains. “ Kenchaus." 
 
 ) Lake with mountains. LVIII, 35 seems to have been 
 j based on this sketch. 
 
152 
 
 TURNER DRAWINGS. 
 
 [LVII, LVIII.] 
 
 Page 
 
 23a. 
 
 1 Tummel Bridge.f Of. 
 
 55 
 
 24. 
 
 J 
 
 55 
 
 24a. 
 
 | Tummel Bridge. 
 
 51 
 
 55 
 
 &*), 
 25 a. 
 
 J 
 
 1 Tummel Bridge. Of. . 
 
 ,, 
 
 26. 
 
 / 
 
 55 
 
 26a. 
 
 | Mountains. (Possibly 
 
 55 
 
 27. 
 
 / 
 
 55 
 
 27 a. 
 
 ( Mountains. 
 
 5 ) 
 
 28. 
 
 / 
 
 55 
 
 28a. 
 
 1 Mountains. 
 
 55 
 
 29. 
 
 / 
 
 55 
 
 29a. 
 
 1 Mountains. 
 
 
 30. 
 
 1 
 
 55 
 
 31-63. Blank. 
 
 55 
 
 63a. 
 
 ) Mountains and trees. 
 
 55 
 
 64. 
 
 J 
 
 55 
 
 65. 
 
 Blank. 
 
 55 
 
 65a. 
 
 1 Mountains and Trees. 
 
 55 
 
 66. 
 
 1 
 
 >«• 1 
 b7. } 
 
 67 a. 1 
 68 . / 
 68a. | 
 
 Mountains. 
 
 Mountains. 
 
 69 
 
 (37 leaves drawn on.) 
 
 1801 * (AET. 26). 
 LVIII.— SCOTTISH PENCILS. 
 
 A group of drawings belonging to the nineteen days’ 
 tour, on which the “ Scotch Lakes ” and “ Tummel 
 Bridge ” Sketch Books were in use. They are 
 drawn on loose sheets of Whatman, prepared with a 
 wash of brown. Some of them appear to have been 
 drawn on the spot in black and white chalk, and 
 finished afterwards with pencil and washes of 
 Chinese white, but Nos. 1, 2, 3, 4, 5, 7, 8, 17, 18, 41, 
 42, 46, 47, 51, 56, and possibly others, may have been 
 based on sketches in “ Tummel Bridge ” or “ Scotch 
 Lakes ” Sketch Books. 
 
 t As this Bridge is obviously the same as that in LVIII. 42 and 41. which 
 Mr. Ruskin thinks is 11 Tummel Bridge,” I have named rhese drawings and 
 the sketch book accordingly; but I have not been able to verify Mr, Ruskin’s 
 surmise. 
 
[LVIII.] 
 
 SCOTTISH PENCILS. 
 
 158 
 
 The average size of sheet is 13-g x 19^, but a 
 number are as small as 11 x 17. The sheets are of 
 irregular shape and do not appear to have formed 
 part of a sketch book. 
 
 These drawings appear to have been all mounted 
 on the pages of a large folio book (23j x T7^), with 
 heavy leather covers, handsomely tooled, with gold 
 lettering — “ Italiaanse Tekeningen.” 
 
 On top right-hand corner of first page is written in 
 ink the numbers “ GO ” and “ 68 ” ; also “ Lot 8.” 
 Inside the front cover is written in ink, “61 
 Leaves ,” in what may be Turner’s handwriting. 
 Also, in pencil : — 
 
 “ St. Helen's Church. 
 
 Abingdon 
 
 on the right hand of the road to 
 London." 
 
 Generally the leaves on which the drawings were 
 mounted have been cut out, but in some cases the 
 drawings, which were only stuck at the foirr corners, 
 have been taken off. On these pages, in what would 
 have been the margins of the drawings, a number of 
 initials have been placed. Among these are — 
 “ S. W. P.” (three times), “ W. F. W.,” “ Ed.,” “ F.,” 
 and “ E. D.” 
 
 On the narrow slip that remains of one of the 
 pages that has been cut out, Turner has written in 
 pencil : — 
 
 “ In verary Town 1 
 
 Inverary Castle. ' 7 Guineas. 
 
 Patterdale Church. 20 G. 
 
 Water mark, “ J. Whatman, 1794,” and “ 1797 ” 
 (See No. 52). 
 
 Thirty-seven of these drawings were done up in a 
 parcel labelled, A.B. 290 P.R., and endorsed by 
 Mr. Ruskin — “ 37 Scottish Pencils. Of very great 
 value. Too large for mounting or exhibiting till 
 there is more room.” 
 
 (Note . — As hardly any of the subjects have been 
 identified, it has been impossible to arrange them 
 according to the order of the tour. The present 
 arrangement is more or less arbitrary, and should be 
 altered when the drawings have been identified.) 
 
 1. Loch Lomond, with Ben Lomond in distance. 
 
 13i x 191. 
 
 (Cf. coloured sketch, pp. 3a-l, “ Turnmel Bridge” Sketch 
 Book.) 
 
 Point oj 
 
 Perhaps Forlcin. 
 
154 
 
 TURN EE DRAWINGS. 
 
 [LVIII.] 
 
 2. Ben Arthur. 
 
 i3| x m. 
 
 {Gf. sketch, pp. lOa-11, “Tummel Bridge” Sketch Bouk.) 
 
 3. Loch Long and Ben Arthur. 
 
 14 * 17. 
 
 Exhibited Drawings, No. 309, N.G. 
 
 {Gf. sketches, “ Tummel Bridge ” Sketch Book, pp. 2a, 3, 
 and (?) (la-7.) 
 
 4. Ben Arthur. 
 
 Ill x 17. 
 
 Exhibited Drawings, No. 307, N.G. 
 
 {Gf. sketch, pp. 12«-13, “Tummel Bridge” Sketch Book.) 
 
 5. Ben Arthur. 
 
 14 x 17. 
 
 Exhibited Drawings, No. 310, N.G. 
 
 {Gf. sketch, pp. 13a- 14, “Tummel Bridge” Sketch Book.) 
 
 0. Near Arrochar (?). 
 
 12 x 19. 
 
 On back, commencement of sketch. 
 
 7. Loch Fyne. 
 
 11| x 17. 
 
 Exhibited Drawings, No. 312, N.G. 
 
 {Gf. sketch, pp. 14a-lf>, “Tummel Bridge” Sketch Book.) 
 
 8. Loch Fyne. 
 
 14 x 17. 
 
 Exhibited Drawings, No. 314, N.G. 
 
 {Gf. sketch, pp. Ida-17, “Tummel Bridge” Sketch Book.) 
 A water colour, dated 1 810, based on this sketch was once 
 in the Farnley Collection. It passed into the possession of 
 Sir Donald Cui*rie, and was exhibited at Agnews’ Galleries, 
 January, 1908. 
 
 9. Inverary Castle. 
 
 13 x 19*. 
 
 Lake in foreground with boats, bridge on right and hills 
 beyond. 
 
 {Gf unfinished water colour based on this, No. LX, A.) 
 
 10. Inverary. 
 
 13# x 19*. 
 
 A water colour (slightly faded) based on this drawing was 
 sold at Christie’s 19th June. 1908. (Collection of Mrs. Stern.) 
 {Gf LX, j. for study for this drawing.) 
 
[LVIII.] 
 
 SCOTTISH PENCILS. 
 
 155 
 
 11. Loch Fyne, with Inverary in distance. 
 
 13 x 19], 
 
 12. Loch Fyne, with Inverary in middle distance. 
 
 13] x 191. 
 
 13. Loch Awe. 
 
 14 x 19. 
 
 ( Cf '. p. 50 “Scotch Lakes” Sketch Book.) 
 
 14. Loch Awe. 
 
 14* x 19]. 
 
 (Possibly connected with pp. 26«-27, “ Tuminel Bridge” 
 Sketch Book.) 
 
 15. Loch we. 
 
 13] x 19]. 
 
 (See water colour of “ Kilchern Castle, with Cruchan Ben ” 
 (R.A. 1802), now in possession of Mrs. Beausire.) 
 
 16. Kilchurn Castle on Loch Awe. 
 
 14] x 18]. 
 
 No. 49 in 3rd Loan Collection (now withdrawn). 
 
 (Cf. p. 58 “Scotch Lakes” Sketch Book.) 
 
 17. Ben Cruachan, and Ben Moor in distance. 
 
 13§ x 19]. 
 
 (Cf. sketch, pp. 64a-65, “Scotch Lakes” Sketch Book.) 
 
 18. Ben Moor. 
 
 14] x 18]. 
 
 (Cf. sketch, pp. 79«-80, “ Scotch Lakes” Sketch Book. 
 
 19. Loch Tay. 
 
 13] x 19]. 
 
 (Connected with pp. 89«-90, “ Scotch Lakes ” Sketch Book. ) 
 
 20. Glen Lyon. 
 
 13] x 19]. 
 
 21. Glen Lyon. 
 
 13] x 19. 
 
 22. Near Stirling'. 
 
 13] x 19]. 
 
 (Cf. pp. 148a-149, “ Scotch Lakes” Sketch Book.) 
 
156 
 
 TURNER DRAWINGS. 
 
 [LVIII.] 
 
 23. Mountains. 
 
 13 x 19}. 
 
 24. Winding* river between mountains. 
 
 13} x 19}. 
 
 25. Mountains, with bridge across ravine. 
 
 13} x 19}. 
 
 26. A mountain village. 
 
 13} x 19}. 
 
 27. A glen. 
 
 12} x 19#. 
 
 28. Mountains. 
 
 13} x 19}. 
 
 29. Mountains. 
 
 11} x 17. 
 
 30. Mountains. 
 
 13# x 19}. 
 
 31. Mountains. 
 
 13} x 19}. 
 
 32. Near Dunkeld. 
 
 12} x 19}. 
 
 (Badly torn on left-hand side and bottom.) 
 
 On back — “ Mr. Goodwin .” 
 
 33. Mountain torrent ; perhaps near Blair Athol. 
 
 19 x 13. 
 
 34. Same mountain torrent. 
 
 19 x 13}. 
 
 35. Near Killiecrankie. 
 
 12} x 17. 
 
 (This seems to be a composition based on sketch pp. 22a-23, 
 “ Tnmmel Bridge ” Sketch Book.) 
 
 36. Killiecrankie. 
 
 13 x 19}. 
 
[LVIII.J 
 
 SCOTTISH PENCILS. 
 
 157 
 
 37. “ Ben Vakrie " (Ben Yrakie, near Blair Athol). 
 
 13* x 19. 
 
 38. Mountains. 
 
 13* x 19. 
 
 On back, bridge with two arches over a river, with 
 mountains in distance. Probably Tummel Bridge. 
 
 {Note . — If Mr. Ruskin is correct in his identification of 
 Cabinet Drawings, Nos. 311 and 313, as “ Tummel Bridge,” 
 this is also Tummel Bridge. Pages 39 and 40 also represent 
 other views of this same bridge, as well as pp. 23o-26 of the 
 “Tummel Bridge” Sketch Book [LVII]. These drawings 
 are all named on the strength of Mr. Ruskin’s surmise, which 
 up to the present I have not been able to verify.) 
 
 39. Tummel Bridge. 
 
 13* x 19*. 
 
 40. Tummel Bridge. 
 
 13* x 19*. 
 
 41. Tummel Bridge. 
 
 16f x 11*. 
 
 Exhibited Drawings, No. 311, N.Gf. 
 
 (Composition based on sketch on pp. 25«-26, “ Tummel 
 Bridge” Sketch Book [LVII].) 
 
 42. Tummel Bridge. 
 
 11* x 17*. 
 
 Exhibited Drawings, No. 313, N.Ct. 
 
 (Composition based on sketch on pp. 23«-24, “ Tummel 
 Bridge ” Sketch Book.) 
 
 43. Taymouth. 
 
 15 x 21f. 
 
 44. Vale of Earne. 
 
 13* x 19*. 
 
 (Of. pp. 144 a-1 45, “ Scotch Lakes ” Sketch Book.) 
 
 45. Castle in middle distance. 
 
 11* x 17. 
 
 Exhibited Drawings, No. 306, N.G., as “ Scotland : Study 
 of trees,” 
 
158 
 
 TURNER DRAWINGS. 
 
 [LVIII.] 
 
 46. Locli Long\ 
 
 lli x 16|. 
 
 Exhibited Drawings, No. 319, N.G. 
 
 ( Of sketch on pp. 5a-G, “ Tummel Bridge ” Sketch Book.) 
 
 47. Loch Long-, with mountains. 
 
 lli x 17. 
 
 Exhibited Drawings, No. 348, N.G. 
 
 (Cf. sketch, pp. 4«-5, “ Tummel Bridge” Sketch Book.) 
 
 48. Sheep on road leading- over hill. 
 
 lli x 17. 
 
 Exhibited Drawings, No. 347, N.G. 
 
 49. Study of rocks and broken firs. 
 
 7} x lOf. 
 
 On back, commencement of rough outline sketch. 
 Exhibited Drawings, No. 34G, N.G. (top drawing). 
 
 50. Study of rocks. 
 
 84 x lli 
 
 Exhibited Drawings, No. 34G, N.G. (bottom drawing). 
 
 51. Ben Arthur. 
 
 17 x lli 
 
 Exhibited Drawings, No. 308, N.G. 
 
 (Cf. sketch, pp. la-8, “Tummel Bridge” Sketch Book.) 
 
 52. Study of recks in stream. 
 
 10f x 15. 
 
 Water mark, “ J. Whatman, 1797.” 
 
 Exhibited Drawings, No. 315,. N.G. 
 
 (Study utilised in water colour called “ A Yorkshire Dell,’ 
 in collection of the late John E. Taylor, Esq.) 
 
 53. Mountains, with distant lake. 
 
 134 x 19|. Pencil outline only. 
 
 54. Mountains. 
 
 13^ x 19f. Pencil only. 
 
 55. Study of willow. 
 
 lOf x 14|. 
 
 Exhibited Drawings, No. 537&, N.G. (right-hand drawing). 
 
[LVIII, LIX.] SCOTTISH PENCILS. 
 
 159 
 
 56. Study of Scotch fir. 
 
 10f x 15£. 
 
 Exhibited Drawings, No. 537«, N.G. (left-hand drawing). 
 (Cf. sketch on pp. la-2, “Tnmmel Bridge” Sketch Book 
 (LVII, T.B.). This is therefore not a study from nature as 
 described by Mr. Ruskin.) 
 
 57. Highland river. 
 
 13± x 19. 
 
 1st Loan Collection, No. 142. 
 
 58. Study of rocks. 
 
 8^ x 11 tt. Pencil, white chalk with touches of Chinese 
 white, and yellow. 
 
 59. Scotch river, with mountains. 
 
 4th Loan Collection, No. 1. 
 
 60. A Scotch loch. 
 
 4th Loan Collection, No. 8. 
 
 (60 drawings.) 
 
 [Note . — The identification of all these drawings (except 
 only No; 37) must be taken with extreme caution, as 1 do not 
 know the country and therefore cannot verify the guesses 
 that have been offered.] 
 
 1801 * (AET. 26). 
 
 LI X..— “SCOTCH FIGURES" SKETCH BOOK. 
 
 Schedule No. 224. 
 
 Small sketch book, bound in calf, with one clasp 
 broken. 
 
 Turner’s label on back — “ 50. Scotch f . . .” (rest 
 of label has been torn off). 
 
 Size of page, x 3£. 
 
 Water mark, 
 
 Executor’s endorsement — “ No. 224. 17 Scotch 
 
 Figures, some in colours and some in pencil. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Mr. Ruskin’s endorsement on wrapper — “ 224. 
 Scotch Figures. Curious, in its present form. One 
 leaf cut out.” 
 
160 
 
 TURNER DRAWINGS. 
 
 [LIX, LX.] 
 
 Page 1. Back view of woman walking. Water colour. 
 
 „ 2. Two figures (man and woman) standing talking. 
 
 Water colour. 
 
 „ 3. Two women, with bare feet, walking. Water colour. 
 
 ,, 4. Back view of woman walking. Water colour. 
 
 „ 5. Three women at fountain ; one stooping with jug. 
 
 Water colour. 
 
 „ 5a. Two women walking. Water colour. (This is the 
 
 leaf which Mr. Ruskin cut out.) 
 
 „ 6. Three men in tartans standing talking. Water colour. 
 
 „ 7. Two women, One in pencil, the other coloured. 
 
 „ 8. Three figures ; one walking, one sitting on ground, 
 
 and the other kneeling. Pencil. 
 
 „ 9. Group of women and a child. Pencil. 
 
 „ 10. Two men beside a cart. Pencil. 
 
 „ 11. Two figures (male and female) walking. Pencil. 
 
 „ 12. Three women ; one seated on ground, and one carry- 
 
 ing a pail. Pencil. 
 
 „ 13. Two women carrying pails. Pencil. 
 
 „ 14. Two women. Pencil. 
 
 „ 15. Back view of four people walking. Pencil. 
 
 „ 16. Horse and cart ; woman in cart, man and boy and girl 
 
 walking beside it. Pencil. 
 
 „ 17-181. Blank. 
 
 „ 181a. Group of trees. Pencil. 
 
 „ 182. Blank. 
 
 „ 182a. Group of trees. Pencil. 
 
 „ 183. Blank. 
 
 „ 183a. Figures, with horses and cart, and group of barges. 
 
 Pencil. 
 
 „ 184. Blank. 
 
 „ 184a. Barges, with horses on towing path. Pencil. 
 
 „ 185. Blank. 
 
 „ 185a. Barge. 
 
 „ 186. Blank. 
 
 (22 leaves drawn on.) 
 
 1801 - 1810 * (AET. 26-35). 
 
 LX.— WATER COLOURS CONNECTED WITH 
 SCOTCH TOUR. 
 
 These drawings all seem to have been based on 
 the sketches brought back from the 1801 tour, as 
 Turner does not appear to have revisited Scotland 
 till he went there fcr Scott’s “Provincial Antiquities” 
 in 1818. The “ Edinburgh from Calton Hill ” was 
 not exhibited till 1804. The study for drawing of 
 “Inverary” (LX, j.) seems to be as late as 1808-9. 
 
[LX.] 
 
 SCOTCH TOUR. 
 
 161 
 
 A. Inverary Castle. 
 
 8f x Ilf. Water colour, unfinished. 
 
 Based on “ Scottish Pencils ” (LVIII), No. 9. 
 
 This drawing formed part of the 4th Loan Collection, 
 (No. 46), till it was withdrawn in September 1905, when 
 removal of the mount showed that the indigo in the exposed 
 parts of the drawing had faded. 
 
 B. Inverary Pier. 
 
 134 x 19^. Water colour. 
 
 On back, top left-hand corner, is written in pencil— 
 
 “ J. T. (or T. T. or S. S.), Nov. 24, 1802." 
 
 Cf. “Liber Plate ” of this name (R. 19). 
 
 This drawing was withdrawn from 4th Loan Collection 
 (No. 1), for same reason as preceding drawing. 
 
 C. Scotch Lake and Mountains. 
 
 134 x 19^. Water colour. 
 
 On back, pencil drawing of mountains, &c. 
 
 This drawing was also withdrawn from Loan Collection on 
 account of blue fading in exposed parts. 
 
 D. Inverary Castle and Duniquoich Hill. 
 
 About 13j x 19. Water colour. 
 
 1st Loan Collection, No. 154. 
 
 The number “ 34" in ink at bottom left-hand corner, in 
 Turner’s handwriting. 
 
 Blue faded. Sky, light wash of warm brown in exposed 
 parts ; piirple under mount. 
 
 E„ Scotch Lake, with Boats and Figures, 
 
 13lj x 19J. Water colour. 
 
 2nd Loan Collection, No. 155. 
 
 The number “ 82 ” in ink at bottom right-hand corner, in 
 Turner’s hand. 
 
 Seriously injured by exposure to the light. 
 
 F. Loch Long : Morning. 
 
 13| x 19^. Water colour. 
 
 The number “ 29 ” in ink, at bottom of right-hand corner. 
 Lent to Y. & A. Museum, September, 1895 ; returned July, 
 1908, considerably injured by undue exposure to the light. 
 
 G. Loch Long : Evening. 
 
 134 x 19£. Water colour. 
 
 Water mark — “ J. Whatman, 1794.” 
 
 Exhibited Drawings, No. 637, N.G. 
 
 32796 
 
 L 
 
162 
 
 TURNER DRAWINGS. 
 
 [LX.] 
 
 H. Edinburgh, from Calton Hill. 
 
 Water colour. Considerably injured by exposure to light. 
 Was exhibited at R.A., 1801. 
 
 Exhibited Drawings, No. 549, N.G. 
 
 I. Scotch lake (?). 
 
 11 x 17. Water colour. 
 
 3rd Loan Collection, No. 156. 
 
 J. Inverary. 
 
 261 x 391. Water colour, unfinished. 
 
 Study for the drawing of this subject sold at Christie’s, 
 19 June, 1908 (Mrs. Stern sale). 
 
 Water mark, “ J. Whatman. 1808.” 
 
 (10 drawings.) 
 
 1801 . (AET. 26). 
 
 LX (a).— ENGLISH LAKES. 
 
 A. Langdale Pikes (?). 
 
 21| x 301. Water colour. 
 
 B. Head of Derwentwater. 
 
 211 x 30]-. Water colour. 
 
 C. Great End and Scawfell Pike. 
 
 211 x 30. Water colour. 
 
 D. Near Great Gable (?). 
 
 21-1 x 30. Pencil. 
 
 Water mark, “ J. Whatman. 1791.” 
 
 E. Near Great Gable (?). 
 
 211 x 30. Pencil. 
 
 Water mark, “ J. Whatman. 1791.” 
 
 F. Sty Head Tarn, near Scawfell. 
 
 211 x 30. Water colour. 
 
 Marked in corner, “ 46 ." 
 
 Water mark, “ J. Whatman. 1791.” 
 
 G. Near Scawfell (?). 
 
 211 x 30. Water colour. 
 
 Marked in corner, “ 47 ." 
 
 Water mark, “ J. Whatman. 1794.” 
 
 H. Head of Derwentwater (?). 
 
 211 x 30. Water colour. 
 
 “ 48 " 
 
 Water mark, “ J. Whatman. 1791.” 
 
ENGLISH LAKES. 
 
 163 
 
 [LX (a).] 
 
 I. Head of Derwentwater (?). 
 
 21% x 30. Water colour. 
 
 “ 49” 
 
 Water mark, “ J. Whatman. 1794.” 
 
 J. Borrowdale, or St. John’s Vale (?). 
 
 21% x 30. Water colour. 
 
 “50” 
 
 Water mark, “ J. Whatman. 1794.” 
 
 K. Cockermouth Castle. 
 
 21% x 30. Water colour. 
 
 “ 52.” 
 
 Water mark, “ J. Whatman. 1794.” 
 
 (11 drawings.) 
 
 1801 * (AET. 26). 
 
 LXI— JASON SKETCH BOOK. 
 
 Schedule No. 146. 
 
 Sketch book, bound in calf, with one brass clasp. 
 Turner’s label on back : — “24 Studies ” 
 
 Size of page, 8^ x 5%. 
 
 Water mark, “ J. Whatman, 1794.” 
 
 A number of the blank pages have been prepared 
 with washes of brown, grey, &c. 
 
 Executor’s endorsement : — “ No. 146. 
 
 (sgd.) H. S. Trimmer.” 
 Mr. Ruskin’s endorsement on wrapper: — “146. 
 An early book with half a dozen sketches in pencil 
 of some interest — but poor subjects.” 
 
 Page 
 
 5 ? 
 
 9? 
 
 
 5? 
 
 55 
 
 55 
 
 55 
 
 1. An Italian scene ; the bend of a road, with figure and 
 
 dogs on it, in foreground, town in mid-distance with 
 distant mountains, and on right a hill crowned 
 with buildings. Probably a copy — perhaps from a 
 painting by Wilson. 
 
 2. Italian buildings on hill. 
 
 3. Part of a lake surrounded by trees. 
 
 4. A stormy sky. 
 
 (Two leaves cut out. See pp. 62 and 63.) 
 
 5-20. Blank. 
 
 21. A distant mountain. Pencil and white chalk. 
 
 22-42. Blank. 
 
 (Fourteen or more leaves cut out.) 
 
 43-54. Blank. 
 
 54a. Barges with figures on them. Pencil and wash. 
 
 55. Blank. 
 
 55 a. A hoy sailing. Pencil and wash. 
 
 (Leaf cut out. See p. 61.) 
 
 L 2 
 
 327% 
 
164 
 
 TURNER DRAWINGS. 
 
 [LXI.] 
 
 Page 56. Blank. 
 
 , 56a. Rowing boat aground. Pencil and wash. 
 
 , , 57-60. Blank. 
 
 „ 60a. Study for the composition of “ Jason.” 
 
 The picture, which is in oils, was exhibited at the 
 R.A. in May, 1802. It is now in the National 
 Gallery, No. 471. This study is more like the oil 
 painting than the “ Liber” plate (R. 6). 
 
 LOOSE PAGES 
 
 „ 61. Sketch of a boat. Pencil and wash. 
 
 Exhibited Drawings, No. 533 b, N.G. 
 
 (The leaf cut out between pp. 55 and 56.) 
 
 ,, 62. Leaves of a Horse Chestnut. Pen and ink. 
 
 Written above — “ Horse Chesnut — -full yellow green 
 inhere young , but darker more advanced." 
 Exhibited drawings, No. 564a, N.G. 
 
 Reverse — Study of a Larch tree and branches. Pen 
 and ink. “ Larch — light green, rather cold, stem 
 brown and knotted, bark smooth." 
 
 „ 63. Laurel leaves. Pen and ink. 
 
 “ Laurel — dark green shining leaf. Young shoot 
 light yellow and leaf underneath not shining." 
 Exhibited drawings, No. 5645, N.G. 
 
 Reverse — Rough pencil sketch of coast scenery. 
 
 (These two leaves (62 and 63) appear to have been 
 cut out between pp. 4 and 5.) 
 
 (12 leaves drawn on.) 
 
 1801 * (AET. 26). 
 LXII— COWS SKETCH BOOK. 
 
 Schedule No. 220. 
 
 Page 
 
 51 
 
 51 
 
 1 . 
 
 O 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 8 . 
 
 Small note book, without covers. 
 
 Turner’s label at back — “ 1 06 ” 
 
 Executor’s endorsement — “No. 220. Ten leaves 
 containing Cattle Ten Cattle some in colors. 
 
 (sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Size of page, 4f x 7 x 3 ff . 
 
 Water mark, 
 
 A cow drinking. Pencil, much rubbed and dirtied. 
 Two cows. 
 
 Cows and calf. 
 
 Cow and calf. Pencil and water colour. 
 
 Cows, 
 
 Co ws. Water colour. 
 
 A cow. 
 
 Cows. 
 
COWS SKETCH BOOK. 
 
 165 
 
 [LXIL] 
 
 Page 8 a. A cow grazing. 
 
 „ 9. Cows. 
 
 „ 10. A cow. Water colour. 
 
 „ 11-12. Blank. 
 
 „ 13. A cow. 
 
 „ 13a. A cow, seated. 
 
 (11 leaves drawn on.) 
 
 1801 * (AET. 26). 
 
 LXIII. — COLOUR BILL SKETCH BOOK. 
 
 Schedule No. 391. 
 
 Small pocket book, bound in leather, with parch- 
 ment label on back containing the number “ 5-9.” 
 Size of page, 6| x 3£. 
 
 Water mark, “1796.” 
 
 Executors’ indorsement: — “No. 391. Contains 
 4 Pencil and Pen and Ink Sketches. 
 
 (sgd.) H. S. Trimmer 
 C. Turner.” 
 
 Inside of front cover, some notes of music in pencil 
 and ink. 
 
 Inside of end cover, probably not in Turner’s hand- 
 writing : — 
 
 “ Mr. Turner 
 Dr. to 
 
 J. Newman.” 
 
 Page 1. Side view of two boats. Ink and wash. 
 
 „ 2. Two sailing boats. Ink and wash. 
 
 „ 3. A rowing boat or barge 
 
 „ 4. Group of barges and sailing vessels. Pencil 
 
 outline. 
 
 „ • 5. Boats with figures. 
 
 „ 6. Written in ink, not by Turner : — 
 
 “ 1801. March 19 th 
 
 Large Bladder White 
 Hoghair Brush ... 
 
 |Large Varnish Brush 
 
 Bladder R u - Oker 
 
 6 hard lead pencils 
 March 30. Bladder Colours ... 
 
 1 oz. Antwerp B u - G d - in Spt. 
 Apl. 4. 4|Pint rht (?) Turps 
 
 s. 
 
 1 
 
 0 
 
 1 
 
 0 
 
 2 
 
 1 
 
 O 
 
 0 
 
 1 
 
 and ink 
 
 cl 
 
 0 
 
 8 
 
 6 
 
 6 
 
 0 
 
 6 
 
 o 
 
 0 
 
 11 2 
 
 Re d - for J. Newman 
 
 (sgd.) J. (?) Brown.” 
 
 f “ Not sent ” has been written against this entry, and then crossed out. 
 
166 
 
 TURNER DRAWINGS. 
 
 [LXIII.] 
 
 Page 7-41. Blank. 
 
 ,. 41a. The following in ink, not in Turner’s handwriting : — 
 
 “1801. Jan 5 ’- 11 th - 
 
 s. d. 
 
 Bladder colours ... ... ... 1 9 
 
 3 Cakes colour ... ... ... 2 0 
 
 d. 
 
 By Return Cake colour ... ... 8 
 
 Bladder colour ... ... ... 3 
 
 11 ” 
 
 (A cross is drawn through the above.) 
 
 “ Febry. 23 d , 1801. Settled p. Rec'. given 
 
 on a 4 d . stamp. 
 
 (Sgd.) J. N.” 
 
 (5 leaves drawn on.) 
 
 1801 * (AET. 26). 
 
 LXIV— ON THE CLIFFS SKETCH BOOK. 
 
 Schedule No. 389. 
 
 Small note book with paper covers. 
 
 Turner’s label on back — “ 104 ” 
 
 Executor's endorsement — “ No. 389. 6 leaves of 
 
 pencil sketches — very slight. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Size of page, x 4|. 
 
 Water mark, 
 
 Written inside cover, in pencil, perhaps not by Turner : — 
 
 “ Names 
 
 Abode 1 
 
 Paid 1 Month 
 
 
 Not ! 
 
 Year. 
 
 
 Page 1. Horses and cart on hill side. 
 
 „ 2. Wagon on road over cliffs. 
 
 „ 3. Hillside. 
 
 ,, 4. Study of sky. 
 
 „ 5. Blank. 
 
 „ 6. Bay on coast with houses in distance. 
 
 „ 6a. Clouds. 
 
 „ -7. Clouds. 
 
 „ 8-22. Blank. 
 
 ,. 22 a. On the cliffs, with sea in distance. 
 
 (7 leaves drawn on.) 
 
[LXV.] 
 
 167 
 
 1801 * (AET. 26). 
 
 LXV.— COMPOSITION STUDIES SKETCH BOOK. 
 
 Schedule No. 366. 
 
 Page 
 
 9? 
 
 5? 
 
 95 
 
 Small note book with paper covers. 
 
 Turner’s label on back — “ 17 7 .” 
 
 Executor’s endorsement — ■“ No. 366. 6 leaves of 
 
 pen and ink sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 Size of page — x 7 X \. 
 
 Water mark, 
 
 Mr. Ruskin’s endorsement on wrapper — “ 366. 
 Inv. Valueless, but curious studies with numerals in 
 skies.” 
 
 1. Castle in middle distance, with trees and sky. Pen 
 
 and ink. 
 
 2. Castle in middle distance, with trees and sky. Pen and 
 
 ink, with numerals over the different planes of the 
 design. 
 
 3. Castle in middle distance, with trees and sky. Pen 
 
 and ink, with numerals over the different planes of 
 the design. 
 
 4. Bridge in middle distance, with a house and trees. Pen 
 
 and ink, with numerals over the different planes of 
 the design. 
 
 5. Landscape, with a river and castle seen through trees. 
 
 Pen and ink, with numerals over the different planes 
 of the design. 
 
 6. River, with castle on hill. Pen and ink. 
 
 7-30. Blank. 
 
 (6 leaves drawn on.) 
 
 1800 - 1802 * (AET. 25-27). 
 
 LXVI.— EGYPTIAN DETAILS SKETCH BOOK. 
 
 Schedule No. 252. 
 
 Sketch book, bound in leather. 
 
 Turner’s label on back has been partially destroyed 
 — “ 48 . . . .” 
 
 Executor’s endorsement — “ No. 252. Containing 
 20 pen and ink and pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Size of page, 6yV x 3 T V- 
 
 Water mark 
 
 Paper, coarse blue. 
 
TURNER DRAWINGS. 
 
 [LXVI.] 
 
 1. Study of Clouds. Pencil. 
 
 2. A Sea Piece. Pen and ink, wash and white chalk. 
 
 3. Clouds. Pencil. 
 
 4. Dock leaves. Pen and ink, wash and white chalk. 
 
 5. Weeds and a sleeping dog. Pen and ink, wash and 
 
 white chalk. 
 
 6-10. Blank. 
 
 11. Clouds. Pencil and white chalk. 
 
 12. Clouds. Pencil and white chalk. 
 
 13-17. Blank. 
 
 18. Egytian headdress and costume — “ Eg p tains." Pen 
 and ink. 
 
 19-21. Blank. 
 
 22. A Helmet — “ Amasis, King of Egypt." Pen and ink 
 and white chalk. 
 
 23-66. Blank. 
 
 66a. \ A Ruined Crypt. Pencil and white chalk. 
 
 67 . / 
 
 67a. A Hying figure — perhaps the Nike — “ Parthenon ." 
 Pencil. 
 
 68-71. Blank. 
 
 72. Egyptian gods — “ Osiris, Enne, Apis, the Gat." Pen 
 
 and ink. 
 
 72a. Egyptian gods. Pencil and pen and ink. 
 
 73. Egyptian gods — “ Apis." Pencil and pen and ink. 
 
 74. Egyptian gods. Pencil and pen and ink. 
 
 74a. Egyptian costumes. Pen and ink. 
 
 75. “ Pers ian ” headdress. Pen and ink. 
 
 7 6—86. Blank. 
 
 87. A fallen tree. Pencil and white chalk. 
 
 88. A fallen tree. Pencil. 
 
 89. A fallen tree. Pencil and white chalk. 
 
 90. A fallen tree. Pencil and white chalk. 
 
 91-98. Blank. 
 
 98a, Study of dock leaves. Pencil. 
 
 99-125. Blank. 
 
 125a. A moorland scene. Pencil, pen and ink and white 
 chalk. 
 
 126. Building, with half-finished tower. Query Fonthill 
 
 Abbey. Pen and ink. 
 
 127. Blank. 
 
 127a. Recumbent figure in agony. Pencil and white chalk. 
 
 128. Blank. 
 
 A Castle. Query Conway. Pencil. 
 
 129a. A Castle. Pencil. 
 130-132. Blank. 
 
 (25 leaves drawn on.) 
 
[LXVII.] 
 
 169 
 
 1800 - 1802 * (AET. 25-27). 
 
 LXVII —ON A LEE SHORE (1) SKETCH BOOK. 
 
 Schedule No. 171. 
 
 Small pocket book, with covers. 
 
 Turner’s label on back^-“10^ ” 
 
 Executors’ endorsement — “ No. 171. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Size of page — 4§ x 7^. 
 
 Water mark, “ J. Whatman, 1799.” 
 
 The paper is white, prepared with washes of grey. 
 Page 1. Ships riding at anchor, seen from shore. Pen and ink. 
 
 „ 2. Ships riding at anchor, seen from shore. Pen and ink. 
 
 ,, 3. Boats and windlass on shore, with ships in distance. 
 
 Pen and ink. 
 
 „ 4. Fishing boat running aground, with sailors jumping into 
 
 surf. Pen and ink. 
 
 „ 5. Boat coming ashore. Pen and ink. 
 
 „ 5 a. 1 Boat overturned in surf, with figures. Pencil and pen 
 
 „ 6. j and ink. 
 
 „ 6«. 1 Boat aground, with figures in surf ; other vessels in 
 
 „ 7. j offing. Pencil and pen and ink. 
 
 „ 7 a. I Fishing boats on the beach, with a boat running 
 
 ,, 8. J aground. Pen and ink. 
 
 (8 leaves drawn on.) 
 
 1800 - 1802 * (AET. 25-27). 
 
 LXVIII.— ON A LEE SHORE (2) SKETCH BOOK. 
 
 Schedule No. 170. 
 
 Small note book, without covers, now broken up. 
 
 Turner’s label on back — “ 103 .” 
 
 Executor’s endorsement (on the reverse of Exhi- 
 bited Drawings, No. 615 b, N.G.) — “ No. 170.” 
 
 Size of page, 4| x 7^. 
 
 Water mark, 1799. 
 
 The paper is white, prepared with washes of grey. 
 
 Page 1. Boat in heavy sea. Pen and ink and wash, with lights 
 scratched out. Exhibited Drawings, No. 615«, N.G. 
 
 „ 2. Boat swamped in surf. Pen and ink and wash, with 
 
 lights scratched out. Exhibited Drawings, No. 615i», 
 N.G. 
 
170 
 
 TURNER DRAWINGS. 
 
 [LXVIII.] 
 
 Page 3. Fishermen launching a boat in heavy sea. Pen and 
 ink and wash, with lights scratched out. Written in 
 margin — “ Without the F. sail." 
 
 „ 4. Boat coming aground in stormy weather. Pen and ink 
 
 and wash, with lights scratched out. 
 
 „ 5. Fishermen launching a boat. Pen and ink and wash, 
 
 with lights scratched out. 
 
 „ 5 a. Part of a drawing of men on shore. Pen and ink and 
 
 wash, with lights scratched out. 
 
 „ 6. Boats putting out in a heavy sea. Pen and ink and wash, 
 
 with lights scratched out. 
 
 „ 7. Boat on a lee shore. Pencil. 
 
 „ 8. A fishing boat. Pencil. 
 
 (8 leaves drawn on.) 
 
 1800 - 1802 * (AET. 25-27). 
 
 LXIX. — “STUDIES FOR PICTURES” SKETCH BOOK. 
 
 Schedule No. 34G. 
 
 Sketch book, bound in calf, with coarse blue paper 
 (something like the modern Michallet paper). 
 
 Turner’s label on back — “66. Studies P.; ” printed 
 in ink on one of covers — “ Shipping." 
 
 Executor’s endorsement — “ No. 346. Contains 
 88 sketches in Pencil, Pen & Ink, and Chalk. 
 
 (Sgd.) C. Turner.” 
 
 Size of page, 81 x 5£. 
 
 Water mark, . 
 
 Mr. Ruskin’s endorsement on wrapper — “ 346. 
 Book of grey paper, with valuable but very slight 
 early studies. Most of them cut out and mounted. 
 Several had been cut out by Turner, and were among 
 the loose sketches.” 
 
 The covers of the book have been broken off, 
 and the leaves distributed. The present order is 
 fortuitous. 
 
 Page 
 
 99 
 
 1 . 
 
 2 . 
 
 3. 
 
 4. 
 
 An anchor, with figures on shore. Pen and ink. 
 
 A bay, with headlands and castles. Pencil and white 
 chalk. 
 
 Landscape with clouds. Pencil and white chalk. 
 
 Castle among hills. Possibly Dolbadarn. Pencil and 
 white chalk. 
 
 Study for a picture of Dunstanborough Castle. Pen 
 and ink and wash. 
 
 5. 
 
[LXIX.] 
 
 STUDIES FOR PICTURES. 
 
 171 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 5? 
 
 9’ 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 6. A boat sailing. Pencil and white chalk. 
 
 7. Do. Pen and ink. 
 
 8. A sea piece. Pencil and white chalk. 
 
 9. A bay, with boats aground, and figures. Pen and ink. 
 
 10. A sailing vessel. Pen and ink and wash. 
 
 11. Blank. 
 
 12. Study of sky. Pencil and white chalk. 
 
 13. Blank. 
 
 14. Sheep grazing under walls of a ruined castle. Pen 
 
 and ink. 
 
 15. Coast scene, with vessels, &c. Pen and ink. 
 
 16. Cattle and figures near the walls of a ruined castle- 
 
 Pen and ink. Cf. p. 14. 
 
 17. Vessel, with sails set. Pencil. 
 
 18. Harper, with dancing figures and spectators. Pen and 
 
 ink and white chalk. 
 
 19. A female figure, seated. Pen and ink and white chalk. 
 
 20. Four figures, supplicating. Pen and ink and white 
 
 chalk. 
 
 “ Baal. P. N” 
 
 21. Two groups of figures. Pen and ink and white chalk. 
 
 22. A man speaking. Pen and ink and white chalk. 
 
 23. Figures supplicating. Pen and ink and white chalk. 
 (The figures on pp. 18-23 are perhaps copied or adapted 
 
 from engravings after N. Poussin, &c.) 
 
 24. Recumbent nude figure of woman. Possibly a study 
 
 for one of the “ Plagues of Egypt ” (exhibited 1800 
 and 1802). Pen and ink and white chalk. 
 
 25. Recumbent nude figure of woman. Possibly a study 
 
 for one of the “ Plagues of Egypt.” Pen and ink 
 and -while chalk. 
 
 26. Recumbent nude figure of woman. Possibly a study 
 
 for one of the “ Plagues of Egypt.” Pen and ink 
 and white chalk. 
 
 27. Recumbent nude figure of woman. Possibly a study 
 
 for one of the “ Plagues of Egypt.” Pen and ink. 
 
 28. Recumbent nude figure of woman. Possibly a study 
 
 for one of the “ Plagues of Egypt.” Pen and ink 
 and white chalk. 
 
 29. Sailing vessels. Pen and ink. Possibly studies for 
 
 the “ Egremont Sea Piece.” 
 
 30. Sailing vessels. Possibly studies for the “ Egremont 
 
 Sea Piece.” Pen and ink. 
 
 31. Sailing vessels. Possibly studies for the “ Egremont 
 
 Sea Piece.” Pen and ink. 
 
 32. Sailing vessels. Possibly studies for the “ Egremont 
 
 Sea Piece.” Pen and ink. 
 
 32a. I A three-decker, with sails set. Pencil. 
 
 33. / 
 
 33a. \ Ships. Pencil. 
 
 34. / 
 
 34a. \ Group of ships. Pencil. 
 
 35. / 
 
TURNER DRAWINGS. 
 
 [LXIX.] 
 
 172 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 ’5 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 35 a. Group of ships. Pencil. 
 
 36. Blank. 
 
 26a. 1 Man-of-war, with sails set. Pencil and white chalk. 
 
 37. / 
 
 37a. ( Hull of man-of-war. Pencil. 
 
 38. J 
 
 38a. \ Fishing boat. Pencil. 
 
 39. / 
 
 39a. ( Man-of-war. Pencil and white chalk. 
 
 10. / 
 
 40a. I Do. do. 
 
 41. / 
 
 41a. ) A three-masted vessel. Pencil. 
 
 42. / 
 
 43. Blank. 
 
 44. Sea piece. Pen and ink. 
 
 45-53. Blank. 
 
 53a. ) Sea piece. Pencil and white chalk. 
 
 ;>4. / 
 
 54a. 1 Man of war. Pencil and white chalk. 
 
 55. / 
 
 55 a. 1 Ships. Pencil. 
 
 56. / 
 
 57. Ships. Pencil. 
 
 57a. 1 A ship. Pencil. 
 
 58. ^ / 
 
 59-65. Blank. 
 
 65a. Egyptian figures, &c. Pencil and white chalk. 
 
 66. Man supporting woman. Study for a “ Plague ” picture. 
 
 Pencil and white chalk. 
 
 66a. Egyptian details. Pencil. 
 
 67. Group of figures. Pencil and white chalk. 
 
 67a. Archaeological details. Pencil and white chalk. 
 
 68-78. Blank. 
 
 79. Stonehenge. Pen and ink and white chalk. 
 
 80. Blank. 
 
 80a. Stonehenge. Pen and ink and white chalk. 
 
 81-83. Blank. 
 
 84. Group of trees. Pen and ink and white chalk. 
 
 85-96. Blank. 
 
 86a. Harper, with dancing figure. Pen and ink. 
 
 87. Harper, with dancing figures and spectators. Pen and 
 
 ink and white chalk. 
 
 88. Study for picture of “Pembroke Castle,” exhibited 
 
 1801. Pen and ink, wash and white- chalk. 
 
 89. Study for the picture of “Pembroke Castle,” exhibited 
 
 1(801. Pen and ink, wash and white chalk. 
 
 90. Study for the “ Egremont Sea Piece,” exhibited 1802. 
 
 Pencil and white chalk. 
 
 91. Study for the “ Egremont Sea Piece,” exhibited 1802. 
 
 Pen and ink and white chalk. 
 
 92. Fishing boats in squally weather. Pencil, pen and 
 
 ink and white chalk. 
 
[LXIX.] STUDIES FOR PICTURES SKETCH BOOK. 173 
 
 Page 93. 
 „ 94. 
 
 95 
 
 95. 
 
 55 
 
 55 
 
 59 
 
 59 
 
 96. 
 
 97. 
 
 98. 
 
 99. 
 100 . 
 
 101 . 
 
 „ 102 . 
 
 „ 103. 
 
 99 
 
 95 
 
 104. 
 
 105. 
 
 99 
 
 59 
 
 99 
 
 55 
 
 55 
 
 95 
 
 55 
 
 55 
 
 55 
 
 106. 
 
 107. 
 
 108. 
 
 109. 
 
 110 . 
 111 . 
 112 . 
 
 113. 
 
 114. 
 
 115. 
 
 59 
 
 116. 
 
 „ 117. 
 „ H8. 
 „ 119. 
 „ 120 . 
 
 „ 121 . 
 
 „ 122 . 
 
 Coast scene, with shipping. Pen and ink and white 
 chalk. 
 
 The Morning (or Evening) Gun. Pen and ink and 
 white chalk. 
 
 Fishing boats with Man of War. Pen and ink and 
 white chalk. 
 
 Fishing boat sailing. Pen and ink and white chalk. 
 
 Sea Piece. Pencil and white chalk. 
 
 Sea Piece. Pencil and white chalk. 
 
 Fishing boats at sea. Pencil and white chalk. 
 
 Sea Piece : Evening. Pen and ink, wash and white 
 chalk. 
 
 Coast scene, with shipping and figures. Pen and ink, 
 wash and white chalk. 
 
 Castle on hill. Pastel. 
 
 Castle on hill. Pastel. Study for the oil painting of 
 “ Dolbadarn Castle,” exhibited 1800 (now in Diploma 
 Gallery, Royal Academy.) 
 
 Castle on hill. Pastel. Study for “ Dolbadarn.” 
 
 Fishing boats sailing. Possibly a study for “ Entrance 
 to Calais Harbour.” Pen and ink and white chalk. 
 
 Scene on river bank, with figures, &c. Black chalk. 
 
 Study of clouds. Pen and ink and white chalk. 
 
 Castle on hill. Study for “ Dolbadarn.” Pastel. 
 
 Castle on hill. Study for “ Dolbadarn.” Pastel. 
 
 Wintry landscape : Evening. Pastel. 
 
 River banks : Morning. Pastel. 
 
 Castle on hill. Study for “ Dolbadarn.” Pastel. 
 
 Castle on hill. Study for “ Dolbadarn.” Pastel. 
 
 Study of dock leaves. Black and white chalk. 
 
 Study for a picture of “ Flint Castle ” (?). Pen and 
 ink and white chalk. 
 
 Oxford Loan Collection, 156-142«. 
 
 Ships of Line : Evening. Pencil, pen and ink and 
 white chalk. 
 
 Written over different parts of drawing : — “ Even- 
 ing — Sunset — Ships — Line of battle — 2 rf - ship at a 
 greater distance f r ye first — Low Land Very distant 
 — Wet Sand — Figures .” 
 
 Oxford Loan Collection, 155-143&. 
 
 A sea piece. Pen and ink, wash and white chalk. 
 
 Exhibited Drawings, No. 564«, N.G. 
 
 Sea piece. Pen and ink, wash and white chalk. 
 
 Exhibited Drawings, No. 561&, N.G. 
 
 Scene off coast. Pen and ink, wash and white chalk. 
 
 Exhibited Drawings, No. 562«, N.G. 
 
 Shipping in harbour. Pen and ink, wash and white 
 chalk. 
 
 Exhibited Drawings, No. 562 b, N.G. 
 
 Trees beside lake, with sunlit meadows beyond. 
 Coloured chalks. 
 
 Castle on hill beside river. Coloured chalks and 
 water colour. 
 
TURNER DRAWINGS. 
 
 [LXIX.] 
 
 174 
 
 „ 123. Shipping. Pen and ink, white chalk and wash. 
 
 „ 124. Shipping. Pen and ink and white chalk. 
 
 „ 125. Shipping. Pen and ink, white chalk, and wash. 
 
 „ 126. Shipping at sea. Pen and ink, white chalk and 
 
 wash. 
 
 „ 127. Study of sea and sky. Pencil and white chalk. 
 
 „ 128. A sailing vessel. Pen and ink and white chalk. 
 
 „ 128a. Study of sky. Pen and ink and white chalk. 
 
 „ 129. Landscape, with setting sun. Pen and ink and white 
 
 chalk. 
 
 „ 129a. Sailing vessels. Pen and ink and white chalk. 
 
 „ 130. Landscape, with cattle and a ruined castle. Pen and 
 
 ink and wash. 
 
 „ 131. Egyptian details. Pencil and white chalk. 
 
 „ 131a. Two views of man’s head seen in profile. Pen 
 
 and ink. 
 
 (99 leaves drawn on.) 
 
 1800 - 1802 * (AET. 25-27). 
 
 LXX— MISCELLANEOUS WATER COLOURS AND 
 DRAWINGS. 
 
 A. Marsh Mallow. 
 
 12^ x 20|. Black and white chalk on blue. 
 
 2nd Loan Collection, 140. 
 
 (There seems to me a slight possibility that this study is 
 not by Turner. I do not, however, feel justified in rejecting 
 it. If it is by Turner, about 1800-1802, seems to me a pro- 
 bable suggestion as to the date.) 
 
 B. A group of sheep. 
 
 7f x 9\l Pencil. W. M. 1801. 
 2nd Loan Collection, No. 8. 
 
 C. Studies of ships. 
 
 71 x 9^, folded and drawn on on both sides. Pencil. 
 
 D. Two Ships in profile. 
 
 6 x 8|. Drawn with a brush. 
 
[LXX.] MISCELLANEOUS. 1800-1802. 
 
 175 
 
 E. A child running. 
 
 1 \ x 41r, Pencil and ink. 
 
 F. Mother and child. 
 
 6 x 7j. Pencil. 
 
 G. Group of Horses in Windsor Park. 
 
 2I-J x 29§. Water colour. 
 
 The horses seem to me to be by Sawrey Gilpin, the fore- 
 ground and landscape background alone being by Turner. 
 
 Possibly the drawing exhibited at the R.A., in 1811, as 
 “ Windsor Park, with horses by the late Sawrey Gilpin, Esq., 
 R.A.” 
 
 H. St. Agatha’s Abbey (?), with cattle. 
 
 16 x 21J. Water colour. 
 
 The ruins of the abbey crown a hill in the mid-distance. A 
 group of cows line the edge of a pool in the foreground. 
 Three more cows are being driven down the hill on the right 
 towards the water by a man on horseback. A dog is barking 
 on the right. 
 
 I. Donkeys beside a mine shaft. 
 
 22 x 30. Water colour. 
 
 J. Cattle in stream, with ruins on bank. 
 
 About 19 x 24. Water colour, unfinished. 
 
 K. The Ford. 
 
 21 x 29f. Water colour, unfinished. 
 
 Two groups of cattle are standing in stream. In the centre 
 and on the left beyond the stream is a mass of trees. A man 
 with a woman in a short blue skirt is wading in the water. 
 
 L. A Castle seen through trees. 
 
 26^ x 40|. Water colour, unfinished. 
 
 A Castle seen beyond a row of ashes, with a group of ruins 
 in distance on the right ; cattle with flying swan and water 
 fowl in marshy foreground. 
 
 M. Caernarvon Castle, North Wales. 
 
 26 x 39£. Water colour. 
 
 Probably the drawing exhibited R.A., 1800. 
 
176 
 
 TURNER DRAWINGS. 
 
 [LXX.] 
 
 N. Study for Historical Subject. 
 
 214 x 284- Water colour, unfinished. 
 
 In foreground a river and shoals ; on the banks of the river 
 a group of four figures, three kneeling and one standing and 
 speaking. There is a crowd of dancing figures towards the 
 left in the middle distance, with groups of trees on the extreme 
 left and the right centre. Beyond the river is a wide plain, 
 and beyond a range of mountains. 
 
 O. Dolbadarn Castle, Llanberis. 
 
 26 x 36. Water colour beginning. 
 
 P. View of Fonthill Abbey. 
 
 414 x 28. Water colour. 
 
 Q. Welsh mountain subject. 
 
 26^ x 394. Water colour. 
 
 A Welsh mountain range, with snow on distant mountains, 
 and an army with banners flying marching up foreground 
 valley. 
 
 Water mark — “ J. Whatman. 1794.” 
 
 R. Interior of ruined church, with figures. 
 
 10 x 7f. Pen and ink and wash. 
 
 S. Study for “Fifth Plague of Egypt.” 
 
 About 7^ x 6^. Torn fragment of drawing. Pen and ink 
 and wash. 
 
 T. Trees. 
 
 fiT; x 6£. Pencil. Probably a leaf of a sketch book. 
 
 U. Stormy Sunset in Wales. 
 
 Water colour, unfinished. 
 
 V. Church and Lane. 
 
 About 81 x 10J. Oil, on canvas. 
 
 Exhibited Drawings, No. 782, N.G. 
 
 W. Buildings on distant Hill. 
 
 94 x 154. Water colour. 
 
[LXX.] 
 
 MISCELLANEOUS, 1800-1802. 
 
 177 
 
 X. Llanberis Lake, with. Dolbadarn Castle. 
 
 21J x 30. Water colour. 
 
 Marked in corner, “ 53 .” 
 
 Y. Snowdon, from Llanberis. 
 
 21| x 30. Water colour. 
 
 “ 54 ” 
 
 Water mark, “ J. Whatman. 1794.” 
 
 Z. Dolbadarn and the Pass of Llanberis. 
 
 21-f x 30. Water colour. 
 
 “ 51 ” 
 
 Water mark, “ J. Whatman. 1794.” 
 
 a. Mountains, with River. 
 
 21f x 30. Water colour. 
 
 “ 55 ” 
 
 Water mark, ‘‘ J. Whatman. 1794.” 
 
 b. River, with Cattle ; Mountains beyond. 
 
 21| x 30. Water colour. 
 
 Water mark, “ W. Elgar. 1798.” 
 
 c. Llyn Cwellyn (?). 
 
 17 x 22. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 d. Llyn Cwellyn (?). 
 
 21| x 30. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 e. Beginning 1 of same subject. 
 
 21| x 30. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 f. St. Agatha’s Abbey. 
 
 21| x 30. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 g. Durham Castle and Bridge. 
 
 lOj- x 16£. Pencil. 
 
 32796 
 
 M 
 
178 
 
 TURNER DRAWINGS 
 
 [LXX.] 
 
 h. The Incantation. 
 
 23f x 344. Water colour beginning. 
 
 Water mark, “ J. Whatman. 1791.” 
 
 i. Ruined Castle on Hill. Probably Welsh. 
 
 264 x 394. Water colour, unfinished. 
 
 Water mark, “ J. Whatman. 1791.” 
 
 j. Valley, with Mountains. 
 
 26 x 33j. Water colour, unfinished. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 (36 drawings.) 
 
 1802 (AET. 27). 
 
 LXXI— SMALL CALAIS PIER SKETCH BOOK. 
 
 Schedule No. 328. 
 
 Sketch book bound in calf. 
 
 Turner’s label has been torn off, but a name, pro- 
 bably “ Calais,” has been written in ink on one of the 
 covers ; “ Ga . . . ” remains, but the rest of the word 
 has been obliterated. 
 
 Size of page, 4| x 1\. 
 
 Water mark, “ J. Whatman, 1794.” 
 
 The pages have been prepared with a wash of 
 slatey brown. 
 
 Executor’s endorsement: — “No. 328. Contains 
 35 leaves. Pencil and chalk sketches. 
 
 (Signed) C. Turner.” 
 
 Mr. Ruskin’s endorsement on wrapper : — “ 328. 
 “ Calais Pier.” Original sketches of it. But little 
 else left in the book. Seven leaves cut out. 
 
 (Out of A.B. 195 P. in Box A.) 
 
 (Signed) J. R., 1878.” 
 
 On first fly-leaf : — A cutter and other sailing vessels, with 
 pennants hying. Pencil. 
 
 On second fly-leaf : — Study of waves (?). Pencil. 
 
[LXXI.] 
 
 SMALL CALAIS PIER. 
 
 179 
 
 Page 1. 
 
 99 
 
 99 
 
 99 
 
 2 . 
 
 2a, 
 
 3. 
 
 4. 
 
 99 
 
 5. 
 
 99 
 
 6 . 
 
 7. 
 
 99 
 
 99 
 
 19 
 
 8 . 
 
 9. 
 
 10 . 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 99 
 
 16. 
 
 99 
 
 99 
 
 17. 
 
 18. 
 
 Group of boats, with figures. Pencil. 
 
 On side of page “ Back ” is written in white chalk. 
 This probably refers to back of paper, and perhaps 
 was written for guidance of binder. 
 
 Figures and shipping on coast. 
 
 \ Calais Pier, with group of figures on right ; sailing 
 j vessels beyond. 
 
 Group of figures on pier watching fishing boats at sea. 
 
 Pencil, with whites scratched out. 
 
 Group of figures on pier. 
 
 (Leaf cut out.) 
 
 Calais Harbour, with spires and roofs of city in distance. 
 City walls. 
 
 (Leaf cut out.) 
 
 Boats and figures on the coast. 
 
 Buildings with figures. 
 
 Sunset (or sunrise) on the water. Pencil with lights 
 scratched out. 
 
 Old buildings. 
 
 Church, with tall gothic tower at end of street. 
 
 Vessels in Calais Harbour. Pen and ink. 
 
 Calais and its Pier, from the shore. Pen and ink. 
 Sailing vessels off Calais Pier. Pen and ink. 
 
 (Leaf cut out.) 
 
 Figures on shore near cliffs. Pen and ink. 
 
 (Leaf cut out.) 
 
 Blank. 
 
 Blank. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 18a. 1 Waves breaking on shore with sailing vessel on the 
 
 19. J horizon. Pencil and white chalk. 
 
 19a. 1 Waves breaking on shore with sailing boat on horizon. 
 
 20. J Pencil and white chalk. 
 
 20a. ) Waves breaking on shore with sailing boat on offing. 
 
 21. / Pencil and white chalk. 
 
 21a. 1 Waves breaking on shore. Pencil and white chalk. 
 
 22. J 
 
 23-30. Blank. 
 
 31. Looking out to sea. 
 
 32. Study of waves. 
 
 32a. 1 Study of waves, with fishing vessels in distance. 
 
 33. / 
 
 34-38. Blank. 
 
 „ 38a. On the coast. 
 ,, 39. Blank. 
 
 39a. Coast, with distant buildings. 
 40. Study of clouds. 
 
 „ 41-49. Blank. 
 
 „ 50. Group of trees. Pencil, with whites scratched out. 
 „ 51. Group of trees. Pencil, with whites scratched out. 
 
180 
 
 TURNER DRAWINGS. 
 
 [LXXL] 
 
 Page 52. Group of trees, with tower beyond. Pencil, with 
 whites scratched out. 
 
 „ 53-62. Blank. 
 
 „ 62 a. Written in pencil : — 
 
 “ The Dead Christ by Titian — copy'd by V., the 
 flesh is 'produced by the under colours or ground like 
 Indian red and Aspaltum — the second colour cold 
 with shadows slightly indicated (?), the . . . . 
 
 still colors the prominent parts are like Correggio's 
 Jerome. Oker and if a warm is wanted the under 
 
 colour is ... . unto the drapery 
 
 body for these are produced by glazing 
 
 over white or warm as the subject requires. Thus his 
 Draped Figures have their solidity and clearness — 
 
 the are treated on the like modes. (?)” 
 
 (The words omitted are illegible.) 
 
 „ 63. Blank. 
 
 „ 63a. “ St. Jerome probably the under colour is grey — for 
 
 after the Brown and (? of) Asphalt um like tone 
 is ... . greenish— the flesh tints are positively 
 
 cold which ) as required {then all the 
 
 high lights are warm, the 
 
 are grey and half tints of the Leg and foot of 
 Elizabeth." 
 
 „ 64. Blank. 
 
 ., 65. Sketch of an interior (?). 
 
 „ 65a. “ 7 
 
 3. JO 
 1—15 
 
 12 — 5. " 
 
 LOOSE LEAVES. 
 
 „ 66. Fishing boat off the coast. Pen and ink. 
 
 „ 67. Church and houses at Calais. Pencil, with lights 
 scratched out. 
 
 „ 68. Fishing boats at sea. Pen and ink 
 
 „ 69. Vessels at sea. Pen and ink. 
 
 „ 70. Scene on coast, with tower, shipping and figures. 
 
 Pencil, with lights scratched out. 
 
 ,, 71. Boats sailing. Pen and ink. 
 
 Oxford Loan Collection, 150-141a. 
 
 „ 72. The brig in a breeze. Pen and ink. 
 
 Oxford Loan Collection, 151-1415. 
 
 (40 leaves drawn on.) 
 
[LXXII.] 
 
 181 
 
 1802 (AET. 27). 
 
 LXXII.— “ STUDIES IN THE LOUVRE” SKETCH BOOK. 
 Schedule No. 310. 
 
 Small sketch book, bound in calf, with one brass 
 clasp. 
 
 Turner’s label on back — “18. Studies in the Louve." 
 
 Size of page, 5- r 1 iI x 4§. 
 
 Water mark, “ Hayes & Wise. 1799.” 
 
 The paper was prepared with washes of grey and 
 slatey brown. 
 
 Executors’ endorsement : — “ No. 310. Contains 
 leaves in pencil and color. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Page 
 
 1 . 
 
 2 - 
 
 13. 
 
 Blank. 
 
 (The word “ Back ,” written in white chalk, still 
 appears on this sheet. It was doubtless written as an 
 instruction to the Binder.) 
 
 12. Blank. 
 
 The following letters scattered about the page probably 
 represent an analysis of the colour schemes of two 
 
 pictures. 
 
 G. A. B. 
 
 “J 
 
 N. 
 
 Y. P. R. 
 
 14. 
 14a. 
 
 15. 
 
 1G. 
 
 17. 
 
 TL" 
 
 
 GAG. G. 
 
 LY. 
 
 W 
 
 
 3 
 
 r . Y. B. 
 
 and 
 “ LP. 
 
 
 AP. G. 
 
 B. 
 
 
 G 
 
 R. G. 
 
 B. T 
 G. L 
 
 G Lake 
 
 G 
 
 RR. 
 
 W 
 
 
 DLe 
 
 L. A. G.B. 
 
 
 
 L.A. 
 
 R. B. 
 
 0 
 
 Blank. 
 
 
 B. 
 
 ) 1 
 
 \ Men of 
 
 War 
 
 off the Coast 
 
 : stormy sea and sky. 
 
 j Pencil, with whites scratched out. 
 
 (Copy of Ruysdael’s “Tempest” (Louvre, No. 2558), 
 with foreground house omitted and light on fore- 
 ground surf reduced. See remarks on p. 23.) 
 
 Apollo (?) and other figures. Pencil, with whites 
 scratched out. 
 
 Raphael’s “ Infant Jesus caressing St. John ” Pencil, 
 with whites scratched out. 
 
 At the side is written : — 
 
 “ V. B. P. Mid r - 
 
 E. Land B 
 
 .... G— 
 
 32790 
 
 N 
 
182 
 
 TURNER DRAWINGS. 
 
 [LXXII.] 
 
 Page 18. Figures grouped round an old man seated and pointing 
 with his right hand. Perhaps a Poussin. Pencil, 
 with whites scratched out. 
 
 „ 19-22. Blank. 
 
 ,, 22 a. The following is written in ink : — 
 
 “ Landscape by G. Rysdael. 
 
 A fine coloured grey picture , full of truth and 
 finely treated as to light which falls on the middle 
 ground. All beyond is of a true deep ton'd greyish 
 green. The sky rather heavy , but well managed, but 
 usurps too much of the picture and the light. The 
 Objects near to the light are poor and ill jud(g)ed 
 particularly about the Windmill inclin'd to be chalky. 
 The foreground dark, violently so near the bright 
 light that gives a crudeness inconsistent with the 
 purity of the distance. The base of the picture par- 
 ticularly happy as a grey tone that ecisies the eye and 
 gently glides into the shadow {somewhat the color of 
 this paper'). The figures are by Bergem but they do 
 not accord with the general tone of the picture. 
 Fortunately they are placed on the defective part of 
 the piece and therefore create some kind of interest." 
 
 (Perhaps the picture referred to is Ruysdael’s 
 “ Coup de Soleil,” now in the Louvre (No. 2560) ; 
 see copy on p. 81.) 
 
 „ 23. “ Sea Port. Rysdael. 
 
 A brown picture which pervades thro' the water so 
 as to check the idea of it being liquid, altho ' finely 
 pencil' d. The introducing of the House on the 
 
 Embankment destroys all the dignity of the left. An 
 o ffing ivitli Ship riding in stress of weather happily 
 disposed' and color'd, and a heavy sombre grey sky 
 with warm lights ( the half tint this leaf). The chief 
 light is upon the surge in the foreground — but too 
 much is made to suffer — so that it is artificial — and 
 shows the brown in a more glaring point of view and 
 this inattention of the forms which waves make upon 
 a lee shore embanked ( the ships all in shadow)." 
 
 (Tbe picture referred to is probably “Une tempete 
 sur le bord des Digues de la Hollande.” [Louvre, 
 No. 2558].) 
 
 ,, 24. “ Titian and his Mistress. 
 
 A wonderfull specimen of his abilities as to natural 
 color, for the Bosom of his mistress is a piece of 
 Nature — in her happiest moments. The Arm beauti- 
 fully colour'd, bust rather heavey — and the shadow 
 perhaps too Brown for the shadow of the neck ( which 
 appears to have been produced by a body of grey 
 colour over a rich ground of the colour of the face , 
 then heighten'd (?) in the lights which are truly 
 brilliant. The green drapery is glazed over a similar 
 color but the lights nearly white as they are cold 
 funlike the Drapery of Joseph — ” 
 
[LXXII.] STUDIES IN THE LOUVRE. 183 
 
 (continued on page 23a) : 
 
 “ in the entombing of Jesus which has been rather 
 yellow first). The ground pervades thro' the Portrait 
 and the red under is Vermilion and V.R. or Lake 
 over. His hands are Bt. Sienna but her left hand is 
 granulated with minute colours and toucht with 
 brown , and is not dependt (dependent) upon the 
 ground as the other parts of the picture , which proves , 
 as well as the Hair over the white drapery , that he 
 had some means of using the ground color in a body 
 or uniting solid coloring with the ground, altho' 1 
 must confess I think it taken off practically , which 
 gives the Hand so granulate an appearance. The 
 white drapery is like this leaf but colder, then the high 
 lights a warm color firmly touch'd." 
 
 Page 25. Copy of Titian’s so-called “ Mistress,” now known as 
 “Alphonse de Ferrare et Laura de’ Dianti ” 
 (Louvre, No. 1590). Water colour. 
 
 „ 25a. The following is written in ink : — 
 
 “ Diogenes and his Scholar. 
 
 A charming and grand composition. The distant 
 houses are chiefly light, the foreground large as to 
 parts and beautifully pencil' d, and the figures happyly 
 introduced. The yellow colour of Diogenes and the 
 grey of the Boy with a light tinge (? toga ) of Red 
 unites with the whole half deep tone in the foreground 
 and makes the picture possess three broad strata of 
 (1) the sky, distance and Houses, the second the fore- 
 ground, the third with the figure and the immediate 
 foreground rather lighter. Yet upon the ivhole the 
 picture is rather too green and cold, as the trees are 
 
 und ly and the ivhole of the Buildings 
 
 White." 
 
 (The picture referred to is doubtless Poussin’s 
 “ Diogene jetant son ecuelle.” Louvre, No. 741.) 
 
 „ 26. “ Orpheus ancl Eyridicee." 
 
 The sky rather heavy and of a leaden color. The 
 Buildings a yellowish colour but finely disposed. 
 The middle ground light and the figures scatter' dcind 
 Euridice falsely lighted, and am inclin'd to think 
 that the red drapery of Orpheus and what is on the 
 tree ( which is beauty fully disposed) is to (? too) 
 disimulcir (? dissimilar) and distracts the majesty of 
 the whole composition, which is fine contrasted. The 
 inferior part is the left bank which is unnaturally 
 dark — unusefully so, for it over balances all, and 
 renders the light Bank hard ancl crude, which for 
 want of richness renders the sky heavy, and Painter 
 thought to have remedy' d this by the colouring of the 
 Figures positively, but it here proves that strong 
 colour'd figures without proximity civaild nothing." 
 
 (Poussin’s “ Orphee et Eurydice ; paysage.” 
 Louvre, No. 740.) 
 
 N 2 
 
 32796 
 
184 
 
 TURNER DRAWINGS. 
 
 [LXXII.] 
 
 Page 26a. “ The Gathering of Manna* * * § 
 
 Is the grandest system of light and shadow in the 
 Collection. Two figures of equall power occupy the 
 sides and are color'd alike. They carry severally 
 their satellites of color into the very centre of the 
 picture , where Moses unites them by being in Blue 
 and Red. This strikes me to be the soul of the subject , 
 as it creates a harmonious confusion — a confusion 
 of parts so arranged as to fall into the sides and by 
 strong colour meeting in a background to the side 
 figures which are in Blue and Yellow , so artfully 
 arranged that the art of causing this confusion 
 without distraction is completely hid. The centre 
 has been touch'd , particularly Moses, and I think all 
 the Red draperies in their shadows. 
 
 27. And by a print I bought, which here confirms me in 
 this opinion, the Print 1 have touch'd by the picture 
 and find that the light in the sky is not Poussin's . f 
 All his pictures have been heightened in the Blues 
 and Reds, particularly the “ Woman in Adultery, "% 
 the “ Death of the Wife of Ananias , ”§ and “ Abra- 
 ham's Servant and Rebecca." [ The “ Baptism of 
 Jesus " is red in the shadows owing to the ground, 
 like the Nativity that Sir Joshua Reynolds mention'd, 
 was an historical colour and ought always to be 
 attended, unto. The same but greenish pervades thro' 
 the “ Pest of the Philistines," % but they are inferior to 
 the pictures of Lord Ashburnliam and the “ Sacra- 
 ments " in the Duke of Bridgwater's." 
 
 (The Earl of Ashbnrnham possessed two of a series 
 of three “Bacchanals,” which are said to have been 
 painted for the Duke de Montmorenci. One of this 
 series was purchased for the National Gallery in 
 1824, from the Angerstein Collection (No. 42, “ A 
 Bacchanalian Festival.”). 
 
 The “ Seven Sacraments ” are still in the Bridge- 
 water Gallery.) 
 
 AS* 7 ' } ^ ee a ^ er P- 28a. 
 
 „ 28a. The following written in ink : — 
 
 “ This picture is an instance of his great power 
 as to conception and sublimity of intelect — the 
 characters are finely contrived (? contrasted), the 
 composition is beyond all system, the landscape tho' 
 natural is heroic, the figure wonderfully expressive 
 of surprize and its concomitate fear. The san- 
 guinary assassin (is) striding over the prostrate 
 martyr who with uplifted arm exults in being 
 
 * “ Les Israelites recueillant la Manne,” No: 709, Louvre. 
 
 1 1 have seen an engraving of this picture by G-. Chasteau, published 1680. 
 in which the sky is certainly brighter than that in Poussin’s picture. 
 
 X “ La Femme adultere,” No. 716, Louvre. 
 
 § “ La Mort de Saphire,” No. 720, Louvre. 
 
 || i; Eliezer et Rebecca,” No. 701, Louvre. 
 
 Les Philistins frappes de la peste,” No. 710, Louvre. 
 
[LXXII.] STUDIES IN THE LOUVRE. 
 
 185 
 
 acknowledged by Heaven. The affrighted Saint has 
 a dignity even in his fear ( and tho ' Idea might have 
 been borrow'd ) yet is here his own. The force with 
 which he appears to bound towards you is an effort 
 of the highest powers. The angels ( finely intro- 
 
 Page 28. duced and ) are boyant. Surely the 
 
 sublimity of the whole lies in the simplicity of the 
 parts and not in the historical color which moderates 
 {f produces') sublimity in some pictures where the 
 subject and Nature must accord. Much has been 
 said upon this subject more as an extenuation of an 
 excentric color than as a Beauty or rule. Tho ’ a 
 (sic) charged with colour it should be uniform and 
 accord with sentiments of Nature. But here the 
 tender green of the foreground and the foliage of 
 the large trees are rendered Black by the vivid 
 Blue of the Sky, which not doubt was glazed, over 
 with the nuteralizing tint that pervades in the 
 Saints but has been removed which has (End of page) 
 
 „ 27 a. surely been removed, from, the right hand and leg of 
 
 St. Peter, for it is of the same tone as the stone near 
 it, while the Assassin is brown and, full of color — 
 fear is full (sic) — when Nature rather demanded 
 less of color, therefore the nuterlizing tint, alias 
 historical color, has been partially removed. Not 
 but Blue is highly essential to the dignity of the 
 subject, but its present glaze divides the picture into 
 two, by being vivid and tender." 
 
 (These remarks evidently refer to Titian’s “ Peter 
 Martyr,” which was in Paris in 1802.) 
 
 „ 29. Blank. 
 
 „ 29a. i 
 
 ,, 30. | 
 
 „ 30 a. J> See after p. 32. 
 
 „ 31. | 
 
 „ 31a. J 
 
 „ 32. Copy of Titian’s “ Entombment.”* Water colour. 
 
 „ 31a. The following notes in ink : — 
 
 “ This picture may be ranked among the first of 
 Titian's pictures as to colour and pathos of effect, 
 for by casting a brilliant light on the Holy Mother 
 and Martha the figures of Josephe and the Body has 
 a Sepulceral effect. The expression of Joseph is fine 
 as to the care he is undertaking , but without 
 grandeur. The figure which is cloatlied in striped 
 drapery conveys the idea of silent distress, the one in 
 vermilion attention, while the agony of Mary and, 
 the solicitude of Martha to prevent her grief and 
 view of the dead Body, with her own anguish by 
 seeing are admirably described, and tho' {on the first 
 view they appear " 
 
 „ 31. “ but collateral figures yet the wholef'js dependent 
 
 upon them; * they are the Breatdh of and the 
 expression of the Picture. Mary isUn Blue, which 
 
 * La Mise au tombeau. No. 158t, Louvre. 
 
186 
 
 TURNER DRAWINGS. [LXXII.j 
 
 Page 30a. 
 
 partakes of crimson tone , and by it unites with the 
 Bluer sky. Martha is in striped yellow and some 
 streakes of Bed, which thus unites with the warm 
 streak of light in the sky. Thus the Breadth is 
 made by the 8 primitive colours breaking each other, 
 and are connected by the figure in vermilion to the 
 one in crimson'd striped drapery ivhich balances all 
 the breadth of the left of the picture by its Brilliancy. 
 Thus the body of Jesus has the look of" 
 
 “ death ivitliout the affected leaden colour often 
 resorted unto, and the tvhole of the half-tints 
 
 resemble the colour of this (? Book or Robe), 
 
 the lights warmer, more of oker. The drapery of the 
 
 „ 30. 
 
 Body is the highest light or more properly the first 
 that strikes the eye. Of great use it is, gives colour 
 to the dead Body and Breadth to the center, for 
 Joseph being draped' in dark red and green cuts off 
 all connection with the former Breadth of Mary and 
 Martha. Thus brilliancy and contrast of effect are 
 produced on the left, this shadow is balanced by the 
 broad one upon the Head and part of Body of Jesus, 
 whose countenance is meak, but the shadow obliterates 
 any other ideas, and is " 
 
 “ rather over-charged , for Titian could have balanced 
 Joseph's shadow by other means, viz., the rock above 
 the striped figure, for it * is so sombre that Mary and 
 Martha tells it must be Jesus and' thus hold the very 
 sentiment and where the eye returns to with sym- 
 pathy and satisfaction of Titian so obscuring the 
 principal figure. 
 
 1'he flesh is thinly painted, first by a cold color 
 over a Brown ground, so that it is neither purple or 
 green, some red is used in the extremities, and the 
 lights are warm. If he wanted to colour them 
 
 „ 29 d. 
 
 higher, by a glaze. Thus his brown figures lose in 
 a great measure the grey colour which in fact is 
 produced by the ground. All the draperies are 
 strongly painted with " 
 
 “ cold or warm lights and glazed over. The greens 
 are particularly glutinous and the vermilion he 
 sparingly used as it appears heavy unglazed by 
 Lake." 
 
 „ 33. 
 
 “ Portrait of Cardinal Benvolutini (?). 
 
 / his piece of Nature is painted upon a Brown 
 ground inclining to a green but when the first 
 colours come upon it appear a purplish grey, near 
 the colour of Flesh, which placed by the picture 
 appears a tone of shadow opposed to the lights, which 
 are warm without being yellow and which appear to 
 be given by a crumbling colour, as the parts that 
 have been repaired with solid colour are heavy : . . . 
 which are all rendered by a Brown scramble . . . . 
 
 i f., the shadow on Christ’s face, not the rock. 
 
[LXXII.] STUDIES IN THE LOUVRE. 187 
 
 or Umber without its dirt and inclined to a purple. 
 The Red Drapery is vermilion and I. Red glazed 
 with Lake or good Vn . R d - The ground can be 
 traced thro ’ all . . . 
 
 Page 33a. (See after p. 34.) 
 
 „ 34. “ St. Jerome by Correggio. 
 
 Painted upon Panel upon a rich ground rather 
 green , so that the first colour produces a neutral tone 
 approaching to Green or Brown as cold or warm 
 colours are used ; thus arrises the Beautiful cold 
 grey through all the flesh of the infant and Virgin. 
 Some red and. a reddish Brown sometimes are used 
 in the shadows , for the ground is not rely'd upon , 
 but in the Breadths the shadows of the drapery are 
 surely (? merely) crumbled over the glazing , which 
 is prepared ivith its own colour and heightened by 
 glazing , and as the draperies more or less receives 
 the light or are compounded so they lose their pelucid 
 quality and richness — as the Magdalene. Tins kept 
 in check by the vermilion of St. Jerome, which always 
 has a ponderous effect." 
 
 „ 33a. “ This I do not conceive a defect in the painter but 
 
 the materials. Lor a disadvantage one way it con- 
 tributes to give the flesh softness , and by his mode of 
 admitting reflections and the demi (?) grey tint, 
 roundness. In his reflections a warmer lies under 
 the brown scrambling tone as the nature of the 
 subject demands, sometimes pure vermilion, but so 
 hid as to escape superficial observation. His blue 
 draperys are by far the thickest of colour owing to 
 the power of the ground — but in this picture the Blue 
 has been touched for the harmony is hurt by 
 protruding itself forward (?) to St. Jerome or 
 Magdalene."* 
 
 „ 35. Copy of “ Mars and Venus,” by Domenichino, in colours. 
 
 „ 36. “ Mars and Venus. Domenichino. 
 
 This for a good specimen of his high color'd pictures, 
 but is not a good composition ccs it is destitute of grace 
 in Venus and dignity in Mars. The Cupid is 
 trifling (?) with a bow . . . (? altho’) the idea is 
 pretty. The light is well managed tho ’ the shadow 
 on Cupid's shoulder for the .... to Venus is too 
 small, and the piece of white at the right of the Picture 
 looks like Marble. But White is highly useful, foe 
 it gives the flesh a colour by its o wn chalkiness. 
 
 Upon a dark rich ground. Venus — the i shadow 
 cold yet inclining to green produced by the first cold 
 U ( or N) over the ground. The vermilion or V. R 
 over , which is rather feeble. This Brown over V. in 
 the shadow. The " 
 
 „ 36a. “ light ivith W. Yellow perhaps too chalkey, to check 
 
 which I take the piece of White to be introduced , 
 
 There is a copy of this picture on p. (54. 
 
188 
 
 TURNER DRAWINGS. 
 
 [LXXIL] 
 
 altho ' ineffectual owing to its position. The Yellow 
 Drapery is produced by R. Yellow over the ground 
 and glazed by Brown. The red the same. The 
 leaden colour'd drapery is unfortunate as to tone 
 and place , as it contributes to make the flesh too 
 green. 
 
 The Virgin and Child. 
 
 Here the characters are poor , the Ch ild assuming a 
 
 grave air by the (? turn) of the head and 
 
 raising of the fingers , but without grace or meekness 
 or sensibility. The mother rather inanimate and 
 listless , and attempts attention and adoration of his 
 supposed sagacity. The tone of this is rich and flesh 
 produced by less of the U. in thehalf-tone of the flesh 
 and depending more upon the ground. The reflec- 
 tions warmer and the glazing Brown to right more 
 over the whole. But the ground is much warmer 
 
 than the foregoing picture — S. . . . and ” 
 
 Page 37. Coloured copy of “ The Virgin and Child.” 
 
 At the side of the drawing the following is written in 
 ink — 
 
 “ Red under-drapery at the wrists, and near the 
 leg in shadow. The upper drapery Blue over the 
 ground though (? thus) it is dark and green and the 
 neck and Head is Pale Yellow ." 
 
 ” :!?•) 
 
 ;; 40 .' \ Blank - 
 
 „ 41. J 
 
 „ 41a. “ 'The Deluge by N. Poussin.* 
 
 The colour of this picture impresses the subject 
 more than the incidents, which are by no means 
 fortunate either to place, position or colour, as they 
 are separate spots untoned by the .... (? dark) 
 colour that pervades the whole. The lines are defec- 
 tive as to the conception of a swamp'd world and the 
 fountains of the deep being broken up. The boat on 
 the waterfall is ill-judged and misapplied, for the 
 figures are placed at the wrong end to give the idea 
 of falling. The other boat makes a parallel with 
 the base of the picture, and the woman giving the 
 child is unworthy the mind of Poussin, she is as 
 unconcerned as the man floating with a small piece 
 
 of board. No current or (? ebullition) 
 
 although a 
 
 ,, 42. “ waterfall is introduced to fill up the interstices of the 
 
 earth — artificially, not tearing and desolating, but 
 falling placidly in another pool. Whatever might 
 have been said of the picture by Rousseau never can 
 efface its absurdity as to forms and the introduction 
 of the figures, but the colour is sublime. R is natu ral 
 — is what a creative mind must be imprest with by 
 sympathy and horror. The pale luminary may be 
 taken for the moon from its size colour — but the 
 
 “ L’Hiver ou le Deluge.” No. 739, Louvre. 
 
189 
 
 [LXXII.] STUDIES IN THE LOUVRE. 
 
 Page 43. 
 » 44 , 
 „ 45. 
 „ 46. 
 „ 47. 
 
 colouring of the figures denies it, and the half light 
 on the rock, dec., oppose the idea of its being the sun. 
 Upon the whole the picture would have been as well 
 without it, altho ' a beautiful idea — but bg being so 
 neutral becomes of no value." 
 
 Blank. 
 
 The following in pencil — 
 
 “ A Picture painted by Guerin in the Place de 
 Victoria — Sextus being banished, his wife dies by 
 Grief over whose Body he's meditating, liis daughter 
 grasping his knees." 
 
 Sketch of Guerin’s “ Le Retour de Marcus Sextus,” in 
 pencil, with lights scratched out. 
 
 (This picture is now in the Louvre (No. 393). It was 
 first exhibited at the Salon of 1799, where it obtained 
 the first prize.) 
 
 Blank. 
 
 See after p. 51a. 
 
 ,, 51a. The following notes in ink, referring to Titian’s “ Christ 
 being crowned with Thorns,” of which a coloured 
 copy appears on p. 52 — 
 
 “ This Picture is wholly different as to effect. The 
 most powerful is the flesh, the drapery answers only 
 to extend the light upon the soldier to the right, and 
 by being yellow keep up warmth and mellow the flesh 
 of Christ, which is the soul of the piece shrinking 
 under the force of the Brutal " 
 
 “ Soldier with filial resignation. Yet with dignity 
 he appears to bear their insults, while the posit ion of 
 the Legs indicates excessive pain and exertion to 
 sustain it. 
 
 This on a greeny Brown Ground . Spanish Brown 
 and Umber. The flesh is thicker than the Entomb- 
 ment but the same process. The Crimson Drapery — ” 
 
 „ 51. “ is only a wash ( V.R.) The green D. is thicker 
 
 but Brown over it, and the figure in Mail in Black 
 with lights. This figure keeps the Picture from being 
 monotonously Brown in the Background which is the 
 Broadest Shadow. Thus is form'd the effect, as the 
 other frs. (? figures) have scatter'd' lights and strong 
 shadows. The small piece of Yellow causes with the 
 Legs of Christ a preponderence of Light, to the Left 
 are the steps and the half Light. One small piece of 
 Blue is admitted purely to give value to the warm 
 colour by contrast and to check the Brown bnd. 
 (? background) by putting it so far behind, or rather 
 protrude itself." 
 
 „ 52. Coloured Copy of Titian’s “ Le Christ couronne d’epines ” 
 
 (now in the Louvre, No. 1583). 
 
 47. 
 
 48. 
 
 49. 
 
 50. 
 
 51. 
 
190 
 
 TURNER DRAWINGS. 
 
 [LXXII.] 
 
 Page 52a. Contains what is evidently an analysis of the colour 
 composition of the picture copied on page 53. The 
 colours are represented by initial letters, so carelessly 
 written as to be generally indistinguishable. 
 (7/1 page 13. 
 
 „ 53. Copy in pencil, with lights scratched out, of a seated 
 
 liguie surrounded by standing and seated figures, 
 most of them appear to be men but one is apparently 
 a woman. (Probably “The Resurrection of Lazarus,” 
 by Barbieri — now in Louvre, No. 1139.) 
 
 „ 54. The following notes in ink referring to “ The Resurrec- 
 
 tion of Lazarus — 
 
 “ The companion to del 
 
 Pombio's . . are charming specimens of Guer china' s 
 Historical mode of treatment. The colour so unites 
 with the subject as to impress it forcibly and antici- 
 pates the characters , which are here rather feeble. 
 The Christ is dignified but wants energy and is 
 treated as a subordinate part than the cause of the 
 figure of Lazarus, is the principal and the light very 
 scatter'd round by the assistants, particularly the Boy 
 on the right, that the cause is some time ere it gains 
 attention. Then the sombre tint which reigns thro' out 
 
 acts forcibly and (? inforces) the value of this 
 
 mode of treatment, that may surely be deem'd 
 Historical colouring ; which in my idea only can be 
 applied where nature is not violated but contributes 
 by a, high or low tone to demand sympathetical ideas. 
 
 The tone of this paper appears to be the 
 
 tone of Ground, the shadoivs are the usual Brown and 
 
 his lights so as to be grey only by their 
 
 Thinness. The red very sparing and is blended with 
 
 Brown and the light (?W. B. and Ochre) 
 
 with great force and Body. This ground every " 
 
 „ 54a. “ where pervades and upon inspection makes the P. 
 
 washy, and perhaps if the sky had been Bluer the 
 general tone might have suffer'd but . . . . in it much 
 below truth, but it has neither value as a sky or 
 service as a foil, but rather unites with the Blue 
 Drapery of Christ so much as its only use is ag a 
 sombre Background." 
 
 „ 55. Copy, in pencil, with lights scratched out and a few 
 
 touches of colour, of a group of figures of men and 
 women in an apparently exhausted condition, most of 
 them looking upwards and one man in cent re with 
 arms raised to heaven. Might be a picture (or part 
 of one) of Israelites in Desert. 
 
 ,, 56. Blank. 
 
 „ 56a. | Rough copy of Giorgione’s “ Concert champetre.”* 
 
 ,, 57. J The copy seems to have been made roughly in pencil, 
 
 then the figure of partially nude woman on the left, 
 at the fountain, seems to have been taken up again 
 and coloured from memory ; in this operation the 
 action of the figure has been altered considerably. 
 
 (* Now No. 1136 in the Louvre.) 
 
[LXXII.] STUDIES IN THE LOUVRE. 
 
 191 
 
 Page 57 a. On back of this copy is written in ink . — 
 
 “ A Pastoral Subject by Titian. 
 
 Not so fortunate as to the costume as in other 
 pict ures , as these are Spanish figures with two naked 
 females, one of which is charmingly colour'd and 
 graceful — getting ivater with a lilac robe falling to 
 the Knees. It is a little Brown in the shadows 
 compar'd with his “ Mistress," but the management of 
 the whole is like but better (than) the pastoral subject 
 
 of the Duke of B ,* * * § but the Cupid exceeds this as 
 
 to colour." 
 
 „ 58. Blank. 
 
 „ 59. Blank. 
 
 „ 59a. Copy of Rembrandt’s “ Good Samaritan,” (No. 2557, 
 Louvre) in pencil, with lights scratched. 
 
 „ 60. The following note in ink on the picture : — 
 
 “ The Good Samaritan at the Iron Door — rather 
 monotonous, being painted upon a brown (asphaltum) 
 ground, which pervades thro' the sky. The lights are 
 spotty and the Breadth lies (? tells) in the half 
 tone , viz. : upon the wall, even the colouring of the 
 figures are of the same for the Samaritan only can 
 be ... . (? seen), colour'd in yellow and the Boys cap 
 Red, the jacket grey, the man next stronger and the 
 
 Traveller a Dark brown and the buy greenish 
 
 and the woman with the L. cap .” 
 
 „ 60a. “ The Angel departeth from Tobit Family .f 
 
 Is rich in colour and brilliant in effect but hard. 
 The idea of the angel is violent but .... (? true). 
 The foreground greenish tom and in half light, the 
 mother tvell toned in dim shadow, the wings of the 
 Angel ....(? Iron) and green. In short a greenish 
 horn-like tone pervades too much, which is produced 
 by the .... (? first) grey over a brilliant (ALs.) 
 ground. 
 
 The Susanna. 
 
 Finely coloured in shoulder and loins, the piece of 
 white drapery admirable — introduced to extend the 
 light, but rather artificially as to breadth. Miserably 
 dra wn and poor in expression." 
 
 „ 61. Sketch of the figure of “ Susanna” (by Rembrandt), in 
 
 pencil, Chinese white and white chalk, j 
 
 „ 62. Blank. 
 
 „ 63. Sketch of Picture in pencil with lights scratched out. 
 
 Perhaps the “ Childhood of Jupiter,” by Poussin. 
 
 „ 6L Sketch of a Holy Family, partly coloured. (The 
 “ St Jerome ” by Correggio§ ; see engag. in “ Le Musee 
 Royal,” pubd. 1816.) Cf. MS. notes on page 34. 
 
 „ 65. Group of initials of£colours. Cf. p. 52a. 
 
 „ 66. Do. 
 
 „ 67. Do. 
 
 * Bridgewater. The reference is probably to the picture of “ The Three Ages,” 
 in the Bridgewater Gallery. 
 
 t “L’Ange Raphael quittant Tobie,” Louvre, No. 2536. 
 
 I Perhaps the “Susanna,” now at the Hague. 
 
 § Now at Parma. 
 
192 
 
 TURNER DRAWINGS. 
 
 [LXXII.] 
 
 Page 68. Sketch of a Holy family (>), in pencil, with lights 
 scratched out. 
 
 „ 69. Blank. 
 
 ,, 69a. Nude figure extended on ground (? a dead Christ or a 
 
 St. Jerome). Sketch in pencil, with lights scratched 
 out. 
 
 „ 70. Blank. 
 
 „ 71. Undecipherable notes referring to Poussin’s “ Woman in 
 Adultery ,” “ Orpheus " and “ Rebecca ." 
 
 „ 72. Sketch of a building, in pencil, with more colour notes. 
 
 „ 73. Colour notes referring “ Dagon " and “ John." 
 
 74. Colour notes referring to “ Solo " and “ Deluge" 
 
 „ 75. Blank. 
 
 „ 75 a. Copy of a landscape with men and oxen in foreground, 
 
 tall mountains in distance ; in pencil and white chalk, 
 with lights scratched out. 
 
 (“ Hercules and Cacus ” by D. Zampieri [called 
 Domenichino].) 
 
 „ 76. The following in ink : — 
 
 This by Dominicio. Hercules and Achelous. 
 
 Grand as to composition, the light and shade broad 
 but of one surface , as the whole background hill is all 
 of one tone generally. '1 he trees below somewhat 
 
 lighter are (? diversified) but the large 
 
 tree is of the same tone as the hill. Therefore I think, 
 dltho ’ of a fine rich or deep tone yet the picture is 
 monotonous, the figures are not sufficiently diversified 
 as to colour as to create any interest, but are rather 
 so many pieces of half light, ami Achelous is 
 miserably drawn altlio' fine as to disposition, like- 
 wise Hercules. The sky plain but of a fine tone." 
 
 „ 76a. “ The Companion. Hercules fighting with Achelous. 
 
 Poor as to composition and effect, the light fritter'd, 
 and the large tree unfortunate as to form. Upon the 
 whole a very poor specimen of Domenichio's talents, 
 yet there is a good tone of daylight and the figures 
 are introduced with spirit and are of great value to 
 the pict ure." 
 
 „ 77. Copy of “Combat d’Hercule et d’ Achelous,” by 
 
 Zampieri (called Domenichino), in pencil and white 
 chalk. (The picture is now in the Louvre, 
 No. 1614.) 
 
 „ 77a. “ Rubens . 
 
 The Rainbow appears to me the most to be con- 
 sidered as a picture, not but this as well as the rest of 
 his landscapes is defective as light and the .... 
 (i profusion) of nature. The woman in blue strikes 
 the eye and prevents it straying to the confused and 
 ill-judged lines, but as to the figure (? figures) in 
 
 Mid., which is light (? lit from) the 
 
 opposite side, a proof that he wanted light on that 
 side and either chose to commit an error than 
 continue the light by means of the ground or(? to) 
 
[LXXII.] STUDIES IN THE LOUVRE. 
 
 193 
 
 where the sky is placed. Then it is lead by ' the yellow 
 within the trees to the sky and thence to the Bow , 
 which is hard and horny by the use of" 
 
 Page 78. “ The vivid Blue in the distance, which is another 
 
 instance of his distorting what he was ignorant of - — 
 natural effect." 
 
 These remarks probably refer to Rubens’s “ Land- 
 scape with a Rainbow,” now in the Louvre. 
 
 “ Then the Tournament — what first should, be con- 
 sidered as an eff usion of some effect he had seen (is) 
 deprived of the cause, for the sky is beautiful and. 
 turbulent but the sun is ill-judged and misapplied." 
 
 “ It renders the whole wrong, as not a part 
 
 it influences of light but the ground 
 
 under it on which it could not shine, and by which it. 
 is one continual glare of colour and absurdities when 
 investigated by scale of Nature, but captivating ; so 
 much so that you (are) pleased superficially , but to 
 be (? deceived) in the abstract 
 
 „ 7 Sr/,, “ T/vo subjects from Tasso's Jerusalem. 
 
 Dorinda and the death of Tancred. 
 
 T. by far the best as to colour and 
 
 some objection may be made to the domestic being in 
 red, Tancred Blue and Emilia in yelloiv , but yet are 
 
 by colour when considered, abstractedly 
 
 but upon the first view. The yellow 
 
 streak of Light above the Blue mountain is over 
 
 (? stated) and the Blue 
 
 yet upon the ivhole it is a good ton'd and Brillant 
 picture. Painted, upon a ground but of little value 
 as the paint is loaded. The Dorinda — good as to 
 effect but not happy in the tones, which are rather 
 black and a total want of half shadow and colour. 
 
 D yelloiv, the Sheep after the yelloiv streak in sky 
 
 is the first and broadest, light showing 
 
 not so grand as T. but better handled." 
 
 „ 70. Sketch of a picture (probably one of those described 
 
 above), in pencil. 
 
 “ 80. Sketch of a picture, in pencil and white chalk. 
 
 „ 81. Copy of Ruysdael’s “ Le Coup de Soleil.” (Now 
 No. 2560, in Louvre.) Pencil, with lights scratched 
 out. See remarks on this picture on p. 22a. 
 
 „ 82-88. Blank. 
 
 „ 88a. Sketch in pencil of three figures ; one lying down 
 with a female figure bending over it pointing with 
 left arm, behind them a seated figure of young man. 
 
 * These remarks evidently refer to the “ Tournoi pres des fosses d’uu 
 chateau,” by Rubens, No. 2116 , Louvre. It is interesting to compare Turner’s 
 criticism with the following by Th. Gautier : — “ Dans cette toile merveilleuse, 
 la nature ne semble pas copiee, mais inventee par le peintre, tant il en manie les 
 elements d’une main sou veraine ; ce qui est particulierement admirable, e’est le 
 pay sage, l’ideal du pay sage roman tique, T harmonie du ciel, des eaux, dea 
 terrains, des arbres, de la forteresse enveloppes comme d’une atmosphere d’une 
 couleur chaude et transparente.” 
 
194 
 
 TURNER DRAWINGS. 
 
 [LXXII.] 
 
 Page 89. Blank. 
 
 „ 90. The following scribbled in pencil : — 
 
 “ Dag on. 
 
 Adultery. 
 
 Manna. 
 
 Rebecca. 
 
 Death." 
 
 (20 pages drawn on, with a quantity of manuscript 
 notes.) 
 
 1802 (AET. 27). 
 
 l>XXIII.-“ FRANCE, SAVOY, PIEDMONT" SKETCH 
 
 BOOK. 
 
 Schedule No. 287. 
 
 Sketch book, bound in boards, with dark green 
 leather back, pui’chased at Paris, of Coiffier, Marchand 
 de Couleurs et de Papiers, No. 121, Rue du Coq 
 Honore. 
 
 Turner’s label on back — “ 93. France , Swiss ” ; on 
 the cover, in ink, “ France , Savoy, Piedmont." 
 
 Executors’ endorsement — u No. 287. Contains 78 
 leaves pencil sketches highten with chalk. 
 
 (Signed) “ H. S. Trimmer. 
 
 “ Charles Turner.” 
 
 Paper, pale brown. 
 
 Size of page, 84 x 5|. 
 
 All the drawings in pencil, the majority heightened 
 with white chalk. 
 
 Mr. Ruskin’s endorsement on wrapper — “ 287. 
 Cormayeur. Brown paper, white chalk. Will not 
 bear showing as it is. The chalk comes off with a 
 touch, but not worth separating at present.” 
 
 Inside cover, slight sketch with distant mountains, “St. 
 Jervais ” (?) (perhaps St. Gervais-les- Bains, between Geneva 
 and Bonneville.). 
 
 Page 1. “St, Michael" ; at entrance of Valley of Chamounix. 
 Cf. LXXY, p. 48. 
 
 „ 2. A St. Jerome in the Desert (?). Probably a copy made 
 
 in the Louvre. 
 
 „ 3. “ Fontainebleau," 
 
 „ 4. “ Sens, Montreu ” (Montereau). 
 
 „ 5. “ Lac Genevre .” 
 
 „ 6. “ Joigny .” 
 
 „ 7. “ Joigny." 
 
 ,. 8. “ Auxerre — walk upon the Ramparts ” (?). 
 
 „ 9. “Do." 
 
[LXXIII.] FRANCE, SAVOY, PIEDMONT. 
 
 195 
 
 Page 10. 
 
 “ Avallon ” — distant view of. 
 
 99 
 
 11. 
 
 “ Avallon." 
 
 yt 
 
 12. 
 
 “ Do." 
 
 99 
 
 13. 
 
 “ Saulieu." 
 
 99 
 
 14. 
 
 “ Gercy " (Chissey). 
 
 99 
 
 15. 
 
 “ Gevrey " (Givry). 
 
 99 
 
 16. 
 
 “ Gevrey " ( do. ). 
 
 99 
 
 17. 
 
 “ Ghalon sur S." (Chalon-sur-Saone). 
 
 99 
 
 18. 
 
 “ Do." 
 
 99 
 
 19. 
 
 “ Macon." Gf. the large oil picture of Macon, 
 at R.A. 1803, and now in possession of 
 borough. 
 
 99 
 
 20. 
 
 “ Autun .” 
 
 99 
 
 21. 
 
 “ First Vieiv of Mt. Blanc." 
 
 99 
 
 22. 
 
 “ Autun." 
 
 99 
 
 23. 
 
 “ Autun." 
 
 99 
 
 24. 
 
 “ Pass above Autun." 
 
 99 
 
 25. 
 
 “Do." 
 
 99 
 
 26. 
 
 “ Tournus .” 
 
 99 
 
 27. 
 
 “ Do.” 
 
 99 
 
 28. 
 
 “ Fa?e o/ r. Saone." 
 
 99 
 
 29. 
 
 Slight group of trees and a house. 
 
 99 
 
 30. 
 
 “ Near Lyons." 
 
 99 
 
 31. 
 
 “ V. Franche" (Villefranche). 
 
 99 
 
 32. 
 
 “ Belleville." 
 
 99 
 
 33. 
 
 “ Do." 
 
 99 
 
 34. 
 
 “ Trevoux nr. Lyons." 
 
 99 
 
 35. 
 
 Lake or river with distant mountains. 
 
 35a. Slight sketch of buildings. 
 
 36. “ Lyons." 
 
 36a. Slight sketch on back. 
 
 37. “Do." (Lyons). 
 
 38. “ Do." 
 
 39. “ Geneva." 
 
 40. “ The Aar." 
 
 41. “ Geneva." 
 
 42. “ Do." 
 
 43. “ Do." 
 
 44. ? Geneva. 
 
 45. “ Nangy" (?). 
 
 46. “ Near Bonneville." 
 
 46a. Sketch of distant mountains, on back 
 
 47. “ Bonneville." 
 
 48. “ Vilhneuve, before Bonneville." 
 
 49. “ Gluses." 
 
 50. Gluses." 
 
 „ 51. “Do." 
 
 „ 52. “ Gluses .” 
 
 ,, 53. “ Ma gland." 
 
 „ 54. Probably distant view of Mt. Blanc. 
 
 „ 55. “ Above St. Martin." See also pp. 74a and 75. 
 
 „ 56. “ Bonhomme." (Pic and Col du Bonhomme, near 
 
 Contamines). 
 
196 
 
 TURNER DRAWINGS. [LXXIII.] 
 
 Page 56a. Mountains, unnamed ; probably Bonhomme or the 
 Tarentaise. 
 
 ,, 57. Blank. 
 
 „ 57 a. Mountain outlines. 
 
 „ 58. Do. 
 
 „ 59. Do. 
 
 „ 60. “ St. Bix" (?). 
 
 „ 61. “ St. Mch ." Probably St. Michael, at entrance to the 
 Chamounix Valley. Cf. p. 63, &c. 
 
 „ 62. “/ think St. Bix" (?). 
 
 „ 62a. “ Below Cormayeur." 
 
 „ 63. “ Castle. Entrance of Valley of Chamounix'' St. 
 
 Michael. Cf p. 1, also LXXV, p. 48. 
 
 ,, 63a. “ Courmayeur." 
 
 „ 64. “ Entrance of Cham." (Chamounix). 
 
 ,, 64a. Village, with mountains beyond. “ Sen tier ” (?). 
 
 „ 65. “ Fort, by the White Valley." 
 
 „ 65a. Study of mountains. 
 
 „ 66. Blank. 
 
 „ 66a. 1 “ Haute Cha. — above Gormayeur " ; drawing con- 
 „ 67. / tinned over both pages. 
 
 „ 67a. ) “ Mt. B., from above Gormayeur " ; drawing con- 
 „ 68. J tinued over both pages. 
 
 In the corner, written afterwards, in ink, the 
 letter “ F " (probably referring to a commission 
 from Mr. Fawkes to paint this subject). 
 
 „ 68a. “ Below Cormayeur." 
 
 „ 69. Blank. 
 
 „ 69a. “ Opposite Cormayeur." 
 
 „ 70. Blank. 
 
 „ 70 a. u Near Cormayeur'' 
 
 „ 71. Blank. 
 
 „ 71a. “ Chamounix." 
 
 „ 72. Blank. 
 
 „ 72a. “ Do." (Chamounix.) 
 
 „ 73. Blank. 
 
 „ 73a. “ Sallanche (?) Cham." 
 
 „ 74. Blank. 
 
 „ 74a. “ Above St. Martin." (, See also ]). 55.) 
 
 „ 75. “ Above St. Martin." 
 
 „ 75a. Outline of mountains. 
 
 „ 76. Blank. 
 
 „ 76a. “ Part of Grenoble." 
 
 „ 77. Blank. 
 
 „ 77a. “ Vale of Isere, Grenoble." 
 
 „ 78. Blank. 
 
 „ 78a. “ St. Julian" (St. Julien, the frontier town of Savoy, 
 
 near Geneva). 
 
 Inside end cover a rough sketch of “ Si. Julien " ; 
 and a note — “ Mr. Francillion, Lucerne." 
 
 (78 leaves drawn on.) 
 
[LXXIV.] 
 
 1802 (AET. 27). 
 
 LXXIV.— GRENOBLE SKETCH BOOK. 
 
 Schedule No. 229. 
 
 197 
 
 This book has been entirely disintegrated, and as 
 no record has been kept of the sequence of the pages, 
 it has been impossible to reconstitute it. A number 
 of leaves had been taken out of the book and 
 mounted, and about forty-three of these are now 
 among the exhibited drawings. Turner seems to 
 have written the titles of these drawings on the 
 margin of the mount, but these titles have all been 
 cut off during framing. Some of these titles have 
 been preserved in a separate parcel, but no record 
 has been kept of the drawings to which they refer. 
 
 The order in which the leaves of this book are now 
 placed is fortuitous. 
 
 Paper, brown. 
 
 Size of page, 11 T 3 ^ x 8|. 
 
 All the drawings in pencil, many heightened with 
 black and white chalk, or Chinese white. 
 
 The cover of book has disappeared. Executor’s 
 endorsement on fly-leaf : — “ No. 229. 35 sketches in 
 chalk and pencil. (Signed) C. Turner.” 
 
 Page 1. Rough pencil sketch, on fly-leaf, of a street. 
 
 (The following 44 drawings are at present exhibited 
 in the National Gallery. The titles are those given 
 by Mr. Ruskin.) 
 
 „ 2. Bridge of Martigny. 24, N.G. 
 
 » 3. Mont Blanc, seen up the Val d’lsere, from Fort St. 
 
 Louis. 5455, N.G. 
 
 4. Convent of the Great St. Bernard. 540a, N.G. Turner’s 
 title, “ Le Sumit de Mt. Bernard. Compare the 
 vignette of the Hospice in Rogers’ Poems. 
 
 ,, 5. Bridge of Villeneuve, Val d’Aosta. 25, N,G. 
 
 „ 6. Descent to Aosta. 22, N.G. 
 
 „ 7. Near Aosta. 23, N.G. 
 
 „ 8. Castle of Aosta. 542a, N.G. Gf. Water colour based 
 
 on this drawing, 5425, N.G. (LXXX, b). 
 
 „ 9. Roman gate at Aosta, with street of the town. 541a, 
 
 N.G. 
 
 „ 10. Roman gate at Aosta, with the Alps. 5415, N.G. 
 
 „ 11. City of Aosta. 4505, N.G. 
 
 „ 12. The ascent to Courmayeur. 544a, N.G. 
 
 Turner’s title “ Vi lie de Salle (Salles) Valley de 
 Aoust La Cote Slid de Mt. Blanc." 
 
 „ 13. Near Grenoble. 538, N.G. 
 
 32796 O 
 
198 
 
 TURNER DRAWINGS. 
 
 [LXXIV.] 
 
 Page 14. Grenoble. 547a, N.G. 
 
 Compare Sir Donald Currie’s “ Grenoble Bridge.” 
 On one of the loose slips of paper is written the 
 following : — “ Ville de Grenoble. Pont . . . . , 
 
 Port de France , Citadel also the initial “ F " 
 (Fawkes). 
 
 „ 14a. Grenoble. 5475, N.G. 
 
 „ 15. Grenoble, with Mont Blanc. 5, N.G. 
 
 „ lb. Grenoble. 1, N.G. 
 
 „ 17. The Alps, seen on the approach to Grenoble. 546a, 
 N.G. 
 
 „ 18. Grenoble, with Mont Blanc. 5465, N.G. 
 
 „ 19. Valley of the Isere. 5445, N.G. 
 
 „ 20. The road from Voreppe to Grenoble. 545a. 
 
 „ 21. Voreppe. 7, N.G. 
 
 „ 22. Post House, Voreppe. 6, N.G. 
 
 „ 23. Voreppe — “ Ghartruse." 8, N.G. 
 
 „ 24. Entrance to the Little Chartreuse. 2, N.G. 
 
 „ 25. Chain of Alps of the Chartreuse. 3, N.G. 
 
 „ 26. Entrance to the Grande Chartreuse, by Voreppe. 
 
 9, N.G. 
 
 ,, 27. Entrance to the Chartreuse, with Water-mill. 10 N.G. 
 
 ,, 28. Bridges : Grande Chartreuse. 11, N.G. 
 
 „ 29. Entrance to the Chartreuse. 12, N.G. 
 
 „ 30. The Little Bridge, Chartreuse. 13, N.G. 
 
 „ 31. Cascade of the Chartreuse. 14, N.G. 
 
 „ 32. The Little Church of St. Humber. Gi'ande Chartreuse. 
 15, N.G. Water colour. 
 
 In corner, in Turner’s writing, “ St. Huberts Well." 
 
 „ 33. Near the Grande Chartreuse. 16, N.G. Water colour. 
 
 „ 34. Gate of the Chartreuse (looking forward). 17, N.G. 
 
 ,, 35. Gate of the Chartreuse (looking back). 18, N.G. 
 
 „ 36. Gate of the Chartreuse (looking back, further off). 
 19 N.G. 
 
 „ 37. Near the Grande Chartreuse. 20, N.G. 
 
 „ 38. Fallen Trees. 5435, N.G. Mr. Ruskin says this sketch 
 was marked . . . simply “ G. C. ” (meaning 
 
 Grande Chartreuse). 
 
 „ 39. Rumilly, near Annecy, 4, N.G. 
 
 „ 40. St. Lauriot, Savoy. 21, N.G. 
 
 „ 41. Savoy. 350, N.G. 
 
 „ 42. Vevay. 5395, N.G. Turner’s title, “ Lac de Geneve , 
 from Vevay." 
 
 „ 43. On the Lake of Brienz. 539a, N.G. 
 
 Mr. Ruskin says : “ this subject was executed for 
 Sir John Swinburne. The drawing is large (about 
 3 feet by 2, as far as I remember), . . .” On the 
 
 margin of one of the loose pieces of mount there is 
 written in ink, by Turner, “ E. Swinburn. 30 G. % 
 the Clyde." It may have been the margin to this 
 
[LXXIV.] GRENOBLE SKETCH BOOK. 
 
 199 
 
 Page 44. 
 
 45. 
 
 46. 
 
 47. 
 
 48. 
 
 49. 
 
 50. 
 
 95 
 
 51. 
 
 99 
 
 55 
 
 99 
 
 55 
 
 59 
 
 59 
 
 95 
 
 95 
 
 52. 
 
 53. 
 
 54. 
 
 55. 
 
 56. 
 
 57. 
 
 58. 
 
 59. 
 
 99 
 
 60. 
 
 59 
 
 99 
 
 61. 
 
 62. 
 
 99 
 
 95 
 
 99 
 
 99 
 
 99 
 
 99 
 
 63. 
 
 64. 
 
 65. 
 
 66 . 
 
 67. 
 
 68 . 
 
 95 
 
 99 
 
 69. 
 
 70. 
 
 drawing, and perhaps refers to the commission 
 mentioned by Mr. Ruskin. — Size of Mr. R. D. Holt’s 
 “ Falls of the Clyde,” is 28| x 41 — therefore, perhaps 
 this note refers to another drawing. 
 
 Glaciers of Grindelwald. 543a, N.G. 
 
 (The following 5 drawings had also been mounted, 
 but have not been exhibited. Their titles, if they 
 had any, have been cut off.) 
 
 Landscape, with distant lake and mountains. 
 
 Castle on a Lake. 
 
 Distant View of the Alps. 
 
 River, with ruined castle and trees on hill. 
 
 A range of mountains rising beside a Lake. 
 
 Lake Geneva (?) See water colour founded on this 
 drawing (LXXX, C). 
 
 (The following drawings were lent to the University 
 of Oxford. The titles are those given by Mr. Ruskin.) 
 
 Distant Alps. No. 32 in 1st Oxford catalogue, No. 1115 
 in 2nd Oxford catalogue. 
 
 Gorge of Trient. 39-1 12a. 
 
 Cottage outline used in Aiguillette. 36-108a. 
 
 Martigny. 35-109a. 
 
 Hospice of St. Bernard, 38-1085. 
 
 Crag and Village. 34-1095. 
 
 Village with Peaked Alps. 40-1 10a. 
 
 Village with Cloud. 41-1105. 
 
 Tower on Hill. Mine. (Title, in 1st catalogue.) No. 37. 
 Tower on Hill. Original of Dark Pastoral (do. in 
 2nd catalogue). No. Ilia. 
 
 (Turner has written in right-hand corner of 
 drawing — “ Marlec ” — or “ Mardu ” or “ Mardec.”) 
 
 Crag and Village. 33-1125. 
 
 (The following 22 leaves were in a parcel labelled 
 by Mr. Ruskin — “M. 16. Leaves of S. 229. Laid 
 down.” They have been mounted on cartridge by 
 Mr. Ruskin. Most of these drawings are rough 
 pencil outlines, without the work in black and white 
 chalk which had been added to so many of the 
 previous drawings.) 
 
 The Hospice of the Great St. Bernard. Gf. p. 55. 
 
 Castle on the right with distant mountains. Query 
 Chateau Quart Aosta. 
 
 Village with maintains. 
 
 Martigny. 
 
 A mountain top. 
 
 Sun breaking over mountain top. 
 
 Village, with Castle in distance ; Alps beyond. 
 
 Ruined Castle on hill overlooking village, mountain 
 range beyond. 
 
 Near Courmayeur (?). 
 
 Village with distant mountains. 
 
 O 2 
 
 32796 
 
200 
 
 TURNER DRAWINGS. 
 
 [LXXIV.] 
 
 Page 71. 
 „ 72. 
 „ 73. 
 „ 74. 
 
 99 
 
 99 
 
 75. 
 
 76. 
 
 77. 
 
 „ 78. 
 „ 79. 
 „ SO. 
 „ 81. 
 
 83. 
 
 99 
 
 99 
 
 99 
 
 84. 
 
 85. 
 
 86 . 
 
 99 
 
 87. 
 
 99 
 
 88 . 
 
 99 
 
 99 
 
 99 
 
 89. 
 
 90. 
 
 91. 
 
 92. 
 
 93. 
 
 94. 
 
 95. 
 
 96. 
 
 A Village among the mountains. 
 
 The Couvercle (?), near Chamouny. 
 
 Town among the mountains. 
 
 A Mountain Pass. 
 
 Village, with waterfall, among the mountains. 
 
 Valley, surrounded by mountains. 
 
 Castle of Chillon, Lake Geneva, with Villeneuve in 
 distance. 
 
 (Written in corners — “ Chateau Chillion " and 
 “ Ville Neuve.") 
 
 “ St. Maurice , Savoy." 
 
 “ Or sieves ." 
 
 “ Liddes" (?), near Martigny. 
 
 The Castle of Chillon. Turner has written in corner — 
 “ do." 
 
 A mountain range. Written in one corner — “A”, in 
 anotner “ F". 
 
 (The following drawings formed part of a parcel 
 labelled by Mr. Ruskin — “ R. 277. Grenoble series. 
 Inferior drawings.” 
 
 “Ferny.” 
 
 On back, View of the town of “ Mouray ” (?). 
 
 “ Valley of Aosta." 
 
 “ St. Ferny." 
 
 A Mountain Pass, with Castle on hill in distance. 
 “ Dranse." 
 
 Street of town, with ruined Fortress above. Martigny. 
 Written in corner — “ Procession for Rain &c." 
 
 On back ; Valley with road and figures, with the 
 tower of Martigny on the left. 
 
 “ Rive ” (written “ Reve " and “ Reeve.") 
 
 On back — Drawing of way-side Shrine and distant 
 mountains. 
 
 Castle on hill, surrounded by mountains. 
 
 On back — Rough sketch of castle. 
 
 Church (?) among the mountains. 
 
 On back — Rough sketch of castles on hills. 
 
 A distant peak. 
 
 Range of mountain peaks. 
 
 Village, with mountains beyond. 
 
 Ravine, with town. 1st Loan Collection, No. 19, 
 described as “ Town in Normandy.” 
 
 Ruin, outside town, with flock of sheep. — u Avanches" 
 (Query Avenches). 2nd Loan Collection, No. 17. 
 
 In Savoy. 3rd Loan Collection, No. 18, as “ Town in 
 Normandy.” 
 
 (97 drawings.) 
 
[LXXV.] 
 
 201 
 
 1802 (AET. 27). 
 
 LXXV.— ST. GOTHARD AND MONT BLANC SKETCH 
 
 BOOK. 
 
 Schedule No. 69. 
 
 This book has been almost entirely disintegrated, 
 only six leaves remaining in the covers. No record 
 has been kept of the sequence of the pages. Mr. 
 Ruskin appears to have numbered some of those he 
 had laid down on cartridge, but the numbers 
 evidently refer to some scheme of arrangement of 
 his own, and not to the original order of the pages. 
 
 The order in which the pages are now placed is 
 largely fortuitous. 
 
 Covers, of calf with two brass clasps. 
 
 Paper, white, prepared with w r ashes of grey. 
 
 Size of page, 18| x 12|. 
 
 Water mark, “ J. Whatman, 1801.” 
 
 Most of the drawings in pencil and white chalk, 
 some in colour. 
 
 Two blank fly-leaves. 
 
 Page 1. Valley with mountains. (Perhaps Chamounix.) 
 
 „ 2. Mountains. 
 
 „ 2a. Aiguilles. 
 
 „ 3. Valley with distant Aiguilles. 
 
 „ 3 a. Mountain crests. 
 
 „ 4. Range of mountains. 
 
 „ 4a. Mountain crests. 
 
 „ 5. Commencement of sketch. 
 
 „ 6. Do. do. 
 
 „ 7. “ Bonneville." Watercolour. 323 N.G. 
 
 (Sketch for water colour in Farnley Collection. 
 In finished drawing the design has been recast, the 
 scattered trees in middle (between bridge and town) 
 have been massed, and lines of mountains introduced 
 on left to balance those on other side ; the character 
 of the mountains has also been softened and pretti- 
 fied.) 
 
 „ 8. The Aiguillette from Magland (J. R.) 
 
 „ 9. St. Martin, looking north (J. R.) 
 
 „ 10. Mont Blanc, from St. Martin’s (Oxford, 42-192). 
 
 „ 11. Mont Blanc, from St. Martin’s Bridge (Oxford, 43-193). 
 
 A few washes of colour and Chinese white. 
 
 „ 12. Sallanches. (Oxford, 44-194). 
 
 Sketch for water colour, once in Farnley Collec- 
 tion (Humphrey Roberts’s sale, May, 1908). 
 
 „ 13. “ Cascade de Riqenbac ” (Reicbenbach Falls), (Oxford, 
 
 45-195, as “ Cascade of Chede.”) 
 
 „ 14. Aiguille Bionnassay from Servoz. The old Pont Pelissier, 
 and Old Montets (J. R.). 
 
202 
 
 TURNER DRAWINGS. [LXXV.] 
 
 Page 15. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 99 
 
 99 
 
 99 
 
 99 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 „ 29. 
 „ 30. 
 „ 31. 
 „ 32. 
 
 „ 33. 
 
 99 
 
 34. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 35. 
 
 36. 
 
 37. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43. 
 
 44. 
 
 45. 
 
 46. 
 
 Mont Blanc, from the Valley of Ohamouny. Water 
 colour. 554, N. G. 
 
 A name in left bottom corner ; it looks like 
 “ Teillio .” Possibly related to drawing of “ Valley 
 of Chamounix,” at Farnley. 
 
 Mont Blanc. Water colour. 854, N. G. 
 
 Ohamouny (Oxford, 46-196). 
 
 Mont Blanc, from Ohamouny, Water colour. (Faded.) 
 
 Ohamouny, from Montanvert. 
 
 Source of Arveiron. 553, N. G. 
 
 Source of Arveiron. Water colour. 319, N. G. 
 
 Mer de Glace, avec le Cabin de Blair , dec." Chamounix. 
 Water colour. 322, N. G. 
 
 In corner of margin, “ F.” 
 
 The water colour at Farnley — “ Blair’s Hut on the 
 Montanvert and Mer de Glace ” — is based on this 
 sketch. 
 
 Mer de Glace, Ohamouny, looking up stream. Water 
 colour. 325, N. G. 
 
 Contamines. Water colour. 552, N. G. 
 
 Contamines. 
 
 The Alps from Grenoble to Chambery. Water colour. 
 
 Blue faded in exposed parts. Withdrawn, in 1906, 
 on this account from 4th Loan Collection, No. 2, 
 described as “ Valley of the Rhone ” : cf. “ Liber ” 
 plate (R. 49). 
 
 The River Arve with Mont Blanc in distance. Water 
 colour. 820 N. G. ( as “ The Dent du Midi, end of 
 Lake Geneva.” 
 
 “ Pisse V ache." 
 
 Pisse Vache ? (J. R.) 
 
 “ Thun." (Oxford 47-190.) 
 
 Valley of Lauter Brunnen. (J. R.) 
 
 The Staubbach. (Oxford 48-191.) 
 
 See Water colour at Farnley. 
 
 The Old Road. Pass of St. Gothard. Water colour. 
 
 320, N. G. 
 
 The Old Devil’s Bridge, St. Gothard. Water colour. 
 
 321, N. G. 
 
 On the Pass of St. Gothard. Water colour. 324, N.G. 
 
 Little Devil’s Bridge. (Oxford, 49-189.) 
 
 St. Gothard. (Oxford, 50-188.) 
 
 St. Gothard Pass. 
 
 Unterseen, with the Jungfrau, &c., in distance. 
 
 Cascade near St. Martin. Possibly the Arpenaz. 
 
 “ Unterseen." 
 
 Road, leading to bridge in middle distance, with 
 mountains beyond. Possibly Sallanches. 
 
 The town of Salles, Valley of Aosta. 
 
 Beside Lake Thun. 
 
 Landscape with mountains in distance : “ Le Fort de 
 St. Rock , Valley de Aoust." 
 
 Village with trees, on the Lake of Thun, mountains in 
 distance. 
 
[LXXV.] ST. GOTHARD AND MT. BLANC. 
 
 203 
 
 Page 47. 
 
 „ 48. 
 
 „ 49. 
 „ 50. 
 „ 51. 
 
 11 
 
 11 
 
 53. 
 
 54. 
 
 H 
 
 11 
 
 55. 
 
 56. 
 
 The River Arve, with distant view of Mont Blanc. A 
 few washes of colour. Blue faded from exposed 
 parts. Withdrawn from 4th Loan Collection, on 
 that account. 
 
 River flowing over boulders in foreground, castle on 
 hill in mid-distance, with Alps in distance. The 
 Castle of St. Michael, at the entrance of the Cham- 
 ounix Valley, cf. LXXIII, pp. 1, and 63. 
 
 Village on Lake, with distant mountains. 
 
 The St. Gothard Pass. Gf. pp. 37 and 38. 
 
 Among the high mountains. 
 
 At Interlaken, looking towards Brientz. No. 18, in 4th 
 Loan Collection. 
 
 Bridge and village near Chamouny. No. 19, in 4th do. 
 
 Another view of bridge and village near Chamounix. 
 No. 20, in 4th Loan Collection. 
 
 Scene in Savoy. No. 21, in 4th do. 
 
 In Savoy. No. 51, in 3rd do. 
 
 (56 drawings.) 
 
 1802 (AET. 27). 
 
 LXXVI.— LAKE THUN SKETCH BOOK. 
 
 Schedule No. 45. 
 
 The majority of the leaves of this book were done 
 up in two parcels, with the following notes by 
 Mr. Ruskin written on their wrappers. On the 
 1st : — 
 
 “ Detached leaves of the book from which the 
 study for the lake of Thun in Liber Studiorum 
 was taken. Of great value and interest. (J. R., 
 1858).” 
 
 Below was added : — 
 
 “ Their ‘ value and interest’ however consists merely 
 in their belonging to the classical period of the Liber ; 
 and showing on how little he depended for remini- 
 scence of scenery at that time, (J. R., 1878).” 
 
 On the 2nd parcel : — 
 
 “ 45. Pencil on white. Leaves of the book of 
 Lake Thun, Liber Studies. Very interesting for 
 distribution.” 
 
 Fifty-nine of the pages were found to have been 
 numbered by Mr. Ruskin. These ha,ve been placed 
 as arranged, the various unnumbered pages which 
 have been found to belong to this book being placed 
 after them. 
 
 The cover of the book has not been found. 
 
 Size of page, 8 x 6|. 
 
 Paper, white ; most of the drawings in pencil 
 outline, and very slight 
 
TURNER DRAWINGS. [LXXVI.] 
 
 1. The Eastern end of Lake Thun. 
 
 2. “ L. Thun,” with distant Alps. 
 
 3. Study of carts, unharnessed. 
 
 4. The Eastern end of Lake Thun. 
 
 5. Town, with churches on shore of Lake, with mountains 
 
 be v ond. Spiez, with the Niesen and Blumlisalp. 
 
 6. Thun, with castle and church from the Lake. 
 
 7. “ L. Lucerne .” 
 
 8. The Rigi, from near Lucerne. 
 
 9. Village on shore of Lake, with castle above, and distant 
 
 mountains. — Probably on Lake Lucerne. 
 
 10. A castle and trees. — Probably on Lake Lucerne. 
 
 11. Blank. 
 
 11a. A view of Zurich and Lake. 
 
 12. Blank. 
 
 12a. Town on Lake, with distant mountains. 
 
 13. Blank. 
 
 13a. Part of a town, with distant mountains. 
 
 14. Town, with lake (or river) and mountains in distance. 
 
 Pen and ink. 
 
 14a. House, with diligence and figures in foreground ; 
 distant mountains. 
 
 15. Blank. 
 
 15a. Ruined castle on hill, framed with trees. Cf. 17a. 
 
 16. Blank. 
 
 16a. Church tower with houses. 
 
 17. Blank. 
 
 17a. Ruined castle on hill among trees. “ Rugerberg (?), 
 near Louchingen ” (probably Luchsingen, nr. Glarus). 
 
 18. “ U nter seen.” 
 
 19. “ Grindelwald.” 
 
 20. Grindelwald, — “ G.” 
 
 21. The Upper Grindelwald Glacier, — “ Grin.” 
 
 22. “ Grindelwald.” 
 
 23. “ Schreckhorn.” 
 
 24. A mountain : Grindelwald. 
 
 25. Group of mountains. 
 
 25a. Castle and town on lake. Lauifenburg. 
 
 26. Sun rising over mountains. 
 
 27. Lake in Meiringen Valley, with distant mountains. 
 
 28. Town, with river and distant mountains. 
 
 29. Town, with church tower and mountains beyond. 
 
 30. Village, with church tower above on mountains. Pro- 
 
 bably Wasen. 
 
 31. Town, with bridge. 
 
 32. Village, with stormy clouds above. 
 
 33. Valley, with distant town and mountains. Query the 
 
 Bristenstock. 
 
 34. Castle on hill in mid-distance, with mountains beyond. 
 
 Query the Bristenstock. 
 
 35. A mountain pass. Probably St. Gothard. 
 
 36. A mountain pass. Probably St. Gothard. 
 
[LXXVI.] LAKE THUN SKETCH BOOK. 
 
 205 
 
 Page 36a. 
 „ 37. 
 
 95 
 
 55 
 
 55 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 „ 42. 
 „ 43. 
 
 55 
 
 55 
 
 55 
 
 5? 
 
 95 
 
 44. 
 
 45. 
 
 46. 
 
 47. 
 
 48. 
 
 95 
 
 49. 
 
 55 
 
 99 
 
 50. 
 
 51. 
 
 95 
 
 55 
 
 52. 
 
 53. 
 
 95 
 
 54. 
 
 55 
 
 55. 
 
 55 
 
 56. 
 
 95 
 
 59 
 
 57. 
 
 58. 
 
 | A mountain pass, with building to the right. 
 
 In the St. Gothard Pass. 
 
 Bridge and town among mountains. 
 
 A mountain pass. 
 
 “ Altorf. Fluelen .” (Oxford, 166-164a, as “ Fluelen. 
 
 Sketch for Farnley picture.”) Probably the “ Lake 
 of Lucerne from Fluelen,” now in Sir Donald 
 Currie’s possession, ex Farnley collection. 
 
 Mountains from Lake. Lake Lucerne. 
 
 Group of mountains. (In corner in ink an “ F,” pro- 
 bably meaning that Mr. Fawkes had ordered a 
 drawing of this subject.) Probably the Mythen. 
 Schwyz. 
 
 A pass, with distant mountains. Probably near Schwyz. 
 
 “ Meiringen .” 
 
 “ Meiringen. Vale Hauberhazli .” 
 
 Range of mountains. 
 
 Ville of Thun. Exhibited Drawing, No. 37(7, N.G. 
 “Liber Studiorum subjects.” See “Liber” plate 
 (R. 59). 
 
 Town on Lake, with mountains beyond. Probably 
 Thun. 
 
 Bridge with distant mountains. 
 
 Lake with mountains. Probably Thun. (There is a 
 drawing on the back, though it has been stuck down 
 tight on cartridge. This is probably the case with 
 some of the other pages similarly treated.) 
 
 “ AbordeJ" Query the Aareboden, near Grimsel. 
 
 Lake with mountains. Probably Thun, with the 
 Blumlisalp. 
 
 Lake with mountains. In corner an illegible name ; 
 looks like “ I wills.'" 
 
 Raft with sail on Lake. Probably the east end of 
 Lake Thun. 
 
 Raft with sail on Lake. Probably the east end of 
 Lake Thun. 
 
 A street scene. 
 
 A street scene. 
 
 „ 59. A street scene, with ruined castle on hill above. 
 
 (End of pages numbered by Mr. Ruskin.) 
 
 „ 60. Lake Thun. 37a, N.G. 
 
 „ 61. Lake Thun. 375, N.G. 
 
 „ 62. Mt. St. Gothard. 37 c, N.G. (for 37(7, see p. 48). 
 
 „ 63. Castle on hill, above a town. 
 
 „ 63a. \ Town, with castle above on hill on the right. Query 
 
 „ 64. J Scliaffhausen. 
 
 „ 64a. The castle of Scliaffhausen. This is a continuation 
 
 of drawing on the page which came next in the 
 original book, but I am not quite certain that this 
 was the page now numbered 65. 
 
 „ 65. Town with lake and mountains beyond. 
 
 65a. A street scene. 
 
206 
 
 TURNER DRAWINGS. 
 
 [LXXVI.] 
 
 Page 66. 
 
 
 67. 
 
 68 . 
 
 5? 
 
 95 
 
 95 
 
 95 
 
 95 
 
 95 
 
 69. 
 
 70. 
 
 71. 
 
 72. 
 
 73. 
 
 74. 
 
 75. 
 
 Road on hill-side, with snow-capped mountain in 
 distance. See large water-color in N.G. based on this 
 sketch (LXXX, D). 
 
 “ Oberhofen ” on Lake Thun. 
 
 Interior of kitchen. On the back is written “ de Kussen- 
 berger Schloss .” (Castle of Kiissenberg, near Schaff- 
 hausen). 
 
 Church of Fluelen ; Lake of Lucerne. 
 
 Tell’s Chapel, Lake of Lucerne. 
 
 Another view of Tell’s Chapel, Lake of Lucerne. 
 
 The Little Devil’s Bridge. 
 
 The Little Devil’s Bridge. 
 
 Group of figures in foreground among foliage ; beyond 
 a lake, and a hill covered with buildings and sur- 
 mounted by a ruined castle. (Drawing somewhat 
 rubbed, and damaged by mildew, owing to decom- 
 position of the tissue paper on which it had been 
 mounted.) 
 
 Castle of Schaffhausen. (Oxford, 167-75b.) 
 
 (75 leaves drawn on.) 
 
 1802 (AET. 27). 
 
 LXXVII. — “ RHINE, STRASSBURG AND OXFORD" SKETCH 
 
 BOOK. 
 
 Schedule No. 273. 
 
 Sketch book, bound in boards, with the initials, 
 “ J. M. W. T." scratched on Cover. 
 
 Turner’s label on back : — “ 75. R.from Strasburg. 
 Oxford." 
 
 The leaves were distributed and no record had 
 been kept of the sequence of pages. Their present 
 order is therefore fortuitous. 
 
 Executor’s Endorsement : — “ No. 273. 49 leaves — 
 pencil sketches. (Sgd.) H. S. Trimmer.” 
 
 Paper white, size of page, x 9^. 
 
 Water Mark, “ G. N. Med.” 
 
 Mr. Ruskin’s endorsement : — “ 273. Curious mix- 
 ture of Lucerne, Basle and Oxford. Sketches of 
 fine simple style.” 
 
 The four pages lent to Oxford though containing 
 drawings on both sides have been stuck down tight 
 on cartridge, thus sacrificing four drawings. 
 
[LXXVII.] RHINE, STRASSBURG AND OXFORD. 207 
 
 The following notes in Turner’s handwriting appear on 
 inside of the covers : — 
 
 “ Prints £6 10 6 Mr. Williams. 
 
 Picture 5 5 0 
 
 £11 15 6 
 
 Mitchell , near the Red Lion. 
 
 26 18 
 2 
 
 2 — 22 days. 
 
 19. 
 
 Rolles. Rose and Grown. 
 
 22 . 
 
 Coach 12 
 C. men 1 
 
 Ex. 4 at Newbury. 
 4-6 
 
 ' 8% by 6." 
 
 Page 1. 
 
 „ 2 . 
 
 „ 3. 
 
 „ 4. 
 
 „ 5. 
 
 „ 6 . 
 
 „ 7. 
 
 „ 8 - 
 „ 9. 
 
 „ 10. 
 
 „ 11 . 
 
 „ 12 . 
 
 „ 13. 
 
 „ 14. 
 
 „ 15. 
 
 „ 16. 
 
 „ 17. 
 
 „ 17a. 
 
 „ 18. 
 
 „ 19. 
 
 „ 19a. 
 
 v, 20 . 
 
 „ 21 . 
 
 „ 22 . 
 „ 23. 
 
 “ Sickingen, Rhine." (Sackingen). 
 
 “ Mischstern 
 
 Ruined Castles on Hills. 
 
 Town with hills beyond. 
 
 Ruined castles on hills. 
 
 Ruined castle on hill — “ St. Christciin 
 Ruined castle on hill. 
 
 View of Oxford. 
 
 A ruined castle — “ Blan . . .” 
 
 “ Nan ” (Nancy). The cathedral from bridge. 
 
 “Nancy." A triumphal arch with triple gateway. 
 Query Porte Royal. 
 
 “ Nancy." Another view of same arch. 
 
 “ Ligny a Bar " (Ligny-en-Barrois). 
 
 “ Ligyiy." Roadway leading to triumphal arch. 
 
 “ Loigny " (Ligny). Another view of arch. 
 
 “ Loigny " (Ligny). Towers on river. 
 
 Town with church. 
 
 Castle on hill among mountains.” — “ Ringenberg "■ — 
 probably ruins of Ringgenberg, Lake of Brienz. 
 Town on hillside. 
 
 A bridge. Query Magdalen Bridge, Oxford. 
 
 Magdalen bridge and tower. 
 
 Group of buildings. 
 
 “ On Seine." 
 
 {Note. — A page — possibly two — containing a 
 coloured drawing has been cut out here. From the 
 executor’s endorsement this was probably done 
 before it came into possession of nation.) 
 
 River with bridge, and city beyond. 
 
 River (?) scene with distant mountains. 
 
TURN EE DRAWINGS. [LXXVII.] 
 
 23a. Ruined buildings on bill. 
 
 24. Distant view of town and winding river. Cf. p. 22. 
 (Leaf cut out.) 
 
 25. Clarendon Building, Oxford, with Sheldonian Theatre 
 
 on right, and Schools Tower beyond on left. 
 
 (Leaf cut out.) 
 
 26. Church, with group of houses and trees. Query Ifiiey 
 
 Church. 
 
 26a. A roadway between hills. 
 
 27. Falls of Riquenbach. 
 
 28. Lake with mountains. 
 
 29. “ Grin " (Grindelwald). 
 
 29a. Magdalen Bridge and Tower, with distant view of 
 Merton, Christchurch Cathedral and Tom Tower. 
 
 30. “ Grindelwald." 
 
 31. “ Grindelwald " 
 
 32. Grindelwald. 
 
 33. Lake, with mountains. 
 
 34. Village, with mountains beside a lake. In corner, in 
 
 ink, “ F.” Cf. Finished water colour of “ Lake of 
 Brientz : Moonlight,” in possession of F. H. Fawkes, 
 Esq., Farnley Hall ; also study for this picture 
 LXXX, E. 
 
 35. Party of men picnicking. 
 
 35a. Mountains. Part of drawing, continued from next page 
 (not present p. 36). 
 
 36. Lucerne. “ F " in corner. 
 
 36a. Castle with stormy sky. 
 
 37. Town on river. 
 
 38. Lake with mountains. ? Schaffhausen. 
 
 38a. Part of drawing of mountains. 
 
 39. Rheinfelden. No. 14 (42) in 3rd Loan Collection. 
 
 40. Basle. (This and the following two drawings was found 
 
 in a parcel labelled “A. B. 30P.O. Pencil and colour. 
 Valueless.”) 
 
 41. Brn." ? Brientz. 
 
 42. City on hill beside a lake. ? Lucerne. 
 
 43. Interior of cathedral. 
 
 43a. Study for “ Apollo and Python,” exhibited 1811. 
 
 44. Study for “ Jason ” (?). 
 
 45. Study for “ Hesperides.” (These three pages (43-45) 
 
 were enclosed in a sheet of foolscap, with following 
 endorsement : — “ 3. for Apollo and Python ; one 
 with cathedral interior on back. 
 
 (Out of parcel A.B. 2 P. R. in Box E.) 
 
 (Sgd.) J. R. 1878.” 
 
 46. Oxford, from Magdalen Bridge. (Oxford 6-57b). 
 
 47. Oxford, general view. (Oxford, 5-57a). 
 
 48. Lucerne. (Oxford 8-715). 
 
 49. Basle. (Oxford, 7-71a). 
 
 (49 leaves drawn on.) 
 
[LXXVIII.] 
 
 209 
 
 1802 (AET. 27). 
 
 LXXVIII— SWISS FIGURES SKETCH BOOK. 
 
 Schedule No. 239. 
 
 Sketch book, bound in vellum. 
 
 Turner’s label on back — “ 69 
 
 Executor’s endorsement — “ No. 239. Containing 
 20 Leaves. Pencil and Color’d sketches. 
 
 (Sgd.) II. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement — 
 
 “ 239. Valueless. 
 
 Two or three grotesque figures left in it. Three 
 leaves cut out of Swiss figures. Of which two at 
 M. H.” 
 
 Below is written in pencil — “ Very interesting. 
 
 (Sgd.) W. A.” 
 Paper white, size of page, 7| x 6]> 
 
 Inside end cover is written in pencil a version of the words 
 of the song, “ I am a Friar of Orders Grey.” 
 
 Page 1. 
 
 2. 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 8 . 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 99 
 
 99 
 
 15. 
 
 16. 
 
 Nude Swiss girl on bed, with a companion beside her ; 
 her gala costume scattered on floor in foreground. 
 Water colour. 
 
 Group Swiss peasants. Pencil, partly coloured. 
 
 Group Swiss peasant girls ; two carrying milking pails. 
 Pencil, partly coloured. 
 
 Group of women and children. Pencil, partly 
 
 coloured. 
 
 Women marching in procession, and carrying red 
 canopy. Partly coloured. 
 
 Written in margin, beside the canopy — “ Wool." 
 
 Men marching in procession, and carrying effigy. Pencil, 
 partly coloured. 
 
 Figures marching in procession. Pencil, partly 
 
 coloured. 
 
 Below is written — “ Men follow'd the Priests, Women 
 the Men." 
 
 Group of women and girls, with banners and candles. 
 
 Pencil, partly coloured. 
 
 Group of barges. 
 
 Figure of boatman, or raftsman. Coloured. 
 
 Boats with figures on lake, mountains beyond. 
 
 Group peasants. Pencil and colour. 
 
 Group peasants resting. Pencil and colour. 
 
 Peasant and youth with barrow or handcart. Pencil 
 and colour. 
 
 Group gendarmes and officials. Pencil and colour. 
 Group figures. Pencil only. 
 
210 
 
 TURNER DRAWINGS. 
 
 [LXXVIII.] 
 
 Page 17. Group Swiss peasants. Pencil, partly coloured. 
 
 580a, N.G. 
 
 ., 18. Group Swiss peasants. Pencil, partly coloured. 
 
 5805, N.G. 
 
 „ 19-74. Blank. 
 
 „ 74a. Very slight sketch of figures, in pencil. 
 
 (The last page appears to have been cut out. This would 
 make the 20th drawing, according to the executor’s endorse- 
 ment.) 
 
 (19 leaves drawn on.) 
 
 1802 (AET. 27). 
 
 LXXIX— SCHAFFHAUSEN, &c„ FOLIO 
 DRAWINGS. 
 
 The average size of these sheets is about x 29. 
 Paper white, prepared with a wash of grey, so that 
 lights can be rubbed out. 
 
 Most of the drawings in pencil aud white chalk. 
 
 A. Falls of Schaffhausen, with Castle in middle 
 
 distance. 
 
 Pencil and white chalk, 
 x 29. 
 
 B. Falls of Schaffhausen and Castle, seen from below 
 
 the Falls. 
 
 Pencil and white chalk. 
 
 22J x 28. 
 
 C. Falls of Schaffhausen and Castle. 
 
 Pencil. 
 
 22^ x 29. 
 
 D. Schaffhausen, from below the Falls. 
 
 Pencil and white chalk. 
 
 22 x 28£. 
 
 E. Schaffhausen, from below the Falls. 
 
 Pencil and white chalk. 
 
[LXXIX.] SCHAFFHAUSEN FOLIO DRAWINGS. 211 
 
 F. Source of the Arveiron (1). 
 
 Pencil and black and white chalk. 
 
 G. Source of the Arveiron (2). 
 
 Pencil and white chalk. 
 
 H. A Road among- Mountains. 
 
 Water colour. 
 
 I. A Mountain Stream. 
 
 Pencil. 
 
 J. A Water Fall. 
 
 Pencil. 
 
 About 28| x 22. 
 
 K. A Valley between Mountains. 
 
 Limestone cliffs, probably near Sallenches, 
 
 Pencil and white chalk on brown paper. 
 
 About 18 x 23. 
 
 L. Source of the Arveiron (3). 
 
 Pencil and white chalk. 
 
 M. Source of the Arveiron (4). 
 
 Pencil and chalk. 
 
 Exhibited Drawings, No. 610, N.G. 
 
 N. Bridg-e of Pfatfensprung. Valley of the Reuss (?). 
 
 Pencil and white chalk on grey paper. 
 
 17| x 23£. 
 
 O. Bridg-e among* Mountains. 
 
 Pencil and white chalk on grey. 
 
 17| x 23i. 
 
 P. City beside a Lake. 
 
 Pencil on grey paper. 
 
 17| x 23i 
 
 Q. Bridg-e and Houses among Mountains. 
 
 Pencil on grey. 
 
 17| x 23i 
 
212 
 
 TURNER DRAWINGS 
 
 [LXXIX.] 
 
 R. Stream, with Bridge and Houses ; Mountains 
 
 beyond. 
 
 Pencil and white chalk on grey. 
 
 174 x 23$. 
 
 S. ‘ 1 Mont St. Grave.” 
 
 Pencil and white chalk on grey. 
 
 174 X 23$. 
 
 (19 drawings.) 
 
 1802 (AND LATER). 
 
 LXXX.— DRAWINGS CONNECTED WITH FIRST 
 SWISS TOUR. 
 
 A. “ Voreppe," near Grenoble. 
 
 13f x 18$. Black and white chalk and stump. 
 
 B. Castle of Aosta. 
 
 Unfinished water colour, based on p. 8, “ Grenoble” Sketch 
 book (LXX1Y). 
 
 (Has suffered considerably from exposure to the light. 
 Notice difference between bottom left-hand corner of exposed 
 part and that concealed by mount.) 
 
 Exhibited Drawings, No. 542 b, N.G. 
 
 C. Lake Geneva (?). 
 
 11$ x 17$. Unfinished water colour, based on p. 50 
 “ Grenoble ” Sketch book. (LXXIY). 
 
 D. Scene in the Great St. Bernard Pass (?). 
 
 Or possibly The Jungfrau, from Lauterbrunnen Road. 
 
 About 25$ x 39. Unfinished water colour, based on p. 66, 
 “ Lake Thun ” Sketch book (LXXVI). 
 
 (. Notice . — If this drawing is exposed to the light without 
 proper precautions the blue will fade very quickly, as in 
 “ Castle of Aosta ” above.) 
 
 E. Lake Brientz by Moonlight. 
 
 ll-pg- x 15§. Water colour, with white chalk corrections or 
 elaborations. 
 
 Water mark, — “ 1801.” Based on sketch “ Rhine S. and 0.” 
 Sketch book (LXXVI I.), p. 34. Finished drawing in posses- 
 sion of F. H. Fawkes. Esq.. Farnley Hall. 
 
FIRST SWISS TOUR 
 
 213 
 
 [LXXXI.] 
 
 F. Ruined Castle on Hill, overlooking- town. 
 
 About KM? x 124. Unfinished water colour, 
 
 G. Battle of Fort Rock. 
 
 26^ x 39^. Water colour. Signed and dated, “ J. M. W. 
 Turner , 1815." 
 
 Exhibited R.A., 1815. 
 
 Exhibited Drawings, No. 555, N.G. 
 
 H. Study for picture of “ Bonneville.” 
 
 15 x 19^. Water colour, unfinished. 
 
 (The picture is now in possession of the Rev. W. MacGregor 
 It was once in Mr. Ruskin’s collection.) 
 
 (8 drawings.) 
 
 1800-1805 (AET. 25-30). 
 
 LXXXI.— CALAIS PIER SKETCH BOOK. 
 
 Schedule No. 222. 
 
 Large Sketch book, bound in board, with two 
 brass clasps. 
 
 Paper, rough grey (a kind of “ Michallet ”). 
 
 Size of page, 17g- x 10f. 
 
 Water mark, “ 1794.” 
 
 Executor’s endorsement : — “ No. 222. 80 sketches 
 
 in sepia Indian ink. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Note . — As the leaves are nearly all drawn on on 
 both sides I have numbered the pages, not the 
 leaves. 
 
 Page 
 
 >9 
 
 9 ? 
 
 99 
 
 99 
 
 99 
 
 1. Part of figures roughly sketched in chalk. 
 
 2. Study for “ Shipwreck.” Black and white chalk. 
 
 3. Academy study : Back view of nude standing female. 
 
 The action blocked in with white chalk, part of torso 
 carried further with black chalk. 
 
 4. Study for a seapiece. Black and white chalk. 
 
 5. Study for historical subject. Black and white chalk. 
 
 6. Study for the “ Shipwreck.” Black and white chalk. 
 
 7. Study for figure of “ Jason,” in picture of that name, 
 
 exhibited R.A. 1802. Black and white chalk. 
 
 P 
 
 3^796 
 
214 
 
 TURNER DRAWINGS. 
 
 [LXXXI.] 
 
 Page 8. Blank. 
 
 „ 9. Academy study : Back view male nude figure. Black 
 
 and white chalk. 
 
 „ 10. Blank. 
 
 „ 11. Academy study : Side view of male standing figure. 
 
 Action only blocked in in white chalk. 
 
 „ 12. Blank. 
 
 ,, 13. Academy study : Side view male standing figure. 
 
 Action only blocked in in white chalk. 
 
 „ 14. Blank. 
 
 „ 15. Academy study : Three-quarter back view of female 
 
 standing figure. Black and white chalk. 
 
 „ 1G. Study for “ Lake of Geneva.” Black and white 
 
 chalk. 
 
 ,, 17. Academy study : Seated male figure. Black and 
 
 white chalk. 
 
 „ 18. Group of boats on shore. Black and white chalk. 
 
 ,, 19. Academy study : Standing male figure. Pen and ink 
 
 with bistre and white chalk. 
 
 ,, 20. Study for “ Lake of Geneva.” Black and white 
 
 chalk. 
 
 ,, 21. Recumbent foreshortened male figure. Blocked in in 
 
 white chalk. Page partly covered with blots of 
 water colour. 
 
 „ 22. Group of boats and figures on shore. Black and white 
 
 chalk. 
 
 „ 23. Foreshortened recumbent male figure. Black and 
 
 white chalk. 
 
 ,, 24. Study for “ Sun rising through Vapour.” Black and 
 
 white chalk. 
 
 ,, 25. Academy study : Side view of male recumbent figure. 
 
 Black and white chalk. 557 b, N.G. 
 
 „ 26. Study for Sun rising through A T apour.” Black and 
 
 white chalk. On back of 5575, N.G. 
 
 ,, 27. Group of aged male figure with female figures fleeing. 
 
 Probably Lot and daughters fleeing from Sodom. 
 Black and white chalk and pen and ink. Nearly 
 half of this leaf has been cut away. 
 
 „ 28. Part of study for a sea-piece. Black and white 
 
 chalk. 
 
 „ 29. Commencement of a study in black and white 
 
 chalk. 
 
 „ 30. Study for historical subject. Perhaps Shadracli, &c., 
 
 in fiery furnace. Black and white ch'alk, 
 
 „ 31. Academy study : Male recumbent figure foreshortened. 
 
 Black and white chalk. 557 a, N.G. 
 
 „ 32. Study for “ Lake of Geneva.” Black and white chalk. 
 
 On back of 557 a, N.G. 
 
 „ 33. Part of study for a sea-piece. Black and whito 
 
 chalk. 
 
 „ 34. Study for “ Sun rising through Vapour.” Black and 
 
 white chalk, 
 
 „ 35, Blank, 
 
[LXXXI.] CALAIS PIER SKETCH BOOK. 
 
 215 
 
 Page 
 
 15 
 
 15 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 15 
 
 55 
 
 55 
 
 55 
 
 51 
 
 ‘,5 
 
 55 
 
 55 
 
 15 
 
 55 
 
 55 
 
 55 
 
 55 
 
 15 
 
 55 
 
 15 
 
 11 
 
 36. 1 Study for picture of “ Will m Tell escaping from the 
 
 37. j Boat." Black and white chalk. 
 
 {Note. — So far as 1 know this picture was never 
 painted.) 
 
 38. \ Study for picture of “ Hannibal." White chalk. 
 
 39. / 
 
 40. Study for ‘•'■Calm," now generally known as “Sun 
 
 rising through Vapour.” Black and white chalk. 
 40a. Fragment of torn leaf, containing what is possibly a 
 continuation of drawing on following page. 
 
 41. Study for Joseph and Mary (?). Black and white 
 
 chalk. 
 
 42. 1 Study for “ Water turned to Blood." Pencil. 
 
 43. / 
 
 {Note. — So far as I know this picture was never 
 painted.) 
 
 44. Slight study of landscape and (possibly) a holy 
 
 family. Black and white chalk. 
 
 45. Torn fragment of leaf, containing part of continuation 
 
 of study on p. 44. 
 
 46. Blank. 
 
 47. Head and shoulders of stooping figure. Black chalk. 
 
 48. Study for picture (possibly) of Death of Adonis. 
 
 Black and white chalk. 
 
 49. Commencement of figure. Black and white chalk. 
 
 50. Study for “ Parting of Venus and Adonis." (Sir 
 
 Cuthbert Quilter’s “ Adonis departing for the Chase.”) 
 Black and white chalk. 
 
 51. Blank. 
 
 52. Study for a picture of “ Death of Adonis." Black and 
 
 white chalk. 
 
 {Note. — So far as I know, never painted.) 
 
 53. Blank. 
 
 54. Two studies for “ Macon. L d Yarborough 1 s Picture." 
 
 Black and white chalk, and pen and ink. 
 
 55. Blank. 
 
 56. Study for “ Sun rising through Vapour.” Black and 
 
 white chalk. 
 
 57. Study for “ Hero and Leander." Black and white 
 
 chalk. 
 
 58. 1 “ Our Landing at Calais. Nearly swampt." Black 
 
 59. J and white chalk. 
 
 60. Study for a “Holy Family ”(?). Black and white 
 
 chalk. 
 
 61. A group of Amorini (?). Black chalk. 
 
 62. Group of Amorini. Black and white chalk. 
 
 63. Study for “ Holy Family." Black and white chalk. 
 
 See picture in National Gallery (No. 473). 
 
 64. 1 Study for “ If Egremont's P ." — “ Ships bearing up for 
 65. j Anchorage ” (also called “ Indiamen and Men-of- 
 
 War”), exhibited R.A. 1802, and now in Lord Lecon- 
 field’s collection at Petworth ; see also “Liber” 
 (R. 10). Black and white chalk. 
 
 P 2 
 
 32790 
 
216 
 
 TURNER DRAWINGS. [LXXXI.] 
 
 Page 06. ) Another study for the Egremont sea-piece. Black and 
 
 „ 67. / white chalk. 
 
 „ 68. Study for “ Death of Python." Black and white 
 
 chalk. 
 
 ,, 69. Figure of man among clouds. Possibly Apollo ; con- 
 
 tinuation of design on previous page. Black and 
 white chalk. 
 
 „ 70. Boat nearly upset in Calais Harbour — “ Our Situation 
 
 at Calais Bar." Black and white chalk. 
 
 ,, 71. Boat full of passengers landing in surf. “Do.” Black 
 
 and white chalk. 
 
 72. \ Study for the Egremont sea-piece. “ L d Egremont' s 
 
 73. J Picture ." Pen and ink and black and white chalk. 
 
 74. I “My Landing at Calais." Continued over next page. 
 
 75. | Black and white chalk. 
 
 Continuation of previous study. “ Study of a Cutter.” 
 559 N.G. Black and white chalk. 
 
 (The “ Cutter” may be the English packet which the 
 passengers have just left.) 
 
 76. | “ My Landing at Calais " — “ Do." Black and white 
 
 77. / chalk. Page 76 is reverse of 559, N.G. 
 
 78. i Several studies of passengers disembarking from packet. 
 
 79. | “Do." Black and white chalk. 
 
 80 / Study for “ Shipwreck .” Black and white chalk. 
 
 81./ 
 
 82. 1 Study for “ Shipwreck ” (?). Black and white chalk. 
 
 83. / 
 
 84 
 
 85 
 
 86 
 
 87 
 
 88 
 
 89 
 
 90 
 
 91 
 
 1 } 
 
 92. 
 
 93. 
 
 94 
 
 95 
 
 1 } 
 
 96. 
 
 97. 
 
 98. 
 
 99. 
 100 . 
 101 . 
 102 . 
 103. 
 
 101 
 
 105 
 
 
 Study for “ M r Dohree's Lee Shore." Black and white 
 chalk. 
 
 Study for a picture of boats on a lee shore. “ Lee 
 Shore , unpainted 1805." Black and white chalk. 
 
 Another study for the Egremont sea-piece. “ L d Egre- 
 mont's Picture." Black and white chalk. 
 
 Study for a sea-piece. “ Do." (referring probably to the 
 “ Lee Shore ” on p. 96, or possibly only to the “ Not 
 painted 1805 ” on p. 94). Black and white chalk. 
 
 Study for a sea-piece. “ Do." ( see note, p. 90). Pencil 
 and white chalk. (The design has some resemblance 
 to that of the “ Junction of Thames and Medway.”) 
 
 Study for picture of boats on a lee shore. “ Do. 
 (i.e. “Lee Shore,” on p. 96). Not painted 1805." 
 Pen and ink, sepia and white chalk. 
 
 Study for boat on “ Lee Shore." Pen and ink. 
 
 Study for a sea-piece. “ Study not painted 1805." 
 Pen and ink and black and white chalk. 
 
 Study for boals on a “ Lee Shore." Pen and ink and 
 white chalk. 
 
 Study for “ Calais Pier." Black and white chalk. 
 
 Half of this page is torn away ; part of drawing is 
 therefore carried on to p. 105. 
 
 Study of sea-piece. ? Part of Duke of Bridgewater’s 
 “ Dutch Boats,” Ink and wash, 
 
[LXXXI.] CALAIS PIER SKETCH BOOK. 
 
 217 
 
 Page 106. 1 “ Last Study to the Dutch Boats. D. of B." Pen and 
 „ 107. / ink, wabh and white chalk. 
 
 „ 108. 1 Study for Bridgewater sea-piece. “ Dukes." Pen and 
 
 „ 109. J ink and wash. 
 
 „ 110. 1 Study for a sea-piece (?). Black and white chalk, very 
 
 „ 111. j much rubbed. 
 
 „ 112. 1 Study for sea-piece. Probably the Bridgewater one. 
 
 „ 113. J Pen and ink and wash. 
 
 „ 111. Blank. 
 
 „ 115. Study of vessel in full sail. Pen and ink and white 
 
 chalk. 
 
 „ 116. 1 Two studies for “ Macon .” Beside one is written— 
 
 „ 117. J “ The last study for the Picture of Macon, Lord 
 
 Yarborough Bought .” Pen and ink and white 
 
 chalk. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9’ 
 
 99 
 
 99 
 
 99 
 
 118. 1 Study of men-of-war at sea ; part of Bridgewater sea- 
 119. / piece. “ Duke's Picture ." Sepia wash and white 
 
 chalk. 
 
 120. 1 “ Study for the Deluge." Black and white chalk. 
 
 121 ./ 
 
 122. ) Study for the Bridgewater sea-piece. “ Dutch Boats 
 
 123. J in a Gale,” exhibited R.A. 1801. Pen and ink, wash, 
 
 and white chalk. 
 
 124. Blank. 
 
 125. Sketch of large vessel on her side. Black chalk. 
 
 126. \ “ Study for the Duke of Bridgewater's Picture .” Pen 
 
 127. j and ink, wash, and white chalk. Page 127 is on 
 
 exhibition as “ Study of a Pilot Boat,” No. 560, N.G. 
 (The fact that it forms half of the study for the Bridge- 
 water picture has not been published.) 
 
 128. Small study for “Lake of Geneva” (Sir Donald Currie’s 
 
 picture). Black and white chalk. On back of 
 560, N.G. 
 
 129. Study for the “ Lake of Geneva,” and drawing of a 
 
 Dutch fishing boat (probably for th£ Bridgewater 
 sea-piece). Black and white chalk. 
 
 130. I Study of vessels in a storm. Ink and black and white 
 
 131. j chalk. 
 
 132. \ Study for the “ Shipwreck." Black and white chalk. 
 
 133. / 
 
 134. 1 Drawing of a fishing boat ; three-quarter back view, 
 135. J with sails furled. Pen and ink and wash. 
 
 ] 36. \ Study for the “ Shipwreck.” Black and white chalk. 
 
 137./ 
 
 138. 1 Drawing of fishing boat ; side view, with sails set. 
 
 139. j Pen and ink, wash, and white chalk. 
 
 140. \ Study for the “ Shipwreck.” Black and white chalk. 
 
 141. / 
 
 142. / Drawing of fishing boat ; three-quarter front, with 
 
 143. j sails furled. Pen and ink and wash. 
 
 144. ) Two studies for pictures (black and white chalk), and 
 
 145. / three pen and ink sketches of sailing boats ; also, in 
 
 margin, some numbers. 
 
218 
 
 T (JUNE It DBA WIN GS. 
 
 [LXXXI.] 
 
 '‘age 146. Fisliing boats sailing. Pen and ink and white chalk. 
 
 „ 147. A group of figures, &c. Pen and ink and black and 
 
 white chalk. 
 
 „ 148. Two sailing boats. Pen and ink. 
 
 „ 119. Study for the “ Shipwreck.” Black and white chalk. 
 
 ., 150. I Various sketches of fishing boats sailing. Pen and 
 
 „ 151. / ink. 
 
 ,, 152. f Study for a picture, “ T!l 6 Water turn'd to Blood." 
 
 ,, 153. / Pen and ink and black chalk. 
 
 {Note . — Not painted, so far as I know.) 
 
 ,, 151. Slight indications of two figures. Black chalk. A 
 
 figure drawn in pen and ink near centre of page has 
 been cut out. 
 
 „ 155. Blank. More than three-quarters of the page has been 
 
 cut away. 
 
 „ 156. Figure of an angel, flying. Pen and ink and white 
 
 chalk. 
 
 „ 157. Blank. 
 
 „ 158. Study for the “ Lake of Geneva," and various figures. 
 
 Pen and ink and black and white chalk. 
 
 „ 159. Study for the “ Lake of Geneva ” (black and white 
 
 chalk), and a group of figures (pen and ink). 
 
 „ 160. Two “ Studies for the Lake of Geneva." Black and 
 
 white chalk. 
 
 ,, 161. Study of various figures for one of the Biblical 
 
 subjects. Black and white chalk. 
 
 „ 162. Blank. 
 
 „ 163. Study of figures, probably for the “ Deluge.” Pencil 
 
 and white chalk. 
 
 „ 161. Study for a picture of “ Edinburgh." Black and white 
 
 chalk. 
 
 ,, 165. Study for a picture of the “ Whirlwind." Pencil and 
 
 ■white chalk. 
 
 ,, 166. “ Study for Edinburgh." Black and white chalk. 
 
 „ 167. An avenging angel. Pen and ink and black and white 
 
 chalk. 
 
 „ 168. Study for a picture. Black and white chalk. 
 
 „ 169. ( Small fragment cut from one of the leaves. Con- 
 
 170. j taining on one side (p. 169) part of prostrate group 
 and lower portion of a running or flying figure 
 (pen and ink and black and v T hite chalk) ; on 
 other (p. 170), upper part of a figure with wings, 
 haranguing (pen and ink and black and white 
 chalk). 
 
 (85 leaves drawn on.) 
 
[LXXXIL] 
 
 219 
 
 1801 - 1805 * (AET. 26-30). 
 
 LXXXIL — “CHESTER" SKETCH BOOK. 
 
 Schedule No. 147. 
 
 Sketch Book, bound in leather, with two broken 
 clasps. 
 
 Turner’s label on back — “ 36 Yorkshire. Picker- 
 ing Scarhro ’ ” ; written in ink on one of covers — 
 “ Chester." 
 
 Executor’s endorsement — “No. 147. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Size of page, 10£ x 64. 
 
 Water mark, 1794. 
 
 On inside of one of the covers and on fly-leaf there is some 
 writing in pencil by Turner, mostly illegible — “ How far we 
 
 may he able to of those who Honor our 
 
 exertion ivith their countenance ,” &c. ; also on lly-leaf — 
 “ W. Turner ,” and “ 4 out, R.N.W.” 
 
 Page 
 
 V 
 
 5> 
 
 95 
 
 55 
 
 59 
 
 59 
 
 55 
 
 99 
 
 95 
 
 55 
 
 55 
 
 55 
 
 *9 
 
 99 
 
 59 
 
 59 
 
 55 
 
 55 
 
 55 
 
 55 
 
 59 
 
 55 
 
 59 
 
 95 
 
 55 
 
 59 
 
 1. 
 
 9 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 8 . 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 12a. 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 21a. 
 22 . 
 22a. 
 
 23. 
 
 24. 
 
 River scene with boat and figures. 
 
 River scene, with windmill on right bank, &c. 
 
 Ruins at Helmsley, Yorkshire. See LIII, p. 3a 
 (“ Helmsley ” Sketch book). 
 
 Part of the ruins of Helmsley Castle. ^ 
 
 Do. do. 
 
 Landscape with ruins of castle on hill. Perhaps 
 Helmsley Castle. 
 
 Another view of same ruins. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Sketch of broken ground. 
 
 Ruined castle on hill. 
 
 Landscape with ruined castle on 
 
 hill in distance. 
 
 Ruins of castle. 
 
 Landscape, with distant ruins. 
 
 Perhaps Scarborough 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 River scene with steep banks and houses. 
 | View of Chester. 
 
 I Another view of Chester. 
 
 Ruins of castle among trees. 
 
220 
 
 TURNER DRAWINGS. 
 
 [LXXXII.] 
 
 Page 25. Landscape, with ruins of castle in mid-distance. 
 
 ,, 26. Do. do. 
 
 „ 27. Mountain, with plain beyond. 
 
 „ 28. Distant mountains. 
 
 „ 29. Do. 
 
 „ 30. Do. 
 
 ,, 31. Do. 
 
 „ 32. Do. 
 
 ,, 33. Do. 
 
 „ 34. Bridge, with houses and trees. Possibly at Chester. 
 
 „ 35. Do. do. 
 
 ,, 36. Town with bridge. Probably Chester. 
 
 „ 37. Horses, carts, men, &c., on river bank. 
 
 „ 38. Houses, &c., beside river, with town (? Chester) in 
 
 distance). 
 
 „ 39. Do. do. 
 
 ,, 40. Ruins on hill seen through trees. 
 
 „ 41. Ruins on hill. 
 
 „ 42. Ruins on hill, with trees in foreground. 
 
 ,, 43. Do. do. 
 
 „ 44. Do. do. 
 
 „ 45. Do. do. 
 
 „ 46. Harbour, with shipping and houses. 
 
 „ 47. Houses and trees, with ruins on hill in distance. 
 
 „ 48. Bridge, with trees and distant ruins on hill. 
 
 „ 49. Trees beside river, with distant ruins. 
 
 „ 50. Plain, with distant hills. 
 
 „ 51. River, with houses and castle. Chester. 
 
 ,, 52. Landscape with Chester in distance. 
 
 „ 52a. Written on back, “Mr. Byrne." 
 
 (Two views of Chester were published in Byrne’s 
 “ Britannia Depicta,” 1810.) 
 
 „ 53. River, with trees, high banks and a ruined castle. 
 
 „ 53a. Ruins with trees. 
 
 „ 54. Do. 
 
 „ 55. Do. 
 
 „ 56. Do. 
 
 „ 57. Do. 
 
 „ 58. Landscape with windmill and distant town ; a cart with 
 
 horses and figures in foreground. 
 
 „ 59. Part of Chester. 
 
 „ 60. Landscape, with distant hill and ruins. 
 
 „ 61. Do. do. 
 
 „ 62. Hill with ruins. 
 
 ,, 63. Do. 
 
 „ 64. Do. 
 
 „ 65. Do. 
 
 „ 66. Do. 
 
 „ 67. Do. 
 
 „ 68. Do. 
 
 „ 69. Cattle in river, with distant hill and ruins. 
 
 70. Landscape, with distant mountains. 
 
 „ 71. Town with church seen through trees. 
 
 ,. 72. Town, with church. 
 
[LXXXII]. 
 
 CHESTER. 
 
 221 
 
 Page 73-75. Blank. 
 
 „ 75 a. Study for “ Fishermen upon a Lee Shore.” (Probably 
 
 Mr. Dobree’s.) Pencil and ink. 
 
 (Leaf cut out.) 
 
 „ 73. Fishermen upon a lee shore. Pencil and ink. 
 
 „ 76a. Boat putting out on a lee shore. Pencil. 
 
 „ 77. (Inside of end cover.) Boat putting out. Pencil and 
 
 pen and ink. 
 
 (75 leaves drawn on.) 
 
 1800-1804:* ;aet. 25 - 29 ), 
 
 LXXXIII. — BROCKLE3BY MAUSOLEUM SKETCH 
 
 BOOK. 
 
 Loose leaves of a sketch book ; covers missing. 
 White Paper ; Water Mark, “ 1794.” 
 
 Size of page, x 14^. 
 
 Most of sheets were enclosed in a parcel, num- 
 bered by Mr. Ruskin, “ A.B. 147 P. 0,” and described 
 as ““ Pencil on W. Dirty. No value.” 
 
 Brocklesby Hall is a seat of the Earl of Yar- 
 borough, near Crowle, Lincolnshire. Turner made 
 one or more water colours of this Mausoleum (see 
 engraving by F. C. Lewis). In answer to my en- 
 quiries Lord Yarborough informed me that the 
 drawing or drawings had perished during a con- 
 flagration. 
 
 Page 1. Near view of the Mausoleum. 
 
 „ 2. The Mausoleum seen from farther off. 
 
 „ 3. Distant view of the Mausoleum. 
 
 „ 4. Another distant view of Mausoleum. 
 
 „ 5. Large classical urn, surrounded by trees. 
 
 „ 6. A cow. 
 
 7. Bend of river, with extensive view of flat country. 
 
 (7 pages drawn on.) 
 
222 
 
 TURNER DRAWINGS. [LXXXIV.] 
 
 1804 * (AET. 29). 
 
 LXXXIV— ACADEMIES SKETCH BOOK. 
 
 Small pocket-book, gilt-edged, without cover and 
 schedule number. 
 
 White paper ; water mark, “ 1798.” 
 
 Size of page, 2^ x 4 T ° ff . 
 
 „ 5. Female figure. Pencil and pen and ink. 
 
 ,, 5 a. 1 Study for historical picture. Groups of figures. Pen 
 „ 6. j and ink. Drawn over and obliterating pencil sketch 
 
 „ 6a. Top of a mast, with ropes. 
 
 „ 7. Reclining female figure. 
 
 „ 7a. A barge. 
 
 „ 8.' Female figure. Pen and ink over pencil. 
 
 „ 9. Two female figures. 
 
 ,, 10. Part of nude figure. 
 
 „ 11. Reclining female figure. 
 
 „ 12. Seated female figure. 
 
 „ 13. Reclining figure. 
 
 „ 13a. Top of mast, with pennant. 
 
 „ 11. Back view of draped figure. 
 
 „ 14a. Female figure. 
 
 „ 15. Side view r of draped figure. 
 
 ., 15a. Bow of fishing vessel. 
 
 „ 16. Draped figure. 
 
 „ 17. Reclining female figure. 
 
 „ 18. do. Pen and ink over pencil. 
 
 „ 19. Figure with drapery. 
 
 „ 20. Group of figures. Pen and ink. 
 
 ,, 21. Seated figure, partially draped. 
 
 ,, 22. Seated female figure. Pencil and w ater c 
 „ 23. do. Pencil only. 
 
 „ 21. do. Water colour. 
 
 „ 25. Reclining female figure. 
 
 „ 26. ~ do. 
 
 „ 27. do. 
 
 „ 28. do. Water colour. 
 
 „ 29. Reclining figure. 
 
 „ 30c7. Seated female figure. 
 
 (Leaf torn out.) 
 
 „ 31. Reclining female figure. Pencil and water colour. 
 
 „ 2. Side view of seated figure. 
 
 „ 3. Male figure seated. 
 
 „ 1. Do. 
 
 1. Blank. 
 
 of figure. 
 
 30. 
 
 do. 
 
[LXXXIV.] ACADEMICS SKETCH BOOK. 
 
 223 
 
 Page 31 a. “ Monday School (?) 7. 21 
 
 Friday 25 ” 
 
 „ 32. Female figure. 
 
 „ 33. Seated female figure. 
 
 ,, 34. do. 
 
 >7 
 
 77 
 
 77 
 
 1) 
 
 77 
 
 77 
 
 77 
 
 77 
 
 77 
 
 77 
 
 77 
 
 77 
 
 77 
 
 77 
 
 77 
 
 7 ? 
 
 '5 
 
 77 
 
 77 
 
 5? 
 
 77 
 
 77 
 
 7 ? 
 
 77 
 
 77 
 
 77 
 
 >5 
 
 77 
 
 3 a. 
 
 36. 
 
 37. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43. 
 
 44. 
 
 43. 
 
 46. 
 
 47. 
 
 48. 
 
 49. 
 
 50. 
 
 51. 
 
 52. 
 
 53. 
 
 54. 
 
 55. 
 
 56. 
 
 57. 
 
 58. 
 
 59. 
 
 60. 
 61. 
 62. 
 
 63. 
 
 64. 
 
 65. 
 
 Blank. 
 
 Reclining female figure. Water colour. 
 Female figure. 
 
 Standing female figure, 
 do. 
 do. 
 do. 
 
 do. ; back view. 
 
 Standing female figure, 
 do. 
 
 (Leaf torn out.) 
 
 Commencement of a sketch. 
 
 Back view female figure. 
 
 (Leaf torn out.) 
 
 Female figure, standing. 
 
 Female figure. 
 
 Recumbent female figure. 
 Commencement of sketch. 
 
 Back view dancing figure. 
 
 Recumbent figure. 
 
 Reclining female figure, 
 do. 
 do. 
 
 Recumbent female figure, 
 do. 
 
 Seated figure, 
 do. 
 
 Reclining figure, 
 do. 
 
 Seated female figure. 
 
 Standing male figure. 
 
 do. (side view of same), 
 
 do. (back view of same). 
 
 „ 66. Blank. 
 
 „ 66a. Commissions for pictures. 
 
 67. 
 
 “ Bonville 
 Savoy 
 Voreppe 
 Savoy. 
 Bonneville 
 Bonneville 
 
 x Mr. Green. 
 
 Mr. Green. 
 
 \ 100 E. (? G) 3*'—4 F . 
 
 ( Mr. Dohree. 
 
 Conway ) small lid. Mr. Lancaster . 
 Tummel B . j 12 E. (? G.) 
 
 3-6 by 4 Edinburgh, Mr. Alnutt 
 100 
 
 Small picture for 100 for Mrs Lee. 
 
 Blank. 
 
 
224 
 
 TURNER DRAWINGS. 
 
 [LXXXIV.] 
 
 Page 67a. — Pictures. 
 
 two. ,20. Mr. Hancock. 
 
 Conway. 70. Mr. Leader x 
 
 Kilgarron Castle \ 30 
 
 J with Duke of Bridgwater 
 
 Historical 
 
 300 
 
 Ld. Can/sford. 
 
 Whole Length 
 
 Sea Piece. 
 
 
 Mr. Bannister. 
 
 Small do. 
 
 10 
 
 Mr. Tornkinson 
 
 Bowland. 
 
 Lancashire 
 
 40 
 
 Mr. Parker. 
 
 Mt. Blanc. 
 
 
 Mr. Green." 
 
 3 F by 4." 
 
 (Continued on p. 66a, ante.) 
 
 ,, 68. Blank. 
 
 „ 69. “ Ct. Devils Bridge causeway 
 Upper Fall of Riquenbach 
 Mt. Blanc from St. Martin 
 
 Mr. Fawkes 
 
 G. 
 
 50e." 
 
 (63 leaves drawn on.) 
 
 1804 (AET. 29). 
 
 LXXXV— ECLIPSE SKETCH BOOK. 
 
 Sketch book, bound in calf, with one brass clasp. 
 
 Paper, white, prepared with wash of slatey brown. 
 
 Size of page, 6^ x 4R 
 
 Water mark, 1794. 
 
 No executor’s endorsement or schedule number. 
 
 The following list of eclipses in the neighbourhood 
 of 1803 (a possible date indicated on stylistic grounds) 
 was very kindly furnished by Sir W. Christie, of the 
 Royal Observatory, Greenwich : — 
 
 “ There is no possible eclipse in 1801 visible in 
 England or Scotland. 
 
 The following seem the most likely eclipses in 
 neighbouring years : — 
 
 1793, Sept. 5. Annular in Scotland, about Noon. 
 
 1802, Aug. 28. About half sun eclipsed in Scotland 
 soon after sunrise. 
 
 1804, Feb. 11. Two-thirds of sun eclipsed in 
 Scotland in afternoon. Three-quarters of sun’s 
 diameter eclipsed in London. Annular in N. Italy. 
 
 1820, Sept. 7. Annular a little to the East of 
 Scotland in early afternoon.” 
 
 Page 3 . Blank. 
 
 la. \ Commencement of eclipse. Black and white chalk 
 
 2. j 
 
[LXXXV.] 
 
 ECLIPSE. 
 
 225 
 
 Page 2a. 
 
 1 More than half of sun eclipsed. 
 
 Black and white 
 
 99 
 
 3. 
 
 j chalk. 
 
 
 99 
 
 3 a. 
 
 1 Sun nearly three-quarters eclipsed. 
 
 Black and white 
 
 „ 
 
 4. 
 
 / chalk. 
 
 
 99 
 
 4 a. 
 
 1 Sun nearly lost among clouds. 
 
 Black and white 
 
 99 
 
 5. 
 
 / chalk. 
 
 
 99 
 
 5 a. 
 
 | Three-quarters of sun in eclipse. 
 
 Black and white 
 
 99 
 
 6. 
 
 J chalk. 
 
 
 99 
 
 6a. 
 
 ( Landscape with clouds, no sun. 
 
 Black and white 
 
 99 
 
 7. 
 
 j chalk. 
 
 
 99 
 
 8-100. Blank. 
 
 
 (A number of leaves at end have been cut out.) 
 
 (7 leaves drawn on.) 
 
 1804 - 1809 * (A.ET, 29-34). 
 
 LXXXVI. — HARVEST HOME SKETCH BOOK. 
 
 Schedule No. 161. 
 
 Roll sketch book, with paper covers. 
 
 Paper, white ; water mark, “ J. Whatman, 1797.” 
 Size of page, 10j x 14|. 
 
 Mr. Ruskin’s endorsement : — 
 
 “ Inventory, No. 161. 
 
 One taken out, seven left. 
 
 Useless, except as samples of Turner’s want of 
 power over expression in human face. They are 
 sketches of a merrymaking, with failures in trying 
 to catch the expression of a drunken negro.” 
 
 Also, “ A.B. 118, P.0. (Rubbish).” 
 
 Page 1. Landscape, with village (?) and hills in distance. 
 
 ,, 2. Three studies : — 
 
 (1.) A group of merrymakers at long table. 
 
 (2.) A group of three men. 
 
 (3.) Man leading horse with wagon-load of hay (?), 
 on which children are seated. All pen ancl ink. 
 „ 3. Large barn, with tenants settling accounts with steward 
 
 or agent. 
 
 „ 4. The same barn, with groups of figures eating and 
 
 drinking. 
 
 ,, 4 a. Several sketches of a negro attendant. 
 
 „ 5. .Group of figures round barrel of ale, with various other 
 
 figures scattered over page. Pencil and pen and ink. 
 „ 5 a. | Two groups of an agent seated at a table, surrounded 
 
 „ 6. ) by tenants and women and. children. Pencil and 
 
 pen and ink. 
 
226 
 
 TURNER DRAWINGS 
 
 [LXXXVI.] 
 
 Page 
 
 55 
 
 5 
 
 59 
 
 55 
 
 59 
 
 55 
 
 6a. Commencement of pencil sketch. 
 
 7. Commencement of pencil sketch. 
 
 (On back, some blots of water colour, suggesting 
 that the page opposite had once been used for a water 
 colour. Page now removed.) 
 
 8. Groups of willows on banks of a river, beyond a hill 
 
 crowned with trees and a ruined castle. Pencil. 
 9-12. Blank. 
 
 12 a. Portion of landscape. 
 
 13-16. Blank. 
 
 16a. Commencement of a distant landscape. 
 
 17. Blank. 
 
 17a. Commencement of landscape sketch. 
 
 18. Blank. 
 
 19. Landscape, with Somerhill in distance. 
 
 (A different view of Somerhill was exhibited at 
 R.A., 1811.) 
 
 (12 pages drawn on.) 
 
 1805 * (AET. 30). 
 
 LXXXVIL— “SHIPWRECK" (No. 1) SKETCH BOOK. 
 
 Schedule No. 185. 
 
 Small pocket book, with paper covers. Labelled 
 on back, in ink, u 97. Shipwreck and, in centre of 
 front cover, in pencil, “ Subscriber's List." 
 
 Paper, white ; water mark, “ 1801.” 
 
 Size of page, ly 9 ;, x 7R 
 
 Executors’ endorsement : — “ No. 185. Contains 
 27 leaves. Sketches in pen and ink made on both 
 sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement : — “ A.B. 190. P.R. 
 Pencil studies of Shipwreck, Glaucus & Scylla, &c. 
 Fine. 21.” 
 
 Note. — The picture of the “ Shipwreck ” must 
 have been painted in 1805, as it was paid for on 
 31 January, 1806 ; see receipt in possession of the Lady 
 Leighton Wai’ren, Tabley Hall. The engraving, 
 however, was not begun till 1806, so the list of sub- 
 scribers to this plate must have been made after this 
 date. The plate was Charles Turner’s (the engraver) 
 venture. 
 
 Inside of cover, two pencil sketches of bows of a 
 pian- of -war, 
 
LXXXVII.] SHIPWRECK No. 1. 
 
 227 
 
 Page 1. Study for a shipwreck. Pencil and pen and ink. 
 
 „ 2. Names of subscribers’ to “ Shipwreck ” plate. All but 
 
 one written in ink. Those with a cross against them 
 have been crossed through with pencil. 
 
 “ x Wells Family. 
 xSir Win. Beechey. 
 x Mr. Swinburne. 
 
 x Henderson. 
 x Fawkes. 
 x Lowden. 
 
 Fitzhugh. 
 
 Sir John, L .* 
 
 Monro. 
 
 x Knight. Proof. 
 x Holworthy, 19, 
 lotte P. Place. 
 x Ghampernowne. 
 
 Sir John Leicester. 
 x 4. Spilslmry. Proofs. 
 x Mr. Stuart Wortley , 
 61, Grosvenor P. 
 x Lord Essex 
 x Col. Dillon. 
 
 Col. Fisher, Barrack, 
 Woolwich. 
 
 Liston Parker. 
 x Honble. Mr. Pelham. 
 
 Proof. 
 x Spiller. 
 
 x Wells. 'j 
 
 Barrett. 
 
 Hills * 
 
 Pyne, 
 
 Nicholson. 
 
 J. Farley, Broad 
 Street. J 
 
 3. Study for “ Shipwreck.” 
 
 “ 39,” 
 
 “ 48 
 16 
 
 Green. 
 x Dobree. 
 
 x Sir Hy. Englefield. 
 
 De la Motte. 
 x Mrs. Williams. 25. 
 x Egremont. 
 x Miss Parr. 2 Copies. 
 x Mr. G. Hibbert. 1 Proof. 
 
 Do. 1 Print. 
 
 x Mr. Miller. 25 Copies. 
 x Ed. Orme, Bond St. 
 x Booker, do. 
 
 Holworthy, Junr. 
 x Elliott. 
 
 Barret. 
 
 x Seward, Verulam 
 Build. 
 
 x 1 D. Lambert. 
 x 1 Bennett. C. 'Burner. 
 x Grace of Argyle. Proof. 
 x Mr. Cope of Leeds. 
 x Mr. Havell. 
 x Mr. Canmer, Junr. 
 x M. Herberts , Cooks 
 Court. 
 
 x Mr. Mile, Oxford. 
 x Mr. Leader. 
 
 5 sent x 'Tomkins on.” 
 to 
 
 Wells. 
 
 Pen and ink ; also in margin — 
 
 16 
 
 54 
 
 Char- 
 
 
 64 70 ” 
 
 4. List of Subscribers, continued from p. 2. 
 
 “ Carr. 
 
 x Carlisle. Ld. Yarborough. 
 
 Soane* 
 x Lascelles. 
 
 x Lady Lucas. Proof. 
 x Stothard. 
 x Laporte. 
 
 Mr. G. Holland at Mr. 
 
 Eshin & Eshin. St. Michaels Hill, 
 
 Bristol. Proof. 
 
 Crossed through in ink. 
 
228 
 
 TURNER DRAWINGS. [LXXXVII.] 
 
 Page 5. 
 
 9* 
 
 99 
 
 5 ? 
 
 99 
 
 9 ) 
 
 99 
 
 99 
 
 99 
 
 99 
 
 6 . 
 
 7. 
 
 8 . 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 
 17 . 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 23. 
 
 24. 
 
 x Thos. Barber, Nottingham. 
 x Mr. Bass. 
 
 x Ed. V. Utterson, Esqr. 
 
 32, Gt. Coram, Bruns. Sqr. 
 x Mr. Glover. 
 
 x Revd. J. Bustock, Cambridge. 
 x Lady Powis, R. H. 
 x Mr. T. Miller. 
 
 Wells. 
 
 x Miss P. Jackson=J. Jackson, Esq., Dowgate 
 x Miss Wells. 
 
 x C. Parley, 9, Chat latte P. Place. 
 x (S'. T. Stump, 4, Duncan P., Leicester Square. 
 x Mr. Stamforth, Berkeley Square. 
 x Sir T. Gage. 
 
 x —Leivis, Esqr. 2 Proofs. 9, Devonshire Street, 
 yir. G. Barrett, 20, Litton Green. Print." 
 
 Study for a vessel in distress. Pen and ink ; also, in 
 margin — 
 
 “25 
 
 12 
 
 37 ” 
 
 Blank. 
 
 Commencement of study of a vessel. Pen and ink. 
 Study for “ Shipwreck.” Pen and ink. 
 
 ) Two sketches of wrecks. Pen and ink and wash. 
 
 ( No. 55, in 1st Loan Collection. 
 
 1 
 
 Study for “ Shipwreck.” Pen and ink. 
 
 Blank. 
 
 Study for “ Shipwreck.” Pen and ink and wash. 
 Do. do. 
 
 Do. Pen and ink and pencil. 
 
 Do. Pen and ink. 
 
 Blank. 
 
 Study for “ Shipwreck.” 
 Do. 
 
 Do. 
 
 Do. 
 
 Pen and ink. 
 
 do. and wash 
 Pen and ink. 
 do. 
 
 The following names written in pencil : — 
 
 “ Fawkes. 
 
 Fitzhugh. 
 
 Monro. 
 
 Pyne , Argyle Street. 
 
 Nicholson, Chesterfield S. 
 
 J. Varley, -7. Broad S. 
 
 Dobree. 
 
 G. Hibbert. 2 Proof and Print. 
 Granmer. 
 
 Herberts. 
 
[LXXXVII.] SHIPWRECK (No. 1) SKETCH BOOK. 229 
 
 Mr. Leader. 
 
 Herberts, Cooks Court , Chancery L. 
 
 Mr. Leader sent to Tomkinson. 
 
 Utterson, Coram Street. 
 
 Sr. J. (or T.) Gage." 
 
 (A cross is drawn over the whole list.) 
 
 Page 25. Hulls of Men-of-War. — “ French Frig." Pencil. 
 
 „ 26. Side view of part of Man-of-War. Pencil. 
 
 „ 27. Study for “ Shipwreck.'’ Pen and ink. 
 
 „ 28. Study for “ Shipwreck.” Pen and ink. 
 
 „ 29. Bows of a Man-of-War. Pencil. 
 
 „ 30. ( Town and line of coast, seen from out at, sea. Over a 
 
 „ 31. j distant part of the coast-line is written “ Flushing," 
 
 and at bottom of drawing “ Ostend." Pencil. 
 
 „ 32. Men-of-War with sails set. Underneath is written : — 
 
 •• French beam, broad deck, ports open, head and 
 stern alike." Pencil. 
 
 „ 33. Study for “ Shipwreck.” Pen and ink. 
 
 „ 34. Study for “ Shipwreck.” Pen and ink. 
 
 „ 35. Men-of-War ; three-quarter back view. Pencil. 
 
 „ 36. Fishing vessel with sails set, in high sea. Pencil. 
 
 „ 37. Fishing boat sailing. Pen and ink. 
 
 „ 38. Fishing boat sailing. Pencil. 
 
 „ 39. Bows of Men-of-War. Pen and ink. 
 
 „ 40. Group fishing boats, “ Ho.” (referring to “ Gravesend,” 
 
 on p. 44). Pencil. 
 
 „ 41. Side view of Men-of-War. Pen and ink. 
 
 „ 42. Boats with Man-of-War in offing. “Do." Pencil. 
 
 „ 43. Stern, &c., of “ Victory." Pen and ink. 
 
 „ 44. Boats and sailing vessels. “ Gravesend." Pencil. 
 
 „ 45. Bows of a Man-of-War. Probably the “ Victory.” Pen 
 
 and ink. 
 
 „ 46. Sterns of Men-of-War. “ English F." Pencil. 
 
 „ 47. Stern and Bows of Man-of-War. Pen and ink. 
 
 „ 48. Hull of Man-of-War ; side view. Pencil. 
 
 „ 49. Stern of Man-of-War. Pen and ink. 
 
 .. 50. Stern of Man-of-War. Pen and ink. In margin is 
 
 written : — “ Mr. Dickenson, Stationer, Gray's Inn," 
 and TO, 350 Proofs. 7-7, 500, 10-10." 
 
 ,, 51. Side of Man-of-War. Pencil. 
 
 „ 52. Study for part of “ Shipwreck.” Pen and ink. 
 
 (27 leaves drawn on, including the inside of cover.) 
 
 Q 
 
 32796 
 
230 
 
 TURNER DRAWINGS. [LXXXVIII.] 
 
 1805 * (A.ET. 30). 
 
 LXXXVIII.— SHIPWRECK (No. 2) SKETCH BOOK. 
 
 Schedule No. 190. 
 
 Page 1. 
 
 9 
 
 99 
 
 „ 3. 
 
 „ 4. 
 
 „ 5. 
 
 „ 6 . 
 » 7. 
 
 „ 8 . 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 „ 13. 
 „ 14. 
 
 99 
 
 15. 
 
 99 
 
 16. 
 
 17. 
 
 „ 18 . 
 
 Small note book, with paper covers. 
 
 Size of page, 4f x 1\. 
 
 On outside of cover, in ink : — “ Catalogue of 
 Mr. Cooke's Drawings." 
 
 Inside the cover the date : — January 17 , 1805." 
 Executors’ Endorsement: — “No 190. This book 
 contains 13 leaves, some Pencil and some Pen and 
 Ink. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 A stranded vessel. 
 A stranded vessel. 
 A stranded vessel. 
 Floating spars, &c. 
 A stranded vessel. 
 
 Pen and ink. 535 a, N.G. 
 
 Pen and ink. 5356, N.G. 
 
 Pen and ink. 535c, N.G. 
 
 Pen and ink. 535 d, N.G. 
 
 Pen and ink. 535e, N.G. 
 
 Storm off coast. (? Folkestone.) Pen and ink. 535/, N.G. 
 Storm off coast : men collecting wreckage in the 
 surf. Pen and ink, 535.(7, N.G. 
 
 Storm off coast. “ Pepper (?) bargh Vessell. Hemp. O. 
 
 Iron Bundlelike Hoop." Pen and ink. 5356, N.G. 
 A wreck. Pen and ink. 
 
 "Wrecked vessels aground. Pen and ink. 
 
 Wrecked vessels. Pen and ink. 
 
 No drawing, but the following figures : — 
 
 “ 128 
 31 
 25 
 
 6 
 
 6 
 
 1 
 
 20 
 
 217 
 
 18 235." 
 
 Blank. 
 
 Kichmond Bridge, Surrey. Pencil. 
 
 Gf. the oil painting of this subject, exhibited in 
 Turner’s studio, 1808, and now on loan to the Dublin 
 National Gallery. 
 
 Continuation of drawing of Richmond Bridge, on 
 previous page. 
 
 Blank. 
 
 Shipwreck. (Perhaps at Folkestone.) Pen and ink and 
 sepia. 3rd Loan Collection, No. 54a. 
 
 Shipwreck. (Perhaps at Folkestone.) Pen and ink and 
 sepia. 3rd Loan Collection, No. 546. 
 
 (15 leaves drawn on.) 
 
[LXXXIX.] 
 
 231 
 
 1805 * (AET. 30). 
 
 LXXXIX . — “ NELSON " SKETCH BOOK. 
 
 Schedule No. 387. 
 
 Small pocket book, with paper covers. 
 
 Turner’s labels, on back, u 105 (or 135) Victory ,” 
 and, on face of cover, “ Nelson .” 
 
 Size of page, x 7. 
 
 Water mark, “ 1804.” 
 
 Executor’s endorsement, “ No. 387. 24 leaves of 
 
 pencil sketches. 
 
 (Signed) H. S. Trimmer.” 
 Mr. Ruskin’s, “ Inv. 387. Studies for Trafalgar. 
 6 leaves cut out.” 
 
 The original sequence of the pages has been lost. 
 On inside of the cover the following details of bank 
 notes : — 
 
 Page 
 
 55 
 
 r> 
 
 55 
 
 55 
 55 
 55 
 55 
 5 5 
 55 
 
 55 
 
 55 
 
 55 
 
 “ 9303. 
 
 23 Aug. 1805. 
 
 1 
 
 32304. 
 
 3 Sept. 
 
 5. 
 
 1 
 
 18304. 
 
 23 Augt. 
 
 5. 
 
 1 
 
 5773. 
 
 19 Ap. 
 
 5. 
 
 5 
 
 7877. 
 
 15 Ma y 
 
 5. 
 
 5 
 
 7883. 
 
 13 Sep. 
 
 4. 
 
 5." 
 
 Blank. 
 
 
 
 
 Side of 
 
 a man- of- 
 
 ■war. 
 
 Pencil. 
 
 3. A man-of-war ; three-quarter back view. 
 
 4. Sketch of marine’s uniform — “ Undress a red jacket ; 
 
 sometimes a Red fancy shirt.''' 
 
 5. 1 Blank. 
 
 M 
 
 7. Man-of-war, with smaller vessels in foreground. 
 
 8. Blank. 
 
 9. A cart horse. Pen and ink. 
 
 10. Commencement of sketch. 
 
 On back, various details of uniforms. “ Boat- 
 swain ,” and “ After the St passed 
 
 some other ship with a White Lion Head raked the 
 Vic." 
 
 11. Three different views of stern of a man-of-war, and 
 
 sketch of a vessel under full canvas. “ Redoubtable 
 dec." 
 
 12. Stern of a man-of-war. — “ 2. if the Standard of St. Tr. 
 
 was color'd or Blue and if all the Main Chains ivere 
 
 decked." 
 
 On back, various flags. 
 
 13. Group surrounding a wounded man. 
 
 32796 
 
232 
 
 TURNER DRAWINGS. [LXXXIX.] 
 
 Page 14. 
 
 U 
 
 Lt. Williams .... middle s., small, dark eye , 
 small rather pointed nose. 5. 8. 
 
 Mr. Atkinson, square, large, light hair, grey eye. 
 
 5-11. 
 
 Mr. Robson (? Holm), middle, , dark eyes, 
 
 rather small, good teeth. 5-9. 
 
 O. Adam (?), broad., rather tall & dark. 5-10. 
 
 Boatswain dark arched E. brow, forward chin, 
 sharp 
 
 L' L N., S. G. Hat, without B. laqjelled coat. 
 
 G. Hardy ivore B. gaitors , 4 Sailors carried some 
 officer down about the time L. N. fell, on his left 
 arm. Some one forwarded to help him. A marine 
 to every gun (?) stands aft (?) 8 others. C. Hardy 
 
 rather tall looks dreadful (?) , fair, about 
 
 36 years. 
 
 Marshall, young, long tail, round face, proud lips. 
 
 5. 2." 
 
 „ 15'. Various figures of sailors. 
 
 „ 16. Five different sketches of a face in profile. 
 
 „ 17. Marines and bluejackets. 
 
 „ 18. Blank. 
 
 „ 18a. Side view of man-of-war. 
 
 ,, 19. Bow and stern of a man-of-war. 
 
 „ 19a. Diagram of deck of “ Victory.” 
 
 ,, 20. Head and shoulders of a youthful naval officer. 
 
 „ 20a. Diagram of positions of vessels — “ Invincible, Fougeux, 
 &c." 
 
 „ 21. Various vessels and parts of vessels — “ Union Jack, F. 
 T. G. Stay & Gib Boom." 
 
 „ 21a. Head of a naval officer — Redoubtable — all main shrouds 
 and sails colour top sails fore &c." 
 
 „ 22. Blank. 
 
 „ 22a. A number of vessels in position. 
 
 ,. 23. Blank. 
 
 „ 23a. Various vessels, &c. 
 
 ,, 24. Bows of the “ Victory” (?). 
 
 „ 24a. Various diagrams and sketches. 
 
 „ 25. A pennant, &c. 
 
 „ 26. Study for the picture of “The Death of Nelson,” now 
 in National Gallery (No. 480, N.G.). 
 
 ,, 26a. Another study for same picture. 
 
 „ 27. Three-quarter back view of a man-of-war. 
 
 „ 27a. A few rough outlines. 
 
 „ 28. Bows of a man-of-war. 
 
 „ 28a. Bows and lore part of a man-of-war. 
 
 On margin Mr. Ruskin has written in red ink, 
 “ Lay down by moistening only.” 
 
 ,, 29. Drawing of a man-of-war. No. 4 in 1st Loan Collection, 
 
 described as “ Ship’s hull, Pencil.” Probably con- 
 nected with subject of “ Nelson,” if not actually 
 one of leaves of this sketch book. 
 
[LXXXIX.] NELSON SKETCH BOOK. 
 
 233 
 
 Page 30. Ship’s hull. 2nd Loan Collection, No. 5. 
 
 31. Hull of ship, &c. 
 
 Mr. Ruskin has written on margin in red ink, 
 “ Cut off the bit that completes the study of 
 Trafalgar. There was nothing on the rest of this.” 
 
 (27 leaves drawn on.) 
 
 1805-1808* (AET. 30-31). 
 
 XO— “STUDIES FOR PICTURES; ISLEWORTH" SKETCH 
 
 BOOK. 
 
 Schedule No. 142. 
 
 Sketch book, bound in calf, with four brass clasps. 
 Tne paper is white, and prepared with a wash of 
 grey, except the two leaves at beginning and end of 
 book. 
 
 Water mark of drawing paper, “ J. Whatman, 1794.” 
 Water mark of fly leaves, “ 1799.” 
 
 Size of page, 10 x 5f . 
 
 Turner’s label on back : — “ 37. Studies for Pictures. 
 Isleworth .” 
 
 Mr. Ruskin’s endorsement : — 
 lt Invent. 142. 
 
 Fine studies for pictures. 
 
 May be shown as it is. 
 
 One leaf cut out, where a real leaf of herb is laid. 
 The study cut out was of vegetation at Warwick. The 
 leaf probably to illustrate it.” 
 
 {Note. — The leaf still remains in its place. The 
 study cut out has been found and restored to its 
 proper place. It is a study at Windsor, not Warwick.) 
 Inside of cover is written, — 
 
 “ J. M. W. Turner , 
 
 Sion Ferry House , 
 
 Isleworth ,” 
 
 together with following details of Bank Notes, — 
 
 “2 July, 1804. 164. 
 
 50. W m - Venison. W. Diss. 
 
 14 June 1804. 9534. 
 
 25. W. Kipworth. F. Kensall. 
 
 5 May 1804. 7382. 
 
 20. II. George , Fleetwood." 
 
 Page 1. Study for a picture of embarkation scene. Pen and ink. 
 Three alternative titles suggested in margin 
 “ Meeting of Pompey mid Cornealia at . . . ” 
 
 “ Parting of Brutus and Portia." 
 
 “ Cleopatra sailing down to ” 
 
 „ la. Groups of spectators. Pen and ink. 
 
 „ 2. Do. do. 
 
TURNER DRAWINGS. 
 
 rxc.] 
 
 3. Studies for figure of Apollo witli Bow. Pen and ink. 
 
 Gf. Picture of “ Apollo and Python.” (488, N.G.) 
 
 4. Rough pencil sketch of Temple of Isis at Pet worth (?). 
 
 5. Another sketch of same classical summer house. 
 
 6. The Temple of Isis at Petworth. Pencil, wash, and 
 
 Chinese white. See picture of “Thames at Wey- 
 bridge ” (Lord Leconfield, Petworth). 
 
 6a. Commencement of pencil sketch of trees and landscape. 
 
 7. Distant view of Windsor Castle. Pencil and Ch. white. 
 
 8. Barge, with cart and horses at its side. Pen and ink 
 
 and Chinese white. 
 
 8a. Various buildings and towers among foliage on bank of 
 river. Pen and ink. 
 
 9. Group of trees on banks of river, with distant bridge. 
 
 Pencil and pen and ink See “ Thames at Wey- 
 bridge ” (Petworth). 
 
 9a. Small pen and ink sketch of same group of trees, with 
 rustic bridge. 
 
 10. A group of trees. Pencil. 
 
 11. Distant view of castle seen among foliage. Pencil and 
 
 pen and .ink. 
 
 11a. A classical embarkation scene. Pen and ink. 
 
 12. Group of trees on banks of river, with castle (? Windsor) 
 
 in distance. Pen and ink and Chinese white. 
 
 13. Distant view of Windsor Castle and Bridge. Pen and ink. 
 
 14. Foliage on bank of river. Pen and ink. 
 
 14a. Facade of classical building. Pen and ink. 
 
 15. Windsor Castle from the river. Pen and ink. 
 
 16. Scene on a river. Pen and ink. 
 
 17. Bend of a river, with castle (probably Windsor) in 
 
 distance. Pen and ink. 
 
 18. Windsor Castle from river. Pen and ink. 
 
 18a. Classical Buildings, &c. Pen and ink. 
 
 19. Windsor Castle from the river. Pen and ink. 
 
 19a. Some classical buildings. Pen and ink. 
 
 20. State barges with banners. Pen and ink. 
 
 20a. Some classical buildings with ships. Pen and ink. 
 
 21. Study for “ Dido and iEneas.” Water colour. (Picture 
 
 was exhibited at R.A. in 1814 and is now in 
 National Gallery [No. 494].) 
 
 21a. Classical buildings with shipping. Pen and ink. 
 
 22. Trees in foreground, with distant landscape with river 
 
 flowing through it. Pen and ink. 
 
 23. Trees in foreground, with bend of river in mid- 
 
 distance. Pen and ink. 
 
 24. Bend of river in mid-distance, seen through foreground 
 
 trees. Pen and ink. 
 
 24a. Towers among foliage. Pen and ink. 
 
 25. Towers of castle on right, with view of winding river 
 
 and bridges. Probably Walton Bridges. Pen and ink. 
 
 26. Landscape. Pen and ink. 
 
 27. Scene on banks of a river. Pen and ink. 
 
 28. A landscape. Pen and ink. 
 
 28a. Figures in boat, with cattle. Pen and ink. 
 
[XC.] STUDIES FOR PICTURES; ISLEWORTH. 235 
 
 Page 29. Study for a Picture. Pen and ink. See “ Thames at 
 Wey bridge ” (Petworth). 
 
 „ 29a. Study for picture of “ Windsor Castle from the River,” 
 
 now at Petworth. Water colour. 
 
 „ 30. A group of trees. Pen and ink. 
 
 „ 30a. Classical buildings on river. Pen and ink. 
 
 „ 31 Study for picture of “ Thames at Weybridge ” (now at 
 Petworth). Pen and ink. 
 
 „ 31a. Classical buildings on river. Pen and ink. 
 
 „ 32. On the banks of the Thames. Pen and ink. 
 
 „ 32a. Group of classical buildings. Pen and ink. 
 
 „ 33. Study for picture of Windsor Castle from the river. 
 Pen and ink, pencil and white chalk. 
 
 „ 33a. Landing place, with classical buildings. Pen and ink. 
 
 „ 34. Study for an historical subject — “ Chr . . . returning to 
 Cyn . . Pencil, pen and ink and white chalk. 
 
 „ 34a. Some classical buildings. Pen and ink. 
 
 (Dried leaf of herb, referred to by Mr. Ruskin, is 
 inserted here.) 
 
 „ 35. Study of dock-leaves, &c., with distant view of Windsor 
 Castle. Pen and ink and pencil. (This is the 
 “study of vegetation ” referred to by Mr. Ruskin.) 
 
 „ 35a. Some classical buildings. Pen and ink. 
 
 „ 36. Windsor Castle from the river. Pen and ink. 
 
 „ 36a. Study for a picture. Black and white chalk. 
 
 „ 37. Bridge over river, with castle in distance (probably 
 Windsor). Pen and ink. 
 
 ,, 37a. Study for a picture. ? “ Harvest Home.” Black and 
 
 white chalk and pen and ink. Some illegible 
 writing in margin. 
 
 „ 38. Distant view of Windsor Castle. Pen and ink. 
 
 „ 38a. Study for picture of classical embarkation scene. Water 
 colour. 
 
 „ 39. Study for a picture of the Thames at Windsor. Pen 
 and ink. 
 
 ,, 40. Scene on a river. Pen and ink. 
 
 „ 40a. Classical buildings on a river. Pen and ink and wash. 
 
 „ 41. The Thames, with Windsor Castle in distance. Pen 
 and ink. 
 
 ,, 41a. Group of classical buildings and shipping. Pen and 
 
 ink and wash. 
 
 „ 42. Rustic bridge, with castle seen through foliage. Pen 
 
 and ink. 
 
 „ 43. Bridge, with towers beyond. Pen and ink. 
 
 „ 43a. Continuation of drawing on next page. 
 
 ,, 44. Study for a picture. Pen and ink. 
 
 „ 45. Continuation of drawing on previous page. 
 
 „ 45a. A small classical building on a river. Pen and ink. 
 
 „ 46. A bend of the River Thames, with Windsor Castle (?) 
 
 in distance. Pen and ink. 
 
 „ 46a. Classical buildings, with shipping. Pen and ink. 
 
 ,, 47. A bend o.f the river. Pen and ink. 
 
 ,, 48. Group of trees with winding river. Pen and ink. 
 
 „ 48a. Group of classical buildings, with shipping. Pen and 
 
 ink and wash. 
 
236 
 
 TURNER DRAWINGS. 
 
 [XC.] 
 
 Page 49. 
 
 „ 49a. 
 
 „ 50. 
 
 ,, 50 a. 
 
 51. 
 
 52. 
 52 a, 
 
 5? 
 
 53. 
 
 55 ,, ‘ ± « 
 
 „ 54a. 
 „ 55. 
 
 55 
 
 o5a. 
 
 
 56. 
 
 ,, 56a. 
 
 55 
 
 57. 
 
 5 ? 
 
 55 
 
 55 
 
 57a. 
 
 58. 
 58a. 
 
 59. 
 
 Bend of river, with Windsor Castle in distance. Pen 
 and ink. 
 
 A classical embarkation scene. Water colour. Part 
 continued on to next page. Various alternative 
 titles, &c., written above and below : — 
 
 “ Jason : arrival at Colchis. 
 
 Ulysses . at Grusa. 
 
 Females dayicing and croivning the rope (?) with 
 flowers , or the Foreground Figures rejoicing. The 
 left — the Priest attenting to receive the Fleece. 
 Jason and, Argonauts on Board hearing the Fleece. 
 
 Ulysses with offering her to her 
 
 Father .” 
 
 (The design bears some resemblance to that of 
 “ Dido building Carthage.”) 
 
 Part of a landscape. Pen and ink. 
 
 Study for a classical subject. Pen and ink. 
 
 (Still more like the design of “ Dido building 
 Carthage.”) 
 
 The banks of a river. Pen and ink. 
 
 A river scene. Pen and ink. 
 
 Classical figures dancing, &c. Pen and ink. 
 
 In margin, “ Dido & AEneas. Nausicai going to 
 .... with the Nuptial Garments .” 
 
 Wall with classical summer house at end of garden, 
 giving on to river, with foliage and buildings 
 beyond. Pen and ink. 
 
 Study for picture of “ Mercury and Argus.” Pen and ink. 
 Three classical figures dancing. Pen and ink. 
 
 Study for a landscape with classical figures. Pen and 
 ink and wash, with white chalk — “ Phaeton's Sisters 
 . ... by his Face.” 
 
 “ Latona and the Herdsmen. 
 
 Phaeton's Sisters. 
 
 Pan & Syrinx. 
 
 Salamcicis and Hermaphroditus.” 
 
 Study for landscape, with figures. Pen and ink, wash 
 and white chalk. 
 
 “ Jacob and Esau. 
 
 Jacob and Rachel. 
 
 Popes Pastoral or Gath's 
 f a Shepherd's Boy, he seeks no better name 
 \ leading his Flock beside the Silver Thame 
 Laban searching for his Images'' 
 
 Study for “ Mercury and Herse.” (Exhibited R.A. 
 1811.) Pen and ink. 
 
 | Study for “ Mercury and Herse ” (?). Pen and ink. 
 
 ( Study for a classical picture. Pen and ink. 
 
 J In margin— 
 
 “ Eneas and, Evander. 
 
 Pallas & AEneas, departing from Evander. 
 Return of the Argo.” 
 
 Study for a classical picture. Pen and ink. 
 
 60. 
 
[XC.] STUDIES FOR PICTURES ; ISLEWORTH. 237 
 
 Page 61. Blank. 
 
 „ 61a. Study for a landscape composition. Pen and ink. 
 
 „ 62. Blank. 
 
 „ 63. Do. 
 
 „ 63a. Classical building among foliage. Pen and ink. 
 
 „ 64. Blank. 
 
 „ 65. Do. 
 
 „ 66. Do. 
 
 „ 67. Do. 
 
 „ 68. Do. 
 
 „ 69. A river scene. Pen and ink. 
 
 „ 70. Blank. 
 
 „ 71. Do. 
 
 „ 71a. Commencement of pencil sketch of a group of trees. 
 
 „ 72. Blank. 
 
 „ 72a. Houses, &c., on banks of river Query at Twickenham. 
 
 Pencil. 
 
 73. Blank. 
 
 „ 74. Do. 
 
 „ 75-81. Blank. 
 
 „ 81a. Group of trees, with buildings beyond. Pencil. 
 
 „ 82. Blank. 
 
 „ 83. Do. 
 
 „ 83a. Procession with dancing figures following effigy of 
 
 “ Jacchus" ; also group of figures for ‘■'■Anthony dt 
 Cleopatra." Pen and ink. 
 
 „ 84. Dancing figures, &c., following effigy of “ Jacchus." 
 
 Pen and ink. 
 
 „ 84a. “ Anthony Jt Cleopatra" on barge on the Nile. Pen 
 
 and ink. 
 
 Inside end cover a pencil sketch of a reach of the 
 Thames. 
 
 (68 leaves drawn on.) 
 
 1804 - 1806 * (AET. 29-31). 
 
 XCI HURSTMONCEUX AND PEVENSEY” SKETCH 
 
 BOOK. 
 
 Schedule No. 155. 
 
 Sketch book bound in calf with two broken 
 clasps. 
 
 Turner’s label : — “ 23. Coast. Lewes , Hurstmon- 
 ceux, Pevensey , G. j\ Winchelsea." 
 
 Paper, white, covered on both sides with wash of 
 grey. 
 
 Size of page, 7 1| x 5,'^. 
 
 Water mark, “ J. Whatman, 1794.” 
 
 The drawings are all in pencil, and in the majority 
 of cases white chalk has also been used. 
 
 + Query Guestling, near Winchelsea. 
 
238 
 
 TURNER DRAWINGS. 
 
 ! XCI.l 
 
 Page 
 
 99 
 
 19 
 
 99 
 
 99 
 
 1. 
 
 2 . 
 
 3. ' 
 
 4. 
 
 5. 
 
 99 
 
 6. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 19 
 
 99 
 
 99 
 
 99 
 
 19 
 
 99 
 
 9 ? 
 
 91 
 
 91 
 
 7. 
 
 8. 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14 . 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 33. 
 
 34. 
 
 35. 
 
 36. 
 
 37. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43. 
 
 44. 
 
 45. 
 
 46. 
 
 47. 
 
 48. 
 
 Blank. 
 
 Sand pits (?). 
 
 Distant castle seen through trees. 
 
 Landscape. 
 
 Skeleton of an animal. Exhibited drawings, No. 567a, 
 N.G. 
 
 Skeleton of an animal. Exhibited drawings, No. 567c, 
 N.G. Mr. Ruskin says these two sketches were 
 “ used in the ‘ Liber Studiorum ’ plate of the ‘ Devil’s 
 Bridge.’ ” (“ The Little Devil’s Bridge, over the 
 
 Russ,” R. 19, published 29th March, 1809.) 
 
 Landscape. 
 
 Buildings. 
 
 Building on crest of hill. 
 
 Sea coast. 
 
 Probably Pevensey Bay, with Beachey Head in 
 distance. 
 
 A bay, with cliffs. 
 
 Houses and ruined castle. Probably Pevensey. 
 
 Circular towers. 
 
 Do. 
 
 Ruined castle. 
 
 Do. 
 
 Another part of walls of ditto. 
 
 Do. 
 
 Do. do. 
 
 Do. 
 
 Do. do. 
 
 Do. 
 
 Do. do. 
 
 
 General view of same castle. 
 
 Distant view of do. 
 
 Group of trees on Pevensey Marsh. 
 
 Do. 
 
 Cliffs on sea coast, at Eastbourne. 
 
 Beachey Head. 
 
 The top of Beachey Head. 
 
 Beachey Head from the sea. 
 
 Beachey Head from the cliffs. 
 
 Pevensey Bay from near Willington. 
 
 Do. do. 
 
 Village, with church. 
 
 Landscape, with castle and houses in distance. 
 Castle on hill overlooking town. 
 
 Landscape with castle on hill in m.-d. 
 
 Another view of same castle. 
 
 Do. 
 
 Castle in distance. 
 
 Windmill with castle in distance. 
 Hurstmonceux Castle. 
 
 Do. and bridge. 
 
 Hurstmonceux Castle, front view. 
 Hurstmonceux Castle. 
 
 Do. 
 
 Do. 
 
 Do. in distance. 
 
 Do. do. 
 
 A tree. 
 
 Hurstmonceux Castle seen through trees. 
 
[XCI.] HURSTMONCEUX AND PEVENSEY. 239 
 
 (Leaf torn out.) 
 
 Page 49. 
 
 Part of castle. 
 
 99 
 
 50. 
 
 Part of the interior of castle. 
 
 99 
 
 51. 
 
 Do. 
 
 99 
 
 52. 
 
 Do. 
 
 99 
 
 53. 
 
 Buildings among trees. 
 
 99 
 
 54. 
 
 A mansion. 
 
 99 
 
 55. 
 
 Buildings on distant hill. 
 
 99 
 
 56. 
 
 Buildings and windmill on hill. Probably Winchelsea. 
 
 99 
 
 57. 
 
 Another view of same place. 
 
 99 
 
 58. 
 
 Do. 
 
 99 
 
 59. 
 
 Sky. 
 
 99 
 
 60. 
 
 Do'. 
 
 99 
 
 61. 
 
 Do. 
 
 99 
 
 62. 
 
 A water wheel. 
 
 99 
 
 63. 
 
 Do. 
 
 99 
 
 64. 
 
 Ruined abbey (?). 
 
 99 
 
 65. 
 
 Do. 
 
 99 
 
 66. 
 
 Do. 
 
 99 
 
 67. 
 
 Landscape, with building in distance. 
 
 99 
 
 68. 
 
 Bodiham Castle, with wooden bridge in foreground. 
 
 99 
 
 69. 
 
 Bodiham Castle. 
 
 99 
 
 70. 
 
 Do. 
 
 99 
 
 71. 
 
 Do. 
 
 99 
 
 72. 
 
 Do. 
 
 99 
 
 73. 
 
 Do. 
 
 99 
 
 74. 
 
 Do. 
 
 99 
 
 75. 
 
 Do. 
 
 99 
 
 76. 
 
 Bodiham Castle in distance. 
 
 99 
 
 77. 
 
 Do. 
 
 99 
 
 78. 
 
 Interior of castle. 
 
 99 
 
 79. 
 
 Kitchen of do. 
 
 99 
 
 80. 
 
 Cellar of do. 
 
 99 
 
 81. 
 
 Do. do. 
 
 99 
 
 82. 
 
 Landscape with group of ruins in mid-distance. Query 
 Bodiham. 
 
 99 
 
 83. 
 
 Ruins of abbey (?). 
 
 99 
 
 84. 
 
 Do. 
 
 99 
 
 85. 
 
 Do. 
 
 99 
 
 86. 
 
 Landscape. 
 
 99 
 
 87. 
 
 Do. 
 
 99 
 
 88. 
 
 Do. 
 
 99 
 
 89. 
 
 Do. 
 
 99 
 
 90. 
 
 A hillside. 
 
 99 
 
 91. 
 
 Cliffs near sea, with distant headland. 
 
 99 
 
 91 a. 
 
 Near the sea. 
 
 99 
 
 92. 
 
 Do. 
 
 99 
 
 93. 
 
 Broken cliff. 
 
 99 
 
 94-98 Blank. 
 
 (92 leaves drawn on.) 
 
TURNER DRAWINGS. 
 
 rxcii.] 
 
 1804 - 1806 * (AET. 29-31). 
 
 XCIL— “ SUSSEX" SKETCH BOOK. 
 
 Schedule No. 150. 
 
 Sketch book, bound in calf, with two clasps, now 
 broken. 
 
 Turner’s label : — “ 35, Sussex." 
 
 The binding has been broken, some of the leaves 
 taken out, and the sequence of others disarranged. 
 
 Paper, white, stained some pages grey, others 
 purple. 
 
 Water mark — “ J. Whatman, 1794.” 
 
 Si/e of page — x 5§. 
 
 Mr. Ruskin’s endorsement : — “ 150. Book at Win- 
 chelsea. Grey coarse paper, bold outlines. 4 leaves 
 taken out.” 
 
 All the drawings are in pencil : some also white 
 chalk. 
 
 1. Blank. 
 
 la. 1 On the sea coast. 
 
 2 . / 
 
 2a. Part of bridge or embankment. 
 
 3. Sheep passing over wooden bridge. 
 
 4. Wooden bridge, with windmill and circular tower on 
 
 hill beyond. Query Winchelsea. 
 
 5. Winchelsea or Camber Castle. 
 
 6. Road leading over a hill. 
 
 7. Ruins on hillside. 
 
 8. Ruins on hill in mid-distance. 
 
 9. Windmill on hill near the sea. 
 
 10. Road beside hill. 
 
 10«. Landscape. 
 
 11. Building on hill. Query Hastings Castle. 
 
 12. Building on hill. Query Hastings Castle. 
 
 13. A bay, from the cliffs. 
 
 14. A hay, from the cliffs. 
 
 15. Landscape. 
 
 16. Landscape. 
 
 17. Windmill on hill. 
 
 18. Windmill on hill. 
 
 19. Sea in distance. 
 
 20. Landscape. 
 
 21. House among trees. 
 
 22. Landscape. 
 
 23. House among trees. 
 
 24. House among trees. 
 
 25-38. Blank. 
 
[XCII.] 
 
 SUSSEX SKETCH BOOK. 
 
 241 
 
 (13 leaves — stained purple — have been cut out here.) 
 Page 39-42. Blank. 
 
 (About 7 leaves here cut out.) 
 
 (The following 4 leaves, 43-46, were found loose.) 
 
 „ 43. Winchelsea. See “ Liber ” Plate (R. 42). 
 
 „ 44. East gate, Winchelsea. See “ Liber ” Plate (R. 67). 
 
 „ 45. Rye, Sussex. 
 
 „ 46. River, with windmills on hill beyond. Probably at 
 Rye. 
 
 (28 leaves drawn on.) 
 
 1805 1807 * (AET. 30-32). 
 
 XCIII. — " HESPERIDES ” (1) SKETCH BOOK. 
 
 Schedule No. 228. 
 
 Book, bound in boards, with two brass clasps. 
 
 Paper, white, prepared with wash of grey, except 
 the, first and last two pages. 
 
 Size of page, lOf x 6f . 
 
 Water mark, “ Have & Wise, 1799.” 
 
 Turner’s label at back, “ 71 H," (“esperides Bk.” has 
 been subsequently added by another hand). 
 
 This book was lent to the University of Oxford in 
 1878, and was entered in schedule as “ 6th extra 
 piece.” 
 
 Executor’s endorsement : — “ No. 228. 41 in pencil, 
 in colors and pen and ink. 
 
 (Sgd.) C. Turner.” 
 
 Mr. Ruskin’s endorsement : — “ 228. Book of very 
 great value. Pen sketches for compositions and 
 marines. Compare 142, 282.” 
 
 Below is written, — “ two coloured out. 
 
 (Sgd.) R. N. W.” 
 
 On inside of cover, commencement of a pencil sketch of 
 castle (probably Windsor) with foliage ; also some illegible 
 writing, in ink, about “ Fall of Rome." 
 
 Page 1. Commencement of pencil sketch of building with trees. 
 Written in corner, in ink : — 
 
 “ Varnish. 
 
 Razor. 
 
 Blue black. 
 
 Bt. Sienna. 
 
 Fishing rod. Flies. 
 
 Pallet knife. 
 
 Shoes." 
 
242 
 
 TURNER DRAWINGS. 
 
 [XCIII.] 
 
 Page 1 a. Studies of figures surprised. Pen and ink. 
 
 „ 2. Trees with castle (probably Windsor) in mid-distance. 
 
 Pencil. 
 
 „ 2a. Some illegible writing in pencil. 
 
 „ 3. Study for the “ Hesperides,” — (at least the landscape 
 
 background suggests the “ Hesperides ” but the 
 figures point to another subject, — possibly one of the 
 labours of Hercules). Pen and ink, and black and 
 white chalk. 
 
 „ '6a. Study for dragon in “ The Garden of the Hesperides." 
 Pen and ink. 
 
 „ 4. Study for classical composition, possibly “ Mercury and 
 
 Herse.” Pen and ink and wash. Part torn off leaf 
 at top. 
 
 „ 4a. Study for figures in “ Dido and iEneas.” Pen and ink. 
 
 „ 5. Study for picture of “ Dido andiEneas.” (Exhibited 
 
 R.A. 1814, and now in National Gallery [No. 494].) 
 Pen and ink and wash. 
 
 „ 5 a. Studies for figures in “ Dido and iEneas.” Pen and ink. 
 
 55 
 
 G. 
 
 
 Do. 
 
 Do. 
 
 55 
 
 6a. 
 
 
 Do. 
 
 Do. 
 
 55 
 
 7. 
 
 
 Do. 
 
 Do. 
 
 95 
 
 8. 
 
 Study for part of “ 
 
 Hesperides.” Black and white chalk. 
 
 55 
 
 8a. 
 
 Do. 
 
 
 Do. 
 
 55 
 
 9. 
 
 Do. 
 
 
 Do. 
 
 55 
 
 9a. 
 
 Study for “ Hesperides.” Ink, pencil and white chalk. 
 
 55 
 
 10. 
 
 Do. 
 
 Pen and ink. 
 
 
 59 
 
 11. 
 
 The Thames at 
 
 Isleworth. (No. 70, 
 
 in 1st Loan 
 
 
 
 Collection as “ 
 
 River scene — colour.”) 
 
 
 „ 12. Study for a picture of “London Bridge.” Water 
 
 colour. 
 
 (So far as I know this picture was not painted.) 
 
 „ 13. Commencement of pen and ink drawing. 
 
 „ 13a. Do. 
 
 „ 14. Shipping with wharves and a church tower. Pen and 
 
 ink and "wash. 
 
 „ 15. Study for design with same church tower in distance. 
 
 Pen and ink and wash. 
 
 ,, 15a. A sailing boat. Pen and ink. 
 
 „ 1G. Study for picture of “ Junction of Thames and Med- 
 
 way.” Pen and ink. See Oil paintings in possession 
 of Mr. P. A. B. Widener, Philadelphia, and smaller 
 versions at University Galleries, Oxford, and in 
 National Gallery (No. 813). 
 
 „ 17. Study for a sea-piece. Query “ The Guardship at Nore.” 
 Pen and ink and wash. 
 
 „ 17a. Two sailing vessels. Pen and ink. 
 
 „ 18. Group of sailing vessels, with distant town. Pen and 
 
 ink. 
 
 „ 18a. A three-masted vessel. Pen and ink. 
 
 „ 19-21. Blank. 
 
 „ 21a. Studies for picture of “ Abingdon ” (now in National 
 
 Gallery, No. 485). Pen and ink. 
 
 „ 22. Blank. 
 
 „ 22a. Interior of blacksmith’s shop. Pen and ink. 
 
[XCIII.] HESPERIDES SKETCH BOOK. 
 
 243 
 
 Page 23. 
 
 ,, 2 3a. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 24. 
 24a. 
 
 25. 
 25a. 
 
 26. 
 26a. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 29. 
 29a. 
 
 55 
 
 30. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 33. 
 33a. 
 
 34. 
 34a. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37a. 
 
 55 
 
 55 
 
 38. 
 
 38a. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 39. 
 39a. 
 
 40. 
 40a. 
 
 41. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 42. 
 42a. 
 
 43. 
 
 44. 
 44a. 
 
 Study for a figure subject. Pen and ink. 
 
 Study for a figure subject ; figures carousing. Pen 
 and ink and wash. 
 
 Blank. 
 
 Figures carousing. Pen and ink. 
 
 Blank. 
 
 Figures in distress. Pen and ink. 
 
 Blank. 
 
 Town by river, with trees in foreground. Pen and ink. 
 Blank. 
 
 River scene with vessels. Pen and ink. 
 
 Blank. 
 
 Study for “ Apollo and Python.” Pen and ink. 
 
 Blank. 
 
 Landscape with broken trees in foreground. Pen and 
 ink. 
 
 Study for landscape composition. Pencil and pen and 
 ink. 
 
 Study for historical subject. Pen and ink. 
 
 Do. Do. 
 
 Do. Do. 
 
 Blank. 
 
 Study for historical subject. Possibly Diana and 
 Actseon. Pen and ink. 
 
 Blank. 
 
 Study for picture of Diana and Actaeon. Pen and ink. 
 Blank. 
 
 Group of figures with landscape. Pen and ink. 
 
 Blank. 
 
 Study for a picture of Richmond Bridge. Pen and ink. 
 Blank. 
 
 Study for a picture af Windsor Castle. Pen and ink. 
 Blank. 
 
 Study for picture with bridge in mid-distance. See 
 p. 35a. Pen and ink. 
 
 Women with children. 
 
 Group of trees in bank of river, with buildings, &c., in 
 distance. Water colour. 
 
 Blank. 
 
 River scene, with barges. Water colour. 
 
 Blank. 
 
 River scene, with rainbow. Water colour. 
 
 Study for sea-piece : Fishing boats and man-of-war. 
 Water colour. Of. “ Meeting of Thames and Medway.” 
 2nd Loan Collection, No. 71. 
 
 Blank. 
 
 River scene, with rainbow. Water colour. 
 
 Slight study of figures. Pen and ink. 
 
 Cattle fording river Pen and ink. 
 
 Cattle fording river, with glimpse of Windsor Castle in 
 distance. Pencil. 
 
 Inside of end cover, two studies of groups of figures 
 with cattle. One in pen and ink, the other in pencil. 
 
 (42 leaves drawn on.) 
 
244 
 
 TURNER DRAWINGS. 
 
 [XCIV.] 
 
 1805 - 1807 * (AET. 30-32). 
 
 XCIV. — " HESPERIDES” (2) SKETCH BOOK. 
 
 Schedule No. 282. 
 
 Book, bound in boards, with, two brass clasps. 
 
 Paper, white, prepared with washes of grey, except 
 one or two leaves at beginning and end. 
 
 Size of page, 9 x 5|. 
 
 Water mark, “ J. Whatman, 1801.” 
 
 Executor’s endorsement — “ No. 282. Containing 
 24 leaves in pencil and pen and ink. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement — “ 282. "Very valuable 
 book of pen sketches for compositions. Death of 
 Achelous, &c., may be shown as it is. Compare 
 142, 228.” 
 
 Page 1. 
 
 „ la. 
 
 „ 2 . 
 
 „ 3. 
 
 „ 4. 
 
 „ 4 a. 
 
 „ 5. 
 
 „ 5a. 
 
 „ G. 
 
 „ 6a. 
 
 „ 7. 
 
 „ 7 a. 
 
 „ 8. 
 
 „ 8a. 
 
 „ 9 . 
 
 „ io. 
 
 „ 10a. 
 „ 11. 
 
 „ 11a. 
 
 „ 12. 
 
 „ 13. 
 
 „ 14. 
 
 „ 15. 
 
 „ 16. 
 
 „ 17. 
 
 Blank. 
 
 1 Drawing of two tall trees. Pencil. 
 
 Walton Bridges.” Pen 
 
 Bridges.” Pen 
 
 Pen 
 
 Pen 
 
 Blank. 
 
 Study for Lady Wantage’s 
 and ink. 
 
 Study for “ Abingdon.” Pen and ink. 
 
 Study for a composition. Do. 
 
 Study for Mr. Orrocks’s “ Walton 
 and ink. 
 
 Study for Lady Wantage’s “ Walton Bridges.” 
 and ink. 
 
 Commencement of figure sketch. Pen and ink. 
 
 Study for Lady Wantage’s “ Walton- Bridges ” (?). 
 and ink. 
 
 A river scene, with boats and cattle. Pen and ink. 
 
 Group of horses and figures on bank of river. Pen 
 and ink. 
 
 Building (perhaps Windsor Castle) among trees. Pencil. 
 
 Houses among trees. Pencil. 
 
 Blank. 
 
 Commencement of slight pencil sketch. 
 
 Windsor Castle, from the river. Study for one of the 
 Petworth pictures. Pencil. 
 
 River scene. Pencil. 
 
 Commencement of river scene. Pencil. 
 
 Study for a picture of “ Death of Achelous .” Pen and 
 ink and wash. 
 
 Study for picture of “ Death of Nessus .” Pen and ink. 
 
 Do. “ Death of Liseus (?).” Do. 
 
 Do. “ Dryope." Pen and ink. 
 
 Do. “ Birth of Adonis .” Pen and ink. 
 
[XOIV.] 
 
 245 
 
 HESPERIDES (2). 
 
 Page 18. Study for a landscape composition. Pen and ink. 
 
 ,, 19. A classical building and trees. Pen and ink. 
 
 „ 20. Do. do. Do. 
 
 ,, 21-34. Blank. 
 
 „ 34a. Buildings, &c., on a hill near a river. Pencil. 
 
 „ 35. Blank. 
 
 „ 35a. Group of willows. Pen and ink. 
 
 „ 36. Blank. 
 
 „ 36a. River banks. Pen and ink. 
 
 „ 37. Blank. 
 
 „ 37a. Landscape sketch. Pen and ink. 
 
 „ 38. Blank. 
 
 „ 38a. “ Sutton Mills." Probably Sutton Courtney, near 
 
 Abingdon. Pen and ink. 
 
 „ 39. Blank. 
 
 „ 39a. “ Gulem Bridge." (Culham, near Abingdon.) Pen 
 and ink. 
 
 „ 40. Blank. 
 
 „ 40a. Abingdon Bridge, with church spire. Pen and ink. 
 
 „ 41. Bridge, with buildings beyond. Pen and ink. 
 
 „ 41a. Landscape, with trees and river. Pencil. 
 
 „ 42. Blank. 
 
 „ 42a. Cattle in water. Pencil. 
 
 „ 43. Buildings among foliage on banks of river. Pencil. 
 Inside end cover, a mansion on an eminence among trees 
 beside a river. “ Wellingham " or “ Walsingham." Pencil. 
 
 (28 leaves drawn on.) 
 
 1806 - 1807 * (AET. 31-32). 
 
 XGV.—“ THAMES, FROM READING TO WALTON ” 
 SKETCH BOOK. 
 
 Schedule No. 160. 
 
 Roll sketch book, bound originally in paper covers. 
 Only one of the covers has been preserved. It bears 
 Turner’s label — “ Thames from Beading to Walton," 
 and the Schedule Number, 160. 
 
 The leaves were all loose, and no record had been 
 kept of their original sequence. 
 
 Paper, white. 
 
 Size of page, 10| x 14f . 
 
 Water mark, “ J. Whatman, 1797.” 
 
 Page 1. View from hill ; River Thames in middle distance. 
 Pencil. 
 
 „ 2. Wooden bridge, with church beyond. Query Whit- 
 
 church, near Pangbourne. 
 
 „ 3. Distant view of same bridge and church. 
 
 32796 
 
 R 
 
246 
 
 TURNER DRAWINGS. 
 
 [XCV.] 
 
 Page 4. 
 
 „ 5. 
 
 „ 6 . 
 „ 7. 
 
 Q 
 
 „ 10 . 
 „ 11 . 
 „ 12 . 
 „ 13. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 14. 
 
 15. 
 1G. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 22 
 
 23. ' 
 
 24. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 33. 
 
 34. 
 
 35. 
 
 36. 
 
 37. 
 
 38. 
 
 99 
 
 99 
 
 39. 
 
 40. 
 
 41. 
 
 99 
 
 42. 
 
 View across river, with wooded hill beyond. Query 
 Cliveden Woods. 
 
 Church among trees on bank of river. 
 
 Winding river in mid-distance, with hill in foreground. 
 
 View of town, with church, from hill. 
 
 Temple Island, Henley. 
 
 Windsor Castle (?) in distance, with Thames winding 
 across mid-distance. 
 
 Or query Caversham Bridge, near Reading. 
 
 “ Ship lake." 
 
 Temple Island,- Henley (?). 
 
 River scene, with shipping. Water colour. 
 
 Benson or Bensington, near Wallingford (?). Water 
 colour. 
 
 “ Benson .” Pencil. 
 
 Punt crossing river. 
 
 “ Pcmghourne Lock." 
 
 Church seen between trees. 
 
 “ Cleve Mill" (Cleeve.) 
 
 “ Goring Church." 
 
 Banks of the river. 
 
 Drawing of trunk and branches of a tree. 
 
 Three sketches of Walton Bridges. 
 
 Walton Bridges. 
 
 Richmond Bridge, Surrey. See oil painting, exhibited 
 1808, now at Dublin. 
 
 Trees on river bank, with distant church tower. 
 
 A mansion among trees on an eminence beside the 
 river. Query Cliveden House. 
 
 Newark Abbey on the River Wey. Sir Ed. Tennant’s 
 oil painting seems based on this sketch. 
 
 Building among trees. 
 
 Church among trees. Dorchester Abbey Church. 
 
 Bridge in middle distance. 
 
 Willows by the river. 
 
 Ruins on hill in foreground, with winding river in 
 distance. 
 
 On the Thames : Evening. Water colour. 
 
 Group of willows, &c., by the river. 
 
 Group of trees. 
 
 Figures in punt, cutting rushes. 
 
 Group of trees. 
 
 Town among trees in foreground. River and bridge 
 in mid-distance ; a castle (? Windsor Castle) in 
 distance. 
 
 Query Caversham Bridge, near Reading. Cf. p. 41. 
 
 Wallingford Bridge and Church. 
 
 A stone bridge with central arches of wood. 
 
 Another stone bridge, with temporary wooden structure 
 at side. Caversham Bridge, near Reading. 
 
 Kew Bridge, with Brentford Eyot in foreground ; 
 Strand-on-Green seen through arches of bridge. 
 Water colour, faded in exposed parts. Was No. 52, 
 in 3rd Loan Collection ; now withdrawn. 
 
[XCV.] 
 
 READING TO WALTON. 
 
 247 
 
 Page 43. 1 Various sketches of stags. Pencil, with touches of 
 
 „ 44. / colour. Oxford, 98 — 93a, and 99 — 93 b. As these 
 two leaves have been cut down it is impossible to be 
 certain that they belong to this book. Page 43 though 
 stuck down tight on cartridge has another drawing 
 on the reverse side. 
 
 „ 45. Scene on the Thames, with Windsor Castle on right in 
 
 distance. Water colour. No. 151, in 1st Loan 
 Collection. 
 
 „ 46. Scene on the Thames. Water colour. Exhibited 
 Drawings, No. 689, N.G., described (probably errone- 
 ously) as “ Bridge at Cowley, near Crediton.” 
 
 „ 47. River scene. Water colour. Exhibited Drawings, 
 No. 801, N.G. 
 
 „ 48. House on bank of Thames ; Sunset. Exhibited Draw- 
 ings, No. 810, N.G. 
 
 „ 49. Scene on the Thames, with barges and figures. Water 
 colour. 2nd Loan Collection, No. 152. (Colour 
 slightly faded.) 
 
 (48 leaves drawn on.) 
 
 1806 - 7 * (AET. 31-32). 
 
 XCV (a).— KNOCKHOLT STUDIES. 
 
 See letter from Mrs. Wheeler (daughter of W. F. Wells) in 
 Rawlinson’s “ Liber Studiorum,” pp. xii, xiii. (2nd Edition, 
 1906.) 
 
 A. Interior of Wells’s Kitchen, Knockholt. 
 
 10f x 141r. Oil on sized paper. 
 
 On back, in ink, “ 101. Wells' Kitchen , Knockliolt." 
 
 B. Park scene. 
 
 About 11 x 14|. Oil on sized paper. 
 
 On back, in ink — “ 102. Chevening Park , Kent." 
 Exhibited Drawings, No. 812, N.G. 
 
 C. Interior of a Cottage. 
 
 10| x 14^. Oil on sized paper. 
 
 On back, in ink, “ 103. Interior of a cottage , Kent." 
 
 D. Chevening Park, Kent. 
 
 lOf x 14£. Oil on sized paper. 
 
 On back, in ink, “ 104. Chevening Park." 
 
 Exhibited Drawings, No. 697, N.G. 
 
 R 2 
 
 327% 
 
248 
 
 TURNER DRAWINGS. [XCV (a).] 
 
 E. An Evening’ Effect : Knockholt, Kent. 
 
 About x 6-5. Oil on sized paper. 
 
 On back, in ink, “ 106. Knockholt , Kent." 
 
 F. Study of an Arm Chair. 
 
 About 8^ x 10£. Oil on sized paper. 
 
 Exhibited Drawings, No. 563, N.G. 
 
 G. Mountainous Landscape, with Fig-ures. 
 
 101 x 15J. Oil on sized paper. 
 
 (There is nothing to connect this painting directly with 
 Knockholt. But it seems to belong to the same period.) 
 
 (7 drawings.) 
 
 1807* (AET. 32). 
 
 XCVI .— “RIVER" SKETCH BOOK. 
 
 Schedule No. 243. 
 
 Small sketch book, bound in calf, with one brass 
 clasp. 
 
 Turner’s label, “21. River" 
 
 Paper, white. Water mark, “ 1806.” 
 
 Size of page, 3| x 6R 
 
 Executor’s endorsement, “ No. 243, containing 64 
 leaves. Pencil sketches, most on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement, “ 243. Early. Good for 
 distribution.” 
 
 Inside cover is written in pencil : — 
 
 “ J. M. W. Turner , 
 
 West End , Upper Mall, 
 Hammersmith." 
 
 (. Not 3. — The earliest trace I have of this address is January, 
 1807 ; the artist left this address about 1811.) 
 
 Page 1. Weeds. 
 
 „ 2. Dock leaves, &c. 
 
 „ 3. A stormy sky — “ Sunny at bottom, Grey stormy and 
 
 misty at top." 
 
 „ 4. A sky, “ Yellow lightest. Grey clouds." 
 
 5. Barges sailing. 
 
 6. A barge sailing. 
 
 >5 
 
rXCVL] 
 
 RIVER SKETCH BOOK. 
 
 249 
 
 Page 
 
 99 
 
 9? 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 *9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 7. Barges sailing. 
 
 8. A barge aground. 
 
 9. Barges sailing. 
 
 10. A sky, “ Light stationary (?) clouds with blue at the 
 
 bottom ." 
 
 11. Barges sailing. 
 
 12. Do. 
 
 13. An interior with figures, “ Girl breaking off sticks and 
 
 putting them on the grate.' 1 '' 
 
 13 a. “ Girl filling the tin kettle out of a large bro wn jug." 
 
 14. Boatmen, “ Broivn breeches , blue striped sh ” 
 
 (2 leaves torn out.) 
 
 15. Boat with sail up. 
 
 16. Boats sailing. 
 
 17. Do. 
 
 (8 leaves torn out.) 
 
 18. A landscape with trees. 
 
 19. Trees on river bank. 
 
 20. Road leading to a gate, with church tower among 
 
 foliage in distance. 
 
 21. Cows resting. 
 
 22. Mansion among trees. 
 
 23. A river scene. 
 
 24. River scene, with sun breaking through clouds. 
 
 25. River scene, “ Boys naked, fishing," in foreground. 
 
 26. Nude female figure entreating. 
 
 27. “ Penty Hook." (Penton Hook, near Laleham.) 
 
 28. “ Three Arbele Trees at Laleham." 
 
 29. Landscape. 
 
 30. Blank. 
 
 31. Mansion among trees. 
 
 32. Group of trees. 
 
 33. A River scene. 
 
 33a. House among trees. 
 
 34. Trees, with distant house, on banks of river. 
 
 34a. 1 Walton Bridges. 
 
 35. / 
 
 35a. 1 Do. 
 
 36. / 
 
 37. Three seated figures. 
 
 38. Walton Bridges. 
 
 38a. Foliage. 
 
 39. Cottage, with figures. 
 
 40. Walton Bridges. 
 
 41. A sky. 
 
 42. River scene, with bridge and church in distance. 
 
 42a. 1 Group of cattle, &c. 
 
 43. / 
 
 43a. \ River scene, with house on right. 
 
 44. / 
 
 45. Landscape, with fallen tree in foreground. 
 
 45a. A white pony. See the pony in foreground of the 
 “ Forest of Bere ” at Petworth. 
 
 46. Landscape. 
 
250 
 
 TURNER DRAWINGS. 
 
 [XCVI.] 
 
 Page 47. A castle (?) with cows in foreground. 
 
 (1 leaf torn out.) 
 
 „ 48. A barge. 
 
 (Leaf torn out.) 
 
 „ 49. Landscape. 
 
 „ 49 a. Deck of a barge. 
 
 „ 50. Group of trees near river. 
 
 „ 50a. “ Canal barge , man cooking." 
 
 „ 51. Landscape, with figures seated, a horse and wagon near 
 
 them. 
 
 „ 51a. Blacksmith shoeing a horse. — “ Cock and Hen." 
 
 „ 52. Canal, or river, scene. 
 
 „ 52a. Group Mendicants. 
 
 „ 53. Landscape with figures. 
 
 „ 53a. Various figures. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 54. Do. 
 
 54a. Figure of a man, with “ blue " coat and “ fustian " 
 trousers. 
 
 55. A number of male figures seated and standing. 
 
 55a. Two women seated and two men standing. 
 
 56. Group of seated figures. 
 
 56a. A cottage interior with figures. 
 
 57. Figures at a meal. 
 
 58. Two barges. 
 
 59. Do. 
 
 60. A barge with sail set. 
 
 60a. Cattle near a bridge. 
 
 61. Blank. 
 
 61a. River scene, with distant castle or mansion. 
 
 62. Blank. 
 
 62a. River scene, with distant building. 
 
 63. Blank. 
 
 63a. River scene, with distant castle. 
 
 64. Blank. 
 
 64a. River scene, with distant castle. 
 
 65. Blank. 
 
 65a. Figures mowing. 
 
 655. Blank. 
 
 65c. Female figures and one man haymaking. 
 
 66. • Some almost illegible attempts at poetry. 
 
 ss! } Blank - 
 
 j Some almost illegible attempts at poetry. 
 69a. Haymakers, or gleaners. 
 
 70. 
 70a. 
 
 71. 
 71a. 
 
 72. 
 
 1 
 
 ► Almost illegible attempts at poetry. 
 
 72a. 
 
 73. 
 
 73a. J 
 
[XCVI.] 
 
 RIVER SKETCH BOOK. 
 
 251 
 
 Page 74. j 
 
 „ 74a. [• Almost illegible attempts at poetry. 
 
 „ 75. ) 
 
 .. 75 a. Do. continued over inside of end cover. 
 
 „ 76. '•'•More Park," near Rickmansworth. (Leaf probably 
 
 torn out from between pp. 48 and 49.) 
 
 (66 leaves drawn on.) 
 
 1807 * (AET. 32). 
 
 XCVII.— " WINDSOR, ETON" SKETCH BOOK. 
 
 Schedule No. 335. 
 
 Sketch book, bound in calf, with one brass clasp. 
 Turner’s label— 11 46, Windsor, Eaton." 
 
 Paper, white. Water mark, “ J. Whatman, 180 . .” 
 Size of page, 4J x 7 T 3 ^. 
 
 Executor’s endorsement — “No. 335. Contains 
 48 sketches in Pencil and Colour. 
 
 (Sgd.) C. Turner.” 
 
 Inside cover, sketches of boats with sails. 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 1 . 
 
 2 . 
 
 3. 
 
 4. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9 / 
 
 99 
 
 99 
 
 0 . 
 
 6 . 
 
 7. 
 
 8 . 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18 . 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 29. 
 
 Windsor Castle, from the river. 
 
 Do. do. 
 
 Blank. 
 
 Eton, from river. 
 
 Windsor Castle and Eton, from river. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 Windsor Castle. 
 
 Do. 
 
 Blank. 
 
 St. George’s Chapel, Windsor. 
 Windsor Castle and Bridge. 
 Windsor Castle. 
 
 Do. 
 
 Continuation of drawing on p. 17. 
 Windsor Castle. 
 
 Blank. 
 
 Cows. 
 
 Cows, some coloured. 
 
 Barges, with sails. 
 
 Do. 
 
 Blank. 
 
 Do. 
 
 Female field hands. 
 
 Male and female figures. 
 
 Plough, with men and a hoi so 
 
252 
 
 TURNER DRAWINGS. 
 
 [XCVIL] 
 
 Page 30. Group of ploughmen and horses. 
 
 „ 31. Horses and plough. 
 
 „ 32-39. Blank. 
 
 „ 39 a. Landscape, with round tower of Castle. 
 
 „ 40. Do. do. 
 
 „ 41. Blank. 
 
 „ 42. Sails of a barge. 
 
 „ 43-46. Blank. 
 
 „ 46a. Group of cows. 
 
 „ 47. Cows. 
 
 „ 48-50. Blank. 
 
 „ 50 a. Barges, &c., sailing^ 
 
 „ 51. Blank. 
 
 „ 51a. Two barges racing. 
 
 „ 52-57. Blank. 
 
 „ 58. Houses, with trees. 
 
 „ 59. Blank. 
 
 „ 60. Houses, with trees. 
 
 „ 61-66. Blank. 
 
 „ 66a. Plough, with men and horses. 
 
 „ 67. Blank. 
 
 „ 67a. Deck of barge, with figures. “ Bargemen hanging up 
 
 clouts , d'c., on the shrouds — good incident to avoid 
 the long line of shrouds .” 
 
 „ 68. Blank. 
 
 „ 68a. Ploughmen and cattle. 
 
 „ 69. Blank. 
 
 „ 69a. Cattle. 
 
 „ 70-81. Blank. 
 
 „ 81a. Two men, with plough. 
 
 „ 82. Blank. 
 
 „ 82a. Plough, with horses and a man. “ Left handle the 
 
 highest .” 
 
 „ 83. “ Discord , dire Sister :=of Ethereal Jove 
 
 Coeval — hostile even to heavenly love &c." 
 
 „ 83a. Another version of same lines. 
 
 „ 84. Group of figures. 
 
 „ 84a. Landscape, with cattle and bridge. 
 
 „ 85. Blank. 
 
 „ 85a. Sails of vessels. 
 
 „ 86. Blank. 
 
 „ 86a. A cow. 
 
 „ 87. A cow. Water colour. 
 
 „ 88. Group of cows. 
 
 „ 89. Two cows. Mr. Ruskin has written in margin, in red 
 
 ink, — “ Map of cow. Curious.” 
 
 „ 90. Vessels, with diagrams and measurements of sails. 
 
 „ 90a. Cows. 
 
 „ 91. Blank. 
 
 ,, 91a. Two horses grazing. 
 
 „ 92. Sketches of river scenery. 4th Loan Collection, No. 21. 
 
 Inside end cover, a slight sketch of sailing boat, and rough 
 draught of some verses of poetry. 
 
 (51 leaves drawn on.) 
 
[XCVIII.] 
 
 253 
 
 1807 * (AET. 32). 
 
 XCVIII.— " WEY, GUILDFORD” SKETCH BOOK. 
 
 Schedule No. 165, 
 
 Sketch book, half bound in calf. 
 
 Turner’s label — “ 74 , Wey, Guilford .” 
 
 Paper, white. 
 
 Size of page, 7-^ x 4 T V 
 
 Mr. Ruskin’s endorsement : — “165. Valuable book 
 of Compositions. Glaucus & Scylla on the back of 
 Polyphemus study, which is cut out for Marlb. H.” 
 On inside of end cover is the following note : — 
 
 Hampton 
 
 3 
 
 Ripley 
 
 12—6 
 
 Lock 
 
 2—6 
 
 W. 
 
 1—6 
 
 Guildford 
 
 10— 
 
 2 
 
 Boat 
 
 5 
 
 Godaiming 
 
 10—6 
 
 Man 
 
 2 
 
 1 st Catch 
 
 3—6 
 
 Page 
 
 1 . 
 
 la. 
 
 2 . 
 
 3 
 
 3a. 
 
 4. 
 
 5. 
 
 5a. 
 
 6 . 
 
 7. 
 
 7 a. 
 
 8. 
 
 8a. 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 1 
 
 14. f 
 
 15. 
 15a. 
 
 16. 
 
 Pen and 
 and ink 
 
 2 — 12—6 
 
 Study for historical picture, “ Ascanius.” 
 
 1 Study for a picture of “ Dido & JEneas .” 
 
 j ink and wash. 
 
 Study for a picture of “ Ulysses & N." Pen 
 and wash. 
 
 Study for picture of “ Chryses. Pencil.” 
 
 Do. do. Pen and ink and wash. 
 
 Study for picture of “ Ulysses Polyphemus.' 1 ' 1 Pen and 
 ink and wash. 
 
 Study for picture of “ Chryses ” (or possibly “ Glaucus 
 & Scylla ”). Pen and ink. 
 
 Study for a landscape composition. Pen and ink and 
 wash. 
 
 Study for an historical subject. Pen and ink and wash. 
 
 Diagrams of boats with a square sail. Pen and ink. 
 
 Boats running before the wind. Pen and ink and 
 wash. 
 
 | More diagrams of boats. Pen and ink. 
 
 Group of trees. Pen and ink and wash. 
 
 Classical buildings among trees on river bank. Pen 
 and ink and wash. 
 
 Study for a landscape with classical buildings, 
 and ink and wash. 
 
 Do. do. do. 
 
 Pen 
 
 Blank. 
 
 ) A river scene, with houses on left and wooden bridge 
 ( in mid-distance. Pencil. 
 
254 
 
 TURNER DRAWINGS. [XCVIII.] 
 
 Page 1 6a, 
 
 91 
 
 99 
 
 99 
 
 99 
 
 99 
 
 17. 
 17a. 
 
 18. 
 19. 
 19a. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 20 . 
 
 20a. 
 
 21 . 
 
 21a. 
 
 22 . 
 
 23. 
 
 24. 
 
 | River scene, with buildings on right. 
 
 | River scene. 
 
 Blank. 
 
 ) View of a town, with trees and bridge in foreground 
 i and distant mountains. 
 
 1 View of town, with trees and bridge in foreground. 
 \ Pen and ink. 
 
 | Do. do do. 
 
 A tight or hunt in a wood. Pen and ink and wash. 
 
 Do. Pen and ink. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 91 
 
 91 
 
 99 
 
 19 
 
 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 91 
 
 99 
 
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 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 25-105. Blank. 
 
 105a. Ruins of Newark Abbey. Pencil. 
 
 106. Blank. 
 
 106a. Another view of ruins of Newark Abbey. 
 
 107. Blank. 
 
 107a. Another view of Newark Abbey. 
 
 108. Blank. 
 
 108a. Another view of Newark Abbey. 
 
 109. Blank. 
 
 109a. Landscape with distant hills. 
 
 110. Blank. 
 
 110a. Hill with ruins on top. Possibly St. Catherine’s Hill, 
 near Guildford. 
 
 111. Blank. 
 
 111a. Town in mid-distance among trees, with square tower 
 in ruins above. 
 
 112. Blank. 
 
 112a. Another view of same town and tower. 
 
 113. Blank. 
 
 113a. Another view of same tower. 
 
 1 14. Blank. 
 
 114a. Hill with ruins, beside a river. Possibly St. Catherine’s 
 Hill. 
 
 115. Blank. 
 
 115a. Another view of same hill. 
 
 116. Blank. 
 
 116a. Another view of same hill. 
 
 117. Blank. 
 
 117a. Street of town, with church. Possibly Guildford. 
 
 118. Blank. 
 
 118a. River, with ruins on hill in distance. 
 
 119. Blank. 
 
 119a. Church among trees seen from river. 
 
 120. Blank. 
 
 120a. River scene. 
 
 121. Commencement of a sketch. 
 
 121a. 1 Row of trees beside river, with ruins in distance. 
 
 122 . / 
 
 122a. \ Buildings, with clouds. 
 
 123. / 
 
 123a. \ Buildings, &c., beside a river. 
 
 124, / 
 
LXCVI1I.] WEY, GUILDFORD SKETCH BOOK. 
 
 255 
 
 Page 124a. 
 „ 125. 
 
 „ 125a. 
 „ 126. 
 
 „ 126a. 
 
 „ 127. 
 
 „ 127a. 
 „ 128. 
 
 „ 128a. 
 
 129. 
 
 | Part of Windsor Castle. 
 
 | Thames Valley seen from Windsor Castle. 
 
 Part of Windsor Castle. 
 
 Do. 
 
 | Windsor, from the castle. 
 
 | Windsor Castle, from the lock. 
 
 55 
 
 55 
 
 55 
 
 129a. Eton, from the river. 
 
 130. Blank. 
 
 130a. 1 Windsor Castle, from the river. 
 
 131. / 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 131a. Windsor Castle, from the river 
 
 132. Blank. 
 
 132a. I Windsor Castle. 
 
 133. / 
 
 133a. | Do. 
 
 134. / 
 
 134a. Do. 
 
 „ 135. Blank. 
 
 „ 135a. Windsor Castle. 
 
 „ 136. Blank. 
 
 „ 136a. At Windsor. 
 
 „ 137. Figure of man, seated. 
 
 „ 137a. Study for a classical subject. 
 
 „ ' 138. Landscape, with figures. Pen and ink and sepia. 
 
 (58 leaves drawn on.) 
 
 1806 - 1808 * (AET. 31-33). 
 
 XCI X— “RIVER AND MARGATE" SKETCH BOOK. 
 
 Schedule No. 312. 
 
 Sketch book, bound in calf, with one broken 
 clasp. 
 
 Turner’s label lost when covers were broken up 
 and leaves dispersed. 
 
 Written in ink on one of the covers — “ The River 
 and Margate .” 
 
 Paper, white. Water mark, “ J. Whatman, 1804.” 
 
 Size of page, 4^ x 7^. 
 
 Executors’ endorsement: — “No. 312. 89 leaves. 
 Sketches in pencil and colors. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 The leaves were numbered by Mr. Ruskin when 
 the book was disintegrated. 
 
256 
 
 TURNER DRAWINGS. 
 
 [XCIX.] 
 
 Inside one cover, slight pencil sketch of a sailing boat, and, 
 “4214: — 27 Sept. 1807 ” (? 22 September, 1803). 
 
 Inside other cover the following in ink : — 
 
 “ Perhaps you have seen the following from the 
 Examiner of to-day promising us a literal cudgeling 
 unheard. I could wish the Constant Reader to he one of 
 your Party to-day. Your turtle and venison might 
 improve his taste , which appears at present a little 
 spleenic. 
 
 “ So ive may expect a thrashing unheard next Sunday. 
 It is hard you cannot have a few friends to-day and if 
 you please give them turtle soup and venison without 
 giving umbrage to a constant reader who , by the follow- 
 ing address to the Examiner of to-day to tickle up the 
 Professors , seems to he spleenic in affairs of taste." 
 
 The constant reader must he a sly rogue to know that 
 you give turtle soup and, venison to-day. Woidd he ivere 
 one of the party to improve his taste." 
 
 Page 
 
 19 
 
 99 
 
 99 
 
 91 
 
 91 
 
 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. Fishing boat, sailing. 
 
 2. Three fishing boats sailing. 
 
 3. Sailing boats. 
 
 4. On the river at Greenwich. 
 
 5. Boats at Greenwich. 
 
 6. Vessels sailing. 
 
 7. Do. 
 
 8. Fishing vessels off the coast. 
 
 9. Fishing boats and men-of-war. 
 
 9a. A town, with chalk cliffs beyond. Probably Margate. 
 
 10. Vessels under full sail. 
 
 10a. View of Margate (?) from the sea. 
 
 11. Vessels sailing. 
 
 11a. Fishing boats, &c., at sea. 
 
 12. Vessels sailing. 
 
 13. Do. 
 
 13a. Stormy sky. 
 
 14. Vessels sailing. 
 
 14a. Stormy sky. 
 
 15. Various vessels. Pencil, partly coloured. 
 
 15a. Cloudy sky. 
 
 „ 16. Various vessels. Pencil, partly coloured. 
 
 „ 16a. Cloudy sky. 
 
 „ 17. Various vessels. Pencil, partly coloured. 
 
 „ 18. Men-of- war’s boats victualling — “ Barrels, Hampers. 
 
 Smock Frock, Red Cloak, Master's People. Red 
 Jacket, &c." 
 
 „ 18a. Continuation of drawing on p. 19. 
 
 „ 19. Ships and boats. 
 
 „ 20. Beginning of landscape sketch 
 
 „ 20a. Study of sky. 
 
 „ 21. Vessels at anchor. 
 
 „ 21a. Clouds. 
 
[XCIX.] RIVER AND MARGATE SK. BK, 
 
 257 
 
 Page 22. 
 
 22a. 
 
 23a. 
 
 24. 
 
 25. 
 
 25a. 
 
 26. 
 26a. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 
 33. 
 33a. 
 
 34. 
 34a. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 41a. 
 
 42. 
 42a. 
 
 43. 
 43a. 
 
 44. 
 
 45. 
 
 46. 
 
 Boats fetching provisions, &c., for vessels in the offing — 
 “ Bread, Hay , Straw " in one boat ; “ Beef, vege- 
 tables (?), two Sheep, Fish " in other. 
 
 Sky. 
 
 Men-of-war (or merchantmen) suiTOunded by smaller 
 craft. 
 
 Boat on crest of wave. 
 
 Merchantmen at anchor. 
 
 Boats and fishing smacks, with a larger vessel beyond. 
 
 Possibly related to Mr. G. J. Gould’s a The Nore.” 
 
 “ Sun rise over the Hill." 
 
 Fishing boats. 
 
 Sky, with distant church tower. 
 
 Group of cows. 
 
 Sky. 
 
 Vessels off the coast. 
 
 Sky. 
 
 Vessels off the coast. 
 
 Sky. 
 
 Distant coast-line and vessels. 
 
 Sky. 
 
 Fishing boats and men-of-war, &c. 
 
 Clouds. 
 
 Fishing boats sailing. 
 
 Do. 
 
 | Men-of-war at anchor. 
 
 | Vessels, with flat coast-line beyond. 
 
 Men-of-war sailing. 
 
 Commencement of a sketch. 
 
 Merchantman sailing. 
 
 Vessels off Greenwich. 
 
 Vessels off the coast. 
 
 Do. 
 
 Coast scene. 
 
 Do. 
 
 Sunset over land — “ Beautiful Grey Purples. Light 
 P. Brown, Bt. Sienna, Ac." 
 
 Coast scene. 
 
 Church, &c., at Gravesend. 
 
 Sailing vessels. 
 
 “ Gravesend." 
 
 Gravesend and “ Tilbury." 
 
 ) Blank. 
 
 „ 46a. Group of figures, &c., outside an inn (?). 
 
 „ 47. Blank. 
 
 ,, 47a. Group of figures — “ Coach List." 
 
 ., 48. Groups of figures — “ Clerk of the Court. Chairman, 
 Jury, Ac." 
 
 „ 48a. Trees and distant buildings, on bank of river. 
 
 „ 49. Blank. 
 
 „ 49a. River scene, with town in distance. 
 
258 
 
 TURNER DRAWINGS. 
 
 [XCIX.] 
 
 Page 50. 
 
 „ 50 a. 
 „ 51. 
 
 „ 51a. 
 „ 52. 
 
 „ 52a. 
 ,, 53. 
 
 ,, 53a. 
 „ 54. 
 
 „ 55. 
 
 „ 55a. 
 „ 56. 
 
 ,, 56 a. 
 
 59 
 
 99 
 
 57. 
 
 57a. 
 
 95 
 
 99 
 
 58. 
 58a, 
 
 59. 
 
 „ 59a. 
 „ 60. 
 
 „ 60a. 
 
 59 
 
 95 
 
 99 
 
 99 
 
 55 
 
 61. 
 
 61a. 
 
 62. 
 
 62a. 
 
 63. 
 
 63a. 
 
 55 
 
 55 
 
 99 
 
 99 
 
 55 
 
 64. 
 64a, 
 
 65. 
 65a, 
 
 66 . 
 
 55 
 
 >5 
 
 59 
 
 59 
 
 95 
 
 55 
 
 59 
 
 55 
 
 59 
 
 59 
 
 95 
 
 99 
 
 99 
 
 66a. 
 
 67. 
 67a. 
 
 68. 
 68a. 
 
 69. 
 69a. 
 
 70 . 
 70 a. 
 
 71. 
 71a. 
 
 72. 
 
 73. 
 
 Blank. 
 
 River scene, with barges, &c. 
 
 Blank. 
 
 Large vessels. 
 
 Two vessels sailing. 
 
 Group of various sailing vessels. 
 
 Vessels sailing. 
 
 ( Town on coast. ? Ramsgate or Margate. 
 
 Mouth of Thames (?). 
 
 | Harbour and town. ? Ramsgate or Southend. 
 
 Two views of coast, from the sea — “ Sheppey,” “ Queens- 
 boro “ Sheerness ,” and “ Medway .” 
 
 A fishing boat. 
 
 “Southend,” and a view looking along Essex coast to 
 “ Foulness ” and “ Oxney Light.” 
 
 A ship at anchor, possibly Nore guardship.- 
 The “ Nore Light ” ship. 
 
 Several strips of coast-line — “ Sheppey ,” “ Minster ,” 
 “ Sheerness ,” “ Entrance of Medway,” “ Entrance of 
 Thames — Essex side.” 
 
 “ Guardship at the Nore.” 
 
 Blank. 
 
 'Three views of coast — “ Dandelion and Birchington,” 
 Margate ,” and “ Margate .” 
 
 A sea piece. 
 
 Views of “ Reculver ” and “ Herne Bay.” 
 
 Fishing boats in a rough sea. 
 
 River scene off Gravesend (?). 
 
 Boats in rough sea. 
 
 River scene off Gravesend. See picture of “ Graves- 
 end ” described in a letter to Sir John Leicester of 
 Dec., 1810. 
 
 Man of-war taking in stores. 
 
 View of “ Sheerness . Thames cmd. Medway also two 
 sketches of a “ Hastings Herring Boat.” 
 
 Landscape sketch. 
 
 Road leading to castle and other buildings. 
 
 Vessels sailing, with chalk cliffs and town in distance 
 (probably Margate). * 
 
 “ Pur fleet ” in distance. 
 
 Harbour v ith town. 
 
 Vessels off Greenwich. 
 
 Boats at low tide, 
 j Shipping off the Tower. 
 
 “ Rochester.” 
 
 Blank. 
 
 Another view of “ Rochester.” 
 
 Possibly a study for “ Walton Bridges.” 
 
 | “ Cobham.” 
 
 Waiter and twrn figures dining (?). 
 
[XCIX.] RIVER AND MARGATE SK. BK 
 
 259 
 
 Page 73a. Three sketches of poorly-clad girl. 
 
 „ 74. Group of figures, one standing, the others seated. 
 
 „ 74a. An interior with figures. ? An apothecary’s or 
 
 dentists’. 
 
 „ 75. Two figures, &c. 
 
 „ 75a. Part of seated figure and an interior. 
 
 „ 76. Missing. 
 
 ,, 77. Group figures. 
 
 „ 77a. An interior with “ Papers , Books, Crucibles, Pipkins, 
 
 &c." 
 
 „ 78. Blank. 
 
 „ 78a. A mansion. 
 
 „ 79. A sky. 
 
 „ 79a. Ruined abbey (?) at “ Cobham." 
 
 „ 80. Stormy sky. 
 
 „ 80a. Ruins at Cobham. 
 
 „ 81. “ Hastings Fish Market." (An oil picture of this 
 subject was in possession of Sir A'exander Acland- 
 Hood, signed and dated 1810 (Christie’s, 4th April, 
 1908), but the design is quite different.) 
 
 „ 81a. Men-of-wav and other vessels off the coast. 
 
 „ 82. A ship. 
 
 „ 82a. Road leading to a town* 
 
 „ 83. “ Entrance of East Swale and Isle of Shepway also 
 
 “ East Church, Sheppey." 
 
 „ 83a. Windmill and cottages. 
 
 „ 84. Blank. 
 
 ,, 84a. Two views of a boat. 
 
 „ 85. Diagram of a boat. 
 
 „ 85a. Sketches and diagrams of boat, with measurements. 
 
 „ 86. Desigus for exterior of a studio. 
 
 „ 86. Diagrams and measurements of a boat. In margin : — 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 “ Sails 
 Mast 
 Bows 
 Brems (?) 
 Rigging 
 Iron 
 Pump 
 
 £10 
 
 3 
 
 1 
 
 2 
 
 5 
 
 1 
 
 1 — 23 ." 
 
 87. 
 
 Boat3 and sailing vessel off coast. 
 
 (This leaf was found unnumbered.) 
 
 The following two leaves probably belong to this 
 book : — 
 
 88. Fishing boats racing past man-of-war. 
 
 88 a. Croup of large vessels. 
 
 89. “ Ship's Boat and Fishing Boat Foul." Oxford, 
 
 157-1425. 
 
 90. Sunset from river, with distant church. Colour notes 
 on sky — “ Warm, Grey, Blue G., ivarm light, &c ." ; 
 also “ Sun like an Egg's Yolk." 
 
 Reverse — Group of boats, ships, &c. 
 
 Oxford, 155a-58. 
 
 (89 leaves drawn on.) 
 
260 
 
 TURNER DRAWINGS. 
 
 [C.] 
 
 1807 ( AET. 32). 
 
 0.— SPITHEAD SKETCH BOOK. 
 
 Schedule No. 329. 
 
 Sketch book, bound in calf, with one brass clasp. 
 Turner’s label on back, — “ Shipping ." 
 
 Written in ink on one of covers, — ■“ River Thames. 
 Margate " (the “ Margate ” crossed out). 
 
 Paper, white. Water mark, probably 1805 (see 
 p. 40). 
 
 Size of page, 4| x 7|. 
 
 Executor’s endorsement, — “ No. 329. Contains 
 64 leaves in pencil and pen and ink. 
 
 (Sgd.) C. Turner.” 
 
 Inside one of the covers the following details are written 
 
 in pencil : — 
 
 
 • 
 
 “ No. 6920. 
 
 13 No v ', 1807. 
 
 50 
 
 N. Note * 
 
 
 100 
 
 3637. 
 
 8 Aug*- 1807. 
 
 10 
 
 6611. 
 
 6 Sep. 1807. 
 
 10 
 
 36497. 
 
 22 Sep*- 1807. 
 
 1 
 
 20500. 
 
 17 Sep. 1807. 
 
 1." 
 
 Also draught of some lines on “ Hindhead , the cloud-capt ." 
 Inside the other cover and on fly-leaf the following verses 
 in ink : — 
 
 “ Gome on Time (: nay that T troth 
 Gaffer , thou comest on fast enough 
 Wing'd foe to feathered Cupid. 
 
 But tell me Sandman ere thy trains 
 Have multiplied (?) upon my brains 
 So thick to make me stupid. 
 
 Tell me Death's Journeyman ! hut no 
 Hear thou my speech I will not grow 
 
 while I try it. 
 
 For though I mock thy flight 'tis said 
 Thy forelock fills me with such dread. 
 
 I never take thee by it. 
 
 List, then , old is, was and then to be 
 I'll state accounts ' twixt me and thee. 
 
 Thou gave me first the measles. 
 
 With teething would have taken me off 
 Then mad'st me with the hooping rough 
 Thinner than fifty weazles. 
 
 Thou gav'st smallpox, the Dragon now 
 That Jenner combats in a cow 
 And then some seeds of knowledge 
 Grains of grammar, which the .... 
 
 Of pedants thrash upon, our tails 
 To let in for a college. 
 
 Probably Navy Note. 
 
[C.j 
 
 SPITHEAD SKETCH BOOK. 
 
 261 
 
 And ivlien at Christ Church 'tivcis thy sport 
 To rack my brains with slow filled: (!) port 
 And lectures out of number. 
 
 There fresh men Folly quaffs ard sings 
 While graduate dullness clogs thy wings 
 With mathematic wonder. Ac. 
 
 Also the following list, not in Turner’s handwriting : — 
 
 One. 
 
 17914. 
 
 One. 
 
 8250. 
 
 One. 
 
 18980. 
 
 One. 
 
 1609. 
 
 One. 
 
 2241. 
 
 One. 
 
 13953. 
 
 One. 
 
 18591. 
 
 Two. 
 
 11336. 
 
 Two. 
 
 15169. 
 
 Two. 
 
 13457. 
 
 Two. 
 
 8757. 
 
 Two. 
 
 14044. 
 
 Ten. 
 
 3142. 
 
 Ten. 
 
 7072. 
 
 Five. 
 
 1276. 
 
 Five. 
 
 1336 
 
 14 Oct. 1807. 
 
 15 Oct. 1807. 
 10 Nov. 1807. 
 
 9 Feb. 1807. 
 23 Sep. 1807. 
 
 21 Aug. 1807. 
 
 10 Sep. 1807. 
 12 July 1807. 
 
 11 June 1807. 
 
 8 Sep. 1807. 
 
 26 Aug. 1807. 
 20 Nov. 1807. 
 
 22 Aug. 1807. 
 26 June 1807. 
 25 Nov. 1207.” 
 
 P. 
 
 Paine. 
 
 Page 1. 
 
 2 . 
 
 3. 
 
 99 
 
 99 
 
 99 
 
 4. 
 
 5. 
 
 6 . 
 
 99 
 
 „ 10 . 
 
 „ 11 . 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 
 Bow and stern of man-of-war. Paint on bulwarks 
 described as “ light," “ yellow," “ yellow." Pen and 
 
 ink. 
 
 Bow and sterns of men-of-war. Parts of paint, 
 “ yelloiv ,” “ blue ” and “ white." Pen and ink. 
 Men-of-war entering Portsmouth Harbour. Pen and 
 ink. 
 
 (Picture of “ Danish ships entering Portsmouth 
 Harbour ” in Turner’s studio, May, 1808.) 
 
 Shipping off Portsmouth. Pen and ink. 
 
 Blank. 
 
 Men-of-war entering Portsmouth Harbour. Pencil. 
 See picture of “ Spithead : Boat’s Crew recovering 
 an Anchor,” N.G. 481. 
 
 Man-of-war sailing. 
 
 View of the coast. 
 
 Men-of-war at anchor. 
 
 Sailing boats off the coast. 
 
 Fishing boat in foreground, with men-of-war saluting 
 in the distance. Pen and ink. 
 
 Men-of-war at anchor. Pen and ink. 
 
 Group of vessels sailing. Pencil. 
 
 Men-of-war at anchor. Pen and ink. 
 
 Vessels sailing. Pencil. 
 
 A choppy sea. Pencil. 
 
 Men-of-war at anchor. Pen and ink. — ‘ Flag of the 
 Admiral light (?) on the sky." 
 
 Men of- war at anchor ; sun setting. Pen and ink. 
 Evening. Pencil. 
 
 Hind Head Hill. Pencil, 
 
 32796 
 
 s 
 
262 
 
 TURNER DRAWINGS. 
 
 [ 0 .] 
 
 Page 21. 
 
 Hind Head Hill. Pencil. 
 
 91 
 
 22. 
 
 Do. Do. 
 
 99 
 
 23. 
 
 Hind Head Hill in distance. Pencil. 
 
 99 
 
 24. 
 
 Men-of-war. 
 
 99 
 
 25. 
 
 Do. 
 
 99 
 
 26. 
 
 Distant line of hills. 
 
 99 
 
 27. 
 
 Men-of-war in Portsmouth Harbour. See N.G. 481. 
 
 99 
 
 28. 
 
 Do. Do. 
 
 99 
 
 29. 
 
 Do. Do. 
 
 99 
 
 30. 
 
 Do. Do. 
 
 99 
 
 31. 
 
 Blank. 
 
 99 
 
 31a. 
 
 Women stooping. 
 
 99 
 
 32. 
 
 A market place. 
 
 99 
 
 33. 
 
 Do. 
 
 34. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37a. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 41a. 
 
 42. 
 
 43. 
 
 44. 
 
 45. 
 
 46. 
 
 47. 
 
 47a. 
 
 48. 
 48a. 
 
 49. 
 49a. 
 
 50. 
 50a. 
 
 51 . 
 51a. 
 
 52. 
 
 Houses and trees witli church tower (?) in distance. 
 Blank. 
 
 Men with wagon, hoe, &c., in a field, with same tower 
 in distance. 
 
 Blank. 
 
 Sower, &c., beside a gate, with church in distance. 
 Blank. 
 
 Men with wagon and horses. 
 
 Men ploughing. 
 
 Horses. 
 
 Plough-men and horses. 
 
 Cows. 
 
 Sunset on river. 
 
 (Leaf torn out.) 
 
 Group of clouds. 
 
 Do. 
 
 (Leaf cut out.) 
 
 Landscape design (probably a copy), with kneeling 
 figure and an angel (?) in foreground. 
 
 Tree, with part of a landscape. 
 
 (Two leaves out.) 
 
 Group horses and pigs. 
 
 Men hedging and ditching. See “ Liber ” plate 
 (R. 47) ; also sepia drawing for engraving, No. 508, 
 N.G. 
 
 A street, with hills beyond. Perhaps Guildford. 
 
 Blank. 
 
 “ Hind Head." 
 
 Sunset on river. 
 
 Hind Head. See “ Liber ” plate (R. 25) ; also sepia 
 drawing for engraver, No. 489, N.G. 
 
 A landscape sketch. 
 
 Hind Head. 
 
 Blank. 
 
 Hind Head in distance. 
 
 Blank. 
 
co.] 
 
 SPITHEAD SKETCH BOOK. 
 
 263 
 
 Page 52a. A water mill. See “ Liber ” plate (R. 37) ; also 
 drawing for engraver, No. 505, N.G. 
 
 „ 53. Blacksmith shoeing a horse. 
 
 „ 54. Do. pony. 
 
 „ 54a. Cottage interior, with figures — “ Woman frying. Boy 
 looking. . . Children at tub , a girl beating the 
 
 barrel , &c." 
 
 „ 55. Interior, with figures. 
 
 „ 55a. “ TH(oman) cutting turnips. Interior of a Barn. Cotos 
 eating at the entrance , <f :c." 
 
 ., 56. A “ Wheelwright's ” yard. 
 
 „ 56a. Cottage interior, with figures. 
 
 „ 57. Blank. 
 
 „ 57 a. A “ Pigg's sty." 
 
 „ 58. Blank. 
 
 „ 58 a. “ Joueuse d'Osselets. No. ex. of . superbe 
 
 exalted imagination , sublime inspiration , simple 
 nature yet the type of the grace) all where the 
 physionomy , &c." 
 
 „ 79. Woman stooping, with figure looking on. 
 
 „ 60. Blank. 
 
 „ 61. An inn, with trees. 
 
 „ 62. Do. 
 
 „ 63-65. Blank . 
 
 ' „ 65a. A fishmonger’s stall. 
 
 „ 66. Figures seated. 
 
 „ 67-69. Blank. 
 
 (Leaf torn out.) 
 
 „ 70. Study for picture of “ Sun rising through Vapour.” 
 
 Pencil. Not the National Gallery picture, hut an 
 oil painting once in Farnley Collection (Chr. 1890), 
 and now in possession of Mrs. Johnstone Foster. 
 
 ,. 70a. Hind Head Hill in distance. 
 
 „ 71 Rough draft of some lines of verse. 
 
 „ 71a. “ Lipliook " — “ Cow rambling among furze (?)." 
 
 72. Blank. 
 
 „ 72a. Distant view of St. Catherine’s Hill, Guildford. 
 
 „ 73. Blank. 
 
 „ 73 a. St. Catherine’s Hill. See “Liber” plate (R. 33); 
 also sepia drawing for engraver, No. 491, N.G. 
 
 „ 74. Blank. 
 
 „ 74a. St. Catherine’s Hill. 
 
 „ 75. Blank. 
 
 „ 75a. St. Catherine’s Hill. 
 
 (68 leaves drawn on.) 
 
 S 2 
 
 32796 
 
264 
 
 TURNER DRAWINGS. 
 
 [CL] 
 
 18Q6UL808* (AET. 31-33). 
 
 Cl .— “BOATS, ICE" SKETCH BOOK. 
 
 Schedule No. 319. 
 
 Sketch book, bound in calf, with one brass clasp. 
 Labelled by Turner — a 51. Boats , Ice." 
 
 Paper, white. Water mark, “ 1805.” 
 
 Size of page, 4J x 7 T V 
 
 Executor’s endorsement — “ No. 319. Contains 
 35 leaves. Pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement — “ 319. Some precious 
 sky and boat studies. Five leaves cut out.” 
 
 Attached to inside of cover is the dried skeleton 
 of a leaf. 
 
 1. Sailing boats. 
 
 2. Do. 
 
 3. Do. 
 
 4. A sunset. 
 
 5. Blank. 
 
 5 a. “ 16 Feet — wanting <5 Inches 
 8 Feet — w 1 — 
 
 IS F. 9 
 
 6 F. 10 .” 
 
 6. Sun setting. 
 
 7. Sunset. 
 
 8. Do. 
 
 9. Barges, with church tower in distance among foliage ; 
 
 sun setting. Written on sky, above the setting sun 
 — “ Fire and Blood." 
 
 10. Vessels sailing. Written over parts of sky — “ Warm , 
 
 Blue , Greenish Grey yet yellowish at bottom , &cF 
 
 11. Group of fishermen. 
 
 12. River scene. Written over water — “ Greenish Black in 
 
 Shadow," and “ Ice white and grey." 
 
 13. Group fishermen. 
 
 14. Barges frozen up. 
 
 15. Masses of ice. 
 
 16. Barge frozen up. 
 
 17. Vessel among ice. 
 
 18. Vessel among ice. Oxford 159-146«, described as 
 
 “ The Inscrutable ! ” 
 
 19-20. Blank. 
 
 21. Two vessels at sea. 
 
 22. Vessels sailing. 
 
 23. Do. 
 
 24. Do. 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95 
 
[01.] BOATS, ICE. 265 
 
 Page 25. Vessels sailing. 
 
 „ 26. Do. 
 
 „ 27. Do. 
 
 „ 28. Stormy sky. 
 
 „ 29. Boats and sailing vessels. 
 
 „ 30. Do. 
 
 „ 31. “ Fleet of Fishermen. Smelting." 
 
 „ 31a. Sketch of men in rowing boat, and the following 
 
 description : — “ One throws out the net — then rows 
 round and while is pulling up another net runs out , 
 so one net is always down." 
 
 „ 32. Sailing vessels. 
 
 „ 32a. 1 Group fishing boats. 
 
 „ 33. / 
 
 „ 34. Vessels sailing. 
 
 „ 35. Boats, with sails set. 
 
 „ 36. Blank. 
 
 (One leaf torn out.) 
 
 „ 37. Vessels sailing. 
 
 „ 38. Fishing boat sailing. 
 
 ,, 39. Two fishing boats sailing side by side — “ Boat behind 
 
 throwing the spray R .. by the one in shade." 
 
 „ 39a. A sky. 
 
 40. River scene, with rainbow. 
 
 „ 41. Boats sailing. 
 
 „ 42-59. Blank. 
 
 „ 59a. Two boats sailing. 
 
 „ 60-85. Blank. 
 
 „ 85a. Rough draft of some lines of poetry. 
 
 „ 86. Do. do. 
 
 „ 86a. Do. do. 
 
 „ 87. Blank. 
 
 „ 87a. Rough draft of lines of poetry. 
 
 „ 88. Do. do. 
 
 „ 88a. “ Reflection in water tho' the real shadow (?) is nearly 
 
 the same from the plane of the Horizon in near 
 objects , yet when the whole of the light lays behind ii 
 frequently streaks (? strikes) a shade 3 limes its 
 liiglit." 
 
 The following four leaves possibly belong to this 
 book : — 
 
 ,, 89. Ploughing scene, with horses. 
 
 „ 90. Do. 
 
 On back : A sunset, with description of colours. — 
 “ Orpiment edge round the sun." 
 
 „ 91. Studies of cows, seated and standing. 
 
 On back : More cows. 
 
 „ 92. Two cart horses. 
 
 3rd Loan Collection, No. 123, as “ Four Studies : Cattle 
 and Horses.” 
 
 (42 leaves drawn on.) 
 
266 
 
 TURNER DRAWINGS. 
 
 [GII.] 
 
 1808 * (AET. 33). 
 
 GII.— GREENWICH SKETCH BOOK. 
 
 Schedule 207. 
 
 Small pocket book, bound in red leather, with one 
 brass clasp. 
 
 Turner’s label — “ 62 .” 
 
 Paper, white. 
 
 Size of page, 3 x 4^. 
 
 Executor’s endorsement, “No. 207. This book 
 contains 34 sketches in pencil on both sides of the 
 leaves. 
 
 (Sgd.) C. Turner.” 
 
 Mr. Ruskin’s endorsement, “207. Interesting 
 MSS. and some stag groups.” 
 
 On inside of one cover is a study in pen and ink for the 
 Farnley picture of “ Pilot hailing a Whitstable Hoy.” 
 
 Inside other cover is the following record of drawings 
 made, or to be made, for Mr. Fawkes : — 
 
 “ 4 Proofs of Liber Studio rum. 
 
 Mill. Sketch. Per Contra 
 
 1 Mill. Drawing C. Draft. Feb. 20. £100. 
 
 2 Pardon Tower 
 
 3 Farnley 
 
 4 Gordale 
 
 5 Rocks 
 
 7 W eatliercote 
 
 8 Geneva 
 
 9 Bolton 
 10 Thun." 
 
 Page 1. The following in ink : — 
 
 “ Sir Will m Forbes j 29 1 j 2 Storm 
 Parliament Square !- 22’ j, lightning 
 Edinbro ’. ) Ruins. 
 
 Ed. Swinburn , Esq'' 40 G n Grenoble. 
 
 Sir Tho s Gage. 10 G s 
 
 Ed. Lciscelles. Fort Rock. 60 G. 
 
 Ld. Essex. Cashiobury . 40 
 
 Duke of Ar gyle. Inverary Castle. 60." 
 
 And the following in pencil : — 
 
 “ T.G. at M Wilson. Swan. 
 Arundel St. Strand. 
 
 Freehold Cottage 80, 120, 300. 
 
 W arborough. f a mile 
 ui Thame and Thames 
 n j uf Road Turnpike. SO King St 
 Golden Square." 
 
[OIL] 
 
 GREENWICH SKETCH BOOK. 
 
 267 
 
 Page la. Draft of verses in ink : — 
 
 “ 0 Gold tliou parent of Ambition' s ardent blush 
 Thou urge the brave to utmost danger rash 
 The rugged terrors of the Northern main 
 When frost with untold rage does widely reign 
 The long lost sun beloiv the horizon drawn 
 Tis twilight dun , no crimson blush of morn 
 The deep'ning cur in frozen fetters bound 
 Gives up to cheerless night the Expanses round , &c." 
 
 „ 2. Draft of verses. 
 
 „ 2a. Do. 
 
 „ 3. “ Few the sweets that Autumn yields 
 
 The enfeebled Bee forsakes the fields 
 The drooping year, the shorten'd day 
 No glittering rays o'er fallows play , &c." 
 
 „ 3 a. Draft of lines of poetry. 
 
 » 4. Do. 
 
 „ 4 a. Do. 
 
 „ 5. Do. 
 
 „ 5 a. Do. 
 
 „ 6. Do. 
 
 „ 6a. Do. 
 
 „ 7. Do. 
 
 „ 7 a. Do. 
 
 „ 8. Do. 
 
 „ 8a. Do. 
 
 „ 9. Do. 
 
 „ 9a. Do. 
 
 „ 10. Do. 
 
 „ 10a. Do. 
 
 „ 11. Do. 
 
 „ 11a. Do. “ Invocation of Thames to the 
 
 Seasons — upon the Demolition of Pope's House — 
 
 O Seasons fair , guard Thompson' s Shrine 
 He sung the charms of Seasons prime 
 With watery-may his bays entwine 
 While Phebus oer our Vallies shine. 
 
 High then the Coral shell yet fill 
 With distant Thames translucent rill 
 With Memory sweet and thrush's thrill 
 Yet his lyre with Summer breezes fill." 
 
 „ 12. Another version of these lines. 
 
 „ 12a. Draft of three lines of verse. 
 
 „ 13. Draft of lines of verse. 
 
 „ 13a. Do. 
 
 „ 14. Do. 
 
 „ 14a. Do. 
 
 „ 15. Some remarks about light and shade. 
 
 „ 15a. Fishing boat with sails. 
 
 „ 16. A note on reflected light. 
 
 „ 16a. Continuation of drawing on p. 17a. 
 
268 
 
 TURNER DRAWINGS. 
 
 [CII.] 
 
 Page 17. 
 
 » 17 a. 
 „ 18. 
 
 „ 19. 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 1i 
 
 11 
 
 ii 
 
 19a. 
 20. 
 20a, 
 21 . 
 21a. 
 22 . 
 22a. 
 23. 
 23 a. 
 .24. 
 24a. 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 25. 
 25a. 
 
 26. 
 26a. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a, 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 11 
 
 11 
 
 11 
 
 33. 
 33a. 
 
 34. 
 
 Note on reflected light — 
 
 “ Rembrandt is a strong instance of caution 
 
 as to reflected, light and Correggio (ft) to refracted light. 
 Two instances of the strongest class may be found in 
 the celebrated pictures of the Mill and la Notte ." 
 
 River scene (continued on p. 16a). 
 
 Group of fishing boats. 
 
 (Continued from p. 17.) 
 
 “ The Mill has but one light , that is to say , upon 
 the mill , for the sky altho ' a greater body or mass if 
 reduced to black and ivhite yet is not perceptible of 
 sun's ray by any indication of form , but rather a 
 glow of approaching light , but the sails of the mill 
 
 are loaded with the ray, while all below is 
 
 lost in un gloom without the value of 
 
 Reflected light which even the sky commands, and 
 the ray upon the mill insists upon , while the 7 /, gleam 
 upon the water admits the reflection of the sky. 
 Ev twilight is all reflection but in Rem- 
 
 brandt it is all darkness and gleam of light, &c." 
 
 The Thames from Greenwich. 
 
 Note on reflections continued from p. 19. 
 
 ( Buildings at Greenwich. 
 
 | Do. 
 
 Thames from Greenwich. 
 
 Manuscript note in pencil. 
 
 Draft of verses. 
 
 Draft of verses. 
 
 “ Error in the Paul at Lyistria. The Pediment is not 
 shown altho' the side of the Building is, &c." 
 
 (Leaf torn out.) 
 
 “73 Feet 7 to the inside of Pannell moulding, &c." 
 
 Greenwich Hospital. 
 
 Study of dock leaves. 
 
 ( Buildings at Greenwich. 
 
 Portion of Greenwich Hospital. 
 
 Note on light and shade. 
 
 | Notes on perspective. 
 
 Group of fishing boats. 
 
 Building on hill. ? Observatory at Greenwich. 
 
 Figures fishing. 
 
 Two vessels sailing. 
 
 A snow scene. 
 
 Stags. 
 
 Men at work in a punt, “ driving down Lamprey's 
 stops." 
 
 Lines of verse. 
 
 1 Figures in a boat, with church tower. Possibly Bray 
 
 j Church. 
 
[OIL] 
 
 GREENWICH SKETCH BOOK. 
 
 269 
 
 Page 34a. 
 , , 35a. 
 „ 36. 
 
 „ 36a. 
 „ 37. 
 
 „ 37a. 
 „ 38. 
 
 „ 38a. 
 „ 39. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 39a. 
 
 40. 
 40a. 
 
 41. 
 41a. 
 
 A9 
 
 42 a. 
 
 43. 
 43a. 
 
 44. 
 44a. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 45. 
 45a. 
 
 46. 
 46a. 
 
 47. 
 47a. 
 475. 
 47c. 
 
 48. 
 43a. 
 
 49. 
 49a. 
 
 50. 
 50a. 
 
 51. 
 
 A •wooden bridge. 
 
 | On the river. 
 
 Barges. 
 
 Blank. 
 
 Diagrams of sails, and notes. 
 
 Blank. 
 
 Men fishing in boats. 
 
 “ Scarce the dappled morn d ies rise 
 But Music sweet ascends the skies 
 The soaring Lark with fluttering wing. 
 
 Does sweet her earlg matins sing. 
 
 With tones at Evening's hour 
 
 Sweet Philomel resumes her power 
 The echoing woods , the moonlight gleam 
 With silver radiance gilds the stream. 
 
 The darkened heath once gag with Green 
 The feathered songsters hail their Queen 
 Impassioned spread their spotted wings 
 And Love with Music's influence sings. 
 
 O calmly sweet inspiring power 
 Shine on my low hut anxious lower 
 Lulled with harmonious melody to rest 
 Let not one angry moment wound my breast." 
 
 Vessels sailing. 
 
 Some lines of verse. 
 
 Vessels sailing. 
 
 Draft of lines of verse. 
 
 | River scene. 
 
 Vessels sailing and some lines of verse. 
 
 Two stags feeding. 
 
 Thames barges sailing. 
 
 Group of stags. 
 
 River scene. 
 
 (Leaf torn out.) 
 
 Draft of verses. 
 
 Do. 
 
 Do. 
 
 | The Thames at Greenwich ; Custom House on right. 
 
 | Thames from Greenwich Park. 
 
 Greenwich, from the Park. 
 
 Blank. 
 
 | Thames, from Greenwich. 
 
 Group of stags. 
 
 Blank. 
 
 Boats and wharves. 
 
 River scene. 
 
270 
 
 TURNER DRAWINGS. 
 
 [OIL] 
 
 Page 52. 
 
 99 
 99 
 9 ' 
 99 
 99 
 
 52 a. 
 
 53. 
 53a. 
 
 54. 
 54a. 
 
 List of drawings for Mr. Fawkes : — 
 
 “ Mill, finished 
 Mill, sketch 
 Bardon Toivcr 
 Armutic Rock 
 Farnley 
 Gordale 
 Strid 
 
 Weathercuie 
 Bolton Abbey West 
 Lac de Th un 
 Lac de Geneve 
 
 Pel (possibly “ PsV.,” i.e. Pi3se Vache) 
 
 Bonneville 
 
 Lngleboro 
 
 Bolton 
 
 Blair's Hut 
 
 Stourback 
 
 Mt. Blanc 
 
 Vevay 
 
 Grundelwald 
 
 BrintzP 
 
 | Thames opposite the Custom Mouse at Greenwich. 
 
 Thames at Greenwich. 
 
 Draft of lines of verse. 
 
 River at Greenwich. 
 
 (38 leaves drawn on.) 
 
 1808 * (AET. 33). 
 
 CIII— “TA BLEY” SKETCH BOOK, No. 1. 
 
 Schedule No. 272. 
 
 Sketch book, bound in boards. 
 
 Paper, white. Water mark, “ J. Whatman. 1801.” 
 Size of page, 8|-| x ll-f§. 
 
 Executor’s endorsement — “No. 272. 25 leaves. 
 
 One in Colours. Bistre.” 
 
 The covers were broken off, Turner’s label de- 
 stroyed, and the leaves dispersed. No record was 
 kept of the original sequence of the pages. 
 
 Inside one of the covers the following is written in pencil — 
 “ 5 Plague. 
 
 10 Plague 
 Deluge 
 
 Echo and Nar. 
 
 Pyramis and Thisbe. 
 
 Dido & Eneas 
 Hero <£■ Lecmder ” ; 
 
 also a sketch in pencil of a bluebell and a small plant with 
 purple flowers. 
 
[cm.] 
 
 TABLEY, No. 1. 
 
 271 
 
 Page 1. 
 
 55 
 
 55 
 
 55 
 
 ’5 
 
 55 
 
 hmlm 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 55 
 
 55 
 
 7. 
 
 8 . 
 
 „ 10 . 
 
 „ 11 . 
 „ 12 . 
 „ 13. 
 „ 14 - 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 15. 
 15«. 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 „ 20 . 
 
 55 
 
 22 . 
 
 55 
 
 55 
 
 23. 
 
 24. 
 
 55 
 
 25. 
 
 55 
 
 55 
 
 26. 
 
 27. 
 
 River winding through valley, with distant hills. Pos- 
 sibly the River Ribble, with Ingleborough and 
 Whernside in distance. 
 
 Town beside a lake or river, with distant mountains. 
 
 A ruined building among mountains. 
 
 Stormy cloud effect. 
 
 “ Giggleswick ” (on Ribble), with Ingleborough in 
 distance. 
 
 Whalley Bridge and Village. (Oxford, 63-162«, as 
 “ Bridge and Village.”) 
 
 Continuation of drawing of Whalley Bridge, &c., on 
 page 6. 
 
 Whalley Bridge. See Lady Wantage’s picture of 
 “Whalley Bridge, and Abbey, Lancashire. Dyers 
 washing and drying Cloth.” Exhibited at R.A., 1811. 
 
 (Oxford, 64-162&, as “ Bridge, with Figures.”) 
 
 Group of cattle on banks of river, with Whalley Bridge 
 and Abbey in distance. 
 
 Malham Cove. See water colour, Agnew’s Gallery, 
 February, 1908. 
 
 Buildings beside a wooden bridge. 
 
 Three arches of a bridge, with part of a fourth showing. 
 
 ? Valle Crucis Abbey, with Dinas Bran in distance. 
 
 Ruins of an abbey on river bank, with mountains 
 beyond. Possibly Valle Crucis. 
 
 River among mountains. 
 
 1 Tabley House, from the lake. Sir John Leicester’s 
 
 J yacht is on the lake, and men are fishing there. 
 
 Another view of Tabley House, from the lake. 
 
 View of Tabley House, &c., similar to that on pp. 15rt 
 and 16. Oil colour. The leaf appears to have been 
 folded up after the painting was executed, thus crack- 
 ing the paint along the creases. 
 
 (Two slightly different views of Tabley House were 
 exhibited R.A., 1809.) 
 
 Town and bridge among trees, with distant mountains. 
 
 Buildings among trees, with distant moun.tains. 
 
 Study in sepia for a “ Liber ” subject. Exhibited 
 Drawings, No. 514, N.G. 
 
 Scene in Lancashire or North Wales. Oil colour and 
 pen and ink on sized paper. Exhibited Drawings, 
 No. 766, N.G. 
 
 A Mill (?) among mountains. 
 
 Women washing clothes on banks of lake (or river), 
 with mountains in distance. 
 
 “ Corner of Ribblesdale Leap." 5th Loan Collection, 
 No. 42. 
 
 River and bridge. 5th Loan Collection, No. 41. 
 
 Man fishing in punt. 
 
 (27 leaves drawn on.) 
 
272 
 
 TURNER DRAWINGS. 
 
 [CIV.] 
 
 1808 # (AET. 33). 
 
 CIV. — " TABLEY” SKETCH BOOK, No. 2. 
 
 Schedule No. 291. 
 
 Sketch book, bound in calf. 
 
 Turner’s label — “ 28. Tabley .” 
 
 Paper, white. 
 
 Size of page, 3f x 6j\. 
 
 Executors’ endorsement — “No. 291. Contains 
 55 leaves. Pencil sketches. 
 
 (Sgd.) II. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement — “ 291. Book of high 
 value, of middle time, for distribution. Some cattle 
 pieces in middle very beautiful.” 
 
 (Note. — Although the book is labelled “Tabley” by Turner, 
 it does not appear to contain any sketches of Tabley House ; 
 see, however, p. 70a. Possibly the excursion into Merioneth- 
 shire may have been undertaken from Tabley House.) 
 
 On tly-leaf rough sketch of stormy sky. 
 
 Page 1. Seven-eighths of leaf torn away ; on remaining frag- 
 ment is written in pencil : — 
 
 “ 1 P‘ of Stockings 
 
 1 Waistcoat 
 
 2 Shirts 
 
 1 Trousers 
 1 Cravat." 
 
 „ 2. Stormy sky. “ Sun breaking through darkness, dr.” 
 
 „ 3. Grotesque figure fishing in river, with distant bridge 
 
 and mountains. 
 
 „ 4. An interior, with two men and dogs. 
 
 „ 4a. In ink — 
 
 “ Fishing Rod, Great Coat , Box coats. 
 
 Painting Box. Canvas." 
 
 Various figures. 
 
 Do. 
 
 An interior, with figures. 
 
 [ Do. 
 
 ) Do. “ Bacon on the rack, &c." 
 
 Single-arched aqueduct or road connecting hills — 
 “ Glin." ? Polity Glyn, near Corwen. 
 
 Road running along side of mountain. 
 
 Do. do. 
 
 One-arched bridge thrown over mountain gorge, seen 
 from below. 
 
 o. 
 
 6 . 
 
 7. 
 7a. 
 
 8 . 
 8a. 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
[Civ.] 
 
 TABLEY, No. 2. 
 
 273 
 
 Page 14. 
 
 Plateau among mountains ; coaching 
 
 99 
 
 15. 
 
 Road running along mountain side. 
 
 99 
 
 16. 
 
 Do. do. 
 
 99 
 
 17. 
 
 Road running along mountain side, 
 bridge in middle distance. 
 
 99 
 
 18. 
 
 Road running along mountain side. 
 
 99 
 
 19. 
 
 Group of cattle resting. 
 
 9 ) 
 
 20. 
 
 Mill among the mountains. 
 
 99 
 
 21 . 
 
 Among the mountains. 
 
 99 
 
 22. 
 
 A mountain pass. 
 
 99 
 
 23. 
 
 Rocky scene. 
 
 99 
 
 24. 
 
 Mountain scene. 
 
 99 
 
 25. 
 
 Do. 
 
 99 
 
 26. 
 
 Water mill (?) among the mountains. 
 
 with one-archecl 
 
 2 6a. Flat stretch of country, with distant range of hills. 
 
 27. One-arched bridge across stream. 
 
 27 a. Men fishing from bridge. 
 
 28. Blank. 
 
 28a. Men fishing in trout stream. See picture of “ The Dee 
 at Corwen Bridge,” in Turner’s Studio, 1809. 
 
 29. Blank. 
 
 29a. Mountain pass. 
 
 30-83. Blank. 
 
 33a. Mountain scene. 
 
 34-35. Blank. 
 
 35a. View across country. 
 
 36-40. Blank. 
 
 40a. Bridge across river. 
 
 41. River between mountains. 
 
 42-44. Blank. 
 
 44a. The Dee at Corwen ; man fishing in river. 
 
 45. Blank. 
 
 45a. \ The Dee at Corwen. 
 
 16. / 
 
 46a. 1 Cattle on banks of river, with boats passing. 
 
 47. J 
 
 47a. Cattle on banks of river. See picture of “ River Scene 
 with Cattle,” No. 1,857, N.O., now at the Tate Gallery. 
 
 48. Blank. 
 
 48a. 1 River scene, with cattle. 
 
 49. / 
 
 50-52. Blank. 
 
 52a. 
 
 53. 
 
 54. 
 54a. 
 
 Ruled for music. 
 
 Blank. 
 Drawing of 
 Yellow .” 
 
 eel hook. “ Large Eel Hooks. Patent 
 
TURNER DRAWINGS. 
 
 [CIV.] 
 
 274 
 
 Sun breaking through clouds. 
 
 Page 55. Landscape, with mountains. 
 
 „ 56. Do. do. 
 
 „ 57-67. Blank. 
 
 „ 67 a. Landscape, with mountains. 
 
 „ 68-70. Blank. 
 
 „ 70a. Road running through outskirts of a forest. “ Up 
 
 Talley (?).” 
 
 ,, 71. Blank. 
 
 „ 71a. 
 
 „ 72. Blank. 
 
 „ 72 a. Landscape, with mountains. 
 
 „ 73. Blank. 
 
 „ 73a. Landscape, with mountains. 
 
 „ 74. Blank. 
 
 „ 74a. River, with distant mountains. 
 
 „ 75. Blank. 
 
 „ 75 a. Landscape, with mountains. 
 
 „ 76. Blank. 
 
 „ 76a. 1 Bridge over river, with distant mountains. 
 
 „ 77. J 
 
 ,, 77a. Landscape, with mountains. 
 
 „ 78. Blank. 
 
 „ 78a. Bridge over river, with distant mountains. 
 
 „ 79. Blank. 
 
 „ 79a. Bridge over river, with distant mountains. 
 
 „ 80. Blank. 
 
 „ 80a. \ Bridge over river, with distant mountains. 
 
 „ 81. J 
 
 „ 81a. Do. do. 
 
 „ 82. Blank. 
 
 ,, 82a. \ Bridge over river, with distant mountains. 
 
 „ 83. j 
 
 .. 83a. River scene, with distant mountains. 
 
 „ 84. Blank. 
 
 „ 84a. Landscape. 
 
 ,, 85. Ruled for music. 
 
 Do. 
 
 85a, 
 
 86 . 
 
 86a 
 
 87. 
 
 Design for a tower on bridge. 
 
 do. 
 
 Do. 
 
 Blank. 
 
 87a. Design for a tower on bridge. 
 
 (Leaf torn out.) 
 
 88. “ A uliite Body floating doivn a River (the Dee) altho' 
 
 relieved the whole surf ace from the water which had 
 on its inclined plane a dun cloud reflected , yet on the 
 same tint the reflection of the white Body had not 
 any light or white reflection , but on the contrary 
 had its reflection dark." 
 
 (59 leaves drawn on.) 
 
[CV.] 
 
 275 
 
 1808 * (AET. 33). 
 
 CV.-TABLEY SKETCH BOOK, No. 3. 
 
 Schedule No. 327. 
 
 Sketch hook bound in calf, with one clasp broken. 
 
 Turner’s label on back torn. 
 
 Paper, white. 
 
 Size of page, 4| x 1\. 
 
 Executor’s endorsement, — “No. 327. Contains 
 64 leaves pencil sketches. 
 
 (Sgd.) C. Turner.” 
 
 Mr. Ruskin’s endorsements, — “'327. English. 
 
 Not very good ; ” and “ Invent. 327. Interesting 
 middle English Pastoral, London Bridge, &c. Essay 
 on Reflections (optical) on first page.” 
 
 Notice. — The Tabley sketches are certainly earlier 
 than 1809 — probably 1808 — but the London Bridge 
 and other sketches in the book seem to be much 
 later in date. They are probably about 1820. 
 
 On inside of cover the following is written in ink : — 
 
 “ Reflections not only appear darker but longer than 
 the object which occasions them , and if the ripple or hollow 
 of the ivave is long enough to make an angle with the eye 
 it is on these undulating lines that the object reflects, and 
 transmits all perpendicular objects lower towards the 
 spectator. But in receding lines as well as objects, rules 
 seem to lose their power , and those guides to enable us to 
 
 find some cause to near objects lose or their 
 
 (possibly “ application ”) become enfeebled, by contr 
 
 to remote ones. It has been asserted that all obs. (? objects) 
 appear equal from the base line of the water , but this 
 axiom I am compelled to dissent with. 
 
 “ It is true that by placing the eye equal to the ivctter it 
 comes right to the rule laid down, but when that water 
 is represented on which all things are to be reflected it is 
 no longer a right angle, but according \_to~\ the elevation 
 of the spectator becomes more or less an angle of insi- 
 clence." 
 
 (Continued on fly leaf.) 
 
 “ If the undulating surface of liquids did not by 
 currants, air and motion congregate forms, it would be 
 no difficulty to simplify cdl rules or attempts at such in 
 to a small space by considering it and treating reflections 
 as reflections upon polished bodies — when frequently 
 reflections appear so true but most fallacious, to the great 
 book of nature— when painting art toils after truth in 
 vain." 
 
 Inside of other cover is a slight sketch in pencil of men 
 fishing, and the following notes : — 
 
 “ 12,300 Nvy P. (?) 14 Oct., 1820 
 
 6,122 50 3 Nov., 1820, &c." 
 
276 
 
 TURNER DRAWINGS. 
 
 [CV.] 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 19 
 
 99 
 
 99 
 
 99 
 
 1. A few hurried scrawls. 
 
 2. Church tower among trees. 
 
 3. Distant church tower. 
 
 4. River with bridge. 
 
 5. A mansion. 
 
 6. Blank. 
 
 (One leaf cut out.) 
 
 7. Tabley Hall, with water tower in foreground. — “ Morn- 
 
 ing Mist arising ." 
 
 7 a. Design for an arrangement of curtains. 
 
 8. Tabley water tower, with group of cattle beside lake. 
 
 9. Landscape. 
 
 10. Figures in a stream overhung with trees. 
 
 , n | ‘'12 ox. of Gum Mastick. 
 
 lva - \ 5 02 . of Gum A. 
 
 12 os. of Soft Water. 
 4\ of G. Amber. 
 
 8 of Wax. 
 
 4 02 . of G. A. 
 
 8 02 . of S. Water. 
 
 2 of Mastick. Boiled and Beat till it becomes a, 
 paste, then add 5 02 . of wax. 
 
 More water makes like Cream." 
 
 „ 11. Figures in stream, a one-arched bridge with wagon on 
 
 it beyond. 
 
 „ 12. Figures in stream. 
 
 „ 13. Figures setting traps (?). 
 
 „ 14. Figures fishing (?) in stream. 
 
 „ 15. Figures taking up nets. 
 
 „ 16. Blank. 
 
 „ 17. Tabley lake and water tower ; a windy day. Pen and 
 
 ink. 
 
 „ 18. Man fishing in a pond. 
 
 „ 19. Figures beside a stream. 
 
 „ 19a. Various designs for arrangement of curtains round 
 
 pictures. 
 
 „ 20. An aqueduct running across a valley. 
 
 „ 20a. Figures in a boat, &c. 
 
 „ 21 . Landscape. 
 
 ,, 21a. Bridge over Thames. ? Blackfriars. 
 
 „ 22. Group of buildings. 
 
 „ 22a. Group of barges, with cranes, &c. 
 
 ,, 23. Buildings and trees on banks of river, with bridge in 
 
 middle distance. 
 
 „ 24. “ Gamut for tlie Flute." 
 
 „ 25. Blank. 
 
 „ 26. Scene in the House of Commons (?). 
 
 „ 27. Landscape. 
 
 27a. Shipping off the Custom House at London Bridge, 
 
rcv.i 
 
 TABLET No. 3 SKETCH BOOK. 
 
 277 
 
 Page 28. Various groups of shipping near London Bridge. 
 
 „ 28a. Shipping. 
 
 „ 29. Do. 
 
 29a. Do. 
 
 „ 30. River flowing through valley among trees. 
 
 „ 30a. Shipping. 
 
 „ 31. Blank. 
 
 „ 32. A doorway with pictures hung on each side and one 
 
 over it. Within the frame on left is written “ Land- 
 scape” and below it “ Sir J. Leicester , Bart. ” ; 
 within frame on other side, “ Beeston Castle ,” and 
 below it, “ G. Barrett ” ; within frame above the 
 doorway, “ The Money Changers in the Temple,'' 
 and below it, “ M. A . Carrara ” (or “ Carvagio ”). 
 
 ,, 33-35. Blank. 
 
 „ 35a. London Bridge and shipping. 
 
 „ 36. Blank. 
 
 „ 36a. Shipping, with bridge and St. Paul’s in distance. 
 
 Above some distant buildings is written, “ Half the 
 tone of St. P." 
 
 „ 37. Blank. 
 
 „ 37a. Wooded banks of river. 
 
 „ 38. River scenes. 
 
 „ 38a. Shipping. 
 
 „ 39. Do. 
 
 „ 39a. ) Shipping at London Bridge. 
 
 „ 40. \ 
 
 „ 40a. ) The Custom House and Monument. 
 
 „ 41. f 
 
 „ 41a. Custom House and St. Magnus. 
 
 „ 42. Shipping at London Bridge. 
 
 „ 42a. Design for dado. 
 
 „ 43. Designs for arrangement of curtains in picture gallery. 
 
 „ 43a. Various diagrams. 
 
 „ 44. Designs for top light of a picture gallery. 
 
 „ 44a. Do. do. 
 
 ,, 45. Blank. 
 
 „ 45a. Groups of men and cattle. 
 
 „ 46. More diagrams. 
 
 „ 47-48. Blank. 
 
 „ 49. Design for top light. 
 
 „ 50-54. Blank. 
 
 „ 54a. Shipping on Thames. 
 
 (One leaf cut out and three torn.) 
 
 „ 55. Blank. 
 
 „ 55 a. Diagrams and measurements. 
 
 (2 leaves cut out.) 
 
 „ 56. Shipping off the Tower. 
 
 „ 56a. ) Do. 
 
 „ 57. / 
 
 „ 57a. \ Do. 
 
 ,, 58. f 
 
 32796 
 
 T 
 
278 
 
 TURNER DRAWINGS. 
 
 [CV.] 
 
 Page 58 a. Shipping, with St. Paul’s in distance. 
 
 59. Do. 
 
 59a. Do. 
 
 GO. Do. 
 
 do. 
 
 do. 
 
 do. 
 
 „ 60a. Shipping. 
 
 „ 61. Shipping and figures. 
 
 „ 61a. 1 Shipping off London Bridge. 
 
 „ 62a. River scene. 
 
 55 
 
 55 
 
 55 
 
 99 
 
 99 
 
 99 
 
 95 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 55 
 
 55 
 
 59 
 
 55 
 
 55 
 
 95 
 
 55 
 
 59 
 
 95 
 
 99 
 
 55 
 
 99 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95 
 
 55 
 
 55 
 
 (Leaf cut out.) 
 
 63. Shipping, with St. Pauls in distance. 
 
 63a. Do. do. 
 
 64. Do. do. 
 
 64a. Shipping off London Bridge. 
 
 65. Barge laden with hay ; sketch of Richmond Bridge (?), 
 
 &c. 
 
 65a. “ King's Warehouse." 
 
 66. Design for picture of Custom House. 
 
 66a. Facade of Custom House. — “ Erected in the year of 
 
 in the Reign of H.M.K.G. III. 
 
 (2 leaves torn out.) 
 
 67. Blank. 
 
 67a. Diagram of position of heating pipes in a picture 
 gallery. — “ Flues from the Back parlour or Kitchen 
 to warm the Gallery. Ventilation of Gallery — and 
 the Blinds to how and set behind a moulding to 
 exclude the Sun's rays." 
 
 68. General view of gallery. 
 
 68a. Views of London Bridge. 
 
 69. A fishing boat and bows of man-of-war. 
 
 69a. 1 Bridge and shot tower. 
 
 70. J 
 
 70a. A barge. 
 
 71. Bridge and buildings. 
 
 71a. Dock leaves and tw’o cows. 
 
 72. St. Paul’s seen through arches of bridge. 
 
 72a. 1 Waterloo Bridge and Shot Tower. “ Bargemen are 
 
 73. / cautioned not to ground, on this Pile." 
 l?>a. Waterloo Bridge and Somerset House (?). 
 
 74. Bridges, with St. Paul’s in distance. 
 
 74a. 1 A bridge, with St. Paul’s in distance. 
 
 75. J 
 
 75 a. \ Bridge, with Shot Tower and St. Paul’s. 
 
 76. j 
 
 76a. \ Waterloo Bridge and St. Paul’s. 
 
 77. j 
 
 77a. 1 St. Paul’s and London Bridge, seen through arches of 
 
 78. j Waterloo Bridge. 
 
 78 a. A fishing smack 
 
 79. Blank 
 
 80. Blank. 
 
[OV.] 
 
 TABLEY No. 3 SKETCH BOOK. 
 
 279 
 
 Page 80a. 
 
 81. 
 
 81a. 
 
 82. 
 
 83. 
 
 84. 
 
 85. 
 85 a. 
 
 86 . 
 
 87. 
 87 a. 
 
 88 . 
 
 88a. 
 
 89. 
 89a. 
 
 90. 
 
 91. 
 
 92. 
 92a. 
 
 “ A.D. 44, the first Christian Church was built at 
 Glastonbury . 
 
 A.D. 940 built a house of white 
 
 twigs, and Geraldus Cambriensis says, Arnalphus de 
 Montgomery in Henry First's time built Pembroke 
 Castle with twigs arid turf, the twigs being held (?) 
 as a mark of nobility, and according to Ovid, the old 
 Roman Capitol was built so. It may be presumed 
 that Joseph of Aremathea , sent by Philip the Apostle 
 into the Island, brought there the Roman idea of 
 building. 
 
 Claudius banished the Religion of the Druids, &c.” 
 “ Parlour 3-5\ long. 
 
 3-3 high. 
 
 K. 3-1 high. 
 
 3-3 long. 
 
 K. slab. 4 — long. 
 
 11 inches Broad. 
 
 G. slab. 18 Broad. 
 
 3 ft. long. 
 
 Garrett 3- high. 
 
 2-6 Broad. 
 
 Page of writing about relations of the Romans with 
 Britains. Some of it is illegible, but one part 
 runs :— - u and altho ’ it cost them (i.e. the Romans) as 
 many Legions to preserve the Island yet they did not 
 forsake it but in their last extremity, and some data 
 may be drawn from that Triumph to elucidate that 
 Britain ivas considered, as Mistress of the Seas, by 
 her Statue being surmounted by a naval coronet , <kc." 
 
 Blank. 
 
 (The following loose leaves appear to belong to this 
 book.) 
 
 Old Blackfriar’s Bridge (?) and St. Pauls. 
 
 A mansion, with figures beside a lake or river. 
 
 Shipping on Thames. 
 
 River scene. 
 
 Thames at Richmond, and other sketches. 
 
 Thames at Richmond. — “ Linen drying." 
 
 Commencement of landscape sketch. 
 
 River scene, with barge. 
 
 River scene. 
 
 River scene. Oxford, 57-155a. 
 
 There appears to be another drawing on back, but it is 
 stuck down tight on a piece of cartridge. 
 
 Bridge, with fisherman. 
 
 Group of cows beside stream. 
 
 Three sketches on the Thames ; one at Walton. 
 
 Sketches near London Bridge. 4th Loan Collection, 
 No. 25. 
 
 (76 leaves drawn on.) 
 
 T 2 
 
 32796 
 
280 
 
 TURNER DRAWINGS. 
 
 [CVI.] 
 
 1807 - 1809 * (AET. 32-4). 
 
 CVI.— DERBYSHIRE SKETCH BOOK. 
 
 Schedule No. 303. 
 
 Small sketch book, bound in calf, with one brass 
 clasp. 
 
 Has been broken up, and Turner’s label lost, but 
 the leaves were numbered. 
 
 Paper, white. Water mark, “ 1805.” 
 
 Size of page, 4|- x 7j. 
 
 Executors’ endorsement: — “No. 303. Contains 
 32 leaves. Pencil sketches and pen and ink. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsements, — “ 303. Lowland — 
 England”; and “303. Some interesting sheets of 
 M.S. one or two mere traces of pencil left, the rest 
 cut out.” 
 
 On inside of covers various lines of verse. Some of 
 these are illegible, but the following fragments can be 
 deciphered : — 
 
 “ Till love the sly rogue 
 He craves for admittance disguidly (?) poor. 
 
 For pity's kind sake pray open the door 
 Oh ! simple maid don't believe the sad tale 
 
 His S ^ S ds | are deceitful & cool is the gale — 
 
 The ungrateful intruder plac'd a thorn in her breast 
 Then as fickle as false , as base as unkind, 
 
 He left her — he left her, and sorrow behind." 
 
 Page 1. River winding through valley, with distant mountains. 
 „ 2. Blank. 
 
 „ 2a. Draught of verses — 
 
 “ Few the Sweets that Autumn yields 
 The en feebled Bee forsakes the fields 
 The drooping flower and scarlet briar declare 
 The approach of winter Ac." 
 
 „ 3. A plain (or river) with mountains beyond. 
 
 „ 3 a. Draught of verses — 
 
 “ Few the Streets that Autumn yields 
 Far roams the Bee on .. . fields 
 
 Few cheerful mornings, yield the skies 
 But fog or Rain o'er uplands flies," &c. 
 
 „ 4. Town in valley, with distant lake (?) and mountains, 
 
 ,, 5. Bridge with five arches. 
 
 „ 6. Bridge, with town on hill. 
 
 „ 7. River between hills. 
 
[CVI.] DERBYSHIRE SKETCH BOOK. 
 
 281 
 
 Page 8. Man fishing in river between hills. 
 
 „ 9. Houses on steep banks of river. 
 
 „ 10. Landscape. 
 
 „ 11. The following verses in ink ; the handwriting may not 
 
 be Turner’s : — 
 
 “ John Bull Content 
 Here's a bumper to honest John Bull 
 Should he go , we shan't get such another ; 
 
 And with hearts and with glasses brimfull 
 Here's health to Old England , his mother. 
 
 She gave him a good education , 
 
 Taught him industry welfare would bring , 
 
 To be loyal and true to the nation, 
 
 And to stand by his Church and his King. 
 
 Now John ie a good humour'd felloiv 
 Industrious, and honest, and brave, 
 
 Not affronting his betters, tho' mellow, 
 
 Since better's he knoivs he must have. 
 
 As there must be some stronger, some wiser, 
 
 So there will be some little, some great, 
 
 For the nation some born to advise are, 
 
 All the welfare promote of the State. 
 
 Some are born for the court and the City, 
 
 And some for the village or cot ; 
 
 But oh ! what a dolorous ditty, 
 
 If all became equal in lot. 
 
 „ 11a. If our ships had no pilots to steer, 
 
 What would come of poor Jack in the shrouds. 
 If our troops no commander would hear 
 They would soon be arm'd robbers in crowds. 
 
 Then the plough and the loom would stand still 
 If they made of us gentlemen all ; 
 
 If ploughmen were all who would fill 
 The parliament, pulpit, and hall, 
 
 Rights of man, make a very fine sound ; 
 
 Equal riches , a plausible tale ; 
 
 But whose labour would then till the ground ? 
 All would drink, but who'd breiv the best ale ? 
 
 If half naked have starved in the streets, 
 
 We were wand' ring about sans culottes, 
 
 Would equality furnish us meat ? 
 
 Or would liberty lengthen our coats ? 
 
 „ 12. Now blest in a merciful King, 
 
 Bo well guarded by juries and laws ; 
 
 We amidst our employments may sing 
 The true blessings of liberty's cause. 
 
 Then perish whatever may tend 
 To confusion, and riot, and blood : 
 
 On his virtues John Bull may depend, 
 
 To be happy as long as he's good." 
 
£82 
 
 TURNER DRAWINGS. 
 
 [cvi.3 
 
 Page 13. Blank. 
 
 „ 14. A long curved bridge (or causeway), with house 
 
 beyond. 
 
 „ 15. A seven-arched bridge. Pen and ink. “ Dove." 
 
 „ 15a. “ Children picking up Horse Dung , gathering Weeds, 
 
 Driving Asses with coals. Milk carriers to Man- 
 chester. Yorkshires with Barrels. Pigs, Geese, 
 Asses, Browsing upon Thistles. Asses going to Coal 
 Pits ." 
 
 95 
 
 99 
 
 99 
 
 95 
 
 5’ 
 
 55 
 
 55 
 
 99 
 
 55 
 
 55 
 
 9 ! 
 
 99 
 
 59 
 
 55 
 
 55 
 
 59 
 
 95 
 
 99 
 
 55 
 
 16. Barges moored at side of river ; bridge with distant 
 church steeple beyond. — “ Shore darkest," sky 
 “ warm gray." 
 
 17-20. Blank. 
 
 21. Study of clouds. 
 
 22-28. Blank. 
 
 29. Barges unloading ; church tower among trees beyond. — 
 E. of Boat relieved by shade &c.” 
 
 30-34. Blank. 
 
 34a. ) 
 
 35. 
 
 35a. > Draught of Poetry. 
 
 36. 
 
 36a. ) 
 
 37-48. Blank. 
 
 48a. Plan of grounds. Pen and ink. 
 
 49-61. Blank. 
 
 62-64. Missing. 
 
 65. Blank. 
 
 65a. Draught of poetry. 
 
 66. Figure working in barn. 
 
 66a. Continuation of notes on grammar on p. 67. 
 
 67. “ The Roman understood liberty at least as well as we. 
 
 Adverb, quality ought to consider intimately con- 
 nected with the object spoken of only 
 
 ( who which what whose 
 
 wholly , least, \ relative {pronouns always to follow 
 or precede the quality expressed ) which always refers 
 gram if) to the immediately preceding substantive. 
 
 It is folly to arm ourselves {against the 2 accidents 
 2 sub. \ 
 
 of Life ) by heeping up treasures j which nothing can 
 protect us against but our Heavenly Father. Arti- 
 ficial construction or inversion. Lord Shaftesbury 
 speaking of Vice — This, as to the complete immoral 
 State is what of their own accord, men readily 
 remark, where there is this absolute degeneracy , this 
 total apostacy from all candour, trust, or equity, 
 there ore few who do not see and acknowledge the 
 misery which is conseguent. Seldom is the case mis- 
 construed when at work. The misfortune is that we 
 look not in this depravity, nor consider how it stands, 
 in less degrees, &c" 
 
[CVI.] DERBYSHIRE SKETCH BOOK. 
 
 283 
 
 Page 67 a. “ There is not a quality or endoivment, faculty or 
 ability which is not in a superior degree possess t by 
 women. Vide M rs . Wells. Knockholt, Oct. 
 
 In discourses that are to be spoken , regard must be 
 had. to the easiness of pronunciation. Example of 
 style. Periodique — viz. — several sentences linked 
 together , the sense only given at the close — Sir Will. 
 Temple , dec." 
 
 68. “ Blair's style. 
 
 Perspicuity in writing is not to be considered, as 
 merely a sort of negative virtue , or freedom from 
 defect. Tt has higher merit. It is a degree of positive 
 Beauty. We are pleased, with an author , we consider 
 him as deserving praise , who frees us from all fatigue 
 of searching for his meaning ; who carries us through 
 this subject without any disarrangement or conf usion , 
 where we see to the very bottom." 
 
 Then follows a list of “ Synonymous words ” &c. 
 
 69-70. Blank. 
 
 70a. Continuation of notes on p. 71a (q.v.). 
 
 71. Blank. 
 
 71a. “ Sir Joshua's 1 st discourse consists of seven pages. 
 
 29 lines of 29 letters (?) only 
 
 15 \ 
 
 145 
 
 29 
 
 435 
 
 29 
 
 3915 
 
 970 
 
 ~2 Discourse. 13 Pages. Leaves. 
 
 13,615 Lines J 
 
 The history of errors properly managed shorten 
 the road, shortens the road to truth. 2 Discourse. 1 2 
 The a Student from the stock of Ideas collects 
 and. not by ... . following any favourite beyond 
 where that master excells. Yet not blindly to any 
 authority however great, but not to rely but be 
 af raid of trusting his own judgement <£■ of deviating 
 into any track where he cannot find the footsteps of 
 some famous master." 
 
 1 “ The history of errors, properly managed, often shortens the road to truth.” 
 Reynolds' s Second Discourse. 
 
 2 “ When the artist is once enabled to express himself with some degree of 
 
 correctness, he must then endeavour to collect subjects for expression ; to amass 
 a stock of ideas, to be combined and varied as occasion may require . . . with 
 
 a variety of models thus before him, he will avoid that narrowness and poverty 
 of conception which attends a bigoted admiration of a single master, and will 
 cease to follow any favourite where he ceases to excell . . . Though the student 
 will not resign himself blindly to any single authority, when he may have the 
 advantage of consulting many, he must still' be afraid of trusting his own 
 judgment, and of deviating into any track where he cannot find the footsteps of 
 some former master.” Id. 
 
284 
 
 TURNER DRAWINGS. 
 
 [CVI.'J 
 
 A great part of every composition is commonplace 
 — 2 dis. — therefore G l Copying delusive dec. 1 
 
 By comparison with originals deficiencies are 
 .... more sensibly than by precepts. The true 
 principles of Ptg. will mingle with your thoughts. 
 Ideas fix'd by sensible objects." 2 3 
 
 (Continued on p. 70 a.) 
 
 “ — will be certain and defective and sinking 
 deeper in the mind will not only be just but more 
 lasting than those presented to you by precepts only , 
 which will be always fleeting , variable and undeter- 
 mined. 2 dis. s 
 
 Not to have any dependence upon Genius. If you 
 have any great talents industry will improve them , 
 if you have but moderate abilities industry will 
 improve them. Nothing denied to well directed 
 labours. Assiduity unabated by difficulty. A dis- 
 position eagerly directed to its pursuits will produce 
 effects similar to those wh. some call the result of 
 natural powers. 2 discourse." 4 
 
 Page 72. Blank. 
 
 „ 72a. Ruined abbey (?) in middle distance, with river in 
 
 foreground. 
 
 „ 73. Blank. 
 
 „ 73a. Another view of ruined abbey (?) with bend of road in 
 
 foreground. Possibly Newark Abbey, on the Wey, 
 see Lady Wantage’s picture. 
 
 „ 74. Blank. 
 
 „ 74a. Another view of ruins. 
 
 „ 75. Blank. 
 
 „ 75a. Broken wall among trees on river bank. 
 
 „ 76. Blank. 
 
 „ 76a. Ruined abbey (?) surrounded by wall. 
 
 „ 77. Blank. 
 
 „ 77a. Landscape, with church tower and ruins in m.-d. 
 
 1 “ Of every large composition, even of those which are most admired, a great 
 part may be truly said to be commonplace. This, though it takes up much time 
 in copying, conduces little to improvement. I consider general copying as a 
 delusive kind of industry, &c.” Reynolds's Second Discourse. 
 
 2 “ After you have finished your work, place it near the model, and compare 
 them carefully together. You will then not only see and feel your own 
 deficiencies more sensibly than by precepts, or any other means of instruction. The 
 true principles of painting will mingle with your thoughts. Ideas thus fixed by 
 sensible objects, &e.” Id. 
 
 3 “ — will be certain and definitive : and, sinking deep into the mind, will not 
 only be more just but more lasting than those presented to you by precepts only, 
 which will always be fleeting, variable, and undetermined.” Id. 
 
 1 “ You must have no dependence on your own genius. If you have great 
 talents, industry will improve them : if you have but moderate abilities, industry 
 will supply their deficiency. Nothing is denied to well-directed labour ... I will 
 venture to assert, that assiduity unabated by difficulty, and a disposition eagerly 
 directed to the object of its pursuit, will produce effects similar to those which 
 some call the result of natural powers." Id. 
 
[CVI.] 
 
 DERBYSHIRE SKETCH BOOK. 
 
 285 
 
 Page 78. 
 
 99 
 
 ?? 
 
 99 
 
 59 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 '9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 78 a. 
 
 79. 
 79a. 
 
 80. 
 80a. 
 81. 
 81a. 
 82. 
 82a. 
 
 83. 
 83a. 
 
 84. 
 
 85. 
 85 a. 
 
 86. 
 86a. 
 
 87. 
 
 88 . 
 88a. 
 89. 
 89a. 
 
 Blank. 
 
 Road leading to one-arched bridge, with woods on 
 either side. Pen and ink. 
 
 Blank. 
 
 Landscape, with figure and cattle. 
 
 Blank. 
 
 Bridge with rains on hill. 
 
 Blank. 
 
 Mansion in middle distance. 
 
 Blank. 
 
 Mansion on hill in mid-distance. Pen and ink. 
 
 Blank. 
 
 1 Bridge with four arches over river, with houses on 
 j either bank. 
 
 Blank. 
 
 River bank, with bridge in mid-distance. 
 
 Blank. 
 
 Another view of same bridge. 
 
 Cattle (?) on Hill-side. 
 
 Blank. 
 
 River, with steep banks. 
 
 Blank. 
 
 Figures and cottage, in pencil ; a wi Id rose, in pen and 
 ink ; also various calculations and notes. Among 
 them : — 
 
 “ Those that work hardest get the least, for it &c." 
 
 9206 
 
 50 
 
 4 March — 8 
 
 8157 
 
 50 
 
 30 Jidy — 8 
 
 2625 
 
 100 
 
 1 7 Sep. — 5 .” 
 
 (34 leaves drawn on.) 
 
 1808 - 1809 * (AET. 33-34). 
 CVII.— " KIRKSTALL" SKETCH BOOK. 
 
 Sketch book, bound in calf, with one brass clasp 
 (broken). 
 
 Turner’s label,— “ 47. KirkstalV' 
 
 Paper, white. Water mark, “ J. Whatman, 1805.” 
 Size of page, 4]- x 7 ^y. 
 
 Executor’s endorsement : — “ No. 348. Contains 
 17 leaves. Pencil. 
 
 (Sgd) C. Turner.” 
 
TURNER DRAWINGS. 
 
 286 
 
 [CVII.j 
 
 0)1 the inside of one cover in ink, in Turner’s hand- 
 writing : — 
 
 “ Draft 100 : 0: 0. Dorfield. 20 July, 1808. 
 
 One Month after date pay Sir J — or order one 
 H d P. value received. 
 
 Hy. (?) Tomkinson. 
 
 Goslings <& Co., 
 
 Bankers ” ; 
 
 inside other cover : — 
 
 “ Milford, (?) . . to Litchfield hy . . . hton 73 
 Aslihy v. Otley. 97 
 
 Altn (?) — 8 
 
 Manch. 12 170 
 
 Rock 13 
 
 Halx. 18 
 
 Brad. 9 
 
 8 
 
 70." 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. “ Manchester, Halifax , Bradfield to Otley 8 1 !.,. Kng. (?) 
 
 to A. 9 2 / 2 . 
 
 12 Huddersfield, Morley, Leeds to Otley 10 z / 2 . Colelo- 
 ton (?) ” 
 
 2. Ruins of Kirkstall Abbey. 
 
 3. Kirstall Abbey from the river. 
 
 4. “ Ref rectory ." 
 
 5. Part of ruins. 
 
 (Leaf torn out.) 
 
 6. Crypt. 
 
 7. Part of ruins. 
 
 8. Do. 
 
 9. Do. 
 
 10. Abbey seen through trees 
 
 11. Abbey from the road. 
 
 12. ' Do. 
 
 13. Do. 
 
 14. Blank. 
 
 15. Bridge, with abbey beyond. 
 
 16. Kirkstall Abbey from river. 
 
 17-20. Blank. 
 
 21. Ruins Kirkstall Abbey seen through arch of bridge. 
 
 22. Blank. 
 
 23. Sailing vessels. Pen and ink. 
 
 24. Do. Do. 
 
 25-95. Blank. 
 
 (17 leaves drawn on.) 
 
[CVIII.] 
 
 287 
 
 1809 * (AET. 34). 
 
 OVIII —PERSPECTIVE SKETCH BOOK. 
 
 Schedule No. 375. 
 
 Small pocket book, bound in red morocco, with 
 one brass clasp. 
 
 Turner’s label, — “ 56 .” 
 
 Paper, white. Water mark, “ J. Whatman, 1808.” 
 
 Size of page, 3 T 7 g x 4£. 
 
 Executor’s endorsement, — “ No. 375. 7 leaves of 
 
 pencil sketches and manuscript and diagrams — 
 perspective. 
 
 (Sgd.) H. S. Trimmer. 
 
 Inside one Cover is written in pencil : — 
 
 “ Non omnia possumus o nines. Virg. Ec. 8, 
 
 verse 68 ” ; 
 
 Inside the other cover : — 
 
 u 
 
 405 
 
 12 Ap. 
 
 1809. 
 
 Groom 3832 
 
 19 Ma. 
 
 9 
 
 Left 
 
 2580 
 
 14 Aug. 
 
 7 
 
 
 8052 
 
 9 Ma. 
 
 9 
 
 Gale 
 
 666 
 
 2 June 
 
 9 
 
 M. 
 
 10055 
 
 2 June 
 
 9 
 
 
 54 
 
 
 
 
 53 
 
 
 
 
 2421 
 
 5 13 Mar. 
 
 9 
 
 
 2127 
 
 2 1 Feb. 
 
 9 
 
 Lt. 
 
 4274 
 
 1 23 Mar. 
 
 9 
 
 M. 
 
 11909 
 
 1 26 June 
 
 9 
 
 5. 
 
 8035 — 
 
 23 June 9. 
 
 
 5. 
 
 9212 
 
 8 Sep. 8. 
 
 
 5. 
 
 869 
 
 3 June 9. 
 
 
 5. 
 
 6675 
 
 29 Ap. 9. 
 
 
 10. 
 
 1124 
 
 1 3 June 9. 
 
 
 15 Kings. 
 
 9 Holt (?). 
 10 Trower. 
 
 
 
 10 Remaining of Fawkes. 
 
 80 Swinburne. 
 
 74 2 left." 
 
 Page 1. “ Men loading a boat with grass." Pen and ink. 
 
 „ la. “ Vitellionis. M.A . Thematici of the nature , ratione 
 and 'project tone radiorum vision light color , water 
 forms vulgar Perspective meant. Printed. Nurem- 
 berg. 1585. 
 
 In the f rontispiece the method, of focus lights , the 
 Hight of Shadows, and. the Rainbow, the inverted 
 figures look in a. glass, the double cube, and a figure 
 standing in water to shew that the legs appear broken 
 after the nature of Reflected objects, dec." 
 
TURNER DRAWINGS. 
 
 [CVIII.] 
 
 2. “ First understanding , memory to assist memory. 
 
 Painting became invented. Given to the Egyptians 
 
 in their of Birds and. Beasts wherein they 
 
 resirved (?) their hidden knowledge. From whom we 
 have received benefit as well as Philosophy and 
 Astrologie , by Plato , Pythagorus who sailed, to 
 Egypt to (?) Greece. King Attains gave a 100 (?) 
 talents to Aristotle, & c." 
 
 2a. “ Prometheus the son of Japhet and Asia the Nymph 
 first invented the Plastic. Hence Gyges the Lydian, 
 dec." 
 
 3. Two diagrams and notes. 
 
 3 a. A Diagram. 
 
 La. Fenestre Albert Barer gave the demonstration 
 of the present Theorem — i.e., will give here the moyen 
 practical ana l after the demonstration will be given.'" 
 
 4. “ II y a une autre facon de mettre les ombres en racour- 
 
 issement, laquelle enseigne Albert Durer en son 
 lecon de Geometry qui est apres gue Von aura cissis 
 les poinds the lumiere taut d'hauteur gue le longeur 
 
 les ray visuel aux diets poinds jusque d la 
 
 ligne taillie puis raporter," &c. 
 
 4a. Diagrams. — “ Du Cas, 1612." 
 
 5. Diagram. — 
 
 “ The second an instrument invented by Jacomo 
 Gastriotto. 
 
 Baldessera Land 
 invented an instrument 
 for the carrying in Pocket. 
 
 This instrument in quantity (?) was a charming 
 invention. 
 
 it gave the habit and form tatto maggiore con piu 
 annertimenti (?) ; guali Lascio All' inuentore. 
 related by Barbaro, 1678. 
 
 who treatise seems to be merely to shew his dex- 
 terity of period and figures of no service as 
 
 radiated crowns." 
 
 5 a. “ Stephana Florentino, died 1350, born 1301. The 
 disciple of Giotto — he practised perspective with 
 greater regularity, dec. 
 
 6. Barge, with figures on river. Pencil. Above is 
 
 written : — “ Pilkington calls him Stefano." 
 
 7. Drawing in pencil of Tree Trunks and wall, with their 
 
 reflections in water. Below is written, — “ Another 
 proof of power of secondary lights." 
 
 la. Two diagrams — 
 
 “ To look after Stephano Florentino. 
 
 Do. at 1505 for a square. 
 
 Do. at Lamazzio, see if Lamatien is the same 
 qoerson. 
 
 Do. Da Gas — square is wanting." 
 
 8. Various lines of poetry. 
 
 8a. Figures on river bank. Pencil. 
 
 9. Poetry. 
 
[CVIII.] PERSPECTIVE SKETCH BOOK. 
 
 289 
 
 Page 9 a. Figures on river bank. Pencil. 
 
 „ 10. Blank. 
 
 „ 10a. Figures on river bank. Pencil. 
 
 „ 11. Poetry, 
 
 „ 11a. Figures in boat and on shore. Pencil. 
 
 „ 12. Blank. 
 
 „ 12a. Note about “ Du Gas." 
 
 „ 13. Poetry, 
 
 „ 14. Do. 
 
 „ 15. Blank. 
 
 „ 16. Note on Roman art. 
 
 „ 16a. Note on perspective. 
 
 „ 17. Diagram. 
 
 „ 17a. Do. 
 
 „ 18. Do. 
 
 „ 18a. Note on perspective. 
 
 „ 19. Blank. 
 
 „ 20. Poetry. 
 
 „ 21. Do. 
 
 „ 22. Do. 
 
 „ 23. Do. 
 
 „ 24. Do. 
 
 „ 25. Do. 
 
 „ 26. Do. 
 
 „ 26a. Diagram. 
 
 „ 27. Do. and note. 
 
 „ 27 a. Note. 
 
 „ 28. Poetry. 
 
 „ 28 a. Note. 
 
 „ 29. Poetry — “ Dear Molly." 
 
 „ 29 a. Poetry, and continuation of drawing on next page (30). 
 
 „ 30. House among trees on river. 
 
 „ 31. Poetry. 
 
 „ 31a. Do. 
 
 „ ?>Z. Note about “ Pharrhasius the Ephesian" and “ Zuxsis .’ 
 „ 32a. Notes on perspective and painting. 
 
 „ 33. 
 
 Do. 
 
 do. 
 
 „ 33a. 
 
 Do. 
 
 do. 
 
 „ 34. 
 
 Do. 
 
 do. 
 
 „ 34a. 
 
 Do. 
 
 do. 
 
 „ 35. 
 
 Do. 
 
 do. 
 
 „ 35a. 
 
 Do. 
 
 do. 
 
 „ 36. 
 
 Do. 
 
 do. 
 
 „ 36a. 
 
 Do. 
 
 do. 
 
 „ 37. 
 
 Do. 
 
 do. 
 
 „ 37a. 
 
 Do. 
 
 do. 
 
 „ 38. 
 
 Do. 
 
 do. 
 
 „ 38a. 
 
 Do. 
 
 do. 
 
 „ 39. 
 
 Do. 
 
 do. 
 
 „ 39a. 
 
 Do. 
 
 do. 
 
 „ 40. Blank. 
 
 „ 40a. “ Color is a matterial substance indued with a quality 
 of diversity (?) affecting the eye according to the 
 matter wherein it is found." 
 
290 
 
 TURNER DRAWINGS. 
 
 [CVIII.] 
 
 Page 41. “ Light. 
 
 Primary Light, that which is received direct. 
 
 Second Primary Light into 3 direct (?) Reflected and 
 refracted. 
 
 Lamazzo gives this to emanation of the Deity,” &c. 
 
 „ 41 a. “ Lamazzo. Definition of Perspective. 
 
 It is a science of visible lines so that the subject thereof 
 is a visible line considering the genus species differ- 
 ence and incidence of things ,” &c. 
 
 „ 42. Notes on perspective. 
 
 „ 42a. Do. 
 
 „ 43. Diagram. 
 
 — “ 1505 .” 
 
 — “ Gulio Troili ( ?) 1683.” 
 
 — “1563, see who this belongs to. — Gennan.” 
 
 — “1625, Pietro Accolti Gentilhomo Floren- 
 tine).” 
 
 — “1625, Cavalini Lorenzo Sirigatti.” 
 
 43 a. 
 
 Do. 
 
 44. 
 
 Do. 
 
 44a. 
 
 Do. 
 
 45. 
 
 Do. 
 
 45a. 
 
 Do. 
 
 46. 
 
 Do. 
 
 46a. 
 
 Do. 
 
 47. 
 
 Notes. 
 
 47 a. 
 
 Do. 
 
 48. 
 
 Blank. 
 
 48a. 
 
 Notes. 
 
 49. 
 
 Do. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 49a. Diagram and notes. 
 
 50. Notes. 
 
 50a. Do. 
 
 51. Diagram and note. 
 
 51a. Notes on painting. 
 
 52. Blank. 
 
 52a. Notes on painting. 
 
 53. Blank. 
 
 53a. Notes on painting. 
 
 54. Diagram— “ Gulio Troili He.” 
 
 54 a. Do. — “ Solomon du Cas, 1612, He.” 
 
 55. Do. 
 
 56-60. Blank. 
 
 60a. Diagrams. 
 
 61. Notes. 
 
 61a. Do. 
 
 62. Do. 
 
 62a. “ Mento 
 
 Pupille 
 Contivia 
 Mamelle 
 Coscia 
 
 . . della cosia 
 
 63. “ Genocchio 
 
 64-65. Blank. 
 
 66. Diagram. 
 
 67. Blank. 
 
 68. Do. (Half of leaf torn.) 
 
 68a. Diagram. 
 
 69. Do. 
 
 neck Talone ancle 
 
 Sotto mamille 
 
 waist Gola shoulders 
 
 Breast 
 
 navel 
 
 Belley.” 
 
 Top of knee.” 
 
[CVIII.] PERSPECTIVE SKETCH BOOK. 
 
 291 
 
 Page 70. Blank. 
 
 „ 71. Diagram. 
 
 „ 72. Blank. 
 
 „ 72a. Note on reflections. 
 
 „ 73. Blank. 
 
 „ 73 a. Note on reflections. 
 
 „ 74. Blank. 
 
 „ 74a. Note on reflections. 
 
 „ 75. Blank. 
 
 „ 75a. Note on reflections. 
 
 „ 76. Landscape. Pen and ink. 
 
 „ 76a. Note on reflections. 
 
 „ 77. Blank. 
 
 „ 77a. Note on reflections. 
 
 „ 78. Diagram. 
 
 ,, 78a. Note on reflections. 
 
 „ 79. Diagram. 
 
 „ 79a. Note on reflections. 
 
 „ 80. “ Foce Reflexi - Reflecting angle.''' 
 
 „ 80a. Diagram.. 
 
 „ 81. Do. 
 
 „ 81a. Drawing of boat, &c., and notes. Pencil. 
 
 „ 82. Blank. 
 
 „ 82a. Notes on reflections. 
 
 „ 83. Blank. 
 
 „ 83a. Building among trees. Pen and ink. And notes. 
 
 „ 84. Blank. 
 
 „ 84a. Diagram and notes. 
 
 „ 85. Blank. 
 
 „ 85a. Diagrams and notes. 
 
 „ 86. Blank. 
 
 „ 86a. Diagram and notes. 
 
 87. Do. 
 
 87 a. Notes. 
 
 88. Blank. 
 
 88a. Notes. 
 
 89. Diagram and notes. 
 
 89a. Do. 
 
 90. Do. 
 
 90a. Notes. 
 
 91. Diagram and notes. 
 
 91a. “ Gerrard harass , in the principles of Painting , has 
 asserted that lights are always parrall and gives as 
 an instance by the sun's declining rays that no 
 underpart of a projection can receive the Sun's ray 
 
 by the extreme distance and. by the Theory that 
 
 all Lights are parrallel only concludes that never 
 can appear to diverge but when the rays of the sun 
 entering an aperture gives the size of that aperture 
 by an opposite plane ; but that is only point Blank, 
 for instance the rainbow gives and dec." 
 
 (11 pages drawn on, not counting diagrams.) 
 
292 
 
 TURNER DRAWINGS. 
 
 [CIX.] 
 
 1809 # (AET. 34). 
 
 CIX. — " PETWORTH ” SKETCH BOOK. 
 
 Schedule No. 163. 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 >9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 . 
 
 2 . 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 8 . 
 
 8a. 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 
 22 . 
 
 23. 
 
 24. 
 
 A number of loose leaves only, of what was once 
 a sketch book : Covers missing and no record of 
 original sequence of pages. 
 
 Paper, white. 
 
 Water mark, “ J. Whatman, 1808.” 
 
 Size cf page, 8| x 14L 
 
 Groups of figures (sportsmen), very slightly sketched in 
 outline. 
 
 Banks of River Arun, with figures. On back is 
 written, “ Drawing our first pond" (? “bird”). 
 
 A reach of the river. In margin, draft of some lines of 
 poetry (illegible). 
 
 On back, “ Banks of Arun ” and two verses of 
 poetry. 
 
 View of Petworth House, from the lake. See oil painting 
 of “ Petworth, Sussex, the seat of the Earl of 
 Egremont— Dewy morning.” Exhibited R.A., 1810, 
 and now at Petworth House (Lord Leconfield). 
 
 Petworth Park. Exhibited drawings, No. 569a, N.G. 
 
 “ Ruins of Cowdrey ,” front view showing Moat and 
 Bridge. 
 
 Ruins of Cowdrey House ; interior. 
 
 Distant view of Cowdrey House. 
 
 “ Whitewell ” (in Lancashire, near Clitheroe). River 
 running into picture on left, with flat meadow land 
 on one side and steep wooded bank on other. 
 
 “ Whitewell." River winding across country with 
 distant mountains. 
 
 Whitewell," 
 
 View looking across hilly country. 
 
 Commencement of landscape sketch, with house in 
 distance. 
 
 Cockermoutli Castle. 
 
 Cockermouth Castle. See oil painting of this subject at 
 Petworth House (Lord Leconfield). 
 
 (There appears to be another drawing on back, but 
 it has been stuck down tight on cartridge.) 
 
 Cockermouth Castle. Exhibited drawings, No: 5695, N.G. 
 
 Cockermouth Castle. Exhibited drawings, No. 570a, N.G. 
 
 Cockermouth Castle. Exhibited Drawings, No. 5705, 
 N.G. On water on left is written, ll Dark and clear." 
 
 Cockermouth Castle. 
 
 Exhibited drawings, No. 416, N.G. 
 
 Do. 
 
 do. 
 
 No. 417, N.G. 
 
 Cumberland. 
 
 do. 
 
 No. 341, N.G. 
 
 Cockermouth Castle. 
 
 do. 
 
 No. 342. N.G. 
 
 Cumberland. 
 
 do. 
 
 No. 343, N.G. 
 
 do 
 
 do. 
 
 No. 344, N.G. 
 
 Cockermouth Castle. 
 
 do. 
 
 No. 345, N.G. 
 
 (24 leaves drawn on.) 
 
[OX.J 
 
 293 
 
 1809* (AET. 34). 
 
 GX.—“ COCKERMOUTH ” SKETCH BOOK. 
 
 Schedule No. 172. 
 
 Pocket book, with paper binding. 
 
 Turner’s label , — “104 Cockermoutli ." 
 
 Paper, white ; water mark, “ 1802.” 
 
 Size of page, x 7&. 
 
 Mr. Ruskin’s endorsement : — “ 172 Inven, Cocker- 
 mouth. Nearly Valueless.” 
 
 The initials, “ J.M.W.T.” are stamped on one of 
 the covers. 
 
 • Inside one cover is a rough sketch map marking relative 
 positions of the following places (among others) : — 
 
 “ Whitehaven , St. Bees Head , Egremont ” and “ Cleaton ;” 
 also of “ Steeple ," “ Pillar ," “ High Style '' “ Red Pike '' 
 “ Herdhouse," “ Blake Fell," &c., and “ Sardshaw." 
 
 Page 1. “ Tuesday E, Ulv. 
 
 Wednesday. Whitewell (?) 
 
 Thursday. Manchester." 
 also, — 
 
 “ Adverse (? advert ) from my wayward fate 
 Fast telling (? selling ) on my poor estate 
 0 Heaven avert the impending care , 
 
 O m ake my future prospects fair." 
 
 „ la. “ Speaking of the sublime Tom Paine who we may 
 reasonably conclude to be destitute of all delicacy of 
 refined, taste , yet has conveyed, a tolerable definition 
 of the sublime , as it is probably experienced by 
 ordinary and uncultivated minds , and even by acute 
 and judicious without or are destitute of the vigour 
 of imagination, says that the sublime and the 'ridi- 
 culous are often so nearly related that it is difficult 
 to class them separately . One step above the sublime 
 becomes ridiculous and. one step above the ridiculous 
 makes the sublime again. 
 
 The beard of Hudibras and the hard of Gray 
 
 The spanning (or spinning) of the earth round 
 her soft, axle. 
 
 Ample room and. verge enough. 
 
 So nearly touch the bounds of. ail we hate." 
 
 „ 2. A building. 
 
 „ 3. Roadway, with trees and buildings. 
 
 „ 4. Four-arched bridge with town ; ruined castle on hill 
 
 beyond. 
 
 „ 5. Bridge and distant mountain. 
 
 „ ft. Landscape with distant view of “ Gross Fell." Over 
 different parts of sky is written, — “ Bluish," 
 “ Warm," “ Light," and “ Rainy Clouds with 
 doubtf ul breaks of Light and Shade." 
 
 ,, 7. Landscape with “ Gross Fell" in distance; a mansion 
 
 among trees on right. “ Sky murky," “ warm 
 yellow ray," “ watery ray," & c. 
 
 ,. 8. Walls of castle and cattie on banks of river. 
 
 „ 9. Landscape with distant mountains. 
 
 32796 
 
 TJ 
 
294 
 
 TURNER DRAWINGS. 
 
 [OX.] 
 
 Page 
 
 10. 
 
 Landscape with river, fields of corn, and ruined castle 
 in mid-distance. 
 
 99 
 
 11. 
 
 Ruined castle (? Cockermouth). 
 
 99 
 
 12. 
 
 Distant hills. 
 
 99 
 
 13. 
 
 Mountainous landscape. 
 
 9 ? 
 
 13a. 
 
 1 Do. 
 
 99 
 
 14. 
 
 / 
 
 99 
 
 15. 
 
 Do. 
 
 99 
 
 16. 
 
 Cockermouth Castle. See picture at Petworth House. 
 
 99 
 
 17. 
 
 Cockermouth Castle from River Cocker. 
 
 99 
 
 18. 
 
 Do. do. 
 
 99 
 
 18a. 
 
 1 Do. do. 
 
 99 
 
 19. 
 
 ) 
 
 99 
 
 20. 
 
 Do. do. 
 
 99 
 
 21. 
 
 Do. do. 
 
 99 
 
 22. 
 
 View of River Cocker, &c., “ from L d . Egremont's room , 
 Cockermouth." 
 
 99 
 
 23. 
 
 Distant mountains. 
 
 99 
 
 24. 
 
 “ Ennerdale." 
 
 
 24a. 
 
 A hand cart and mug. Contents of cart covered with 
 cloth, over which is written “ Red check " ; beside 
 
 mug — “ Milk peg gin wood." 
 
 “ Women wear black stockings and, Clogs shod, with 
 Iron." 
 
 “ When they cart hay or corn an outrigger is put 
 on that projects beyond the wheels." 
 
 “ Cumberland like the Scotch carts about Moffat." 
 „ 25. “ Ennerdale." 
 
 „ 26. Mill with castle in distance. 
 
 „ 27. River with ruined castle on hill in mid-distance. 
 
 ,, 28. Landscape with ruins in distance. 
 
 „ 29. Houses and bridge, with ruins on hill beyond. 
 
 „ 30. Houses and bridge ; another view. 
 
 „ 31. Calder Abbey. 
 
 „ 32. Do. 
 
 „ 32a. Figures. “ In wet weather they wear Blue Horsemen 
 
 Cloaks with Hoods." 
 
 „ 33. “ Calder Bridge." 
 
 ., 34. “ St. Bees " Head. 
 
 „ 35. Bridge with ruined abbey (?) beyond. 
 
 „ 36. Square tower above gateway. 
 
 „ 37. Rocky coast. 
 
 „ 38. Coast. 
 
 „ 39. A mansion. 
 
 „ 39a. 1 Sunset. “ Smoke like the Clouds. On clouds below 
 
 „ 40. j sun,— “ Orpiment and Blood. Blue Clouds , yellow 
 edge " ; above, “ Golden" “ Yellow" “ Warm.' 
 “ Grey," “ Bain" and “ light redish color'd clouds 
 yet watery." 
 
 „ 41-43. Blank. 
 
 „ 43a. MS. Note (continued from p. 44a). 
 
 „ 44. Blank. 
 
 „ 44a. MS. Note (continued from p. 45a). 
 
 , 45. Blank. 
 
 „ 45a, MS. Note. 
 
 „ 40, Blank, (39 leaves drawn on.) 
 
[CXI.] 
 
 1809 - 1811 * (AET. 34-36). 
 
 CXI— HASTINGS SKETCH BOOK. 
 
 Schedule No. 374. 
 
 295 
 
 Small pocket book, bound in red morocco, with 
 one brass clasp. 
 
 Turner’s label — “ 57 .” 
 
 Paper white. 
 
 Size of page, 3^ x 4 T %. 
 
 Executor’s endorsement — “No. 394. 47 leaves of 
 sketches — Pencil. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Inside of one cover — “2 John Mews , Little James St. 
 Bedford Road (or Row) ” ; also— 
 
 “ Monei/ received of Phillips 210 
 P' 1 Piatt 17 — 10 
 
 M rs W 6—6 
 
 M rs D 4—4 
 
 28 ” 
 
 Page 
 
 Inside other cover, some topographical notes; some illegible — 
 
 “ divided by 2 rocks , on the lowest of which was a 
 
 castle rased. 1699 — by Robert , Earl of Moreton and 
 
 Cornwall (?) before 1085 for sanctity before 
 
 the Conquest a Priory of Benediction by E d the Confessor 
 
 Cistercian Monk of the Gilberdine order , &c." 
 
 (Continued on following page.) 
 
 1 . 
 
 Bill 
 
 Lahee Paid 
 Get to Pay L. 
 
 197 — 12 — 2 
 47 — 11 — 6 
 42 
 
 287 
 
 3 — 8 
 
 49 for 4 
 
 50 
 16 
 
 300 
 
 50 
 
 800 Printing 
 
 80 
 
 12 Engraving 
 960 
 
 960 
 
 1760." 
 
 , 2. Design for house (probably Sandycombe Lodge). 
 
 2a. “ The Herb Stramonium — smoke 2 or 3 pipes every 
 day & swallow the saliva." 
 
 (Leaf torn out.) 
 
 3. Blank. 
 
 3271*0 y 2 
 
296 
 
 TURNER DRAWINGS. 
 
 [CXI.] 
 
 Page 3 a. “The ancient (?) view comprehending the Isle of 
 
 Purbeck admits the consideration ad- 
 
 mi ssahle from the concomitant stratification of its 
 
 parts and situation of surrounding 
 
 strata , dice (Continued over pp. 4, 4a, and 5.) 
 
 „ 4. Continuation of above note. 
 
 „ 4a. 1 Do. , also study of a tree, in 
 
 „ 5. / pencil. 
 
 ,, 6-7. Blank. 
 
 „ 8. A recipe. 
 
 „ 8a. Do. 
 
 ,, 9. Figures on sea shore. 
 
 „ 10. " Do. do. 
 
 „ 11. Do. do. 
 
 „ 11a. \ River scene. 
 
 „ 12. / (Leaf torn out.) 
 
 ,, 13. Blank. 
 
 „ 14. “ 5000 
 
 400 S 
 1000 F 
 400 L 
 
 6800 | 
 200 R 
 
 100 
 
 
 7100 
 
 1200 
 
 2000 
 
 800 
 
 
 400 
 
 9100 
 
 2400 
 
 2400 
 
 
 6700 
 
 Ad Half 1300 
 
 8000 
 
 55 
 
 55 
 
 55 
 
 r> 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5 400 ” 
 
 15. Hastings (?).” 
 
 15a. ) “ Hastings Castle .” 
 
 16. f 
 
 17. “ Coil after coil rocky . . . deep in . . . 
 
 Until the monster weltered in his gore." 
 
 17a. “ 38 Baker St” 
 
 18. Blank. 
 
 18a. Poetry. 
 
 19. Blank. Leaf toru. 
 
 20. Blank. 
 
 20a. ) View on the Sussex Downs. 
 
 21 . 
 
 22. 1 
 
 23. Sea beach, with boats and figures. 
 
 24. Group figures. 
 
 25. Group fishermen. Probably on beach at Hastings. 
 
[CXI ] HASTINGS SKETCH BOOK. 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 5? 
 
 99 
 
 9? 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9 ' 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 25 a. \ Fishermen on coast. 
 
 26. 1 
 26a. Poetry. 
 
 27. Group tigures, “ Hucksters waiting .” 
 27a. Tree. 
 
 28. Figures on coast. 
 
 29. Do. 
 
 30. Do. 
 
 31. Blank. 
 
 31a. Landscape, with sea beyond. 
 
 32. ‘■Ellis. Heathfields. carrier . . . 
 32a. Landscape. 
 
 33. Blank. 
 
 33a. Landscape. 
 
 34. Blank. 
 
 34a. 1 Mansion on hill. 
 
 35. j 
 
 35a. Landscape. 
 
 (2 leaves torn out.) 
 
 36. Poetry. 
 
 36a. Clouds. 
 
 (2 leaves torn out.) 
 
 37. Landscape, “ Prognostic of Ram, &c.” 
 
 38. Blank. 
 
 38a. Poetry. 
 
 (2 leaves torn out.) 
 
 39. Blank. (Page torn.) 
 
 39a. 1 Poetry. 
 
 40. J 
 
 41 . Blank. 
 
 (Leaf torn out.) 
 
 42. Figure in boat. 
 
 42a. “ 80 at 10 G. 840. 
 
 If Printing 4 numbers and P. 
 
 89 ivhat iv ill 16 
 16 
 
 552 
 
 89 
 
 1542 
 
 840 
 
 2282 ” 
 
 43. Figure in Boat. 
 
 43a. Church steeple. 
 
 44. Clouds. 
 
 41a. ) Building, with description of details. 
 
 45. J 
 
 15a. Hastings fishing boat. 
 
 46. Blank. 
 
 46a. Hastings fishing boat. 
 
 47. Blank. 
 
 47a. Church. 
 
 297 
 
298 
 
 TUENER DRAWINGS. 
 
 LCXi.] 
 
 Page IN. Architectural details. 
 
 „ 18a. Statues and architectural details. 
 
 „ 49. Architectural details ; also : — 
 
 “ Jan. 14. 
 
 4406. 
 
 8. 
 
 10 
 
 Navy 
 
 950. 
 
 Con. 
 
 
 Red. 
 
 2283. 
 
 9 . 
 
 . 3. 
 
 
 7639 . 
 
 16 . 
 
 3, 
 
 50. “ 7639 — 16 — 3. 
 
 400 
 
 200 Land 
 100 Free 
 
 8339 
 1200 F. 
 
 400 Sir J. 
 
 51. 
 51a. 
 
 52. 
 52a. 
 
 9939 " 
 
 Blank. 
 
 | Groups of figures. 
 
 Poetry. 
 
 5o. Do. 
 
 513a. Castle (?) and bridge. 
 
 54. “ Where's the distance throw 
 
 Me hack so far, but I may boldly speak 
 In rjyht, tho' proud oppression will not hear me." 
 
 55. Building. Pen and ink. 
 
 56. 
 
 56a. 
 
 57. 
 
 “ 14079 — 2 &c." 
 A tree. 
 
 ola. 
 
 58. 
 
 “ Received March 11. 
 
 973 . 
 
 -5 , 
 
 , 7 C 
 
 12 M. 
 
 26 . 
 
 14 . 
 
 5 
 
 
 1000 
 
 0 . 
 
 0 
 
 Sold Sept. 1811. 
 
 50 . 
 
 0 
 
 
 
 950 . 
 
 0 . 
 
 0 " 
 
 ) Hastings, with Castle 
 
 in fore 
 
 ground ; also 
 
 ( following : — 
 
 
 
 
 
 “ 673 . 
 
 5 . 
 
 7. 
 
 26 July. 
 
 250 
 
 
 
 
 923 . 
 
 5 . 
 
 7 
 
 Red (?) 50 
 
 50 
 
 
 
 
 973 . 
 
 5 . 
 
 7 
 
 C 841 
 
 
 
 
 R 2283 .9.3 
 
 
 
 
 N 4110 .1.4 
 
 265 . 
 
 2 . 
 
 5. 
 
 7434 
 
 4375 . 
 
 3 . 
 
 9. 
 
 9 July 1811 " 
 
 Navy. 
 
[CXI.] 
 
 HASTINGS SKETCH BOOK. 
 
 299 
 
 “ 18 May pj t n/i t)S 
 16 May 1 nuu P s - 
 15 Jane. Egremont. 
 18 June Lonsdale. 
 
 142 
 
 143 
 428 
 598 
 
 12 
 
 12 
 
 11 
 
 18 
 
 2 
 
 6 
 
 5 
 
 7 
 
 Coi\s. 
 
 
 
 
 
 25 May Pelham 
 
 423 
 
 5 
 
 7 
 
 26 July. Fullet 
 
 
 250. 
 
 
 
 
 
 1986 
 
 . 8 
 
 8 
 
 26 of Nov. Fuller. 
 
 167 
 
 . 1 0 
 
 *1 
 
 O 
 
 
 
 841 
 
 . 1 
 
 10 
 
 
 
 Bought this year 1810. 
 
 1313 . 3 . 
 
 /. 
 
 
 
 
 673 . 5 . 
 
 7 
 
 573 
 
 5 
 
 7 
 
 
 
 250 
 
 
 
 1086 . 8 . 
 
 8 
 
 250 
 
 
 
 
 
 1073 
 
 . 5 
 
 7 
 
 1 923 . 5 . 
 
 7 
 
 50 
 
 
 
 1069(f). 15 . 
 
 6 Right in 0c u 
 
 
 
 
 142 
 
 . 12 
 
 
 
 
 143 
 
 . 12 
 
 6. 
 
 
 
 428 
 
 . 11 
 
 5 
 
 
 
 428 
 
 . 11 
 
 5 
 
 
 
 598 
 
 . 18 
 
 7 
 
 1069 .14 . 
 
 9 
 
 
 
 # 
 
 100 
 
 
 1313 
 
 . 14 
 
 . 6 
 
 
 
 1069 
 
 . 14 
 
 . 9. 
 
 969 .14 . 
 
 9 
 
 
 
 
 
 
 2381 
 
 . 17 
 
 sO 
 
 
 
 1313 
 
 . 3 
 
 1 
 
 
 
 1095 
 
 . 0 
 
 11 
 
 1313 . 14 . 
 
 6 
 
 100 
 
 
 
 969 . 14 . 
 
 9 
 
 
 
 
 
 
 
 995 
 
 0 
 
 11 
 
 2283 . 9 . 
 
 3 
 
 
 
 
 1313 
 
 . 13 
 
 . 1 . 
 
 
 
 left 969 
 
 . 14 
 
 . 9 
 
 
 
 2283 17 .10. 
 
 0 . 3 
 
 N. 4110 .1.4 
 
 59 a. Distant hills. 
 (Leaf torn out.) 
 
300 
 
 TURNER DRAAVINGS 
 
 [CXI.] 
 
 Page 60. “■150 
 
 423 .5.7 
 
 573 . 5 . 7," &c. 
 
 (Leaf torn out). 
 
 61. Facade of mansion. # 
 
 62. Landscape, with buildings in distance. 
 
 62a. “ Herald . Thursday , Aug. (?) — 9. 
 
 We arc authorised to state that the lease and pos- 
 session of the desirable premises in Norton Street , 
 Jllbone and communicating through the garden to 
 P.H. (?) ( omitted by accident in the advertisements 
 which announced, the sale of the wines , library , 
 furniture only) will be sold by auction in the second 
 days sale of to-morrow ." 
 
 62. “ Hodgetts 
 
 Sale— 90 Norton St." 
 
 64. Blank. 
 
 64a. Poetry. 
 
 65. Side view of “ Rosehill,” the seat of Mr. “Jack” 
 
 Fuller. See water colour once in possession of Sir 
 Alexander Acland-PIood. 
 
 65a. “ Coarse (?) Flattery, like a Gipsey came 
 Would she were never heard 
 A nd muddled all the fecund brains 
 Of Wilkie and of Bird 
 
 When she call'd a Teniers 
 
 Each stopt contented. 
 
 At the alluring half-way house 
 Where each a room hath rented. 
 
 Renown in vain taps at the door 
 And, bids them both be jogging 
 
 For while false praise sings 
 
 . . . call for nogging." 
 
 66. Landscape. 
 
 66a. “ World I have known the long & now the hour 
 When I must part from thee is near at hand. 
 
 I bore thee much good will <£■ many a time 
 In thy fair promises repos'd more trust 
 Than wiser heads A colder hearts w'd risk 
 Some tokens of a life , not wholly passed 
 In selfish strivings or ignoble sloth, 
 
 Haply these shall be found when I am gone 
 Wh may dispose thy candour to discern 
 Some merit, in my zeal and let my works 
 Outlive the maker who bequeaths them to thee 
 For well I know where our possessions (?) ends 
 Thy praise begins A few there be who iveave 
 Wreaths for the Poet brow, till he is laid 
 Low in his narrow dwelling with the worm (?).” 
 
 67. Town and cliffs. Probably Hastings. 
 
 68. Coast. 
 
[CXI.] 
 
 HASTINGS SKETCH BOOK. 
 
 301 
 
 Page 68a. 
 
 Royal Academy , April 31. 
 
 No. 70. Mercury and Herse. 
 
 J. M. W. Turner, R.A. 
 
 Highly as ive thought of Mr. Turner' s abilities he 
 has far exceeded, all that ice or his most partial 
 admirers could expect from his powers. We will not 
 attempt to describe this aclmireable picture but we 
 can confidently recommend, it to the attention of our 
 readers as one of the most excellent efforts of the 
 artist, in colouring lightness truth elegance and all 
 the qualities of natural beauty animated by genius , 
 and rendered more interesting by a kind of classical 
 charm which characterizes the ivhole composition. 
 We now turn from the best Landscape to the best 
 portrait 113 of West by Lawrence." 
 
 (Leaf torn out.) 
 
 69. Group of distant houses. 
 
 70. Blank. 
 
 70a. “ The monstrous Python 
 
 Didst tempt thy wrath in va in for dead he fell 
 To thy great strength and golden arms unequal 
 Ro while thy unerring handwlanced 
 Another and another dart. 
 
 On Eta gloomy cliffs overwhelmed he glows (?) 
 There on his flinty bed outstretched, he lies 
 While pointed rocks his tossing carcass wounds." 
 (Leaf torn out.) 
 
 71 Cart and group of men. 
 
 River scene — “ Boys splashing at fish." 
 
 74. ) Blank. 
 
 75. f 
 
 75a. Cliffs by sea. 
 
 76. Do. 
 
 76«. “ Here placed in dust lieth 
 
 Here in silent dust placid A just Ac." 
 
 (2 leaves torn out.) 
 
 77. Slight sketch (subject incomprehensible). 
 
 78. “ The monster Python wreaths 
 
 7 8a. ) Fishing boats on shore at Hastings. 
 
 79. J 
 
 80. Blank. 
 
 (Leaf torn out.) 
 
 81. Blank. 
 
 (Leaf torn out.) 
 
 82. Blank. 
 
 82a. Poetry. 
 
 Oallimaccus. 
 Hymn to Apollo. 
 
 bulk." 
 
302 
 
 TU14NER DRAWINGS 
 
 [CXI.j 
 
 Pago 83. Blank 
 
 „ 83 a. Tree, and three lines of verse about Python. 
 
 ,, 84. Church spire. 
 
 84a. j River scene. 
 
 85. ( 
 
 85a. 
 
 Landscape. 
 
 
 
 86. 
 
 Blank. 
 
 
 
 86a. 
 
 Sea coast. 
 
 
 
 87. 
 
 Sea coast. 
 
 
 
 87 a. 
 
 Landscape 
 
 with rustic bri 
 
 dge. “ Tunbr 
 
 88. 
 
 “ 6 of G. 
 
 1 Gal. 4. 8. Ac. 
 
 ” 
 
 88a. 
 
 Manuscript 
 
 note. 
 
 
 89. 
 
 Do. 
 
 
 
 89a. 
 
 Do. 
 
 
 
 90. 
 
 Do. 
 
 
 
 90a. 
 
 Do. 
 
 
 
 
 (Leaf torn < 
 
 out.) 
 
 
 91. 
 
 Blank. (L 
 
 eaf torn). 
 
 
 91a. 
 
 MS. note. 
 
 
 
 92. 
 
 Do. 
 
 
 
 92a. 
 
 Poetry. 
 
 
 
 93. 
 
 Do. 
 
 
 
 93a. 
 
 Do. 
 
 
 
 94. 
 
 Do. 
 
 
 
 95. 
 
 “ Oh Fanc : 
 
 v did it thou not lure 
 
 
 The tende 
 
 r Otway from 
 
 a parents side 
 
 
 By A r un 
 
 Sedgy stream 
 
 Ac ” 
 
 96. 
 
 Blank. 
 
 
 
 96a, 
 
 
 “ say 40 clear 
 
 one Number 
 
 
 413 
 
 
 
 5 
 
 2215 40 
 
 500 drawing 20 number. 
 
 760 sub. 
 
 800 
 
 5475 Allowing discount of 25 upon proofs. 
 
 448* For 70 additional Proofs for 4 Nos. supposed 
 4 them all sold. 
 
 1772 
 
 500 Supposed value of drawings after engraved. 
 800 The 100 prints subscribed for A 20 proofs. 
 
 3072 Whole profit supposing the 70 f proofs sold 
 
 at £2 — 2 1 save the charge of printing 30 
 
 proofs of each plate." 
 
 * Now crossed through. 
 
 t 100 crossed through. 
 
[CXI,] 
 
 HASTINGS SKETCH BOOK 
 
 303 
 
 Page 97. “ 1 
 1 
 l 
 1 
 
 1 
 
 1 
 
 1 
 
 l 
 
 l 
 
 l 
 
 i 
 
 i 
 
 l 
 
 l 
 
 i 
 
 l 
 
 1 443 
 
 2 443 
 
 443 
 
 4 443 
 
 100 . 
 
 61 . 1.6 
 
 39 .19 .6 
 
 443 
 
 221,5 ” 
 
 97 a. “ 81 Prints at 15 £60 . 15 . 0 
 
 16 Proofs at 25 20 . 0 . 0 
 
 80 
 
 4 Proofs Milter 12 P. 
 
 3 Prints to Holworthy 
 3 Delamotte 
 6 Miss Parr. 
 
 15 
 
 16 
 
 100 Prints— at 15 75 . 15 
 
 20 Proofs — at 25 24 • 9 
 
 one Number 
 Expenses of one Number 
 
 clear. 
 
 20 
 
 16 
 
 120 320 P 
 
 98. Blank. Page partly torn. 
 
 99. Salehurst. Hilder (?) Robertbridgr. 
 Battle. Lawrence and Marlin. 
 Guesiliug call'd 3 Oafs. Cook <&■" 
 
304 
 
 [CXI.] 
 
 TURNER DRAWINGS. 
 
 go 99 a. “ Cartage — SO 
 Take up — 20 
 
 „ 100. Blank. 
 
 ,, 100a. ‘■‘•Spectator 
 
 1 
 
 2 
 
 3 
 
 4 
 
 o 
 
 6 * 
 hf #< 
 / 
 
 3 
 
 9 * 
 
 2—10 
 cost (?) 5 — 
 
 7 — 10 ” 
 
 Suffolk — Queens Head 
 
 Monday 28 May 10 to 12 &cF 
 
 (64 leaves drawn on.) 
 
 1809 # (AET. 34). 
 
 CXII.— FRITTLEWELL SKETCH BOOK. 
 
 Schedule No. 309. 
 
 Sketch book, bound in calf, with one brass clasp. 
 
 Turner’s label, — “ 63 .” 
 
 Paper, white. 
 
 Size of page, 4| x 7 
 
 Executor’s endorsement, — “ No. 309. Contains 
 13 leaves. Pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Inside cover is written by Mr. Ruskin (in pencil) : — 
 
 “ 10 this end 
 
 3 the other, various poetry. &c. 
 
 (Sgd.) J. R. 
 
 Opposite” (he. on page 1) “the sketch of Crowhurst ; 
 Liber S.” 
 
 Inside other cover, written by Turner, in ink : — 
 
 “ Vacancy most fair but yesterday 
 Oer these pure leaves maintained her sway 
 Untill the pen did immolate 
 But with a stain inviolate 
 The spotless innocence retreats 
 From every leaf as fancy beats 
 Pure like the stream that pours 
 
 Now crossed through. 
 
[CXII.] FRITTLEWELL SKETCH BOOK. 
 
 305 
 
 From April's cloud the driving shower 
 Hope — still accompanys and sighs 
 Hope that with ever sparkling eyes 
 Looks on the yellow melting skies 
 Yet still with anxious pleasing care 
 Makes I 7 „ ... 
 
 Thinks j every lea f a PP ear more, fair 
 
 Delusion sweet thus tempts us on 
 Till all the leaves are like to one 
 Yet Hope looks hack as hertofore 
 And smiling seems to say encore. 
 Written at Parley on the Thame.* 
 Rainy morning —no fishing." 
 
 Page 
 
 9? 
 
 99 
 
 1. Winding river in middle distance, seen through a row of 
 
 trees. Pen and ink. (This is the “ sketch of Crow- 
 hurst, Liber S.” referred to by Mr. Ruskin. The 
 resemblance to the unpublished plate of “ Crow- 
 hurst ” is very general and vague. I am inclined to 
 doubt whether there is any connexion between the 
 two.) 
 
 2. Town with winding river in middle distance and hills 
 
 beyond. Pencil. 
 
 3. Blank. 
 
 4. Trees, &c., by river bank. 
 
 5. A roadway running between hills. 
 
 6. Sand pits with Yost House, “ Frittlewell." 
 
 7. Sand pits with “ Children getting sand." 
 
 8. River running between hills, with horse and figures 
 
 near foreground. 
 
 9. Winding river seen through trees. 
 
 10. Pathway over the hills. 
 
 11. Blank. 
 
 12. Cottage on hill. 
 
 13-15. Blank. 
 
 16. “ Before we can give rules for regulating the power of 
 
 lights and shades in a picture , we must consider 
 what degree of it the bodies themselves are indued 
 (? endowed) with accoraing to their several positions 
 with respect to illuminating body. 
 
 1. The intensity of light upon any plane is re- 
 ciprocally as the square of the distance of that plane 
 from the illuminating quality body. 
 
 For examples if parallel planes are at the distance 
 of one 2. 3 ft. from the illuminating point, the 
 intensity of light upon them would be iff —f. 
 
 All planes are equally lighted, by the sun at the 
 same time. 
 
 For then ray being parallel a 600 the squares are 
 equal a 660. 
 
 If the sun beams fall per pen. upon one face of an 
 object and inclined- " 
 
 Purley is near Pangbourn. 
 
306 
 
 TURNER DRAWINGS. 
 
 [CXII.] 
 
 J age 17. “ upon another pi. the intensity of light on the faces is 
 
 as the radius to the sine of the angle of incidence. 
 
 A plane, uniform enlighted does not appear so to 
 an eye in different situation. 
 
 P. All shades and shadows of objects would be 
 equally dark and, indistinguishable if they received 
 no secondary or reflected, lights. 
 
 P. Every body participates of the colour (?) of the 
 light by which it is illuminated , for Blue ray shows 
 upon yellow , producing a green , red rays upon Blue 
 purple. 
 
 P. Bodies partake more of the color of the sky as 
 they are farther off." 
 
 ,, 17-45. Blank. 
 
 „ 46. “ Clavius Proalus. translated by Taylor. Gommentor 
 
 upon Elucid, &c." 
 
 „ 47-77. Blank. 
 
 „ 11a. Diagram and transcript from French book of perspective. 
 
 „ 78. Transcript of French verses about perspective. 
 
 „ 79-82. Blank. 
 
 „ 82a. Group of Cypress trees. 
 
 „ 83. Blank. 
 
 „ 83a. Another group Cypress trees. 
 
 „ 84. Blank. 
 
 „ 84a. Towers of a ruined castle. (? Cowdrey, near Petworth.) 
 
 „ 85. Blank. 
 
 „ 85a. Draft of verses, in pencil. 
 
 ,, 86-87. Blank. 
 
 „ 87a. See after p. 88. 
 
 „ 88. “ Alas another day is gone 
 
 As useless as it was begun 
 The crimson'd streak of early morn 
 Check's the sweet lark that o'er the corn 
 Fluttered her wings at twilight grey dtc." 
 
 Continued over p. 87a : — 
 
 “ Not so the cotter's children at the door 
 Rich in content tho Nature made them poor 
 Standing in threshold emulous to catch 
 The pendant drop from off the dripping thatch. 
 
 The daring boy. thus Britain early race 
 To feel the heaviest drop upon his face 
 Or heedless of the storm or his abode 
 Launches his paper boat across the road 
 Where the deep gullies ivhich his father's cart 
 Made in their progress to the mart 
 Full to the brim deluged by the rain 
 They prove to him a channel to the main 
 Guiding his vessel down the stream 
 The pangs of hunger vanish like a dream." 
 
[CXIL] FRITTLEWELL SKETCH BOOK. 
 
 307 
 
 Page 88a. “ The chief object of Poetry is to delineate strongly the 
 characters and passions of Mankind , to paint the 
 appearances of Nature and to describe their effects to 
 our imagination. To accomplish these ends the 
 versification must be smooth, the language pure and 
 impressive, the images just, nat ural and appropriate. 
 
 Life of Lope Felix de Vega 
 
 by Lord Holland." 
 
 (13 leaves drawn on.) 
 
 1809 - 1810 * (AET. 34-35). 
 
 CXIII.— LOWTHER SKETCH BOOK. 
 
 Schedule No. 248. 
 
 Small pocket book, bound in red morocco, with 
 one clasp, broken. 
 
 Paper, white ; water mark, “ J. Whatman, 1808.” 
 Size of page, 3^ x 
 
 Executors’ endorsement, “ No. 248. Containing 
 35 leaves — in pencil and colors. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Endorsement on wrapper, “ two Academy figures 
 out. 
 
 (Sgd.) R. N. W.” 
 
 Inside one cover is written — 
 
 “ £24 — 10 weeks, 
 
 922. 7 Bed- 1809 
 
 2445. 9 Feb. 9 
 
 1197. 19 Oct. 9 ”; 
 
 inside other cover — 
 
 “ Chimney P. 
 
 12 
 
 12 
 
 Windoivs 
 
 17 
 
 17 
 
 Skirting 
 
 14 
 
 40 
 
 Door 
 
 20 
 
 — 
 
 Do. 
 
 20 
 
 79 
 
 Heai ih 
 
 1 ft. 5. inch thick. 
 
 14 
 
 
 H. 
 
 — 
 
 Oven 
 
 ■3 by 5 
 
 93 
 
 Skirting 
 
 38 feet &c." 
 
 
 Figures on the 
 Moors. 
 
 moors. 
 
 
 2a. 1 Figures on the moors. 
 
 3. J 
 
 3a. Poetry. 
 
 4. Landscape, with figures. 
 
 5. Female Academy study. 
 0, Commencement of do. 
 
308 
 
 TURNER DRAWINGS. 
 
 [CXIII.] 
 
 Page 6a. Female Academy study. 
 
 (Four leaves torn out.) 
 
 „ 7. Sky. 
 
 „ la. 
 
 \ Figures near a bridge, and 
 
 cottage 
 
 inter 
 
 v 8. 
 
 j figures. 
 
 
 „ 9. 
 
 Female Academy study. 
 
 
 
 „ 9a. 
 
 1 A harbour. 
 
 
 
 10. 
 
 ) 
 
 
 
 „ 11-12. Blank. 
 
 
 
 „ 13. 
 
 “ Timber for floor, doors, Ac. 
 
 4 
 
 
 
 do. for lathing 
 
 1 
 
 . 5 
 
 
 do. for Roof 
 do. at Kilsby's 
 
 3 
 
 
 
 1 
 
 
 
 Tayler wages. 11 weeks 
 
 17 
 
 . 10 
 
 
 Turners do. for floors 
 
 l 
 
 . 13 
 
 
 for Roof to Ditto 
 
 1 
 
 . 4 
 
 
 Chimney Pieces and Hearth 
 
 1 
 
 . G 
 
 
 Nails. — 
 
 2 
 
 
 
 Locks, bolts 
 
 1 
 
 
 
 Shutters 
 
 1 
 
 . 5 
 
 
 Lime 
 
 Jack's time for fetching Timber 
 
 
 7 
 
 
 from Brentford. 
 
 / 7 
 
 
 
 “ Window Frames to Turner 
 
 1 
 
 . 17 
 
 
 to Glazing do. 
 
 2 
 
 
 
 Oven. Carriage 
 
 1 
 
 . 10 
 
 with 
 
 2 doors 2. 
 
 Lathes — sink stone 1 ." 
 
 13a. Poetry. 
 
 14. Blank. 
 
 14a. Poetry. 
 
 15. Landscape. ? Study for picture of Lowtber. 
 
 15a. Poetry. 
 
 16. Groups of figures on river. 
 
 16a. River scene, wdth bridge and boats. — “ Cupy Moffat " (?). 
 
 17. Poetry. 
 
 18. Do.' 
 
 19. Blank. 
 
 19a. Gound plans, with measurements. 
 
 (Leaf torn.) 
 
 20. Diagrams and measurements. 
 
 21. Blank. 
 
 21a. MS. note. 
 
 (Five leaves torn out.) 
 
 22-23. Blank. 
 
 23a. Group figures. 
 
 (Two leaves torn out.) 
 
 24. Figures on river bank. 
 
 24a. Poetry. 
 
 (Leaf torn.) 
 
 25. Various architectural details. 
 
 26. Do. do. 
 
 “ Windows, door Ac." 
 
 “ Lowther. Same on 
 
 the South,' 1 ' “ North," 11 North and South," “ Pinnacle 
 over the Chapel plain." 
 
[CXIII.] LOWTHER SKETCH BOOK. 
 
 309 
 
 Page 27. Blank. 
 
 (Leaf torn.) 
 
 „ 28. Blank. 
 
 „ 28a. Poetry. 
 
 „ 29. Blank. 
 
 „ 29a. \ View of Thames from Windsor Castle (?). 
 
 „ 30. / 
 
 „ 30a. “ Small subjects from the new testament of the cruci- 
 fixion of Christ generally (?) dated 1508 — 11 — 12, but 
 they notwithstanding the monogram appear 
 
 not to be ivooden cuts but the early (?) engravings 
 after that period. Now if as can be seen some are 
 dated 58 it allows 50 years in which there does not 
 appear that progressive improvement (which) appears 
 always in the works of those striving for pre- 
 eminence, for these possess the style of his most 
 finished and later works, and yet he would not at 
 that time be said to have either attained his powers 
 or 20 years. 
 
 ( Consult Pilkington as to his birth, age ?.) 
 1470—1 1528. 57." 
 
 „ 31-35. Blank. 
 
 „ 35a. Castle and bridge in mid-distance, seen through 
 foliage. 
 
 ,, 36-40. Blank. 
 
 „ 40a. Female Academy study. Water colour. 
 
 „ 41. Blank. 
 
 (Leaf torn out.) 
 
 „ 42. Blank. 
 
 „ 42 a. Landscape, with castle on distant hill. 
 
 „ 43. Blank. 
 
 „ 43a. 1 Female Academy study. 
 
 „ 44. } 
 
 „ 44a. Commencement of do. 
 
 (Leaf torn.) 
 
 „ 45. Blank. 
 
 „ 45a. Female Academy study. 
 
 (Leaf torn.) 
 
 „ 46. Blank. 
 
 „ 46a. Female Academy study. 
 
 „ 47-48. Blank. 
 
 „ 48a. Distant view of “ Isle of Man." 
 
 “ Anaxagorus. A „ gar, tha „ chus. 
 
 The sun 95 millions of miles distant 
 The earth equal to 8 seconds of a degree (?) 
 
 The 1200 seconds 
 
 The moon nearly the apparent size of E." 
 
 „ 49. Blank. 
 
 „ 49a. Figure and two dogs. Dogs partly coloured. 
 
 „ 50. Blank. 
 
 „ 50a. Two dogs. Partly coloured. 
 
 „ 51. Blank. 
 
 „ 51a. Two dogs. Partly coloured. 
 
 32796 
 
 X 
 
310 
 
 TURNEll DRAWINGS. 
 
 [CXIII.] 
 
 Page 52. Blank. 
 
 „ 52a. Man seated holding a gun. 
 
 „ 53. Blank 
 
 „ 53a. One-arched bridge over stream, with hills beyond. 
 
 „ 54 Blank. 
 
 „ 54a. \ Cottage intei’ior, with figures. 
 
 „ 55 J 
 
 „ 55a. A wooden cradle. 
 
 „ 56. River scene. 
 
 „ 57-58. Blank. 
 
 „ 59 Two figures — “ Woman is Doubtful Love." 
 
 (Leaf torn out.) 
 
 „ 60. Blank. 
 
 „ 60a 1“ Bargemen putting up their awning." 
 
 „ 61. } 
 
 „ 61a. Poetry. 
 
 „ 62. Blank. 
 
 „ 62a. Poetry. 
 
 „ 63-64. Blank. 
 
 „ 64a. Poetry. 
 
 „ 65. “ Broach as a Jewel guarding a Lady's breast." 
 
 „ 65a. Poetry. 
 
 „ 66. Blank. 
 
 (36 leaves drawn on.) 
 (Two life studies referred to by Mr. Wornum not yet found.) 
 
 1810 - 1811 * (AET. 35-36). 
 
 OXIV.— WINDMILL AND LOOK SKETCH BOOK. 
 
 Schedule No. 208. 
 
 Small pocket book, bound in red morocco, with 
 one brass clasp. 
 
 Turner’s label on back — 58 ” ; written in 
 
 ink on front of cover — “ 1811." 
 
 Paper, white ; water mark, “ J. Whatman, 1808.” 
 
 Size of page, 3| x 4^. 
 
 Executor’s endorsement, — “ No. 208. This book 
 contains 13 leaves. Pencil sketches. 
 
 (Sgd.) C. Turner.” 
 
 Mr. Ruskin’s endorsements on wrappers : — 
 “Valueless”; and “No. 208. Six leaves out. 
 Otherwise valueless.” 
 
 Written inside one cover ; — 
 
 “ The Quarterly Review IV. 
 
 Murray , 38 Fleet St. Jr." 
 
 Inside other cover : — 
 
 “ Rolfe 
 
 33 Ossulton St. 
 
 Summer Town r, Jr." 
 
[GXIV.] 
 
 WINDMILL AND LOCK. 
 
 311 
 
 Page 
 
 9* 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 >5 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 91 
 
 99 
 
 99 
 
 99 
 
 99 
 
 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. Diagram with measurements : also — 
 
 “723 Arranging Committee 
 1100 560 Cost of Catalogue 
 
 Total Expenditure 4000 
 Total ” 
 
 2. Nude female figure in embraces of a serpent. 
 
 2a. I “ Homer a beggar , Plautus turned a mill , Terence a 
 
 3. ( slave , Essop do.," &c. 
 
 4. Lines about Pope and his villa at Twickenham. 
 
 4a. “ Peter Bartoli 
 
 Pietro Bartolo 
 Antonini del 1681 " 
 
 5-6. Blank. 
 
 6a. 1 “ Clavicle B (? 3) Lecture. 
 
 7. / That the Bones of the Clavicle make a right angle 
 
 when in their true position &c." 
 
 8. MS. note about Greek painting. 
 
 9. “ The tomb of Agustus was intended to be crowned by a 
 
 collosal statue." 
 
 9 a. \ Notes on architecture. 
 
 10 . / 
 
 11. Blank. 
 
 11a. “ Rossi and Ignatius Dank (?) Rome. 
 
 These two Kirby pronounced, the earliest books 
 upon. Perspective he met ivith." 
 
 12. Diagram and note about perspective. 
 
 12a. I The upper part of the Monument (at London Bridge), 
 
 13. / with measurements. 
 
 13a. Perspective Diagram — “ Vignola ” 
 
 14. Do. — “ Pozzo " 
 
 14a. Do. “ Videman Frizi (?).” 
 
 15. Blank. 
 
 15a. Facade of building. 
 
 16. Various parts of a building. 
 
 17. Plan with measurements. 
 
 18-19. Blank. 
 
 19a. Upper part of Monument, with measurements. 
 
 20. A pediment. 
 
 20a. Diagram. 
 
 21. Diagram. 
 
 21a. Do. 
 
 22. MS. note. 
 
 23-27. Blank. 
 
 28. Landscape. 
 
 29. Do. 
 
 30. Man with cart and horse. 
 
 31. A sketch. ? Upper part of monument. 
 
 32-33. Blank. 
 
 (Leaf torn out.) 
 
 31. Upper part of monument. 
 
 35. Banks of river. 
 
 36. Blank. 
 
 X 2 
 
 32796 
 
312 
 
 TURNER DRAWINGS. 
 
 Loxiv.] 
 
 Page 36a. j 
 
 „ 37. > Banks of river. 
 
 „ 38. j 
 
 „ 39. Architectural features. 
 
 „ 40-44. Blank. 
 
 ,, 44a. Porch of church (?). 
 
 ,, 45. Blank. 
 
 ,, 45a Draft of speech : — 
 
 “ Gentlemen , 
 
 The Academy must augur well from their 
 enlightened students who presume to find errors 
 before they have proved their competence to judge. 
 
 Such presumption it is to be hoped but 
 
 until they have produced works it is only presump- 
 tion. The members are only Guardians of the Art 
 to those who excell dec." 
 
 „ 46. Mostly illegible, but the following can be made out : — 
 
 “ Ms the instruction offered is gratuitous on the part 
 of the Academy and its most gracious founder." 
 
 „ 47-49. Blank. 
 
 „ 49a. I A classical gateway or building. 
 
 ., 50. J 
 
 ,, 50a. “ Gentlemen in now closing my book I .. . myself 
 
 address you as a member of the body or trust and 
 that I speak the convictions (?) . ... of the Institu- 
 tion in saying that the greatest praise the prof r desires 
 is a silent attention dec." 
 
 ,, 51. “ To you yourselves Gentlemen must the nation look for 
 
 the f urther advancement of (owe) profession and in 
 
 our toil at the steep ascent we have made 
 
 the pursuit of all that is meritorious to fix irrevocably 
 the triple standard, of the art (of) the British 
 Empire." 
 
 „ 52-53. Blank. 
 
 „ 53a. 1 Design for a building. 
 
 „ 54. J 
 
 ,, 55-57. Blank. 
 
 „ 57a. Part of classical temple. 
 
 „ 58-60. Blank. 
 
 The following leaves (pp. 61-73) were all loose and 
 in different bundles. Their sequence is therefore 
 conjectural. 
 
 „ 61. Blank. 
 
 „ 61a. Diagrams. 
 
 ,, 62. Blank. Leaf torn. 
 
 ,, 63. Plan, with measurements. 
 
 „ 63a. Part of building. 
 
 „ 64. Church spire and MS. note. 
 
 „ 65. Part of diagram. 
 
 „ 65a. MS. note. 
 
 „ 66. Part of renaissance building seen in perspective. 
 
 „ 67. Church spire. 
 
 „ 68-69. Blank. 
 
 „ 69a. “ Monte Cavallo figure IQ 1 ], high. 
 
 The Head S J j 4 , leg 5 Feet 6 dec." 
 
[CXIV.] 
 
 WINDMILL AND LOCK. 
 
 313 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 70. 
 
 71a, 
 
 72. 
 72a. 
 
 73. 
 
 73a, 
 
 74. 
 
 74a. 
 
 75. 
 75a. 
 
 76. 
 76a. 
 
 77. 
 77a. 
 
 Landscape with “ Oxen ploughing .” 
 
 | Windmill and bridge. 
 
 I Windmill and lock. Said to be on Grand Junction 
 / Canal near Hanwell. See oil painting in possession 
 of Sir Fredk. Cook, and “ Liber” plate (R. 27). 
 
 1 Sketch of Sandycombe Lodge and Grounds. Pen 
 / and ink. 
 
 Mr. Ruskin has written in red ink over part of 
 page 74 : — “The other half of this sketch is on the 
 back of the sketch for Windmill and Lock. 
 
 (Sgd.) J. R.” 
 
 Ground plan of house. Pen and ink. 
 
 Blank. 
 
 | Landscape, with road in foreground. 
 
 A statue on a monument. 
 
 Draft of lines about Pope and his villa at Twickenham. 
 Ground plan and various aspects of Sandycombe Lodge. 
 
 Pen and ink. 
 
 
 “ 2 Booms 
 
 15 by 18 
 
 1 Room 
 
 25 by 20 
 
 Kitchen. 
 
 15 by 12 
 
 Side Boom. 
 
 15 by 8 
 
 Tipper Room. 
 
 15 by 8 
 
 Do. 
 
 15 by 8 
 
 Small do. 
 
 10 by 8 
 
 
 100 80 
 
 1 closet 
 
 » 78. 
 
 Ground plan and back view of Sandycombe Lodge. 
 Pen and ink. 
 
 “ 40 feet long — 30 (? 20) feet high west side 
 20 Broad 30 feet high east side. 
 
 100 
 
 80 
 
 8000 ” 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 78 a. Ground plan, &c., of Sandycombe. 
 
 79. “ 4 Chimney Pieces 
 
 7 Best Doors 2 got. 
 
 8 Common Doors 
 12 Windows 
 
 5 Attic Windows 2 got. 
 
 2 P r of F. Window Door outward doors." 
 
 79 a. Sandycombe Lodge. 
 
 80. Blank. 
 
 80a. Side view of Sandycombe Lodge. 
 
 81. Blank. 
 
 81a. Side view, Sandycombe Lodge, 
 
 82. Ground plan, &c. 
 
 82a. Do. 
 
 83. Blank. 
 
314 
 
 TURNER DRAWINGS. 
 
 [CXIV.] 
 
 Rage 83a. Ground plan, &c. 
 
 „ 84. Side view. 
 
 „ 84a. Do. 
 
 „ 85. Blank. 
 
 „ 85a. Ground plan, &c. 
 
 „ 86. Blank. 
 
 „ 86a. Ground plan, &c., also : — 
 
 7478 
 
 6 Jan. 
 
 1810. 
 
 4628 
 
 2 Jan. 
 
 1810. 
 
 29 
 
 
 
 30 
 
 
 
 922 
 
 — 7 Dec. 
 
 1809.' 
 
 (45 leaves drawn on.) 
 
 1809 - 1810 * (AET. 34-35). 
 
 GXV.— STUDIES FOR “LIBER” SKETCH BOOK. 
 
 Schedule No. 138. 
 
 Roll sketch book, bound in boards with red 
 leather back. 
 
 Paper, white. 
 
 Water mark, “ J . Whatman, 1807.” 
 
 Size of page, 9| x J4f§. 
 
 All the drawings are in sepia, except those on p. 5, 
 which are in pencil. The sepia drawings are all 
 studies for pictures, and are in various stages of 
 definition. 
 
 With regard to the number of leaves which have 
 obviously been cut or torn out of this book, it is 
 evident that some at least, if not all, contained 
 similar studies to those which have been left. How 
 many of these are in the present collection (among 
 the exhibited “ Liber ” drawings) it is impossible to 
 say, as nearly all the exhibited drawings have been 
 mounted and cut down. 
 
 (About 7 leaves torn out.) 
 
 Page 1. Roadway between trees beside a river. 
 
 „ 2. Stream or pond with house on distant bank. 
 
 (Leaf cut out.) 
 
 „ 3. River scene, with eel traps. 
 
 „ 4. Bridge leading into town. 
 
 (Leaf torn out.) 
 
 „ 5. Two studies for classical subjects. Pencil. 
 
 (Two leaves torn out.) 
 
 „ 6. Sea piece. 
 
 (Leaf torn out.) 
 
 „ 7. Sea piece. 
 
 ., 8. Landscape. 
 
 „ 9-11. Blank. 
 
 (15 leaves cut out.) 
 
[CXV.] 
 
 STUDIES FOR LIBER. 
 
 315 
 
 Page 12-14. Blank. 
 
 (About 23 leaves cut out.) 
 
 „ 45. Storm at sea. (The “ Bridgwater Sea Piece.”) No. 82 in 
 
 1st Loan Collection. 
 
 „ 46. Sketch for “ Liber Studiorum ” subject. Sepia. Ex- 
 hibited Drawings, No. 515, N.G. 
 
 „ 47. Ploughing at Eton. (Query Lincoln Cathedral in back- 
 ground.) Sepia. Exhibited Drawings, No. 516, N.G. 
 
 „ 48. Sketch for “ Liber Studiorum ” subject. Sepia. Ex- 
 hibited Drawings, No. 518, N.G. 
 
 (12 leaves drawn on.) 
 
 1806 - 1810 * (AET. 31-35). 
 
 CXVL— “LIBER STUDIORUM” DRAWINGS, &c (1). 
 
 A. Bridge and cows. (R. 2.) 
 
 x 10 iV- 
 
 Reverse of engraving ; drawing faded through exposure. 
 Exhibited drawings, No. 504, N.G. 
 
 B. Woman and tambourine. (R. 3.) 
 
 7 r% x 10 i'V 
 
 Drawing much faded. Several slight differences between 
 this drawing and engraving. 
 
 Exhibited drawings, No. 468, N.G. 
 
 C. Scene on the French Coast. (R. 4.) 
 
 Drawing, 7 T % x 10 T 2 y, on piece of paper, 13 x 16j. 
 Engraving of this subject is generally known as “Flint 
 Castle : Smugglers.” 
 
 Reverse of engraving and many differences in design. 
 Exhibited drawings, No. 496, N.G. 
 
 On back of drawing the following verses in ink, in 
 Turner’s writing : — 
 
 “ A Row (? Pair) of Poplars in disgrace 
 Because they would not slop their pace 
 Or grew unnecessarily tall 
 Their Master came and topped them all. 
 
 Some neighbourly poplars stood hard by 
 Beheld the ir growth with jealous eye 
 Noiv saw — exulting — cried 
 Huio near is pride to earth allied. 
 
 Friends said the poplars in disgrace 
 You see the fault of mail ing haste 
 Ambitious greatness caused my ivoe 
 Ambition shun , mind how you grow 
 Mind while you run you are bare below , 
 For ivhile you run you are bare below.” 
 
316 
 
 TURNER DRAWINGS. 
 
 [CXVI.] 
 
 D. Scene on French Coast. (R. 4.) 
 
 7xV x 
 
 Print of etching of above subject, washed with sepia. 
 Exhibited drawings, No. 522, N.G. 
 
 E. Jason. (R. 6.) 
 
 7yV x . 
 
 Drawing slightly faded. 
 
 Exhibited drawings, No. 461, N.G. 
 
 F. Sheepwashing 1 at Eton. 
 
 About 8 x 10f. 
 
 Drawing not engraved. Oxford, 96-169. 
 
 G. A silent pool. 
 
 x 10§. 
 
 Sepia, unfinished. 
 
 Not engraved. 
 
 H. Blacksmith’s shop. 
 
 n x io|. 
 
 Sepia and black, unfinished. 
 
 Not engraved. 
 
 I. Basle. (R. 5.) 
 
 Print of etching worked over in sepia for mezzotinter. 
 Exhibited drawings, No. 521, N.G. 
 
 J. The straw yard. (R. 7.) 
 
 7tV x 10 x V 
 
 Drawing reverse of engraving. Slight alterations made in 
 etching. 
 
 Exhibited drawings, No. 506, N.G., as “ Stack yard.” 
 
 K. The castle above the meadows. (R. 8.) 
 
 7 nr x l^Tv,- 
 
 Drawing much faded. 
 
 Exhibited drawings. No. 467, N.G., as “ Pastoral with 
 Castle.” 
 
 L. Mount St. Gothard. (R. 9.) 
 
 H x IOjV 
 
 Exhibited drawings, No. 477, N.G. 
 
[CXVI.] LIBER STUDIORUM DRAWINGS (1). 317 
 
 M. The Egremont sea piece. (R. 10.) 
 
 7 A x 10&. 
 
 Size of ship nearest pier is smaller in engraving than in 
 drawing. 
 
 Exhibited drawings, No. 502, N.G., as “ Ships in a Breeze.” 
 
 N. Holy Island Cathedral. (R. 11.) 
 
 n x 10 X V 
 
 Exhibited drawings, No. 481, N.G. 
 
 O. Pembury Mill, Kent. (R. 12.) 
 
 7f\ x 10-[V 
 
 Exhibited drawings, No. 492, N.G. 
 
 P. The bridge in middle-distance. (R. 13.) 
 
 7i x 10J. 
 
 Also called “ The Sun between Trees.” 
 
 Exhibited drawings, No. 464, N.G. 
 
 Q. Dunstanborough Castle. (R. 14.) 
 
 7| x lOf. 
 
 On back of drawing the number “ 26 ” in pencil, and 
 “ Dunstanborough Castle. Picture in the possession oj W. 
 Penn, Esq." 
 
 Exhibited drawings, No. 485, N.G. 
 
 R. Lake of Thun, Switzerland. (R. 15.) 
 
 7 A x lOf. 
 
 Exhibited drawings, No. 474, N.G. 
 
 S. Fifth Plague of Egypt. (R. 16.) (Vaughan Bequest.) 
 
 7 j\? x 10*. 
 
 Exhibited drawings, No. 875, N.G. 
 
 T. Farm yard with the cock. (R. 17.) 
 
 7-re x lOf. 
 
 Exhibited drawings, No. 507, N.G., as “ Farm yard with 
 pigs.” 
 
 U. The Clyde. (R. 18.) 
 
 7f x lOf. 
 
 Exhibited drawings, No. 500, N.G. 
 
318 TURNER DRAWINGS. [CXVI, CXVII.] 
 
 V. Little Devil’s Bridge over the Russ above Altdorft, 
 
 Switzerland. (R. 19.) 
 
 7 A x lOf. 
 
 Exhibited drawings, No. 176, N.G. 
 
 W. Little Devil’s Bridge. (R. 19.) 
 
 Print of engraving. 
 
 Exhibited drawings, No. 567 b, N.G. 
 
 X. The Leader sea-piece. (R. 20.) 
 
 7| x 10f. 
 
 Known also as “The guard ship at the Nore.” Distant 
 man-of-war and boats in left and centre of engraving do not 
 appear in the drawing. 
 
 Exhibited drawings, No. 503, N.G. 
 
 Y. Morpeth. (R. 21.) 
 
 7f x 10-!%. 
 
 Exhibited drawings, No. 482, N.G. 
 
 Z. Juvenile Tricks. (R. 22.) 
 
 7A X 10f. 
 
 Exhibited drawings, No. 511, N.G. 
 
 (26 drawings.) 
 
 1806-1810.* (AET. 31-35). 
 
 CXVII.—” LIBER STUDIORUM” DRAWINGS, &c. (2). 
 
 A. Hindoo devotions. (R. 23.) 
 
 8 x 10jf. 
 
 Known also as “ The Hindoo worshipper.” 
 
 Exhibited drawings, No. 471, N.G. 
 
 B. Coast of Yorkshire, near Whitby. (R. 24.) 
 
 7 A x 1 Of. 
 
 Exhibited drawings, No. 486, N.G. 
 
 C. Hind Head Hill. On the Portsmouth Road. (R. 25.) 
 
 7f X 10yg. 
 
 Exhibited drawings, No. 489, N.G. 
 
[CXVII.] LIBER STUDIORUM DRAWINGS (2). 319 
 
 D. London from Greenwich. (R. 26.) 
 
 7f x 10|. 
 
 Exhibited drawings, No. 493, N.G., as “Greenwich 
 
 Hospital.” 
 
 E. Junction of Severn and Wye. (R. 28.) 
 
 7* x lOf. 
 
 Drawing faded. 
 
 Exhibited drawings, No. 495, N.G. 
 
 F. Marine dabblers. (R. 29.) 
 
 6* X 10^. 
 
 Exhibited drawings, No. 509, N.G. 
 
 G. Near Blair Athol, Scotland. (R. 30.) 
 
 7* x lOf. 
 
 Exhibited drawings, No. 499, N.G. 
 
 H. Lauffenbourgh on the Rhine. (R. 31.) 
 
 7-re X 10*. 
 
 Drawing faded. Several slight alterations in engraving. 
 Exhibited drawings, No. 473, N.G. 
 
 I. Young’ anglers. (R. 32.) 
 
 7* X 10*. 
 
 Exhibited drawings, No. 510, N.G. 
 
 J. St. Catherine’s Hill near Guildford. (R. 33.) 
 
 7 nr x 10*. 
 
 Exhibited drawings, No. 491, N.G. 
 
 K. Martello Towers near Bexhill. Sussex. (R. 34.) 
 
 x 10|. 
 
 Exhibited drawings, No. 4S0, N.G. 
 
 L. From Spenser’s Fairy Queen. (R. 36.) (Vaughan Bequest.) 
 
 74 x 104. 
 
 Engraving reverse of drawing 
 Exhibited drawings, No. 884, N.G. 
 
 M. Water mill. (R. 37.) 
 
 7* x 10. 
 
 Exhibited drawings, No. 505, N.G. - 
 
320 
 
 TURNER DRAWINGS. 
 
 [CXVII ] 
 
 N. Woman at a tank. (R. 38.) 
 
 8fV x lOf. 
 
 Called also “ Hindoo Ablutions.” 
 
 Slight alterations in engraving. 
 
 Exhibited drawings, No. 470, N.G. 
 
 O. Crypt of Kirkstall Abbey. (R. 39.) 
 
 7 3. x 10 ' 
 
 1 6 A 6* 
 
 Exhibited drawings, No. 484, N.G. 
 
 P. Procris and Cephalus. (R. 41.) 
 
 7 TT; X 101. 
 
 Slight differences in engraving. Drawing faded or rubbed. 
 Exhibited drawings, No. 465, N.G. 
 
 Q. Winchelsea, Sussex. (R. 42.) 
 
 7 tV x rrv 
 
 Exhibited drawings, No. 487, N.G. 
 
 R. The bridge and goats. (R. 43.) 
 
 7A x 10i. 
 
 Drawing faded and the reverse of engraving. Slight 
 differences between drawing and engraving. 
 
 Exhibited drawings, No. 463, N.G. 
 
 S. The bridge and goats. (R. 43.) 
 
 Print of etching with sepia additions. 
 
 Exhibited Drawings, No. 520, N.G. 
 
 T. Peat bog, Scotland. (R. 45.) 
 
 n x 10 T V 
 
 Exhibited drawings, No. 498, N.G. 
 
 U. Rispah. (R. 46.) (Vaughan Bequest.) 
 
 7 A x 10 T V 
 
 Exhibited drawings, No. 864, N.G. 
 
 V. Frontispiece to “ Liber Studiorum.” (R. 1.) (Vaughan 
 
 Bequest.) 
 
 Proof of etching, worked over in wash. 
 
 Exhibited drawings, No. 863, N.G. 
 
 Proof bears signature, “ M. Constance Clarke ” in pencil on 
 margin, also initials, “ H.V.” 
 
 On back, the signature of “ Mary Constance Clarke ” in 
 ink, and the following in pencil “ This is in a state 
 perfectly Unique, being as much a drawing as an etching, 
 and the gem of Mr. Stokes’s collection.” 
 
[CXVII, CXVIII.] LIBER STUDIORUM DGS. (2). 321 
 
 W. Hedging and ditcMng. (R. 47.), 
 
 7* x 10*. 
 
 Exhibited drawings, No. 508, N.G. 
 
 X. Chepstow Castle. (R. 48.) 
 
 7* x lOf. 
 
 Sometimes called “ River Wye.” 
 
 Exhibited drawings, No. 494, N.G. 
 
 Y. Chain of Alps from Grenoble to Chamberi. (R. 49.) 
 
 n x io*. 
 
 Exhibited drawings, No. 479, N.G. 
 
 Z. Rivaux Abbey, Yorkshire. (R. 51.) 
 
 7* x 10*. 
 
 Exhibited drawings, No. 483, N.G. 
 
 (26 drawings.) 
 
 1810 # (AET. 35). 
 
 CXVIII.— “ LIBER STUDIORUM ” DRAWINGS, 
 
 &c. (3). 
 
 It seems convenient to group all the “ Liber ” drawings 
 together, though the majority of those published in 1816 and 
 after, as well as the unpublished subjects, appear to have been 
 made at a later date than the first fifty drawings. 
 
 A. Solitude, or the Reading Magdalene. (R. 53.) 
 
 7x6 x lOf’g-. 
 
 Exhibited Drawings, No. 462, N.G. 
 
 B. Mill near the Grand Chartreuse ; Dauphiny. (R. 54.) 
 
 (Vaughan Bequest.) 
 
 9* x 13*. 
 
 Exhibited Drawings, No. 866, N.G. 
 
 C. Dumblain Abbey, Scotland. (R. 56.) 
 
 7* x lOf. 
 
 Exhibited Drawings, No. 497, N.G. 
 
 D. Norham Castle, on the Tweed. (R. 57.) 
 
 7* x lOf. 
 
 Exhibited Drawings, No. 480, N.G. 
 
TURNER DRAWINGS. [CXVIII.] 
 
 322 
 
 E. Raglan Castle. »(R. 58.) (Vaughan Bequest.) 
 
 x 11% (The plate is 7j| x 10|.) 
 
 Exhibited Drawings, No. 865, N.G. 
 
 Note Turner’s name for this subject is “ Berry Pomeroy.” 
 See p. 442. 
 
 F. Ville de Thun, Switzerland. (R. 59.) 
 
 x 10-/V. 
 
 Exhibited Drawings, No. 475, N.G. 
 
 G. The source of the Arveron, in the Valley of 
 
 Chamouni, Savoy. (R. 60.) (Vaughan Bequest.) 
 
 8ff x 12% (Plate 1\ x lOf.) 
 
 Exhibited Drawings, No. 879, N.G. 
 
 H. Tenth Plag-ue of Egypt. (R. 61.) 
 
 7| x 10% 
 
 Exhibited Drawings, No. 469, N.G. 
 
 I. The Alcove, Isleworth. (R. 63.) (Vaughan Bequest.) 
 
 Also known as “Twickenham, Pope’s Villa,” and “Garrick’s 
 Temple and Hampton Church.” 
 
 8 t V x 11% 
 
 Exhibited Drawings, No. 881, N.G. 
 
 J. Bonneville, Savoy. (R. 64.) 
 
 7f x 11 r %. 
 
 Exhibited Drawings, No. 478, N.G. 
 
 K. Inverary Castle and Town, Scotland. (R. 65.) 
 
 7 1 X 10% 
 
 Exhibited Drawings, No. 501, N.G. 
 
 L. Aesacus and Hesperie. (R. 66.) 
 
 7 x 10% Proof of etching, washed with sepia. 
 
 (Oxford Loan Collection, 97 — 170.) 
 
 M. East Gate, Winchelsea. (R. 67.) 
 
 7 ru‘ x 10 T %. 
 
 Exhibited Drawings, No. 488, N.G. 
 
 N. Isis. (R. 68.) (Vaughan Bequest.) 
 
 8 x 11% (Plate 7£ x 10%%) 
 
 Exhibited Drawings, No. 883, N.G. 
 
[CXVIII.] LIBER STUDIORUM DRAWINGS (3). 323 
 
 O. Christ and the Woman of Samaria. (R. 71.) 
 
 8 x 10*. (Plate 7* x lOf.) 
 
 Exhibited Drawings, No. 472, N.G. 
 
 P. Glaucus and Scylla. (R. 73.) (Vaughan Bequest.) 
 
 Exhibited Drawings, No. 882, N.G. 
 
 Q. Sheep-washing 1 , Windsor. (R. 74.) (Vaughan Bequest.) 
 
 Also called “Windsor Castle from Salt Hill.” 
 
 81 x 12*. 
 
 Exhibited Drawings, No. 880, N.G. 
 
 R. Crowhurst, Sussex. (R. 76.) (Vaughan Bequest.) 
 
 7f x 10*. 
 
 Exhibited Drawings, No. 868, N.G. 
 
 S. The Temple of Jupiter in the Island of Aegina. 
 
 (R. 77.) (Vaughan Bequest.) 
 
 73 ^ 115 
 
 T. Ploughing, Eton. (R. 79.) (Vaughan Bequest.) 
 
 Print of the first etching (by Turner) worked on in sepia as 
 a guide to the engraver. 
 
 Eton Chapel has been substituted for Lincoln Cathedral in 
 the background. Cf. CXV, 47. 
 
 On margin is written by Turner in pencil — 
 
 “Mr. Lupton. 
 
 If you have not the ground on yet , pray give the 
 Plate a good rubbing doivn with sil . . . (margin cut off) 
 any way would make it better if brighter." 
 
 U. The Felucca. (R. 82.) 
 
 7| x 10i. 
 
 Exhibited Drawings, No. 519, N.G. 
 
 V. Moonlight at sea. The Needles. (R. 85.) (Vaughan 
 
 (Bequest.) 
 
 8£ x 101. 
 
 Exhibited Drawings, No. 874, N.G. 
 
 W. Kingston Bank. (R. 87.) (Vaughan Bequest.) 
 
 Exhibited Drawings, No. 872, N.G. 
 
 7* x 10*. 
 
 Exhibited Drawings, No. 873, N.G. 
 
324 
 
 TURNER DRAWINGS. 
 
 [CXVIII.] 
 
 X. The Deluge. (R. 88.) (Vaughan Bequest.) 
 
 8tV x 11^- 
 
 Exhibited Drawings, No. 869, N.G. 
 
 Y. View of a river from a terrace (Macon ?) (R. 92.) 
 
 (Vaughan Bequest.) 
 
 9| x 13 t V 
 
 Exhibited Drawings, No. 867, N.G. 
 
 Z. Falls of the Rhine, Schaffhausen. (R. 93.) (Vaughan 
 
 Bequest.) 
 
 9 x Ilf. 
 
 Exhibited Drawings, No. 870, N.G. 
 
 a. View of a lake. (Sometimes called Derwentwater.) 
 
 (R. 94.) (Vaughan Bequest.) 
 
 8 nr x Hi- 
 
 Exhibited Drawings, No. 876, N.G. 
 
 b. Lucerne (?). (R. 97.) (Vaughan Bequest.) 
 
 8A x 11. 
 
 Exhibited Drawings, No. 877, N.G. 
 
 c. The “Victory” coming up the Channel with the 
 
 body of Nelson. (R. 99.) (Vaughan Bequest.) 
 
 7| x il x \. 
 
 Exhibited Drawings, No. 87 J, N.G. 
 
 d. A pastoral. (R. 100.) 
 
 7A X 10f. 
 
 Exhibited Drawings, No. 466, N.G. 
 
 e. Sketch for “Liber Studiorum ” subject. 
 
 About 8 x 10^. 
 
 Exhibited Drawings, No. 512, N.G. 
 
 f. Storm in the Mediterranean. 
 
 About x 12. 
 
 I’erhaps another version of “ The Felucca ” (519, N.G.) 
 W.M. “ Tovill Mill. 1813.” 
 
 Exhibited Drawings, No. 513, N.G. 
 
 g. Sketch for “Liber Studiorum” subject. 
 
 About 8 x 11. 
 
 Exhibited Drawings, No. 517, N.G. 
 
 (33 drawings. 
 
[CXIX.] 
 
 325 
 
 1802 - 1810 * (AET. 27-35). 
 
 CXIX.— MISCELLANEOUS : BLACK AND 
 WHITE (1). 
 
 Various drawings and scraps of paper that do not 
 lend themselves to more definite classification. 
 
 The sizes given are those of the pieces of paper. 
 
 A. Two life studies. 
 
 About 5f\ x 8f. Pencil and white chalk on prepared grey 
 paper. 
 
 Female figures seated. 
 
 B. Female seated figure. 
 
 About 5^ x 85. Pencil and white chalk on prepared grey 
 paper. 
 
 Life study. 
 
 C. Upper part of masts, with rigging- and sails. 
 
 8| x 10J. Pencil. 
 
 Paper originally white, but now much spotted and soiled. 
 
 D. Group of sheep. 
 
 X 9|. Pencil. 
 
 E. Facade of late Renaissance building. 
 
 7| x 12. Pencil. 
 
 F. Seashore, with distant mountains. 
 
 6^ x Ilf. Pencil, on light blue paper. 
 
 G. Study for ciassical subject. (Possibly “The Argonauts.”) 
 
 9f x 14J. Pencil and pen and ink on grey prepared 
 paper. 
 
 H. Three designs for classical subjects. 
 
 ] 8| x 24. Pen and ink on rotigli grey paper. The paper 
 was originally folded into four compartments, but one of the 
 four quarters has been cut off. 
 
 On reverse, another study for classical subject — pen and 
 ink — and a drawing in pencil of what may be a python or 
 root of a tree. 
 
 I. Design for classical subject. 
 
 About 8| x 11. Pen and ink. 
 
 No. 58 in 1st Loan Collection. 
 
 Reverse, another classical subject. Ink and wash. 
 
 32796 
 
 Y 
 
TURNER DRAWINGS. 
 
 [CXIX.] 
 
 326 
 
 J. A Council Meeting' of the Artists’ Benevolent 
 
 Society (?). 
 
 8 x 12. Pen and ink on paper bearing water mark “1805.’ 
 On reverse, perspective view of room. 
 
 K. Another view of a similar meeting'. 
 
 6| x 8§-. Pen and ink. 
 
 Below is written, “ Bloomsbury Dispensary .” 
 
 L. Clinking glasses with Father Time. 
 
 8f x 7|. Pencil. 
 
 A convivial meeting. 
 
 M. A child running. 
 
 8f x 4U Pencil. 
 
 Reverse, a similar figure, smaller and slighter, with “ My 
 dear ” written in ink at side. 
 
 N. A concert. 
 
 12J x 10. 
 
 Three sketches in pen and ink of group round a figure 
 playing on the harpsichord (?). 
 
 Reverse, two profiles, in pencil. 
 
 On brown board. 
 
 O. A water mill. 
 
 8f x 12R Pencil, on rough sugar-loaf paper. 
 
 P. River and mountain. 
 
 101 x 12J. Pencil, on rough sugar-loaf paper. 
 
 Q. Cattle drinking in river, with mountains in dis- 
 
 tance. 
 
 6f x 9|. Pencil and wash. 
 
 Reverse, various colour blots, &c. 
 
 Possibly these drawings are not by Turner. 
 
 R. Study for picture. 
 
 10H x 12U Pen and ink and wash on rough sugar-loaf 
 paper. 
 
 Possibly one of the Plagues of Egypt. 
 
 S. Study lor a figure subject. 
 
 8| x 13|. Pen and ink and white chalk on prepared grey 
 paper. 
 
 T. Study for picture. 
 
 10 x 13£. Pen and ink and wash on white paper. 
 Landscape, with cattle, river, and distant mountains ; 
 Evening. 
 
[CXIX.] 
 
 MISCELLANEOUS. 
 
 327 
 
 U. Group of trees. 
 
 14-J- x 10y Black and white chalk on sized paper. 
 
 V. Ground plans and various Italian building's. 
 
 8§ x 14J. Pencil and pen and ink. 
 
 Both sides of paper covered. 
 
 W. Various architectural details. 
 
 10 x 8. Pen and ink. 
 
 X. Figure sketches. 
 
 7f x 9*. 
 
 Gentleman with spectacles seated at small round table 
 looking at a book, with two children on either side of him. 
 Two sketches of this group, in pen and ink. 
 
 Reverse, pencil sketch of group round a seated organist. 
 Gf. CXIX, N, above. 
 
 Y. Study for picture of donkeys grouped on hillside. 
 
 8f x 121 Wash. 
 
 Reverse, draft of letter to Sir John Leicester asking per- 
 mission to have “ The Shipwreck ” engraved by Charles 
 Turner. 
 
 Z. 
 
 Bowsprit and figurehead of man-of-war. 
 
 8§ x 9f 5 g- Pencil. 
 
 (.26 drawings.) 
 
 1802-1810 (AET. 27-35). 
 
 CXX— MISCELLANEOUS : BLACK AND 
 WHITE (2). 
 
 A. Two Studies for picture of “ 77?e Fall of the Walls of 
 
 Jericho.” 
 
 14| x 8|. Pen and ink. 
 
 B. Four Studies of Pictures. 
 
 1\ x 8|. Pen and ink, with descriptions. 
 
 (a) Road in centre of picture, with trees and 
 buildings on either side ; distant mountains. — 
 “ Light on the left-hand side. Large size." 
 
 (b) Castle on hill in mid-distance ; sheep in fore- 
 ground, and snow-covered mountains in distance. — 
 “ Light on the right. Small." 
 
 (c) Road leading to bridge in mid-distance, with 
 “ Beech trees in light ” on left, in foreground. — 
 “ Light on the right. Large." 
 
 Y 2 
 
 32796 
 
328 
 
 TURNER DRAWINGS. 
 
 [CXX.] 
 
 (d) “ Churchyard ” in foreground, with three trees 
 on margin of “ Lake ” in mid-distance, with distant 
 mountains. “'Light on the left. Small." 
 
 I do not know whether these are original designs or copies 
 of pictures by Wilson or other artists. 
 
 G. “Lord Essex's ‘Harvest Home’S 
 
 x 9. Possibly a Teniers. Pen and ink and wash. 
 
 “ Candles and Lanthorn and Chafing dish for the pipes. 
 Horns, Mugs, Pudding dishes, Water Pots for Beer — Sow 
 and Pigs — Ducks — Shepherd — Boy and Dog — Master of the 
 feast demanding Silence at the head of the table with a 
 large Bowl — those around him looking eager and cunning at 
 the hope of taking it next. — Four men half drunk wanting 
 more beer at the Barrel, &c." 
 
 D. Reaping. 
 
 7 ] x 9. Pen and ink and wash. Water mark, 1803. 
 Possibly Windor Castle in distance. 
 
 E. Study for Picture. 
 
 Lake with town and mountains ; group of figures in fore- 
 ground. Pen and ink. 
 
 F. The High Street, Oxford. 
 
 16§- x 20. Pencil. 
 
 Sketch for the picture exhibited at R.A. 1812, and now in 
 possession of Lady Wantage. 
 
 G. Harvest. 
 
 71 x 9R Pen and ink and wash. 
 
 Possibly design for a “ Liber ” subject. 
 
 2nd Loan Collection, No. 50. 
 
 H. River scene with barges and trees. 
 
 About 8 x 121. Sepia, faded in exposed parts. 
 
 6th Loan Collection, No. 53. 
 
 I. A river bank, with figures. 
 
 About 71 x lOf. Sepia. 
 
 J. A council meeting. 
 
 About 7 x 8f, folded in halves. Pencil. 
 
 K. Study for picture of “ Phryne.” 
 
 About 51 x Ilf. Pen and ink. 
 
 L. A group of figures. 
 
 About 51 x 5j. Pen and ink. 
 
 M. Study for “ Phryne.” 
 
 About 5j x 111. Pen and ink. 
 
[CXX.] MISCELLANEOUS : BLACK & WHITE (2)- 329 
 
 N. View of London from Greenwich Park. 
 
 About 7f x 13. Pencil. 
 
 O. Study of Sheep. 
 
 7]}r x 9|. Pencil. Water mark, “ 1804.” 
 
 Exhibited Drawings, No. 412, N.G. 
 
 P. Linlithgow Palace and Church. 
 
 10^ x 7|. Pen and ink. 
 
 4th Loan Collection, No. 25. 
 
 Q. Bligh Sands. 
 
 9g- x 13|. Sepia. Differs in details from the oil picture. 
 3rd Loan Collection, No. 81. 
 
 R. Ground plan and side elevation of Sandycombe 
 Lodge, &c. 
 
 Paper 1 2-$ x 15|. Pen and ink. 
 Written in margin of sketches — 
 “ 270 
 390 
 
 40 Pond, 
 
 10 Privy drains 
 10 Gut (?) 
 
 100 planting 
 50 Palling 
 20 Garden 
 
 250 
 390 
 40 P. 
 
 10 Drains 
 
 20 P. 
 10 
 15 
 
 735 
 
 890 
 
 800. 
 
 Water mark, “Clarence Mill, 1807.” 
 
 40£ a year." 
 
 S. Sheet with slight figure studies : Mercury, &c. 
 
 7 x 4f . Pen and ink. . 
 
 T. Group of three men walking. 
 
 4|- x 4f. Brush drawing. 
 
 U. Sandycombe Lodge. 
 
 7f x 4f. Pencil. 
 
 V. A sheet of paper with list of adverbs of place, in 
 
 six languages. 
 
 3tV x 1 !• Pen and ink. 
 
 W. Fight of Centaurs and Lapithee. 
 
 18 x 24. Pen and ink, pencil, and white chalk, on blue 
 paper. 
 
 X. Study for picture of “ The Deluge.” 
 
 1 5^ x 22|. Pen and ink and pencil, on grey paper. 
 
 Reverse : another study for same subject. Pen and ink 
 and pencil. 
 
330 
 
 TURNER DRAWINGS. 
 
 [CXX,] 
 
 Y. Group of figures struggling in water. 
 
 151 x 121. Pen and ink on grey. 
 
 Z. The edge of the wood. 
 
 121 x 18f. Pencil on grey, with lights scratched ont. 
 Reverse : Study for classical composition, with two alter- 
 native titles : — “ Homer reciting to the Greeks his Hymn to 
 Apollo,' 1 '’ and “ Attains declaring the Greek States to he free." 
 
 a. Part of Cassiohury. 
 
 21J x 291. Pencil. 
 
 Written in margin : “ Window Frames Oak Col. Blinds 
 White." 
 
 Water mark, “ J. Whatman, 1804.” 
 
 b. Woods by the river. 
 
 About 9f x 23. Pencil. 
 
 e. Study of deck, masts, and rigging of the “ Victory.” 
 
 181 x 291. Pencil. 
 
 d. A battle scene. 
 
 3§- x 61. Pen and ink on prepared grey paper. 
 
 e. Battle scene beside river. 
 
 61 x 121. Pen ari cl ink on prepared paper. 
 
 f. A group of trees. 
 
 9f x 7§. Pencil. 
 
 Perhaps leaf of a sketch book, cut down. 
 
 g. A fair. 
 
 12 x 191. Oh on prepared paper. 
 
 Perhaps copy of a picture ; perhaps not by Turner. 
 
 h. A sail partly furled. 
 
 71 x 12. Pencil. 
 
 Perhaps not by Turner. 
 
 l. Landscape, with trees in foreground and houses in 
 mid-distance. 
 
 814 x 51. 
 
 Water mark, “ 1801.” 
 
 j. Bay window, with Curtains and Figures. 
 
 71 x 9. Pen and ink and*wash. 
 
 On reverse : — “ Dear Sir 
 
 Lady Louisa’s Etchings and ; ” 
 
 Also various blots of water colour and some illegible writing 
 in pencil. 
 
 Water mark, “ 1799. 
 
[CXX.] MISCELLANEOUS: BLACK & WHITE (2). 331 
 
 k. Studies of ships. 
 
 9 x 144. Folded. Pencil. 
 
 Also draft of speech or letter in pencil : — 
 
 “ far from troubling your Lordship with any 
 
 but confiding in your zeal for the of 
 
 the Arts on the &cf 
 Water mark, “ J. Ruse. 1799.” 
 
 l. Letter from the Earl of Essex. 
 
 7f x 9|. Folded. 
 
 “ Cashiobury 
 
 Mr. Turner, June 10 tb ’ 1808. 
 
 I have sent a Packing Case for the Picture, the same 
 as the other Picture came in last year and I will send for 
 it to-morrow Sennight to your House. 
 
 I am yours truly 
 
 (Sgd.) Essex.” 
 
 Reverse : slight sketch of river scene, in pencil. 
 
 m. Wagon and horses. 
 
 4| x 7|. Pencil. 
 
 On reverse, in ink : — 
 
 “ 1 St. Maurice 
 
 2 Brientz. Moonlight 
 
 3 Cormayer 
 
 4 Skidick 
 
 5 Pissvache 
 
 6 Lucerne 
 
 7 Salle 
 
 8 St. Bernard 
 0 Grindelwald 
 
 10 Buison 
 
 11 Chamoni 
 
 12 St. Martins .... 
 
 13 St. Michael. Ghamouni. 
 
 14 Grenoble 
 
 15 Fort Leivis. 
 
 16 Source of Aver on. 
 
 1 7 Betiveen Vorep and Chartreuse mountains .” 
 
 n. Study for picture of a shipwreck. 
 
 9-£ x 154 Pen and ink. 
 
 Drawn on reverse of a letter addressed to, — - 
 “ J. N . W. Turner Esq' c 
 
 24 Harley Street.” 
 
 The letter is as follows 
 
 “ Lord Auckland presents his Compliments : — He is 
 much flatter’d by Mr. Turner’s obliging recollection ; and 
 will hope in the course of a very few Days to gratify 
 Himself and His Family by a Visit to Mr. Turner’s 
 Gallery. 
 
 Palace Yard. May 13"' ” 
 
332 
 
 TURNER DRAWINGS. 
 
 [CXX.] 
 
 o. Letter from the Earl of Yarborough. 
 
 “ My dear Sir, 
 
 1 am very glad l am to have the pleasure of seeing you 
 on Tuesday next to dinner— for fear you should forget I 
 have sent you the enclosed cast. 
 
 I am truly yours 
 
 Arlington Street Yarborough. 
 
 Saturday noon : ” 
 
 Addressed to “ M r - W" 1 - Turner. 
 
 N"- 64 Harley r Street.” 
 
 9 x 14$. Folded. - 
 
 Over part of the superscription is drawn in pen and ink a 
 vessel with sails set. 
 
 (II drawings.) 
 
 1802 - 1810 * (AET. 27-35). 
 
 CXXI.— MISCELLANEOUS ; COLOUR. 
 
 A. Study for “ The Garreteer’s Petition.” 
 
 7f x Ilf. Pen and ink and colour’. 
 
 On wall — “ Almanack of Fasts and Moveable Feasts " ; 
 
 written below drawing — “ Translations, &c. . Art of 
 
 Poetry. Hints for an Epic Poem . , upon 
 
 Floor and Paraphrase of Job. Coll, of Odds and Ends." 
 
 Reverse — various drafts of verses on the subject. Picture 
 exhibited R.A., 1809. 
 
 B. 
 
 Study for a companion picture to the foregoing-. 
 
 7$ x Ilf. Pen and ink and colour. 
 
 An artist, with palette on thumb, seated at easel ; in back- 
 ground an apprentice making toast. On an easel at side of 
 artist a picture of “ Forbidden Fruit'' 
 
 , , T) ■ , i Judgement of Paris. 
 
 “ Pictures . . . . , 77 T 7 • 7 7 p. 
 
 I Forbidden Fruit. 
 
 Old Masters staked on floor. 
 
 Stolen hints from celebrated pictures . 
 
 Crucibles, retorts, Ac." 
 
 Reverse, draft of verses : — 
 
 “ Pleased with h is work he views it o'er A o'er 
 
 And finds fresh Beauties never seen before. 
 
 The Tyro's mind another feast confronts 
 While other thoughts the Tyro's soul controul 
 Nor cares for taste beyond a butter'd roll 
 Exulting votes for Taste and butter'd rolls. 
 
 Looks forward to the Taste of butter'd rolls. 
 
 And joyous (?) hopes for taste by butter'd rolls. 
 But different tastes different minds controul 
 Magister amo art is the el eve Butter'd rolls 
 The Master loves his Art, the Tyro butter'd rolls." 
 
[CXXI.] 
 
 333 
 
 C. Female Life Study. 
 
 12 x 9 t>. Pen and ink and colour. Paper soiled and 
 creased. 
 
 Seated nude figure, with head turned. 
 
 Reverse — landscape in pencil, probably not by Turner. 
 
 D. River scene, with wooden footbridge in fore- 
 
 ground. 
 
 9| x 12j. Water colour, unfinished. 
 
 E. River scene, with post on hank in foreground. 
 
 9 t V x Ilf. Water colour and pen and ink, unfinished. 
 Possibly leaf of sketch book. 
 
 F. River scene, with hulks and fishing boat. 
 
 9f x 13§. Water colour, unfinished. 
 
 G. Christ Church College, Oxford, from the river. 
 
 16f x lOf . Water colour, unfinished. 
 
 Reverse — “61. Christ Church Coll. Oxford .” Possibly 
 leaf of sketch book. 
 
 H. Cattle among ruins of an abbey. 
 
 8f x Ilf. Water colour, unfinished. 
 
 I. Bolton Abbey (?). 
 
 9§ x 13f. Water colour, unfinished. 
 
 J. Ships off Coast. 
 
 About 8f x 12f (edges very ragged). Water colour, un- 
 finished. 
 
 K. Key to the “ Battle of Trafalgar.”* 1 
 
 Mounted on board, about 7f x 9f. Pen and ink, with 
 water colour. 
 
 Reverse — a description of the action in Turner’s handwriting. 
 Enclosed in sheet endorsed by Mr. Ruskin — 
 
 “ Trafalgar. (Original key-sketch for the Exhibi- 
 tion ?.) 
 
 Out of Rubbish heap at bottom of Box H. 
 
 (Sgd.) J. R., 1878.” 
 
 L. Brook and trees. 
 
 9 x Ilf. Water colour. 
 
 The leaf appears to have been torn out of a sketch book. 
 (Possibly “ Tabley No. 1,” CIII.) Oxford, 17 — 139. 
 
 M. Zion House, Isleworth. 
 
 9 A x Hi- Water colour. 
 
 The leaf appears to have been torn out of a sketch book. 
 (Possibly “Tabley No. 1, CIII.) Oxford, 172 — 140, as 
 “ Thames. Old colour. Query out of Hesperides Book ? ” 
 
334 
 
 TURNER DRAWINGS 
 
 [OXXL] 
 
 N. Landscape, with building's in mid-distance. 
 
 ^T(r x 9-rl- Water colour. 
 
 Exhibited Drawings, No. 456, N.G. 
 
 O. Study of dead ducks and other birds. 
 
 16 J x 22. Pastel on coarse blue paper, somewhat rubbed. 
 About 1810. 
 
 Exhibited Drawings, No. 568, N.G. 
 
 P. English Landscape. 
 
 About 71 x 10U Oil on sized paper. 
 
 In style it has affinities with Lord Lonsdale’s two “ Lowther 
 Castles.” About 1809. 
 
 Exhibited Drawings, No. 738, N.G. 
 
 Q. Vale of Pickering', Yorkshire, with huntsmen. 
 
 About 7\ x 9 - 2 -. Water colour. 
 
 Exhibited Drawings, No. 742, N.G. 
 
 R. Oarisbrook Castle. 
 
 About 9 x 12. Colour rough, based on sketch, “Isle of 
 Wight ” Sketch Book (XX1Y), p. 25. 
 
 Water mark, “ J. Whatman. 1807.” 
 
 Exhibited Drawings, No. 781, N.G. 
 
 S. Quarter-deck of the “ Victory.” (Vaughan Bequest.) 
 
 About 15 x 2 I 5 . Ink, wash, with a few touches of colour. 
 Several written notes on various parts of the drawing ; among 
 them : — “ Guns 12 lb. used, in the Ports — mark i.x" ; “ Splinter 
 hitting marks in pencil 9 inches thick ” ; “ Rail shot away 
 during the action." 
 
 On the margin, not in Turner’s handwriting, it is stated : 
 “ paper-mark 1793,” “ picture painted in 1808.” Also that the 
 drawing was once in “ Dr. Munro’s Collection” (? Dr. Monro), 
 and in that of Samuel Rogers. 
 
 Exhibited Drawings, No. 885, N.G. (Vaughan Bequest). 
 
 T. Group of beseeching- figures. 
 
 About 4 x 4f. Pen and ink and water colour. 
 
 U. The Brocklesby Mausoleum. 
 
 I 65 x 23^. Water colour, unfinished. 
 
 Of. LXXXIII. 
 
 Water mark, “ J. Whatman. 1797.” 
 
 V. An evening' scene. 
 
 3 x 5^. Oil on paper. 
 
 W. Part of reclining' figure. 
 
 4| x 4. Pencil and wash. 
 
 Reverse : Slight female figure. Pencil. 
 
 Perhaps leaf of sketch book, cut down. 
 
 Written in ink in margin by Mr. Ruskin — “ J.R. cut ofi 
 sheet with two figures marked, Glad.” 
 
[CXXL] MISCELLANEOUS : COLOUR. 
 
 335 
 
 X. Two seated female figures, with draperies. 
 
 4 x 4§. Water colour. 
 
 Reverse, in pencil : “ Marchioness of Donegal St. James 
 Square. 
 
 King's Golledge Chapelt. 
 
 Mr. Uayley — 
 
 Eastham, 
 
 near Chichester 
 
 19 Guineas. Sussex." 
 
 Written in ink in margin by Mr. Ruskin — “ Glad. The 
 half Gladiator cut off this. 
 
 J.R.” 
 
 Y. Bridge, with ruined castle on hill beyond. 
 
 26£ x 33^. Water colour, unfinished. 
 
 Water mark, “ J. Whatman. 1801.” 
 
 Z. Mountains. 
 
 16£ x 20£. Water colour beginning. 
 
 On back is written by Turner in ink : “ Model draught of 
 the Victory for the Battle of Trafalgar." (The paper had, I 
 think, probably been used as a mount for the key plan of 
 Trafalgar. See K.) 
 
 Water mark, “ J. Whatman. 1801.” 
 
 (26 drawings.) 
 
 1809 - 1814 * (AET. 34-39). 
 
 CXXIL— FINANCE SKETCH BOOK. 
 
 Small pocket book, bound in black leather. 
 
 Paper, white, but dirty, and all the pencil draw- 
 ings much rubbed ; the MS. notes in pencil often 
 illegible. 
 
 ■Size of page, 2 \f x 4 r V 
 
 Water mark, “ E. & P. 1804 ” (or 1801). 
 
 No schedule number. 
 
 Contained in pocket of book the following 4 documents : — 
 (1) Charge bill from W. B. Mountain & Co., Saracen’s 
 Head, Snow Hill, for “ Carriage — 15 — 
 
 Porterage 1 — 1 
 
 16 — 1. 
 
 “ Thomas Marson, Porter.” 
 
 Reverse, in Turner’s writing, — 
 
 “ Weight 40’l „ lb. Came Thursday week — 
 Jang. 13, 1814." 
 
330 
 
 TURNER DRAWINGS. 
 
 [CXXII.] 
 
 (2) “ Bank of England, the 9 day of June 1814 
 Sold for Joseph Mall d - W m ’ Turner, Esq re 
 £50 Reduced Three per Cent. Annuities @ 081 
 W m ~ Marsh . £34 — 2 — 6. 
 
 Stock Broker. Com. 1 — 3 
 
 5 Sweeting’s Alley 34 — 1 — 3 
 
 Teape, Printer, Tower-hill, 
 London.” 
 
 (3) “ Bank of England, the day of 181 
 
 From Joseph Mallord William Turner of 
 Maiden Lane. 
 
 £ Consolidated Three per Cent. Annuities. 
 
 4T3- 
 
 5 
 
 -2 623 
 
 - 11 — 2. 50 
 
 
 
 573 
 
 — 5 — 
 
 7 
 
 423 — 
 
 5 
 
 — 7 
 
 250 
 
 
 
 
 
 
 — 
 
 
 
 473 
 
 5 
 
 — 7 
 
 823 
 
 . 5 — 
 
 7. 
 
 150 . 
 
 5 
 
 y 
 
 (4) The following account is in the Stockbroker’s hand- 
 writing, except the names inserted after “ Bought,” 
 which are by Turner (these are printed in italics) : — 
 
 “ Mr. Turner. 
 
 1810 
 
 3 Jany. 
 
 S d 
 
 
 £100 Red 
 
 
 19 
 
 Bo’ 
 
 Oxford 
 
 50 Cons. 
 
 
 16 May 
 
 B’ 
 
 Phillip 
 
 143 . 12 . 
 
 6 Red 
 
 18 „ 
 
 B’ 
 
 Phillip 
 
 142 . 12 , 
 
 D 
 
 25 „ 
 
 B’ 
 
 Pclliam 
 
 423 . 5 , 
 
 . 7 Cons 
 
 14 June 
 
 B’ 
 
 Egremont 
 
 428 . 11 . 
 
 5 Red 
 
 18 „ 
 
 B’ 
 
 Lonsdale 
 
 598 . 18 
 
 . 7 D 
 
 26 Jnlv 
 
 B’ 
 
 Fuller 
 
 250 Cons.” 
 
 
 (The following probably in Turner’s hand) : — 
 “ 50 
 
 423 . 5.7 
 
 250 
 
 723 . 
 
 , 5 
 
 . 7 
 
 150 
 
 
 
 873 . 
 
 , 5 , 
 
 . 7 
 
 * Note. — T he words underlined and the figures are in manuscript, the 
 remainder is part of a printed form. 
 
[CXXII.] FINANCE SKETCH BOOK. 
 
 337 
 
 Reverse, all in Turner’s handwriting : — 
 
 “ R. 2283 .9.3 
 
 C* \773 .5.7 
 
 5. 4110 .1.4 
 
 7266 . 16 . 2 
 
 7266 . 16 . 2 
 
 7056. 
 
 573 
 
 200 
 
 773. 
 
 573 
 
 250 
 
 5 . 7 
 
 823 . 5 . 7 
 
 50 Sold Aug 1, 18 
 
 773 
 
 50 Sold Aug. 25 
 
 723." 
 
 (continued over) 
 
 7000 
 
 1300 Odds and Ends 
 500 Drawings for Liber Stu. 
 
 200 (? Large Drawings) 
 
 400 Sir John 
 1000 Fawkes 
 200 Fuller. 
 
 10,600 
 
 400 Richmond 
 102 Bucks. 
 
 50 Atlas. 
 
 11.150 
 
 2000 Probable Advantage 
 of Liber Studiorum 
 
 13.150 13,150 
 
 1,000 Loss 2,700 
 
 500 Richmond 
 
 1,200 Expenses of (? Gallery) 10,450 
 
 300 color'd sketches 
 300 Books Furniture 
 300 Picture of last year 
 
 11,350 f” 
 
 (End of enclosures.) 
 
 Inside one cover is written : — 
 
 “ 840 12 May 1809. 20. 
 
 Paid for Taxes ” ; 
 
 inside other cover, some columns of figures in pencil, now 
 mainly illegible. 
 
 * <7 B.) 
 
 f Note. — The date of these calculations seems to be between 25 Aug. and Dec., 
 1810. The “ picture of last year ” may be the ‘ Dutch Boats ; Sun rising through 
 Vapour,” which was exhibited at the British Institution, 1809, 
 
338 
 
 TURNER DRAWINGS. 
 
 [CXXIL] 
 
 Page 1. Blank. 
 
 „ 2. Barges. 
 
 2^ 'j 
 
 .) j Group of buildings, with trees. 
 
 ,, 3a. Illegible notes in pencil. 
 
 „ 4. Buildings (?). 
 
 „ 4a. Poetry (?). 
 
 „ 5. An interior. 
 
 „ 6. Two cows. 
 
 ,, 6a. Landscape. 
 
 „ 7. A cow. 
 
 £ 
 
 1602 
 
 . 7 . 5 before . . 
 
 
 50 
 
 Sold for Deposit. 
 
 
 1552 
 
 .7.5. 
 
 
 300 
 
 Sold for Land. 
 
 
 1252 
 
 .7.5. 
 
 
 200 
 
 Bought L d . Essex. 
 
 
 1452 
 
 .7.5. 
 
 
 1 
 
 Sold 50 — 19 OcV . 
 
 1452 
 
 . 7 
 
 . 5. 
 
 
 
 Sold. 50. 17 No v p d . Turner 
 
 1402 
 
 . 7 
 
 . 5. 
 
 
 
 B ! 158 . 7 . 4 Parker. 
 
 1510 
 
 . 14 
 
 . 9. 
 
 
 
 B' 164 . L d . Egrmt. 
 
 1674. 
 
 
 
 1625 
 
 . 11 
 
 . 1 Sold 50 £ Stock 
 
 1825 
 
 . 11 
 
 . 1 B l Parker. 200 
 
 
 14 
 
 . 11 
 
 2129 
 
 . 19 
 
 . 10.B * Fawkes 304 . 19 . 1 
 
 2384 
 
 . 6 
 
 . 11 B l Sir John 204 . 12 
 
 2335 
 
 2935 
 
 . 2 
 
 . 2 
 
 • 2 L d Eg. 600. 
 
 3005 
 
 . 9 
 
 . 2. 70 Fawkes note 20 FebyP 
 
 “ 800 
 
 3 per 
 
 Cents. 
 
 
 Sold Feb. 18. 100. 
 
 200 
 
 Left. 
 
 
 250 
 
 Reduced 
 
 409 
 
 
 ll d B. 3 Dec. 158 . 0 .11. 
 
 562 
 
 . 11 
 
 . 5 B f Jan. 12. 153 . 9 . 9. 
 
 
 
 Jan 11 P’ 5£ deposit for 10 
 Shares in the Atlas F. Office. 
 
 812 
 
 . 11 
 
 . 5 B‘ 28 June 250 
 
 969 
 
 . 15 
 
 . 6 B l 12 July 157 .4.1 
 
 1069 
 
 . 15 
 
 . 6 B 1 11 Nov. 100 
 
 Bight by the Oct 1 '. Dividend .’ ’ 
 
[CXXII.] FINANCE SKETCH BOOK. 
 
 339 
 
 Page 8r<. “ Paid, for the Freehold, Lee common 
 1 of May, 1809. 19 Deposit. 
 
 8 — 5 Interest 
 76 
 
 16 Law Ex. 
 £119 — 5 
 
 ■3493 
 
 4401 
 
 1600 
 
 9494 ” ; 
 
 also figure of man standing with arms folded and 
 sketch of distant building. 
 
 „ 9. Blacksmith shoeing horse. 
 
 „ 10. Blank. 
 
 „ 10a. A landscape (?). 
 
 „ 11. Landscape. 
 
 “ 2283 
 
 . 9 
 
 . 3 
 
 
 450 
 
 
 
 
 B. 2733 
 
 March 4, 1813. 
 
 600 
 
 Con. 
 
 23. 
 
 2733 .9.3 
 
 3333 
 
 . 9 . 
 
 , 3 . 
 
 Dec. 15 sold 100 
 
 N. 4406 
 
 . 8 
 
 . 10 
 
 2633 .9.3 
 
 G. 1000 
 
 
 June 16\13. 
 
 8739 
 
 March 23 13. 1 
 
 260 
 
 June 16. 
 
 13 B. 
 
 8999 
 
 . 17 . 
 
 , 1. 
 
 Sold Dec. 15. 12. 100 B. 
 
 
 
 
 8899 .17 . 1 
 
 
 
 
 400 
 
 
 
 
 9299. 
 
 “ 3005 
 
 . 9 
 
 . 2 
 
 
 3205 
 
 . 9 
 
 . 2 
 
 200 Bt. Essex. 
 
 3276 
 
 . 1 
 
 . 3 
 
 70 .12 . 1 Interest. 
 
 3477 
 
 . 14 
 
 . i 
 
 201 .12 .10 Egrenionts. 
 
 4110 
 
 . 1 
 
 . 4 
 
 632 . 7 . 3 Leader Sep. 9. 
 
 4406 
 
 . 8 
 
 . 10 
 
 last Jidy cliv d . 1812. 
 
 
 4406 
 
 . 8 
 
 . 10 Navy. 
 
 
 2283 
 
 . 9 
 
 . 3 Bed. 
 
 
 1000 
 
 March 4. 13. Consols. 
 
 
 7829 
 
 . 12 
 
 . 6. 
 
 Sepr. 24—1812 .” 
 
340 
 
 TURNER DRAWINGS 
 
 [CXXII.] 
 
 Page 13a. “ 1600 
 
 2693 
 4406 
 660 
 
 9359" ; and illegible MS. notes in pencil. 
 
 14. “ July 21, 1813. 
 
 C. R. N. 
 
 1600. 2693 .9.3. 4406 . 8 . 10 
 
 June 16 260 
 July 21 400 
 
 3353 . 9 . 3." 
 
 „ 14a. “ 3393 .9.3 
 
 4406 . 8 . 10 
 
 1600 
 
 9399 
 
 „ 15. “ 3393 
 
 200 
 
 S 3193 
 
 3393 
 3493 
 
 2283 .9.3 
 350 
 
 2633 350 
 
 260 
 400 
 
 3393 Oct. 1813." 
 
 „ 16. Landscape with bridge. 
 
 „ 17-18. Blank. 
 
 „ 18a. Landscape. 
 
 „ 19. Blank. 
 
 „ 20. “ Oct. 20. 1813. 
 
 Reduced 3293 — 9 — 3 
 Same day sold 200 
 therefore 3093 — 9 — 3." 
 
 „ 20 a. Landscape. Possibly Lowtker Castle. 
 „ 21-23. Blank. 
 
 „ 23a. Landscape. 
 
 , 24. Draft verses. 
 
 „ 24a. Landscape. 
 
 „ 25. 1 Marine * 
 
 2 Pastoral* 
 
 Epic Compositions 1 
 Compositions 2 
 Pastoral 3 
 
 Marine 4 
 
 Buildings. ” 
 
 — Oct. Red. 
 
 200 Jan. 4 — 14 
 100 Jan. 19 — 14 
 
 * These lines are crossed through. 
 
[CXX.II.] FINANCE SKETCH BOOK. 
 
 341 
 
 Page 25a. Landscape. 
 
 „ 26. Blank. 
 
 „ 26a. River scene. “ Heading (?).” 
 
 „ 27. “ R. Fair ” (? a Rag Fair). 
 
 „ 27a. I Study of sky. 
 
 „ 28. f 
 
 „ 29-30. Blank. 
 
 „ 30a. Landscape. 
 
 „ 31. Blank. 
 
 „ 31a. Landscape. 
 
 „ 32. Clouds. 
 
 (Leaf torn out). 
 
 „ 33. Study of sky. 
 
 „ 33a. Do. 
 
 „ 34. Group of buildings and draft of verses. 
 „ 34a. ) River scene with vessels and bridge. 
 „ 35. 
 
 ,, 35a. 
 
 36. 
 
 River scene ; also — 
 
 “ Mr. Butt. 124 Leadenhall Street 
 for 780 until Nov. 17, 1809 ” (?) 
 “ 8000 
 1000 
 
 400 Land 
 120 Free 
 200 Five (?) 
 
 400 Sir John 
 500 Fawkes 
 
 400 
 
 r Nelson 
 _j Calais 
 
 5720 
 
 1300 Odd <k Ends 
 
 i Spithead 
 l Storm * 
 
 ( Narciss. 
 
 Cows 
 
 Richmond 
 Ploughing 
 ( Tenth Plague 
 
 I 
 
 , ) Holy Family 
 
 SOf) Drawings 
 
 Large Drawings 
 250 
 
 11 
 
 ) Hesperides 
 
 7020 ( Sodom 
 
 1000 Drawings f Deluge 
 
 dUU \ Petits Chases 
 
 350 
 
 630." 
 
 „ 36a. Landscape, with “ Canal." 
 
 (Two leaves torn out.) 
 
 „ 37. Two figures. Pen and ink. 
 
 „ 37a. Landscape, with river. 
 
 „ 38-39. Blank. 
 
 ,, 40. MS. note about Brahma, who “ proceedeth like a spii'it 
 of the color of flume with four heads," &c. 
 
 „ 40a. Landscape. Water colour, unfinished. 
 
 „ 41. Note on Brahma continued. 
 
 „ 41a. Landscape. 
 
 ,, 42. “ Worship of the . ... or Phallus — . ... " 
 
 „ 42a. The bend of a river. 
 
 „ 43. Blank. 
 
 „ 43a. Swans flying. 
 
 „ 44. u Brick Earth of 6 feet deep is worth £200 per acre — 5 
 yard of gravel 2 feet, deep. 1 Load " (?). 
 
 * The “ Storm ” (or “ Shipwreck”) was sold to Sir John Leicester 31st January, 
 1806, and was returned (in exchange for another picture) February, 1807. 
 
 32796 Z 
 
342 
 
 TURNER DRAWINGS. 
 
 [CXXII.] 
 
 150 
 
 50 
 
 100 
 
 300 
 
 1452 7 . 5 
 
 150 
 
 1602 . 7 5 
 
 50 
 
 300 
 
 100 C 
 150 R 
 
 250 or 7 
 
 150 
 
 100 
 
 300 
 
 7 SackviUe R d . 
 
 137 — 100 
 
 29 April. 1807. (Lx.” 
 
 (3,2 leaves drawn on.) 
 
 Page 44a. “ Left in the Reduced 
 Now 
 
 120 
 
 200 
 
 1811 * (AET. 36). 
 
 CXXIII.— DEVONSHIRE COAST No. 1 SKETCH 
 
 BOOK. 
 
 Schedule No. 369. 
 
 A copy of Coltman’s “ British. Itinerary,” bound 
 in calf with one brass clasp, interleaved with blank 
 sheets, nearly all of which are drawn on. 
 
 Size of page, 4 r 9 ff x 2|f. 
 
 Executor’s endorsement, “ No. 369. 147 leaves of 
 pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 Inside of front cover, a grotesque head and some numbers* 
 in pencil ; inside of end cover the following, in ink.- — 
 
 “ 9690 
 
 Andover 
 
 3 June 
 
 1946 * 
 
 Murrell G. (?) 
 
 3 June 
 
 1951 
 
 3 June 
 
 19505. 
 
 
 3 June 
 
 25956 
 
 
 5 Jn 
 
 68186 * 
 
 Andover. 
 
 3 
 
 58196 
 
 Rfracombe. 
 
 3 
 
 7 
 
 5366* 
 
 Andover 
 
 
 52600 
 
 
 3 
 
 Crossed through. 
 
[CXXIII.] DEVONSHIRE COAST No. 1. 
 
 343 
 
 52598 * 
 52599* 
 
 21832 
 41483 
 21834* 
 
 33* 
 
 67950 
 
 48802 
 
 2 * 
 
 61048 
 38024 
 21832 * 
 41483 
 21834 
 
 21833 
 47950 
 48802 
 
 1 
 
 61648 
 
 38024* 
 
 5 
 
 -6 
 
 9 
 
 7 
 
 ■ Lostwithle 
 
 Salisbury 
 
 Amesbury 
 
 Salisbury 
 
 Salisbury 
 
 Minehead. 
 
 Froom 
 
 Salisbury 
 
 5 
 
 3 
 
 5 
 
 5 
 
 5 
 
 5 
 
 3 
 
 3 
 
 3 
 
 5 
 
 1 
 
 5 
 
 5 
 
 5 
 
 Clovelly. June 3 
 
 St 
 
 Redruth 
 
 Penzance 
 
 30 
 
 4085 
 6 
 
 Horton. 
 
 Falmouth 
 
 Bodmin 
 
 39682 
 28805 
 
 Continued on to Fly-leaf 
 
 3 
 
 3 ” 
 
 14665 * 
 
 x Church 
 
 May 27. 
 
 11 
 
 33208 
 
 
 May 29. 
 
 11 
 
 55883 
 
 
 May 10. 
 
 11 
 
 29395 * 
 
 T. 
 
 May 18. 
 
 11 
 
 33256 * 
 
 T. 
 
 Ma y 31. 
 
 11 
 
 45350 
 
 Seaton 
 
 May 27. 
 
 11 
 
 64522 
 
 Bridport 
 
 May 31. 
 
 11 
 
 1 
 
 
 27 
 
 11 
 
 12969 
 
 
 16 
 
 11 
 
 52635 * 
 
 
 
 
 20323* 
 
 Totness 
 
 22 
 
 11 
 
 68489 
 
 Ivybridge 
 
 31 
 
 11 
 
 46058* 
 
 Plym. 
 
 16 
 
 11 
 
 47801 * 
 
 Plym. 
 
 9 
 
 11 
 
 60117 * 
 
 Plym. 
 
 6 
 
 
 64402 * 
 
 Foivey 
 
 22 
 
 
 73587 * 
 
 Lost. 
 
 16 
 
 
 72058 * 
 
 Bridgewater 28 
 
 
 73493 * 
 
 Wells 
 
 22 
 
 
 64111 * 
 
 Redruth 
 
 3 
 
 
 28805* 
 
 T Trove (?) „ 
 
 v ' Bangor 
 
 and Garnet fordS 
 
 Z 2 
 
 32796 
 
 Crossed through. 
 
344 
 
 TURNER DRAWINGS. 
 
 [CXXIII.] 
 
 Page 1. Small landscape sketch, almost obliterated ; also : — 
 
 “ Egham Bill J9 B.B. 2. 6. 1 . 8. — 23 ' 
 
 Hook (?) 5 
 
 Blackwater 3 . G 
 
 Turnpike 2 
 
 1 
 
 July 13. 1811 (?) 1 .14 .6" 
 
 la. “ Purdiwick ” 
 
 2. Two sketches. 
 
 2 a. River, with Abbey (?) in mid-distance, and distant 
 
 mountains. 
 
 3. Dartmouth Castle. 
 
 3 a. On the coast. 
 
 4. Three views, one of “ Minehead." 
 
 4a. Three figures, one of “ Butcher leaning on the meat 
 tray ” ; also : — 
 
 “ n % 5% 
 
 9 by P\ 4 Long Size. 
 
 7 by o 7 /. Upright ." 
 
 Poole* 
 
 01 
 
 Gorfe Castle* 
 
 02 
 
 Lulworth Castle 
 
 x 03 
 
 Cove. 
 
 
 W ey mouth* 
 
 04 
 
 Portland * 
 
 05 
 
 Abbotbury x 
 
 
 Lyme JRegis* 
 
 06 
 
 Teignmouth* 
 
 8 
 
 Torbay 
 
 09 
 
 Dartmouth * 
 
 010 
 
 Plymouth 11.* 12.* 13. 
 
 Dock. 
 
 Mt. Edgecombe 0 10* 
 
 0 11 
 
 E. and W. Looe* 14 
 Fowey 13 
 Falmouth * Bridport 15 
 St. Maives * or Pendennis .* 16 
 St. Michaels Mount * 17 
 Lands End * 18 
 
 St. Ives 19 ” (contd. on p. 7). 
 
 5 a. Two sketches, one at “ Fowey." 
 
 6. Three sketches, one at “ Camelford." 
 
 6a. Three sketches, one near “ Fowey." 
 
 7. Castle with trees, also : — 
 
 “ Tetildy. Lord De Dunster (?) 
 
 Tin ta gel* 20 
 
 Glovelly North Devon. 21 
 
 Ilfracombe * 22 
 
 Lin mouth 23 
 
 Minehead 24 
 
 Somersetshire. Weston* Watchet 25 
 Sheerness. 
 
 Crossed through. 
 
[CXXIIL] DEVONSHIRE COAST No. 1. 
 
 345 
 
 Page 
 
 55 
 
 55 
 
 y> 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5 ? 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5 > 
 
 55 
 
 55 
 
 55 
 
 55 
 
 7 a. Two sketches, one of “Falmouth” the other of 
 “ Brid ” (probably Briclport). 
 
 8. Wharves and shipping. 
 
 8a. Carts and horses. 
 
 9. Parrot in cage on balcony, with market place or square 
 
 beyond. 
 
 9a. “ Anchorwik .” Probably Ankerwyke House, 2 miles 
 from Staines. 
 
 10. Title page — 
 
 “ The British Itinerary | or | Travellers Pocket 
 Companion | throughout | Great Britain | Exhibit- 
 ing | the Direct Route to Every | Borough & 
 Commercial Town | in the | Kingdom | with the 
 principal | Cross Roads. | Compiled from Actual 
 Measurement | and the best Surveys and Authori- 
 ties | By | Nathan 1 Coltman : | Surveyor | &c.” 
 
 11. Castle (?) or mansion among trees. 
 
 11a. River scene. 
 
 12. Do. 
 
 12a. Two sketches, one of “ Fowey,” one of “ Windsor .” 
 
 IB. Preface to Brit. Itinerary.* 
 
 13a. “ Fowey .” 
 
 14. Landscape. 
 
 14a. Possibly Dartmouth. 
 
 15. B.I. 
 
 15a. Tower on steep rock. 
 
 16. In Poole Bay, with Corfe Castle in distance. 
 
 16a. “ L Castle ” — probably Lulworth Castle ; also “16 May , 
 1811, 73587 FoweyF 
 
 17. Same castle ; another view. 
 
 17a. “ Sidmouth ” and “Biddiford.” 
 
 18. B.I. 
 
 18a. “ Biddiford ” ; and draft of verses. 
 
 19. Town on coast. 
 
 19a. Tower on hill. 
 
 20. B.I. 
 
 20a. | y erseg> 
 
 21a. On the coast. — “ P.” 
 
 22. Do. “ XC ” — possibly Christchurch, Hants. 
 
 23. B.I. 
 
 23a. Two lines of verse. 
 
 24. An abbey (?) on coast. Query Christchurch, Hants. 
 
 * 24a. “ Bude .” 
 
 25. B.I. 
 
 25 a. \ Verses. 
 
 26. / 
 
 27. Isle of Wight from Hampshire coast. — “ XC.” 
 
 27a. Landscape. 
 
 28. B.I. 
 
 28a. 1 Verses. 
 
 29. I 
 
 All the printed pages of the Itinerary will be described simply as B.I. 
 
346 
 
 TURNER DRAWINGS. [CXXIIL] 
 
 Page 
 
 59 
 
 55 
 
 59 
 
 95 
 
 99 
 
 95 
 
 99 
 
 55 
 
 59 
 
 95 
 
 99 
 
 55 
 
 99 
 
 55 
 
 99 
 
 95 
 
 55 
 
 95 
 
 99 
 
 95 
 
 95 
 
 55 
 
 99 
 
 99 
 
 95 
 
 55 
 
 55 
 
 59 
 
 99 
 
 55 
 
 95 
 
 55 
 
 55 
 
 59 
 
 95 
 
 55 
 
 95 
 
 59 
 
 59 
 
 59 
 
 95 
 
 99 
 
 99 
 
 99 
 
 55 
 
 99 
 
 29a. A harbour. 
 
 30. B.I. 
 
 30a. Verses. 
 
 31. Tower on coast. 
 
 31a. “ Fowey .” 
 
 32. Coast. — “ XC.” 
 
 32a. Distant hills. 
 
 33. B.I. 
 
 33a. Verses. 
 
 34. On tho coast. 
 
 34a. Sketch map of tbe country round Corfe Castle — Poole 
 Bay, Studland Bay, Swanage, &c. 
 
 35. B.I. 
 
 35a. Verses. 
 
 36. Town on coast. 
 
 36a. Coast, with shipping and tower. 
 
 37. Do. do. 
 
 37 a. Rocky coast. 
 
 38. B.I. 
 
 38a. Verses. 
 
 39. Town on coast. 
 
 39a. An old gateway. 
 
 40. B.I. 
 
 40a. “ Ristor ” — (Ristormels). 
 
 41. “ Ristormels ” and “Lyme.” 
 
 41a. A harbour. 
 
 42. Harbour and shipping. 
 
 42a. Tower on hill. 
 
 43 B.I. 
 
 43a. Verses. 
 
 44. The coast. 
 
 44a. Town on coast. 
 
 45. B.I. 
 
 45a. Verses. 
 
 46. Harbour and rocks on coast. “ Lamb ” and “ Dead- 
 
 man” (r 1 ). 
 
 46a. Tower on coast. Probably battery in Fowey Harbour. 
 
 47. Two views of Fowey Harbour. 
 
 47a. Bridport. 
 
 48. B.I. 
 
 48a. Verses. 
 
 49. Cliffs on coast. Probably at Bridport. 
 
 49a. “ Fowey.” 
 
 50. B.I. 
 
 50a. Verses. 
 
 51. Bay on coast. 
 
 51a-515. Blank. 
 
 51c. Town in bay. 
 
 52. B.I. 
 
 52a. Verses. 
 
 53. Rocky Bay, with figures and shipping in foreground. 
 53a. “ Torbay.” 
 
 54. B.I. 
 
 54a. Verses. 
 
[CXXIII.] DEVONSHIRE COAST No. 1. 
 
 347 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 •>y 
 
 99 
 
 99 
 
 99 
 
 9* 
 
 >9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9 
 
 99 
 
 99 
 
 99 
 
 9 
 
 99 
 
 99 
 
 99 
 
 55. Group of figures quarreling. 
 
 55a. Looking down on town and harbour — “ Brid ” (Brid- 
 port). 
 
 55 b. Fishermen’s cottages on coast — “Dr. Lloyd , Honiton, 
 Mr. Palmer." 
 
 55 c. River. 
 
 56. B.I. 
 
 56a. Verses. 
 
 565. “Seaton." 
 
 56c. Shipping on coast. — “ Axm " (Axininster) 
 
 57. B.I. 
 
 57 a. I Verses. 
 
 58. \ 
 
 58 a. Coast, with “ Sea " and “ Corn." 
 
 59. An estuary. 
 
 60. B.I. 
 
 60a. \ Verses. 
 
 61. 1 
 
 61a. Do. 
 
 62. B.I. 
 
 62a. Group of houses. 
 
 63. Three sketches, one of “ Ristormels." 
 
 63 a. Coast. 
 
 64. Do. — “ Ex ” (? Exeter or Exmouth) 
 
 64a. Two sketches, one of “ St. Cross." 
 
 65. B.I. 
 
 65a. Verses. 
 
 66. Coast. 
 
 66a. Do. 
 
 67. B.I. 
 
 67a. Verses. 
 
 68. “ Daw ” (Dawlish). 
 
 68a. Figures, &c., on coast. — “ Teign " (Teignmouth). 
 
 69. Fishing vessels in harbour (?). 
 
 69a. Coast. 
 
 70. B.I. 
 
 70a. Verses. 
 
 71. Landscape. 
 
 71a. Do. 
 
 72. B.I. 
 
 72a. Coast. 
 
 73. Cottage among trees. 
 
 73a. Landscape. 
 
 74. Do. 
 
 74a. Do. — “ Bradley." 
 
 75. B.I. 
 
 75 a. Verses. 
 
 76. Landscape. 
 
 77. B.I. 
 
 77a. Verses. 
 
 78. Blank. 
 
 79. Do. 
 
 80. B.I. 
 
 80a. Verses. 
 
348 
 
 TURNER DRAWINGS. [CXXIII.] 
 
 Page 
 
 81. 
 
 Town, with fishing vessels and figures in foreground. 
 
 99 
 
 81a. 
 
 “ D" probably River Dart. 
 
 99 
 
 82. 
 
 B.I. 
 
 99 
 
 82a. 
 
 Probably scene on River Dart. 
 
 99 
 
 83. 
 
 “ Dart." 
 
 99 
 
 83a. 
 
 Bridge and trees. — “ Kingston-in-Newton" 
 
 99 
 
 84. 
 
 River Dart 
 
 99 
 
 84a. 
 
 Mouth of river. 
 
 99 
 
 85. 
 
 B.I. 
 
 99 
 
 85 a. 
 
 Wooded slopes, with tower in distance. 
 
 99 
 
 86. 
 
 Mouth of river. 
 
 99 
 
 86a. 
 
 Study of sky. 
 
 99 
 
 87. 
 
 B.I. 
 
 99 
 
 87 a. 
 
 Verses. 
 
 99 
 
 88. 
 
 River. 
 
 99 
 
 88a. 
 
 Do. 
 
 99 
 
 89. 
 
 “ Teignmouth to Mendip." 
 
 99 
 
 89a. 
 
 “ Charmouth ” (?). 
 
 99 
 
 90. 
 
 B.I. 
 
 99 
 
 90a. 
 
 Verses. 
 
 99 
 
 91. 
 
 Distant town and church tower. 
 
 99 
 
 91a. 
 
 River. 
 
 99 
 
 92. 
 
 B.I. 
 
 99 
 
 92a. 
 
 Town on coast. 
 
 99 
 
 93. 
 
 River, with steep banks. 
 
 99 
 
 93a. 
 
 Do. do. 
 
 99 
 
 94. 
 
 Castle (?) among hills. 
 
 99 
 
 94a. 
 
 River. 
 
 99 
 
 95. 
 
 B.I. 
 
 99 
 
 95a. 
 
 Verses. 
 
 99 
 
 96. 
 
 River, with steep bank. 
 
 99 
 
 96a. 
 
 Rockj" coast. 
 
 19 
 
 97. 
 
 B.I. 
 
 Ji 
 
 97a. 
 
 Coast. 
 
 99 
 
 98. 
 
 Do. 
 
 99 
 
 99. 
 
 Blank. 
 
 99 
 
 99a. 
 
 Coast. 
 
 99 
 
 100. 
 
 B.I. 
 
 99 
 
 100a. 
 
 Verses. 
 
 99 
 
 101. 
 
 Road across moors. 
 
 99 
 
 101a. 
 
 “ Plympton." 
 
 99 
 
 102. 
 
 B.I. 
 
 99 
 
 102a. 
 
 Verses. 
 
 99 
 
 103. 
 
 Town on coast. 
 
 99 
 
 103a. 
 
 Landscape. 
 
 99 
 
 104. 
 
 Two sketches, one of Falmouth. 
 
 99 
 
 104a. 
 
 Two sketches ; only one is named, but the writing : 
 illegible. 
 
 99 
 
 105. 
 
 B. I. 
 
 99 
 
 105a. 
 
 Verses. 
 
 99 
 
 106. 
 
 “ St. Michaels ” and “ Tregothen." 
 
 99 
 
 107. 
 
 B. I. 
 
 99 
 
 107a. 
 
 Verses. 
 
 99 
 
 108. 
 
 A bridge. 
 
[CXXIIL] 
 
 DEVONSHIRE COAST No. 1 
 
 349 
 
 Page 108a. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 109. 
 
 109a, 
 
 no. 
 
 110a. 
 
 111 . 
 
 Ilia. 
 
 112 . 
 
 112a. 
 
 113. 
 
 113a. 
 
 111 . 
 
 114a. 
 
 115. 
 115a. 
 
 116. 
 
 117. 
 117a. 
 
 118. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 118a. 
 
 119. 
 119a. 
 
 120. 
 120a. 
 121. 
 122. 
 122a. 
 
 123. 
 123a. 
 
 124. 
 124a. 
 
 125. 
 125a. 
 
 126. 
 126a. 
 
 127. 
 127a. 
 
 128. 
 128a. 
 
 129. 
 129a. 
 
 130. 
 130a. 
 
 131. 
 
 132. 
 132a. 
 
 133. 
 
 134. 
 134a. 
 
 135. 
 135a. 
 
 136. 
 
 137. 
 137a. 
 
 “ Falmouth." 
 
 “ Penryn." 
 
 Falmouth harbour. 
 
 B. I. 
 
 Verses. 
 
 Harbour. Possibly Falmouth. 
 
 Rocks on coast. 
 
 B. I. 
 
 “ E. & W. Looe .” 
 
 Bridge (probably at Looe). 
 
 Trees. 
 
 East and West Looe (?). 
 
 “.Do.” (E. & W. Looe). 
 
 B. I. 
 
 “ Looe." 
 
 Blank. 
 
 B. I. 
 
 Verses. 
 
 Two sketches, one of “ Nooky ” (or “ Wooky ” — 
 perhaps near Wells, Somerset). 
 
 Harbour (?). 
 
 Coast with vessels. 
 
 Landscape, with distant castle. “ Avelone ” (?). 
 
 B. I. 
 
 V erses. 
 
 Blank. 
 
 B. I. 
 
 Verses. 
 
 Town on river. 
 
 Town. 
 
 “ Maudlin." 
 
 Two sketches, one of “ St. Blazey." 
 
 B. I. 
 
 Two sketches. “ Gramp ” (Grampound) and “ Ram." 
 
 Do. , one probably of Dodman’s Point. 
 River. 
 
 B. I. 
 
 Verses. 
 
 Blank. 
 
 Figures on coast. 
 
 Coast. 
 
 Town on coast. 
 
 B. I. 
 
 Verses. 
 
 Blank. 
 
 B. I. 
 
 Verses. 
 
 Possibly St. Mawes. 
 
 Blank. 
 
 Men mending boat (?). 
 
 B. I. 
 
 Verses. 
 
 Bridge and town. 
 
 B. I. 
 
 Verses. 
 
TURNER DRAWINGS. 
 
 [CXXIII.] 
 
 350 
 
 Page 138. 
 
 Castle among trees. 
 
 11 
 
 138a. 
 
 Do. 
 
 55 
 
 139. 
 
 Do. 
 
 55 
 
 139a. 
 
 Group figures. 
 
 11 
 
 140. 
 
 B. I. 
 
 51 
 
 140a. 
 
 Verses. 
 
 11 
 
 141. 
 
 B. I. 
 
 11 
 
 141a. 
 
 V erses. 
 
 11 
 
 142. 
 
 “ Milldam with castle among trees. 
 
 11 
 
 142a. 
 
 Ruined castle on hill. 
 
 11 
 
 143. 
 
 Do. 
 
 11 
 
 143a. Landscape. 
 
 11 
 
 144. 
 
 B. I. 
 
 51 
 
 144a. 
 
 Entrance to harbour or river. 
 
 51 
 
 145. 
 
 A water mill. 
 
 11 
 
 145a. 
 
 Forts at mouth river. 
 
 11 
 
 146. 
 
 B. I. 
 
 11 
 
 146a. 
 
 Verses. 
 
 
 147. 
 
 “ Combe Martin.''' 
 
 11 
 
 148. 
 
 Blank. 
 
 11 
 
 149. 
 
 B. I. and verses. 
 
 11 
 
 149a. 
 
 Verses. 
 
 11 
 
 150. 
 
 Blank. 
 
 11 
 
 151. 
 
 B. I. 
 
 11 
 
 151a. 
 
 Verses. 
 
 55 
 
 152. 
 
 Landscape and verses. 
 
 11 
 
 152a. 
 
 Landscape. 
 
 11 
 
 153. 
 
 Coast. 
 
 11 
 
 153a. 
 
 One-arched bi'idge. 
 
 11 
 
 154. 
 
 B. I. 
 
 11 
 
 154a. 
 
 Verses. 
 
 55 
 
 155. 
 
 Blank. 
 
 55 
 
 155a. 
 
 Coast. 
 
 11 
 
 156. 
 
 B. I. 
 
 51 
 
 156a. 
 
 Verses. 
 
 11 
 
 157. 
 
 ‘‘ Bridgwater." 
 
 15 
 
 158. 
 
 Town. 
 
 51 
 
 158a. 
 
 “ Old Barum." 
 
 15 
 
 159. 
 
 B. I. 
 
 55 
 
 159a. 
 
 Verses. 
 
 51 
 
 160. 
 
 Blank. 
 
 55 
 
 161. 
 
 B. I. 
 
 15 
 
 161a. 
 
 Verses. 
 
 55 
 
 162. 
 
 River. 
 
 55 
 
 162a. 
 
 Bay, with distant hills. 
 
 15 
 
 163. 
 
 Rocks off coast. 
 
 11 
 
 164. 
 
 B. I. 
 
 55 
 
 164a. 
 
 Verses. 
 
 55 
 
 165. 
 
 Town on Coast. 
 
 15 
 
 165a. 
 
 Coast. 
 
 15 
 
 166. 
 
 B. I. 
 
 55 
 
 166a. 
 
 Verses. 
 
 55 
 
 167. 
 
 A water wheel. 
 
 51 
 
 167a. 
 
 Castle on hill. Probably Dunster. 
 
[CXXIII.] DEVONSHIRE COAST No. 1 
 
 351 
 
 Page 168. Town. 
 
 „ 168a. Dunster Castle. 
 
 „ 169. B. I. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 169a. Verses. 
 
 170. Blank. 
 
 170a. Watchet, Somersetshire. 
 
 171. B. I. 
 
 171a. Verses. 
 
 172-3. Blank. 
 
 174. B. I. 
 
 174a. Verses. 
 
 175. Harbour. 
 
 176. B. I. 
 
 176a. Verses. 
 
 177-8. Blank. 
 
 179. B. I. 
 
 179a. | 
 
 180. [ Verses. 
 
 180a. ) 
 
 181. B. I. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 >9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 182. Boscastle, N. Cornwall. 
 
 183. Blank. 
 
 184. B. I. 
 
 184a. 1 Wells. ? The Chain Gate. 
 
 185. / 
 
 186. B. I. 
 
 187. “ Wells ” Cathedral. 
 
 188. Blank. 
 
 189. B. I. 
 
 190. Blank. 
 
 190a. St. Michael’s Mount (?). 
 
 191. B. I. 
 
 192. Men-of-war. 
 
 192a. Coast. 
 
 193. Coast. 
 
 194. B. I. 
 
 195. Hulk. Probably in Tamar. 
 
 195a. Hulks. 
 
 196. B. I. 
 
 197. Landscape. 
 
 197a. Two sketches. 
 
 198. Do. , one of “ Pendcnms ” 
 198a. Harbour. 
 
 199. B. I. 
 
 200. Mouth of river. 
 
 201. B. I. 
 
 201a. Verses. 
 
 202. Building and shipping. 
 
 203. Blank. 
 
 203a. Town on coast. 
 
 204. B.I. 
 
 204a. Verses. 
 
 205. Coast. 
 
 205a. Landscape. 
 
 (?) 
 
352 
 
 TURNER DRAWINGS. [CXXIII.j 
 
 Page 
 
 206. 
 
 B.I. 
 
 99 
 
 207. 
 
 Coast. 
 
 99 
 
 207a. 
 
 Three sketches of ruined castle (?). 
 
 99 
 
 208. 
 
 Hulk in Tamar. 
 
 99 
 
 208a. 
 
 On the coast. 
 
 99 
 
 209. 
 
 B.I. 
 
 99 
 
 209a. 
 
 Two landscapes. 
 
 99 
 
 210. 
 
 Distant hills. 
 
 99 
 
 21.0a. 
 
 Dunster Castle (?) in distance. 
 
 99 
 
 211. 
 
 B.I. 
 
 99 
 
 211a. 
 
 Stonehenge, with “ Dove" coloured “ Clouds. 
 
 99 
 
 212. 
 
 Stonehenge. 
 
 99 
 
 212a. 
 
 Do. 
 
 99 
 
 213. 
 
 De. 
 
 99 
 
 213a. 
 
 St. Michael’s Mount (?). 
 
 99 
 
 214. 
 
 B.I. 
 
 99 
 
 214a. 
 
 St. Michael’s Mount (?). 
 
 
 215. 
 
 Do. 
 
 99 
 
 215a. 
 
 “ Ilfracombe." 
 
 
 216. 
 
 B.I. 
 
 99 
 
 217. 
 
 A hulk. Pen and ink. 
 
 99 
 
 217a. 
 
 Two sketches, one of “ Falmouth Harbour." 
 
 99 
 
 218. 
 
 Town on cliffs. 
 
 99 
 
 219 
 
 B.I. 
 
 99 
 
 220 
 
 Blank. 
 
 99 
 
 221' 
 
 B.I. 
 
 99 
 
 222* 
 
 “ Clovelly .” 
 
 99 
 
 223' 
 
 Clovelly. 
 
 99 
 
 224‘ 
 
 B.I. 
 
 99 
 
 225. 
 
 Castle on hill. 
 
 99 
 
 226. 
 
 B.I. 
 
 99 
 
 227.-8. Blank. 
 
 99 
 
 229. 
 
 B.I. 
 
 99 
 
 23o! 
 
 “ Fowey River." 
 
 99 
 
 230a. 
 
 Town and distant hills. 
 
 99 
 
 231. 
 
 B.I. 
 
 99 
 
 231a. 
 
 “ St. Winans ” (?). 
 
 99 
 
 232. 
 
 Blank. 
 
 99 
 
 232a. 
 
 Church on hill. 
 
 99 
 
 233. 
 
 1 .andscape. 
 
 99 
 
 233a. 
 
 Street of town on hill. 
 
 99 
 
 234. 
 
 B.I. 
 
 99 
 
 235. 
 
 Blank. 
 
 99 
 
 235a. 
 
 Dartmouth Castle. 
 
 99 
 
 236. 
 
 B.I. 
 
 99 
 
 237. 
 
 Dartmouth Castle. 
 
 99 
 
 237a. 
 
 River Dart. 
 
 
 
 (Leaf torn out. ) 
 
 99 
 
 238. 
 
 B.I. 
 
 99 
 
 239. 
 
 Dartmouth. 
 
 99 
 
 241. 
 
 Castle walls. 
 
 99 
 
 242-244. Blank. 
 
 99 
 
 244a. 
 
 Landscape. 
 
 99 
 
 245. 
 
 Blank. 
 
[CXXIIL] DEVONSHIRE COAST No. 1. 
 
 353 
 
 Page 245 a. “ Basingstoke.” 
 
 „ 246. Probably another view of Basingstoke. 
 
 „ 246r/.. Ruined church, St. Catherine’s Hill, nr. Guildford (?). 
 „ 247. Do. 
 
 „ 247«. House near pond with willows. Pen and ink 
 ? Sandycombe Lodge. 
 
 „ 248. “ Penryn ” and design for house. 
 
 „ 248«. Two landscapes ; also : — 
 
 “ Upright size S' 1 3 by 7 
 
 Coast 5 2 / 3 by 8‘R 
 
 Dewint size 4 5 l s by 5 2 / 2 .” 
 
 „ 249. Road across heath. 
 
 „ 249a. Hills with distant castle. 
 
 „ 250. Do. 
 
 (162 leaves drawn on.) 
 
 1811 # (AET. 30). 
 
 OXXIV.— " CORFE TO DARTMOUTH” SKETCH BOOK. 
 
 Schedule No. 167. 
 
 Sketch book with paper covers. 
 
 Turner has written in ink outside cover, “ Corfe 
 to Dartmouth ” ; and on margin of other cover, 
 “ Lands End in Book with N. Dev n .” 
 
 Mr. Ruskin’s endorsement — “ Thirty leaves of 
 Inventory Book No. 167. Good for Distribution.” 
 
 Size of page, 6| x 8. 
 
 The leaves were distributed, but Mr. Ruskin had 
 numbered them before distribution. But as his 
 numbers ran in the reverse order of the journey I 
 have not adopted them for this catalogue, though 1 
 have used them to establish the sequence of the 
 pages. 
 
 Page 1. Corfe Castle in distance. 
 
 „ 1«. ) Corfe Castle and Corfe beyond. 
 
 „ 2. f 
 
 „ 3. Corfe Castle. 3rd Loan Collection, No. 17. 
 
 „ 4. Corfe Castle. 
 
 „ 5. Corfe Castle, Oxford, 81-167. 
 
 „ 6. Corfe Castle. 
 
 „ 7. Corfe Castle. Pencil, partly coloured. 4th Loan 
 
 Collection, No. 28. 
 
 „ 8. Corfe Castle. Water colour (blue faded.) 5th Loan 
 
 Collection, No. 29, as “ Dunstanborough Castle.” 
 
 „ 9. (No. 40 R.) Missing. 
 
 „ 10. “ Poole.” 
 
354 
 
 TURNER DRAWINGS. [CXXIV.] 
 
 Page 11. 
 
 Old Harry Rocks, from near Swanage. 
 
 99 
 
 12. 
 
 Swanage. 
 
 99 
 
 13. 
 
 Vessels off Swanage. 
 
 99 
 
 14. 
 
 Town on Coast. ? Swanage. 
 
 «9 
 
 15. 
 
 Do. do. 
 
 99 
 
 16. 
 
 Corfe Castle in distance. 
 
 99 
 
 17. 
 
 Corfe Castle ; entrance. See Engraving, “ Southern Coast.” 
 
 99 
 
 18. 
 
 Corfe Castle. 
 
 
 19. 
 
 Lulworth Castle. See Engraving, “ Southern Coast.” 
 
 99 
 
 20. 
 
 Lulworth Cove. 
 
 99 
 
 20a. 
 
 j Lulworth Cove. 
 
 99 
 
 21. 
 
 I 
 
 99 
 
 2 la. 
 
 Do. 
 
 99 
 
 22. 
 
 Do. See Engraving, “ Southern Coast,” 
 
 1 June, 1814. 
 
 99 
 
 23. 
 
 “ Dorchester .” 
 
 99 
 
 24. 
 
 “ Weymouth and Port" (probably Isle of Portland). 
 
 99 
 
 25. 
 
 “ Sand/ord Castle." 
 
 “9 
 
 26. 
 
 Bow and Arrow Castle, Isle of Portland. 
 
 99 
 
 27. 
 
 Do. do. See Engraving “ Southern Coast.” 
 
 99 
 
 28. 
 
 “ Charmouth and Lyme." 
 
 99 
 
 29. 
 
 “ Bridport." 
 
 99 
 
 29a. 
 
 “ Lyme from Charmouth." See Engraving “ Southern 
 Coast,” November, 1814. 
 
 99 
 
 30. 
 
 Exeter, with Cathedral in distance. 
 
 99 
 
 31. 
 
 Do. do. 
 
 99 
 
 32. 
 
 Bridge or gateway. 
 
 99 
 
 33. 
 
 Distant view of Exeter. 
 
 
 34. 
 
 “ Cowley nr Ex " (Exeter). 
 
 99 
 
 35. 
 
 Teignmouth. 
 
 99 
 
 36. 
 
 \ Teignmouth. Oil painting, different in details from 
 
 99 
 
 37. 
 
 j engraving in “ S. Coast,” at Petworth House (Lord 
 Leconfield), signed “ 1812.” “ Southei'n Coast ” 
 
 engraving published 1 June, 1815. 
 
 99 
 
 38. 
 
 “ Torbay from the Linton Poad." 
 
 99 
 
 39. 
 
 “ Totness .” 
 
 99 
 
 40. 
 
 “ Totness Castle and Pace G d ." 
 
 99 
 
 41. 
 
 On the Dart (?). 
 
 99 
 
 42. 
 
 Do. 
 
 99 
 
 43. 
 
 Do. 
 
 99 
 
 44. 
 
 Do. 
 
 99 
 
 45. 
 
 Road near Dartmoor. 
 
 99 
 
 46. 
 
 Dartmouth (?) 
 
 99 
 
 47. 
 
 Do. 
 
 >9 
 
 48. 
 
 “ Torbay " from Brixham. See Engraving, “ Southern 
 Coast,” 1 January, 1821. 
 
 (47 leaves drawn on.) 
 
[CXXV.] 
 
 355 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1811 # (AET. 36). 
 
 CXXV— “ IVY BRIDGE TO PENZANCE” SKETCH 
 BOOK. 
 
 Schedule No. 136. 
 
 Sketch book, bound in parchment. 
 
 Written by Turner, in ink, in centre of cover : — 
 “ Ivy Bridge to Pensance .” 
 
 Paper white ; water mark, “ Fellows, 1808.” 
 
 Size of page, 6 T 9 y x 8 X \. 
 
 The leaves were distributed and unnumbei'ed ; 
 their present sequence is therefore not to he relied 
 on as representing the original state of the book. 
 
 1. Blank. 
 
 2. A harbour. (Probably Plymouth.) 
 
 3. Blank. 
 
 3 a. Plymouth harbour. 
 
 4. Do. 
 
 5. Blank. 
 
 6. Hulks on Tamar. See Oil painting at Petworth (Lord 
 
 Leconfield). 
 
 7. Do. do. 
 
 8. Fort in harbour with vessels. 
 
 9. Plymouth Dock. 
 
 10. Men- of -war in Plymouth Dock. 
 
 10a. \ Plymouth Dock, as seen from Mount Edgecombe. 
 
 11. j See engraving, “ Southern Coast,” 1 Oct., 1816. 
 
 11a. I Plymouth, with Mount Batten, from Turn Chapel, 
 
 12. > looking over Catwater. See Engraving, “Southern 
 
 13. ) Coast,” 1 May, 1817. 
 
 14. Bridge between East and West Looe. 
 
 15. Blank. 
 
 15a. East and West Looe. 
 
 16. Blank. 
 
 16a. East and West Looe. 
 
 17. Blank. 
 
 17a. East and West Looe See Engraving, “ Southern Coast,” 
 1 July, 1818. 
 
 18. Blank. 
 
 18a. \ Entrance Fowey Harbour. See Engraving, “ Southern 
 
 19. / Coast,” 1 Apl. 1820. 
 
 19a. Fowey Harbour. 
 
 20. Blank. 
 
 20a. Mouth of river. 
 
 21. Blank. 
 
 21a. A river. 
 
 22. Blank. 
 
 22a. “ St. Blazey .” 
 
 23. Blank. 
 
 23a. A river. 
 
 24. Blank. 
 
356 
 
 TURNER DRAWINGS. 
 
 [CXXV.] 
 
 Page 24a. 
 „ 25. 
 
 „ 25a. 
 26. 
 
 „ 27. 
 
 55 
 
 ’5 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 27a. 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 
 34. 
 34a. 
 
 35. 
 
 36. 
 36a. 
 
 37. 
 37a. 
 
 38. 
 38a. 
 
 39. 
 39a. 
 
 40. 
 40a. 
 
 41. 
 41a. 
 
 42. 
 42a. 
 
 43. 
 43a. 
 
 44. 
 
 45. 
 45a. 
 
 46. 
 
 47. 
 
 48. 
 
 55 
 
 49. 
 
 50. 
 
 55 
 
 51. 
 
 Falmouth Bay. 
 
 Blank. 
 
 “ Penryn 
 Blank. 
 
 Pendennis Castle, and entrance of Falmouth Harbour. 
 Partly finished in water colour. See Engraving, 
 Southern Coast,” 1 May, 1817. 
 
 Pendennis Castle. 
 
 Blank. 
 
 Falmouth. 
 
 Falmouth Harbour. 
 
 St. Michael’s Mount. 
 
 | Do. 
 
 | Do. 
 
 Do. 
 
 | Do. 
 
 Blank. 
 
 | St. Michael’s Mount. 
 
 1 Do. 
 
 Do. 
 
 Blank. 
 
 St. Michael’s Mount. 
 
 Do. 
 
 Do. 
 
 Blank. 
 
 St. Michael’s Mount. 
 
 Blank. 
 
 \ St. Michael’s Mount. 
 
 1 Do. See Engraving, “Southern Coast,” 
 
 1 Jan., 1814. 
 
 Do. 
 
 Falmouth Harbour or Mount’s Bay. 
 
 St. Michael’s Mount. 
 
 Ivy Bridge. Exhibited Drawings, Mo. 408, N.G. 
 
 Bed of a stream. Partly worked in water colour. 
 
 Blue faded. Exhibited Drawings, No. 409, N.G. 
 Town with church on hill, connected by bridge with 
 another hill on which stands a ruined castle. 
 
 Two extra leaves — 
 
 Land’s End, Cornwall. See Engraving, “ Southern 
 Coast,” March 1, 1814. 
 
 Land’s End. 
 
 (The size of these two leaves is 5^ x 8R The book 
 to which they belong does not appear to be in the 
 collection. They are therefore placed here for con- 
 venience of reference.) 
 
 (47 leaves drawn on.) 
 
[GXXVI.J 
 
 357 
 
 1811 * (AET. 36). 
 
 OXXVI .— SOMERSET AND NORTH DEVON SKETCH 
 
 BOOK. 
 
 Schedule No. 137. 
 
 A number of loose leaves with no covers. The 
 leaves were distributed and have only been brought 
 together by size, quality of paper, and style. There 
 were no means of discovering the original sequence of 
 the pages. 
 
 Paper, white ; water mark, “ J. Whatman, 1801.” 
 
 Size of page, 7j-f x 1 2f . 
 
 (For other leaves of this book, see Schedule 162, 
 “ Views in Sussex,” about 1815.) 
 
 Page 1. Blank. 
 
 „ 2. “ Ilfracombe .” 
 
 „ 3. Combe Martin (?). 
 
 „ 4. “ Combe Martin .” 
 
 „ 5. “ Combe Martin." 
 
 „ 5 a. Rocks on coast. 
 
 „ 6. Do. 
 
 „ 7. Dunster Castle. 
 
 „ 8. Ruined castle on hill, with town below. 
 
 „ 9. Dunster Castle. 
 
 „ 10. Minehead (?). 
 
 „ 11. Distant coast. 
 
 „ 12. Rocky bay. 
 
 „ 13. Hills. 
 
 „ 14. Sands seen from hills. 
 
 „ 15. Road between hills. 
 
 „ 16. Town among hills. 
 
 „ 17. Do. 
 
 „ 18. Do. ? Lynmouth. 
 
 (17 leaves drawn on.) 
 
 1812 * (AET. 37 j. 
 
 CXXVII.— SANDYCOMBE AND YORKSHIRE 
 SKETCH BOOKS. 
 
 Schedule Nos. 197 and 148. 
 
 Loose leaves of two sketch books which cannot 
 now be separated, as they are similar in size and 
 quality of paper. The covers are not to be found, 
 and the present sequence of pages is fortuitous. 
 
 Size of pages, 4|f x 7J, 
 
 Paper, white. Water mark, “ II. Salmon, 1805.” 
 Executor’s endorsement : — “ No. 197. This book 
 contains 20 leaves Pencil Drawings. 
 
 (Sgd.) 11. S. Trimmer. 
 
 C. Turner ” ; 
 
 see also p. 31. 
 
 32796 2 A 
 
358 
 
 TURNER DRAWINGS. [CXXVII.l 
 
 Page 1. Road between hills. 
 
 „ 2 Designs for Sandycombe Lodge. Pencil and pen 
 
 and ink. 
 
 „ 3. Ground plan, with measurements, &c. — 
 
 “Id 15791. 17 Jan v . 1812 
 
 10 7638. 26 Feb. . 1812;" 
 
 Also — 
 
 “ 36 Feet , 11 feet high cost £21. 
 
 11 Doors. 7 Windows. 
 
 Walls 
 Chimneys , 
 Doorway 
 
 80 
 
 . 20 
 10 
 
 (• Brick Work. 
 
 
 110 
 
 \ 
 
 400 Purchase 
 400 Building 
 
 Roof . 
 
 50 
 
 
 100 Grounds 
 
 Floor 
 
 50 
 
 
 £900 
 
 | 1000 
 
 Slates 
 
 20 
 
 
 Interest 30 
 
 Plastering 
 
 50 
 
 
 Taxes 20 
 
 Ornamental 50 
 320 
 
 80 Additional 
 
 Per Annum 50 
 
 70 
 
 42 
 
 50 
 
 30 
 
 &cf 
 
 4. 
 
 5 . 
 
 6 . 
 6a. 
 
 7. 
 
 8 . 
 
 £192 Brick 
 
 Walls 
 
 House on sloping banks of river among foliage. 
 River, with distant mountains. 
 
 Town on hill, with church. ? Richmond, Yorks. 
 A building. 
 
 Design for Sandycombe. 
 
 Blank. 
 
 8a. Town on hill, with church. (Same as p. 6.) 
 
 9. Landscape, with trees and buildings. 
 
 9a. Do. do. 
 
 10. Blank. 
 
 11. Steps leading to gateway of castle. 
 
 12. Landscape. 
 
 12a. Design for Sandycombe Lodge. 
 
 13. Blank. 
 
 13a. Various designs for Sandycombe Lodge. 
 
 14. Blank. 
 
 14a. Designs for Sandycombe Lodge. 
 
 15. Do. 
 
 16. Hillside. 
 
 17-18. Blank. 
 
 18a. Landscape, with distant hill. 
 
[CXXVII.] SANDYCOMBE AND YORKSHIRE. 359 
 
 Page 19. Blank. 
 
 „ 19a. Castle in distance on hill. 
 
 „ 20. Blank. 
 
 „ 21. Do. 
 
 „ 21a. Plan of the plot of ground at Twickenham, showing 
 
 position of “Lane," “House," '■‘■Pond enlarged," &c. 
 Pen and ink. 
 
 „ 22. Blank. 
 
 „ 22a. Mansion on hill. 
 
 „ 23. Blank. 
 
 ,, 23a. Mansion with trees. 
 
 „ 24-25. Blank. 
 
 „ 25a. Castle among trees, with distant mountains. 
 
 „ 26. Blank. 
 
 ., 26a. Town on river. 
 
 32. 
 
 33. 
 
 27. Road running between well -wooded hills. 
 
 28. Road between hills. 
 
 29. Looking out to sea, with cliffs in foreground. 
 
 30. Landscape. 
 
 30a. Do. 
 
 31. Leaf of Schedule 148. Written in corner — “No. 148- 
 
 (Sgd.) H. S. Trimmer ” ; and, in Turner’s hand- 
 writing — 
 
 “ Salvator Rosa painted a picture for the Con- 
 stable of France in a day, and carried it home 
 which rapidity so captivated the Constable that he 
 ordered another large one ivliich he likewise began 
 finished and sent home, that (?) well paid for by 
 purses of gold and as Constable commented which 
 would be first weary, but upon the production of 
 the 5 th the employer sent 2 purses and declined the 
 rivalship with the artist's powers of rapidity .” 
 
 Also, in pencil — 
 
 “ Candles 
 Trout 
 Pillow 
 
 Mattress 1 — 
 
 1 
 
 2 
 
 16 
 
 11 — 
 
 6 
 
 Memorandum of coast scenery. Exhibited Drawings, 
 No. 536a, N.G. Pen and ink. Written on parts of 
 drawing — “ Shadow — Red Houses. White figs., 
 Black, P. st. &c .” ; and on top — 
 
 “ Sky darker. Purples strong. Rolling clouds 
 warm. Mdle. Hill a warm lighter orange green. 
 Rocks ivarm ochre. Purple shadow, on ivliich the 
 fishing relieved. Brilliant orpiment sails except- 
 ing the j j (hieroglyph for upright sail) white, 
 
 beautifully reflected in the sand, with the sky and 
 white figures streaming down." (Probably scene 
 at Scarborough.) 
 
 Another memorandum of coast scenery. Exhibited 
 Drawing, No. 5365, N.G. Pen and ink. 
 
 327915 
 
 2 A 2 
 
360 
 
 TURNER DRAWINGS. [CXXVII.] 
 
 Page 34. 
 „ 35. 
 
 Figures on sea shore ; bay, with town and cliffs in 
 middle distance. Probably Scarborough. Pen 
 and ink. 
 
 Part of design for Sandycombe Lodge. 
 
 River, with distant bridge and mountains. 
 
 River, with mountains. 
 
 (32 leaves drawn on.) 
 
 1812 * (AET. 37). 
 
 CXXVI II— LARGE FARNLEY SKETCH BOOK. 
 
 Schedule No. 67. 
 
 Sketch book bound in boards with green leather 
 back. No label, but the initials “ J. M. W. T ” 
 stamped on cover. 
 
 Paper, white. 
 
 Water mark, “ J. Whatman, 1801.” 
 
 Size of page, 11 W x 184. 
 
 When found the covers only contained 35 leaves, 
 all of which were blank except pp. 7, 8, 9 & 10. 
 Pages 36-41 appear to have once formed part of the 
 book. Mr. Frank Short also possesses a study in 
 colour of a peat stream, which I believe once belonged 
 to this book. Other leaves were in the possession of 
 the late Mr. J. E. Taylor. 
 
 Page 1-6. Blank. 
 
 „ 7. On the Yorkshire moors, with seated figure accompanied 
 
 by horse and two dogs near foreground. “ Peat 
 Earth " written over part of foreground. 
 
 „ 8. Sportsmen with dogs and horses on the moors. “ Black 
 
 Dogs ” and “ Water." 
 
 „ 9. Rocks near Farnley. ? Caley Park. 
 
 ., 10. Tents on the moors, with figures ; “ Dogs" “ Guns" 
 
 '‘•Game" and “ Ale Barrel" in foreground. See 
 water colour of Mr. Fawkes’s tent on the moors, in 
 possession of F. H. Fawkes, Esq., Farnley. 
 
 ,, 1 1-35. Blank. On p. 31 the words “ March 23 " are written 
 
 in pencil. 
 
 „ 36. Mountain valley, with geese in foreground. Water 
 colour. Exhibited drawing No. 862, N.G. (Colour 
 faded in parts exposed to the light.) 
 
 „ 37. Mr. Ruskin’s title — “ On the Greta, Mortham Tower.” 
 Oxford, 92-181, 
 
CXXVIII.] 
 
 LARGE FARNLEY. 
 
 361 
 
 Page 38. “Wharfedale ?” Oxford, 94-179. 
 
 „ 39. “ Farniey.” Oxford, 93-180. 
 
 „ 40. Otley, from Caley Park. Pencil. 2nd Loan Collection, 
 
 No. 131, as ‘‘Landscape, Yorkshire.” Written in 
 foreground — “ Fox G. & Thistle.'" 
 
 „ 41. Folly Hall, Yorkshire. Pencil, with distance and fore- 
 
 ground coloured. Blue faded. 2nd Loan Collection, 
 No. 134. 
 
 CXXIX.— WOODCOCK SHOOTING SKETCH BOOK. 
 
 Sketch book, bound in leather, with one brass 
 clasp. 
 
 Turner’s label on back, — “ 65 .” 
 
 Paper, white ; water mark, “ J. Whatman, 1805.” 
 Size of page, 4/’ e x 7^. 
 
 Book was bought from “ Mills & Son, Booksellers, 
 Stationers and Binders, No. 368 Oxford Street, near 
 the Pantheon, &c.” 
 
 Apparently no schedule number. 
 
 Page 1. Draft of verses about “ Phipps." 
 
 “ Doth Phipps .... practise still 
 
 Or doth he quiet lie &c.", continued over inside of cover. 
 
 „ la. Draft of verses about “ Phipps." 
 
 ,, 2. Poetry. 
 
 „ 2 a. Do. 
 
 „ 3. Clouds. 
 
 „ 4. “1. Snow Storm. 
 
 2. Snow on the ground. 
 
 3. Do. with sunshine. 
 
 1. Tempest P. done. 
 
 5. Cart with Timber at Ptawdon. 
 
 6. Moonlight. 
 
 7 . Lancaster Sands. 
 
 8. Grouse Shooting. 
 
 0. Partridge do. 
 
 10. Woodcock. 
 
 11. Coursing. 
 
 (10 leaves drawn on.) 
 
 1810 - 1812 * (AET. 35-37). 
 
 12. Ice." 
 5-6. Blank. 
 
 Verses about Dido and Eneas. 
 
362 
 
 TURNER DRAWINGS. [CXXIX.] 
 
 Page 8. “ List of Drawings in different Portfolios. 
 
 ) 59 Mounted old Drawings. 
 
 16 Sketches hg Hooker. 
 
 36 Unmounted ditto. Hamilton. 
 
 19 Academy figures by Ryley , R.A.* 
 
 3 Mine of Slapping. 
 
 6 Blue paper ditto. 
 
 5 Shipping. 
 
 Rubbish contained. 
 
 Drawing by Hoppner. 
 
 Sketches of Cattle by Gilpin. 
 
 Warfdale. 
 
 4. j Drawings and prints of Liber Studiorum. 
 
 „ 9-14. Blank. 
 
 „ 14. Plan of garden. Pen and ink. 
 
 (Leaf torn). 
 
 „ 15-16. Blank. 
 
 „ 17. “ Discarded London thou must now forgo 
 
 The praises of the great the very few. 
 
 Amongst the many who delight to pirate 
 To keep the chit chat, of the tables round 
 Alive . . by nothingness yet talk of taste. 
 
 Must thou depart so soon to quit 
 The splendour that thou helped to give , &cfi 
 ,, 18. Continuation of above. 
 
 „ 19-20. Blank. 
 
 ., 20a. Study for classical subject. Possibly “Mercury and 
 
 Herse,” exhibited R.A., 1811. Pen and ink. 
 
 „ 21. Large broken stone partly covered with weeds See 
 
 foreground of “ Mercury and Herse.” 
 
 „ 21. Study for classical picture. Pencil. 
 
 „ 22. Distant hills. 
 
 ,, 22a. Study for classical picture. 
 
 „ 23. Blank. 
 
 „ 23a. Study for classical picture. 
 
 „ 24. Blank. 
 
 „ 24a. Study for classical picture. 
 
 „ 25. Blank. 
 
 „ 25 a. Study for classical picture. 
 
 „ 26. Blank. 
 
 „ 26a. Study for group of classical buildings. Pen and ink. 
 
 „ 27. Blank. 
 
 „ 27a. Group of classical buildings. Pen and ink. 
 
 „ 28. Blank. 
 
 „ 28a. Group of classical buildings. Pen and ink. 
 
 „ 29. Blank. 
 
 ,, 29a. Group of classical buildings. Pen and ink. 
 
 „ 30. Blank. 
 
 Apparently C. R. Ryley. a pupil of Mortimer. 
 
[CXXIX.l WOODCOCK SHOOTING. 363 
 
 Page 
 
 30a. Group of classical buildings. 
 
 Pen and ink. 
 
 
 31-32. Blank. 
 
 
 ,, 
 
 33. Study for classical picture. 
 
 Pen and ink. 
 
 99 
 
 33a. Do. 
 
 Do. 
 
 ’9 
 
 34. Blank. 
 
 
 ’9 
 
 34a. Study for classical picture. 
 
 Pen and ink. 
 
 99 
 
 35. Do. 
 
 Do. 
 
 99 
 
 36. Do. 
 
 Do. 
 
 99 
 
 37. Do. 
 
 Do. 
 
 91 
 
 38. Do. 
 
 Do. 
 
 99 
 
 39. Do. 
 
 Do. 
 
 95 
 
 40. Do. 
 
 Do. 
 
 41. 
 
 42. 
 
 43. 
 43a. 
 
 44. 
 
 45. 
 
 40a. Landscape, with river and bridge in mid-distance. 
 Pencil. 
 
 Study for “Apuleia in search of Apuleius” (B. I., 
 1814). Query copy of the Claude at Petworth. 
 Pencil. 
 
 Blank. 
 
 Study for classical picture. Pen and ink. 
 
 | Draft of verses. 
 
 Plan of position of various pictures. Names of 
 pictures written inside the spaces or below them. 
 Several are illegible ; among those I have deciphered 
 are: — “Marine” “ Dutch Fishermen ” “Tilbury” 
 “ Hannibal” “ Sir J.” “ Ivy B” and “ Hesp.” Pen 
 and ink. 
 
 Study for picture. Pen and ink. 
 
 Wood on hill-side. Pencil. See water colour of 
 “Woodcock Shooting” (signed, 1813) in Wallace 
 Collection. 
 
 Fir trees on hill-side with sportsman and beaters 
 Sportsman with gun. 
 
 Blank. 
 
 Two studies for pictures. Pen and ink and wash. 
 
 51a. Plan and designs for Sandycombe Lodge. 
 
 52. Study for picture. Pen and ink and wash. 
 
 for “ Crossing the Brook.” 
 
 53-101. Blank. 
 
 104a. Row of trees in foreground, with river and meadows 
 in mid-distance. Pencil. 
 
 Blank. 
 
 lake, with distant hills. Perhaps near 
 
 46. 
 
 47. 
 
 48. 
 
 40. 
 
 50. 
 
 51. 
 
 Query 
 
 105. 
 
 105a 
 
 106. 
 
 106a. 
 
 River and 
 Farnley. 
 Blank. 
 
 “ 90 
 
 4400 
 
 550 ” 
 
 5 
 
 630 
 
 
 450 
 
 5030 
 
 
 90 
 
 
 
 540 
 
364 
 
 TURNER DRAWINGS. 
 
 [CXXIX.] 
 
 Page 107-108. Blank. 
 
 „ 108a. A diagram. 
 
 (2 leaves torn out.) 
 
 „ 109-116. Blank. 
 
 ,, 116a. Life study : female figure. Water colour. 
 
 „ 117-121. Blank. 
 
 ,, 122. Designs for chimney piece. Pen and ink. 
 
 ,, 122a. They would have thought , who heard the strain, 
 
 'Thru saw in Tempe's vale her native maids 
 To some unwearied minstrel dancing." 
 
 ,. 123. Blank. 
 
 (37 leaves drawn on.) 
 
 1812 - 1813 * (AET. 37-38). 
 CXXX.— DEVONSHIRE OIL SKETCHES. 
 
 A. Village in a liollow. 
 
 About. 5f x 8$. 
 
 Oil on prepared board. 
 
 Printed on back of board : — 
 
 “ The British Gallery of Pictures. 
 
 The historical part by 
 William Young Ottley, Esq., F.S.A. 
 
 The descriptive part by 
 
 Henry Tresham, Esq., R.A.. and W. Y. Ottley, Esq. 
 And the executive part under the 
 management of 
 
 P. W. Tomkins ” 
 
 Exhibited drawings, No. 751, N.G. 
 
 B. English landscape. 
 
 About 51 x 9£. 
 
 Oil on prepared board. 
 
 Exhibited drawings, No. 750, N.G. 
 
 C. Falmouth Harbour. 
 
 About 6J x 9^. 
 
 Oil on prepared board. 
 
 Exhibited drawings, No. 758, N.G. 
 
[CXXX.] DEVONSHIRE OIL SKETCHES. 
 
 365 
 
 D. A mountain side. 
 
 About 5j x 9f. 
 
 Oil on prepared board. 
 
 Exhibited drawings, No. 778, N.G. 
 
 E. A river valley. 
 
 9§ x Ilf. 
 
 Oil on board. 
 
 Exhibited drawings, No. 7 40, N.G. 
 
 F. Bridge, with cottage and trees. 
 
 6fV x 10i- 
 
 Oil on board. 
 
 G. River, with distant town. 
 
 6f x 10|. 
 
 Oil on board. 
 
 H. A distant town. 
 
 H x lOf. 
 
 Oil on board. Unfinished. 
 
 I. Torrent bed. 
 
 6a x m. 
 
 Oil on board. 
 
 Exhibited Drawings, No. 410, N.G. 
 
 J. Barges. 
 
 6 x 9J. 
 
 Oil on prepared board. 
 
 A river scene, with vessels ; a number of felled trees near 
 foreground. 
 
 On back, commencement of another painting. 
 
 Exhibited Drawings No. 714, N.G. 
 
 K. A Devonshire bridge. 
 
 5f x 9f. Oil on prepared board. 
 
 Exhibited Drawings, No. 849, N.G., as “Bridge over River 
 Lugwy, Capel Curig.” 
 
 (11 subjects.) 
 
366 
 
 TURNER DRAWINGS. [CXXXI.] 
 
 1812 - 1813 * (AET. 37-38). 
 
 CXXXI PLYMOUTH, HAMOAZE” SKETCH BOOK. 
 
 Schedule No. 296. 
 
 Sketch book, bound in calf, with one clasp broken. 
 
 Turner’s label on back — “116. Plymouth. 
 
 Hamoaze ” ; written on cover — “ Devon Coast. 
 Plymouth .” 
 
 Executors’ endorsement — “No. 296. Contains 
 179 leaves pencil sketches. 
 
 (Sgd.) Id. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark — “ Ivy Mill, 1812.” 
 
 Size of page, 6f\- x 3|. 
 
 The book was mainly distributed into six dif- 
 ferent parcels, (1) containing “Cover and Blanks” 
 (blank leaves) ; (2) “ Devonshire, 1st Parcel,” 
 
 (3) “Devonshire, 2nd parcel,” (4) “ Devonshire, 3rd 
 parcel,” (5) “ 1st Mixed Packet. Devonshire, &c. 
 Fine Pencil,” (6) “ 296 Inferior Leaves.” 
 
 The following are the numbers of the “ Inferior 
 Leaves”— 1, 23, 69, 70, 82, 110, 121, 129, 131, 132, 
 139, 140, 142, 143, 144, 145, 146, 147, 149, 4 51, 153, 
 158, 159, 164, 172, 173, 174, 175, 176, 177, 178, 179, 
 180, 181, 182, 184, 185, 188, 189. (39 in all). 
 
 The leaves drawn on occur only at the beginning 
 and end of the book, the 89 leaves in the middle 
 being blank. Mr. Ruskin has numbered the leaves 
 drawn on consecutively ; pp. 1-127 were at the 
 beginning (or, rather, at one end) of the book, 
 pp. 128-189 at the other end. I have retained 
 Mr. Ruskin’s pagination. 
 
 Inside one of the covers “ J. M. W. Turner ” is stamped in 
 printed characters ; the following is written in pencil — 
 
 “ L. 100. 
 
 70 
 
 100 
 
 30 
 
 300 
 
 500 John's 
 500 
 
 1300 
 
 20 
 
 26000." 
 
 1. Blank. “ J. M. W. Turner” stamped on it. 
 
 2. Do. 
 
 3. Houses by the river. No. 121 in 1st Loan Collec- 
 
 tion. See also p. 74. 
 
 Page 
 
 5 * 
 
[OX XX T ] PLYMOUTH, HAMOAZE. 
 
 367 
 
 Page 
 
 55 
 
 V 
 
 55 
 
 55 
 
 55 
 
 51 
 
 5’ 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5 ' 
 
 55 
 
 V 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 1 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5* 
 
 55 
 
 4. In Plymouth Sound. 
 
 5. Plymouth Fortress. 
 
 6. In Plymouth Sound. 
 
 7. Fortifications in Plymouth Sound. 
 
 8. Do. Do. 
 
 9. In Plymouth Sound. 
 
 10. Boats off headland. 
 
 11. Fortress. 
 
 12. In Plymouth Sound. 
 
 13. Do. 
 
 14. Boats off the shore. 
 
 15. Fishing boats in Plymouth Sound. 
 
 16. Vessels in Plymouth Sound. 
 
 17. Do. do. 
 
 18. Vessels at the mouth of Plymouth Sound. 
 
 19. Figures on shore. 
 
 20. Wooded slopes. 
 
 21. Horses and trees on banks of a bay in Plymouth 
 
 Sound. 
 
 22. Plymouth Dock from Mount Edgecumbe (?) 
 
 23. Houses on cliff beside the water, with hills beyond. 
 
 24. Wooded slope looking towards the sea. 
 
 25. Banks of the Sound. 
 
 26. Wooded slope, with small island in distance. 
 
 27. Bridge leading to cottage. 
 
 27a. Group of trees, &c. 
 
 28. Houses, with water wheel. 
 
 28a. Group of houses. 
 
 29. Banks of the Sound. 
 
 30. Mount Batten on left, with the Catwater in distance, 
 
 and fortress. 
 
 31. Boats and figures on shore. 
 
 32. One-arched bridge, with houses and trees. 
 
 33. House, with water-wheel, beside bridge. 
 
 34. Bridge, with houses and distant hill. 
 
 35. Boats, with figures on or near the shore. 
 
 36. Houses on banks of river. 
 
 37. Houses, with Trematon Castle in distance. 
 
 38. Do. do. 
 
 39. The River Lynher. 
 
 40. Do. 
 
 41. Do. 
 
 41a. Trees on hill. 
 
 42. River Lynher. 
 
 43. Houses, with Trematon Castle in distance. 
 
 43a. “ The IJor" green brown and get light. 
 
 D. warm yet distant. 
 
 D. Clouds warm. Sky blue. Shadows grey. 
 
 .... greens red . all delightful." 
 
 44. Series of hills. 
 
 45. A billy prospect. 
 
 46. Hills with distant fortifications. 
 
 47. The River ‘ Yealme." 
 
 48. Do. 
 
 49. Path bordered by trees. 
 
368 
 
 TURNER DRAWINGS 
 
 LCXXXL] 
 
 Page 
 
 50. 
 
 River flowing between hills. 
 
 99 
 
 51. 
 
 Do. 
 
 ,, 
 
 52. 
 
 Do. 
 
 9 ? 
 
 53. 
 
 Cattle on cliffs near the sea. — “ Brack 
 and “ Sheep among grass (?).” 
 
 99 
 
 54. 
 
 Church tower and houses on cliffs. 
 
 99 
 
 55. 
 
 Another view of same church tower. 
 
 99 
 
 56. 
 
 Church tower in distance. 
 
 99 
 
 57. 
 
 Church tower in middle distance. 
 
 ,, 
 
 58. 
 
 River among hills. 
 
 99 
 
 59. 
 
 Plymouth Sound. 
 
 .. 
 
 60. 
 
 Do. 
 
 99 
 
 61. 
 
 Plymouth. 
 
 61 a. A headland. 
 
 62. Plymouth Sound. 
 
 63. Do. 
 
 64. Vessels off Plymouth Port. * 
 
 65. Plymouth Sound. On water in mid-distance is 
 
 written “ Yellowish ” ; on nearer water, “ light." 
 
 66. Landscape with bay in mid-distance. 
 
 67. Do. with water in mid-distance. 
 
 68. Trees beside a stream, with tree trunk serving as foot- 
 
 bridge. — “ Tree in shade" and “ Girl crossing." 
 
 69. Plymouth, Town and Fort. 
 
 70. Distant hills. 
 
 71. Houses and fishing boats. 
 
 72. River winding among hills. 
 
 72 a. Plymouth in distance. 
 
 73. Hills sloping down to river. 
 
 74. No. 121e, in 1st Loan Collection. One of “Five 
 
 Studies: Bruges, Lausanne, &c. Pencil.” 
 
 75. Distant view of Plymouth. 
 
 76. River flowing among hills. 
 
 77. Do. 
 
 78. Do. 
 
 79. Do. 
 
 80. Trees on cliff, with river in distance. 
 
 80a. River in distance among hills. 
 
 81. Landscape with river in distance. 
 
 82. Do. do. 
 
 83. Houses and church among hills, with river in distance. 
 
 84. Landscape, with river flowing into distance on right. 
 
 (Oxford 60 -154a, as “ Distance for ‘ Crossing the 
 Brook ’.”) 
 
 85. Landscape, with Plymouth Sound in distance. 
 
 86. Do. do. 
 
 87. Landscape, with bend of river in mid-distance. 
 
 88. River flowing round headland. 
 
 89. Landscape, with river. 
 
 90. Plymouth Sound. 
 
 91. Landscape, with river. 
 
 91a. Distant hills. 
 
 92. Plymouth Sound. 
 
 93. River among hills. 
 
 94. do. 
 
[CXXXI.] PLYMOUTH, HAMOAZE 
 
 369 
 
 Page 
 
 
 
 
 9? 
 
 
 
 95. River among hills. 
 
 96. Bridge across gully with groups of trees ; houses in 
 
 distance. 
 
 97. Plymouth. 
 
 98. Plymouth in mid-distance. 
 
 99. Plymouth. 
 
 100. ‘ Do. 
 
 101. Do. 
 
 102-3. Blank. 
 
 104. Landscape. 
 
 105. House among trees on bank of stream. 
 
 106. Houses with bridge. 
 
 107. Blank. 
 
 108. House near stream. 
 
 109. Landscape, with road in foreground and distant hills. 
 
 110. Houses, with church tower in mid-distance. 
 
 111. Vessels off a headland. 
 
 112. Round tower on hill among trees beside a river. 
 
 113. Plymouth in distance. 
 
 114. River with distant town. 
 
 115. Plymouth Fort. 
 
 116. Road running through wood. 
 
 117. Plymouth Sound in distance. 
 
 117a. Half of the drawing continued on p. 118. 
 
 118. Continuation of drawing on p. 117a. Group of houses 
 
 with two fir trees in foreground. This page was lent 
 to Oxford (Oxford 59-775) as “Study for trees in 
 ‘ Crossing the brook The resemblance between 
 these trees and those in the picture is very slight. 
 118a. A drawing on back (continuation of one on p. 119), but 
 stuck down tight. 
 
 119. Group of fir trees with River Tamar in distance. 
 
 119a. ) 
 
 120. > Houses, with fir tree and river in distance. 
 
 121 . ) 
 
 122. Castle in foreground, with Plymouth Sound in 
 
 distance. 
 
 123. Castle, with river. 
 
 124. Church tower, with river. 
 
 125. River Tamar. 
 
 125a. Trees and distant hills. 
 
 126. Bridge over the river in mid-distance. 
 
 L26a. Trees, with town in distance. 
 
 127. River Tamar. 
 
 (The 89 blank leaves occurred here.) 
 
 128. Blank. 
 
 128a. Landscape with river. 
 
 129. Blank. 
 
 129a. Landscape with trees. 
 
 130. Landscape with river. 
 
 130a. Group of houses. 
 
 131. Blank. 
 
 131a. Group of houses. 
 
 132. Blank. 
 
 132a. Landscape with trees- 
 
370 
 
 TURNER DRAWINGS. [CXXXI.] 
 
 Page 133. Landscape with trees 
 „ 133a. Road leading to village in mid-distance. 
 
 „ 134. Outskirts of a town. 
 
 „ 134a. Landscape with town in mid-distance, 
 v 135. Outskirts of a town. 
 
 „ 135a. Landscape with distant church spire 
 
 „ 136. Blank. 
 
 „ 136a. Landscape with town in distance. 
 
 „ 137. Blank. 
 
 137a. Outskirts of a town. 
 
 „ 138. Blank. 
 
 „ 138a. Town with river in distance. 
 
 „ 139. Blank. 
 
 „ 139a. Town on sea coast 
 „ 140. Blank. 
 
 ,, 140a. Town on coast. 
 
 „ 141. Blank. 
 
 „ 141a. Town on coast. 
 
 „ 142. Blank. 
 
 „ 142a. A bay. 
 
 „ 143. Blank. 
 
 „ 143a. Bay or mouth of river 
 
 „ 144. Blank. 
 
 „ 144a. Bay or river. 
 
 „ 145. Blank. 
 
 „ 145a. River. 
 
 „ 146 Blank. 
 
 „ 146a. River among hills. 
 
 „ 147. Blank. 
 
 „ 147a. River with distant mountains. 
 
 „ 148. Blank. 
 
 „ 148a. River among hills. 
 
 „ 149. Blank. 
 
 „ 149a. River. 
 
 „ 150. Blank. 
 
 „ 150a. Road bordered with trees, with castle on hill in 
 
 distance. 
 
 „ 151. Blank. 
 
 „ 151a. House with water wheel. Written on wall — “Mason.” 
 
 „ 152. Blank. 
 
 „ 152a. Path through the wood. 
 
 „ 153. Blank. 
 
 „ 153a. Bridge. 
 
 „ 154. Blank. 
 
 „ 154a. Bridge with church ( ?) among trees in mid-distance. 
 
 „ 155. Blank. 
 
 „ 155a. Bridge in mid-distance. 
 
 „ 156. Blank. 
 
 „ 156a. Road with bridge on right. 
 
 „ 157. Blank. 
 
 „ 157a. River winding among woods. 
 
 „ 158. Blank. 
 
 „ 158a. River among hills. 
 
 „ 159. Blank. 
 
 „ 159a. River among hills. 
 
[CXXXL] PLYMOUTH, HAMOAZE. 
 
 371 
 
 Page 160. 
 
 „ 160a. 
 „ 161. 
 
 „ 161a. 
 
 „ 162. 
 
 „ 162a. 
 
 99 
 
 99 
 
 163. 
 
 163a. 
 
 99 
 
 99 
 
 *9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
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 99 
 99 
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 99 
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 99 
 99 
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 99 
 99 
 99 
 99 
 99 
 99 
 9 9 
 99 
 
 99 
 
 164. 
 164a. 
 
 165. 
 165a. 
 
 166. 
 166a. 
 
 167. 
 167a. 
 
 168. 
 168a. 
 
 169. 
 169a. 
 
 170. 
 170a. 
 
 171. 
 171a. 
 
 172. 
 172a. 
 
 173. 
 173a. 
 
 174. 
 174a. 
 
 175. 
 175a. 
 
 176. 
 176a. 
 
 177. 
 177a. 
 
 178. 
 178a. 
 
 179. 
 179a. 
 
 180. 
 180a. 
 181. 
 181a. 
 182. 
 182a. 
 183. 
 183a. 
 181. 
 184a. 
 185. 
 
 Blank. 
 
 River among hills. 
 
 Blank. 
 
 River among hills, with bridge in foreground. 
 
 Blank. 
 
 River with bridge in foreground. Oxford 61 — 154 b. 
 Described by Mr, Ruskin as “ Another subject at the 
 same spot " as p. 84 (“ Distance, for ‘ Crossing the 
 Brook ’ ”). 
 
 Blank. 
 
 Town on river with church tower in centre. Probably 
 Kingsbridge. 
 
 Blank. 
 
 Distant headland. 
 
 Blank. 
 
 Rocks on coast. 
 
 Blank. 
 
 Rocks on coast. Probably Bolt Head in distance. 
 Blank. 
 
 Rocks on coast, 
 
 Blank. 
 
 Cottages on cliff with distant headlands. 
 
 Blank. 
 
 Rocks on coast. 
 
 Blank. 
 
 Rocks. 
 
 Blank 
 
 Rocks. 
 
 Blank. 
 
 Rocks off coast. 
 
 Blank. 
 
 Rocks. 
 
 Blank. 
 
 Rocks. 
 
 Blank. 
 
 Rocks on coasL 
 Blank. 
 
 Rocks on coast. 
 
 Blank. 
 
 Rocks off coast. 
 
 Blank. 
 
 Rocks off coast. 
 
 Blank. 
 
 Rocks off coast. 
 
 Blank. 
 
 Vessels off coast. 
 
 Blank. 
 
 Vessels at mouth of a river. 
 Blank. 
 
 At mouth of a river. 
 
 Blank. 
 
 Vessels at mouth of river. 
 Blank. 
 
 Vessels at mouth of river. 
 Blank, 
 
372 
 
 TURNER DRAWINGS. 
 
 [CXXXI.] 
 
 Page 185a. 
 
 „ 186. 
 
 „ 186a. 
 
 „ 187. 
 
 „ 189. 
 
 „ 189a. 
 
 Mouth of river. 
 
 Blank. 
 
 Vessels at mouth of river. 
 
 Blank. 
 
 Four lines of verse. 
 
 Draft, in pencil, of verses, beginning : — “ Bind not the 
 Poppy in thy Golden Hair," and containing references 
 to “ Thomson's to?nb." 
 
 Draft, in pencil, of verses, beginning : — 
 
 “ O'er Thomson tomb soft Piety's tears distill 
 Shed in remembrance sad for Pope's lost fane," &c. 
 
 Draft of verses, commencing : — 
 
 “ O man, that vanity alone 
 should tempt us all thro' life 
 To give to furnish pleasure wings 
 That wafts and. kills with exquisite delight, Jkc." 
 
 (180 leaves drawn on.) 
 
 1812 - 1813 * (AET. 37-38). 
 
 CXXXII — ' “DEVON RIVERS, No. 1” SKETCH BOOK. 
 
 Schedule No. 254. 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9? 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Small sketch book, bound in leather, with one 
 clasp, broken. 
 
 Turner’s label on back, “ 40 Devonshire, Rivers " ; 
 written on cover, — “ Devon Rivers 1." 
 
 Executors’ endorsement. — “ No. 254. Containing 
 189 leaves. Pencil sketches most on both sides. 
 
 (Sgd.) H. S. Trimmer 
 C. Turner.” 
 
 Paper, white. Water mark, “ 1812.” 
 
 Size of page, 3^ x 6. 
 
 Mr. Ruskin’s endorsement. — “ 254. Pretty English 
 things, good for division and distribution.! Will be 
 quite spoiled if shown in the book.” 
 
 1. Blank. 
 
 2. Rocky cliffs. 
 
 3. A wood. 
 
 4. Wooded hills. 
 
 5. Bridge over river. 
 
 6. Bridge with three arches. 
 
 7. Bridge leading to village. 
 
 8. “ Heath " with river (or sea) in distance. 
 
 9. Blank. 
 
 10. Heath. 
 
 11. “Heath" with distant church. 
 
 12. Boulders near stream. 
 
 13. Trees and boulders. 
 
 f Fortunately Mr. Ruskiirs suggestion was not acted on. 
 
[CXXXII.] DEVON RIVERS, No. 1. 
 
 373 
 
 Page 13a. Crest of hill. 
 
 Range of hills. 
 
 Do. 
 
 Scene near river. 
 
 Do. 
 
 “ Malvern " hills in distance. 
 
 Hills with “ Staple Tor," “ Har Tor" and “ Mill Tor " 
 in distance. (Probably sketched near Tavistock.) 
 Hills. 
 
 Do. 
 
 Do. 
 
 “ Granmere Pool " (near Chagford). . 
 
 “ Lyd" (probably Lydford). 
 
 Do. 
 
 Distant Hills. 
 
 Blank. 
 
 Castle (?) on River. (Perhaps Lydford Castle.) 
 
 Hills. 
 
 Road between hills. 
 
 Hills. 
 
 Do. 
 
 Do. 
 
 A wood. 
 
 Landscape. 
 
 *9 
 
 35a. 
 
 ( Water-mill. 
 1 
 
 99 
 
 36. 
 
 99 
 
 37. 
 
 Castle and Church (? Okehampton). 
 
 99 
 
 38. 
 
 Do. 
 
 99 
 
 39. 
 
 Do. 
 
 99 
 
 40. 
 
 Do. 
 
 99 
 
 41. 
 
 Do. 
 
 99 
 
 42. 
 
 Castle. 
 
 99 
 
 43. 
 
 Ruins of Okehampton Castle. 
 
 99 
 
 44. 
 
 Do. do. 
 
 99 
 
 45. 
 
 Do. do. 
 
 99 
 
 46. 
 
 Do. do. 
 
 99 
 
 47. 
 
 Do. do. 
 
 99 
 
 48. 
 
 Do. do. 
 
 99 
 
 49. 
 
 Do. do. 
 
 99 
 
 50. 
 
 Do. do. 
 
 99 
 
 51. 
 
 Distant view of town. 
 
 99 
 
 52. 
 
 A farmhouse. 
 
 99 
 
 53. 
 
 House near river. 
 
 99 
 
 54. 
 
 Village street. — “ N ewcombe, Cooper ancl Saddler 
 Argylle. White H." 
 
 99 
 
 55. 
 
 Bridge. 
 
 99 
 
 56. 
 
 Okehampton (?) in distance. 
 
 99 
 
 57. 
 
 River, with distant hills. 
 
 99 
 
 58. 
 
 Bridge, with three arches. 
 
 99 
 
 59. 
 
 Wooden bridge leading to farmhouse. 
 
 99 
 
 59a. 
 
 “ Tairton (?) Bridge with 5 Arches" (? Sourton.) 
 
 99 
 
 60. 
 
 River (probably the Torridge) among hills. 
 
 99 
 
 61. 
 
 Church on hill. 
 
 99 
 
 62. 
 
 Dm 
 
 2 B 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 19. 
 
 20 . 
 
 21 . 
 
 22 . 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 33. 
 
 34. 
 
 35. 
 
 32796 
 
374 
 
 TURNER DRAWINGS. [GXXXII.] 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9? 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9 ' 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 63. Bridge with three arches. 
 
 64. Bend of river. Bideford. 
 
 65. Do. Do. 
 
 66. Bideford Bridge. 
 
 67. Another view of same bridge. 
 
 68. Do. do. 
 
 69. Do. do. 
 
 70. Do. do. 
 
 70a. \ Embankment with distant spire. 
 
 71. j 
 
 72. Castle on hill. 
 
 73. Town, .with hills and bay (probably Bideford) in 
 
 distance. 
 
 74. Church tower. 
 
 75. Town on river. 
 
 76. “ Bideford." 
 
 77. River Torridge. 
 
 78. “ Appledore” 
 
 79. Town with bridge. Probably Bideford. 
 
 79a. Diagram of arches of bridge, and the number “24." 
 Probably Bideford. 
 
 80. Hills with river. 
 
 81. Town on hill. 
 
 82. Group trees on river. 
 
 83. Town on hill. 
 
 83«. “ Torrington ” Castle. 
 
 84. Torrington. 
 
 85. Blank. 
 
 86. Valley with river — “ Dark" “ Light" “ Bleak . . .” 
 
 and “ Mist rising M" 
 
 87. Bridge and mountains. 
 
 88. Town on hill, with bridge. 
 
 88a. Tower among trees. 
 
 89. Bridge, with tower on distant hill. 
 
 90. River among hills. 
 
 (2 leaves torn out.) 
 
 91. Hills. 
 
 91a. Bridge with distant “ Farm House." 
 
 92. Do. 
 
 93. “ Hatherleigh .” 
 
 94. River “ Torridge." 
 
 94a. Distant hills. 
 
 95. Do. 
 
 96. A water-wheel. 
 
 97. Farm house. 
 
 98. Bridge. 
 
 99. Blank. 
 
 100. ‘ s Eastcourt B." 
 
 101 Water mill. 
 
 102. “ War ton and Dun Wool (?).” 
 
 103. Wooden bridge over river. “ Boynton ” (f Boyton, 
 
 N. of Launceston.) 
 
 104. Bridge with four arches. 
 
 105. Ruins and bridges among the hills. Probably Laun- 
 
 ceston in distance. 
 
[CXXXXX.] DEVON RIVERS, No. 1. 
 
 375 
 
 Page 106. Ruins : Launceston. 
 
 „ 107. Ruined castle, Launceston. 
 
 „ 108. Village street and ancient gateway. 
 
 „ 109. Two bridges. 
 
 „ 110. Ruins. 
 
 „ 111. Ruins on hill near town. ? Launceston. 
 
 „ 112. Do. 
 
 „ 113. Do. 
 
 „ 113a. Ruined gateway. 
 
 „ 114. Ruins on hill. 
 
 „ 114a. “Abbey Wier .” 
 
 „ 115. Bridge and ruins on hill. 
 
 „ 115a. River among hills, “ D *” (? Dart.) 
 
 „ 116. Bridges. 
 
 „ 117. “ Course of Tamar and the road to L. in left (?).” 
 
 „ 117a. Bridge at Gunnislake. 
 
 „ 118. Bridge with distant church tower. 
 
 ., 118a. “ Road ” among hills. 
 
 „ 119. Blank. 
 
 „ 119a. Mountain and road, “ D\" 
 
 „ 120. Dartmoor (?). 
 
 „ 120a. Bridge among hills. 
 
 „ 121. River “ Tamar ” with hills in distance. 
 
 ,, 121a. Bridge, with “ Beachy Heath (?) in distance. (? Becky 
 Fall.) 
 
 „ 122. Bridge. 
 
 „ 122a. “ Road to Buckland (?).” 
 
 „ 123. Bridge with seven arches at Gunnisiake. 
 
 „ 123a. Dartmoor, with “ Bucklf (Buckland Monachorum) in 
 
 distance. 
 
 „ 124. Trees on river bank. (River Tamar near Wier Head). 
 
 „ 124a. “ Park House (?) and ” 
 
 „ 125. River, with bridge. Gunnislake. 
 
 „ 125a. Hills. 
 
 „ 126. River Tamar near Wier Head. 
 
 „ 126a. “ Ddrtmeet Bridge 
 
 „ 127. “ Mt. Pleasant. Goolder .” River Tamar near Wier 
 
 Head. 
 
 „ 127 a. \ River Tamar near Wier Head. 
 
 „ 128. / 
 
 „ 129. Blank. 
 
 „ 129a. Road over moors. 
 
 „ 130. Houses on bank of Tamar. 
 
 „ 130a. Do. 
 
 „ 131 . Bridge. Probably at Gunnislake. 
 
 „ 131a. On Dartmoor. “ Travellers sheltering themselves with 
 Turf (?).” 
 
 „ 132. Dartmoor. 
 
 „ 132a. On the Tamar (?). 
 
 „ 133. Road over the moors. 
 
 „ 133a. Bridge with distant town. 
 
 „ 134. River Tamar. 
 
 „ 134a. “ Dart moor. ” 
 
 „ 135. River Tamar, near Wier Head. 
 
 32796 
 
 2 B 2 
 
376 
 
 TURNER DRAWINGS. [CXXXII.] 
 
 Page 135a. River Tamar, near Wier Head. 
 
 „ 136. Ruined cottage near “ Ford ." 
 
 ,, 136a. Dartmoor. 
 
 ,, 137. River Tamar. 
 
 ,, 137a. Dartmoor (?). 
 
 ,, 138. River Tamar, near Morwell Rocks. 
 
 „ 139. Road over kills. 
 
 „ 139a. 1 River among kills. (River Tamar.) 
 
 „ HO. f 
 
 „ 110a. I “ Calstock ,” on River Tamar. 
 
 „ 141. / 
 
 ,, 141a. “ Calstock." 
 
 „ 1 42. River Tamar. 
 
 142a. Distant kills. 
 
 „ 143. Wier Head, Tamar. 
 
 „ 143a. Bridge. 
 
 ,, 144. River, witk distant kills. 
 
 ,, 144a. Bridge and tower. 
 
 „ 145. River witk town and ckurck. 
 
 „ 145a. Bridge. 
 
 „ 146. Town, witk ckurck tower. 
 
 ,, 146a. Buildings on river. 
 
 (141 leaves drawn on.) 
 
 1812 - 1815 * (AET. 37-40). 
 
 CXXXIII.— DEVON RIVERS, No. 2, SKETCH BOOK. 
 
 Schedule No. 294. 
 
 Loose leaves of sketck kook, witkout covers, con- 
 taining sketekes in Devonskire and Yorkskire.t 
 Paper, wkite ; water mark, “ Fellows, 1812.” 
 
 Size of page, 7 x 4J. 
 
 Tke pages were numkered ky Mr. Ruskin and were 
 tken distributed mainly into two packets. One 
 packet, endorsed, “ 294. Inferior Leaves,” contained 
 leaves 1, 2, 4, 6, 7, 10, 16, 18, 24, 32, 34, 40, 41, 43, 44, 
 47, 49, 50, 51, 53, 54, 56, 58, 59, 65, 68, 70, 73, 74, 75, 
 76, 77, 78, 79, 80, 81, 82, 83 (38 in all) ; most of tke 
 otker leaves were in parcel endorsed, “ 5tk mixed 
 Parcel, Pencil, Fine.” 
 
 Page 1. “ Hoarse on the rocky margin of the deep 
 
 The tide swell falls in constant flow, 
 
 And the pale ivelkin gathering da rkness creep 
 While the low bark, plows heavy at the prow" dec. 
 
 „ 2. Distant keadland. Prokably moutk of Tamar. 
 
 „ 2a. Moutk of river. Do. 
 
 ,, 3. Hulks on river. 
 
 „ 4. Do. See picture of “ Hulks on tke Tamar,” 
 
 at Petwortk. (Lord Leconfield.) 
 
 r The Yorkshire sketches may be later than the Devonshire ones. 
 
[CXXXIII.] DEVON RIVERS, No. 2. 
 
 377 
 
 Page 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 4 a. 
 
 5. 
 
 5 a. 
 
 6 
 
 6a. 
 
 7. 
 
 8 . 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 15a. 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 
 29. 
 
 30. 
 30a. 
 
 31. 
 
 32. 
 
 33. 
 
 34. 
 
 35. 
 35a. 
 
 36. 
 
 37. 
 
 11 
 
 91 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43. 
 43a, 
 
 44. 
 
 1 Newall Old Hall, Farnley. See Water Colour at 
 / Farnley (F. H Fawkes, Esq.), also Exhibited 
 drawings, No. 550, N.G. 
 
 Entrance to gardens, Farnley. See Water Colour at 
 Farnley (F. H. Fawkes, Esq.) 
 
 Hulks on Tamar. 
 
 Entrance to gardens. Farnley. 
 
 Hulks on Tamar. 
 
 Vessels on the Tamar. 
 
 Hulks on Tamar. 
 
 Do. 
 
 Mouth of Tamar. 
 
 Hulks on Tamar. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Castle on headland. 
 
 Mouth of Tamar. 
 
 A hulk. 
 
 Plymouth Sound. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Hulks. 
 
 Do. 
 
 Do. 
 
 Plymouth Sound. 
 
 Hulks in Plymouth Sound. 
 
 Plymouth Sound. 
 
 “ Beggar's Island." 
 
 Plymouth Sound. 
 
 Hulks in Plymouth Sound. 
 
 Do. do. 
 
 Do. do. 
 
 “ Beggar's Island." 
 
 Plymouth Sound. 
 
 Do. 
 
 Harmoaze. 
 
 “ Antony House." 
 
 “ Ware — Mt. Tamar. K." and “ Anthony Ferris." 
 
 1 Foliage, with distant castle. Described by Mr. 
 / Ruskin as Crossing Brook.” 
 
 Study of a tree. Exhibited drawings, No. 407 d, N.G. 
 Described by Mr. Ruskin as “ the theme afterwards 
 amplified into the beautiful group on the left in 
 ‘ Crossing the brook.’ ” 
 
 Horses and boat on river-bank. 
 
 River Tamar. 
 
 River Tamar. — “ Bridge B. A., Wall & River , Road." 
 
 Do. 
 
 Castle on river. 
 
 Banks of Tamar. 
 
 Road leading to village. 
 
 River Tamar. 
 
378 
 
 TURNER DRAWINGS. [CXXXIII.] 
 
 Page 45. Ivy Bridge. Exhibited drawings, No. 407c, N.G. 
 
 Described by Mr. Ruskin as “ the sketch from nature 
 of the 4 Ivy Bridge’ ” (No. 556, N.G.). 
 
 „ 46. Houses and trees. 
 
 „ 47. Do. 
 
 ,, 47a. River and hills. 
 
 „ 48. Church tower on hill (? Totness). 
 
 48a. Banks of a river. 
 
 „ 49. “ Sharpham ” on the Dart. Four sketches. 
 
 „ 49a. “ Ashburton ,” and “ Torbay ” in distance. 
 
 „ 50. River among hills. 
 
 ,, 51. Do. 
 
 „ 51a. Poulston Bridge , L and Lifton. Greslon Bridge above 
 D. Bedford '." (Greston Bridge crosses the Tamar 
 
 about 4 miles from Launceston. I am unable to say 
 whether these names refer to the sketches on p. 51 
 or p. 52, or to either. I am inclined to think the 
 sketches represent the River Dart, that on page 52 
 looking very much like the mouth of that river.) 
 
 ., 52. Town at mouth of river. Possibly the Dart. 
 
 „ 53. “ Dartmouth ." 
 
 ,, 53 a. Mouth of Dart. 
 
 „ 54. Do. 
 
 „ 55. Dartmouth Castle. 
 
 ,, 55 a. Four sketches near Dartmouth Castle. In one “ Start” 
 
 Point is shown in distance, in foreground of an- 
 other is written “ Beech Wood oppo. the cove Dart- 
 mouth.''' 
 
 „ 56. Distant view of “ Start ” Point. 
 
 „ 57. Mouth of Dart. 
 
 „ 58. Do. 
 
 „ 59. Do. 
 
 ,, 60. Do. 
 
 „ 60a. Four sketches near mouth of Dart. 
 
 „ 61. Town on river, with bridge. 
 
 „ 61a. Three sketches : one of “ Ayton Bridge ,” one of 
 
 “ A. Wood," the other of “ Stourton," showing bridge, 
 with the note, “ 3 Arches old." 
 
 ,. 62. Blank. 
 
 „ 62a. Three sketches. 
 
 „ 63. Bridge over river, with church on hill beyond ; foliage 
 
 on bank in foreground, with note that “ River" 
 (shows) “ through." 
 
 „ 63a. Another vie w of same bridge. 
 
 „ 64. A bridge. 
 
 „ 61a. Distant hills. 
 
 „ 65. Do. 
 
 ,. 65a. Do. , with the note that one of them is “ too 
 
 high." 
 
 „ 66. Town on river. 
 
 „ 66a. Two sketches of bridges, &c. 
 
 „ 67. A winding river. 
 
 „ 67 a. Three sketches of bridge, &c. 
 
 „ 68. Winding river, with town (?) in middle distance. 
 
 „ 68a. Trees by river. 
 
[CXXXIII.] DEVON RIVERS, No. 2. 
 
 379 
 
 Page 69. Bend of river, with “ Haldon ” Hill and “ . . . . Tor ” 
 in distance. 
 
 „ 70. Trees, with winding river. “ Butcher & Ccdf" written 
 
 on foreground. 
 
 „ 71. Winding river among hills, with ruined abbey (?) on 
 
 banks in middle distance On right, in foreground, 
 is written “ R. Ex ” ; on other parts of foreground, 
 “ Deep Lane , — High Road — Bickley Court." (Bickley 
 is near Tiverton). 
 
 „ 72. “ Bickley Bridge." 
 
 „ 72a. Four sketches. 
 
 „ 73. Blank. 
 
 „ 73a. Two sketches of town on river, one with “ Weir ” in 
 
 foreground. 
 
 „ 74. Town and river. 
 
 „ 74a. \ Interior of a library. 
 
 „ 75. I 
 
 „ 75a. Draft of verses, in pencil. 
 
 „ 76. Two lines of verse. 
 
 „ 76a. A carved oak fireplace ; also — 
 
 “ 1 st of June 1 
 
 1 of Nov r 2 , 3 
 
 1 of March. 2 , 1 
 
 1 of June 2 0 
 
 1817. 
 
 One year.” 
 
 (Note. — This writing does not seem to me to be Turner’s.) 
 
 77. “ Sailed by the solar beam ! 
 
 Now the fiery clusters teem 
 In Ozier baskets borne along 
 By the festal vintage throng 
 Of long youths and virgins fair , 
 
 Ripe as the melting fruits they bear. 
 
 69 Ode of Horace (?) ” 
 
 77 a. Farnley Hall. 
 
 78. Trees in the avenue at Farnley. 
 
 (2 leaves have been torn out.) 
 
 79. Carved oak fireplace, see also p. 76a. 
 
 79a. River winding among hills. 
 
 80. Trees on slope. 
 
 80a. Landscape. 
 
 (Two leaves have been torn out here. On the fragment 
 of one of them appears part of what seems to be the 
 draft of a proposed speech. Among the fragments of 
 sentences are the following : — 
 
 “ The honor you have conf. . . . 
 
 Royal Academy . . 
 
 Academy and 
 
 in ojfering my th. . . 
 
 part of it 
 
 most heartfelt 
 
 towards the 
 
 when the varie .... 
 
 the encouragement (?) 
 
 by the very . . . .” 
 
 On reverse of fragment, four architectural details. 
 
380 
 
 TURNER DRAWINGS. [CXXXIII.] 
 
 Page 81. 
 
 A doorway and other architectural details. 
 Also — 
 
 “ 3 
 
 Thin stone (?) 2 
 3 
 
 Doorway 3 
 
 6 
 
 6 
 
 2 
 
 3 9 
 
 3 High, 
 
 3.4. 
 
 6 
 
 9 pipes (?) 
 
 15 
 
 11 
 
 Newhall 
 
 81a. Mansion on hill. 
 
 82. Continuation of do. 
 
 82a. Cluster of trees. — “ F." 
 
 (Two leaves torn out.) 
 
 83. 1 Hank, 
 
 83a. Various scientific instruments. 
 
 7 
 
 6 .” 
 
 (82 leaves drawn on.) 
 
 1812 - 1815 * (AET. 37-40). 
 
 GXXXIV.-“ DEVONSHIRE RIVERS , No. 3, and WHARFE- 
 DALE” t SKETCH BOOK. 
 
 Schedule No. 223. 
 
 Sketch book, bound in boards, with red leather 
 back and points. The book once had a clasp, and 
 the leaves are gilt-edged. 
 
 Turner’s label on the back — “ 112 Devonshire , 
 Yorkshire ” ; on the cover — “ Devonshire Rivers 3. 
 Y orkshire. Wharf edale." 
 
 Executors’ endorsement — “No. 223. 75 pencil 
 
 sketches. (Sgd.) H. S. Trimmer, C. Turner.” 
 
 Endorsements on wrappers — 
 
 “ 233. The Bolton Book. 21 leaves taken 
 out and the Leeds and Bolton at M. H. besides. 
 Bolton and Launceston. Marked by Turner 
 himself, ‘ Devonshire Rivers and Wharf edale.’ 
 
 (Sgd.) J. R., 1878 ” ; 
 
 “ Three out. 
 
 (Sgd.) R. N. W.” ; 
 
 “ Five out. 
 
 (Sgd.) R. N. W.” 
 
 Paper, white, with gilt edges ; water mark, 
 “ J. Whatman, 1811.” 
 
 Size of page, 7 x 101- 
 
 NOTICE. — As no record was made of the position 
 of the pages before they were distributed, it has been 
 found impossible to reconstitute the book. The 
 present sequence of pages is therefore more or less 
 arbitrary. 
 
 f The Yorkshire sketches are probably later than the Devonshire ones. 
 
[CXXXIV.] DEVONSHIRE RIVERS, No. 3. 
 
 381 
 
 On the inside of the end cover : two slight sketches of 
 
 battlements, and the following : — 
 
 “ G. View of Farnley 10 
 
 Newhall 10 
 
 Pedigree 20 
 
 Lindley 1 0 
 
 Porch 10 
 
 House 10 
 
 70 ” 
 
 Page 
 
 95 
 
 95 
 
 95 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 59 
 
 55 
 
 55 
 
 99 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95 
 
 55 
 
 99 
 
 •9 
 
 95 
 
 55 
 
 99 
 
 59 
 
 95 
 
 95 
 
 55 
 
 95 
 
 99 
 
 99 
 
 1. Sketch of dead kingfisher. See water colour at Farnley. 
 la. A gateway. Query gateway removed from Menston 
 
 Hall to Farnley in 1814, etched in “Loidis and 
 Elmete.” 
 
 2. An Al-Fresco lunch ; in foreground, horses, “ Nets," 
 
 and “ Weeds." 
 
 3. Lindley Hall. 
 
 4. Bolton Abbey. 
 
 5. “ Chevin." 
 
 6. Bolton Abbey. 
 
 7. Group of trees on hillside, with hills beyond. 
 
 8. A stream. 
 
 9. Figures on crest of a hill ; on various parts of the 
 
 mountain side are written, “ Grass, Br., Heath." 
 Probably above Bolton, near Barden. 
 
 10. Figures among the hills. 
 
 11. Road leading to bridge towards right of drawing, with 
 
 hills in distance. 
 
 12. Mansion among foliage on hill. 
 
 13. Lindley Hall. 
 
 14. Figures among the hills. See also pp. 9 and 10. 
 
 15. A house seen among trees on a hill. 
 
 No. 7 in 1st Loan Collection, described as “ Land- 
 scape, pencil.” 
 
 Reverse, a continuation of drawing on next page 
 (or p. 58). 
 
 16. \ Scene in the Wharfe Valley. 
 
 17. } 
 
 18. Bridge and water wheel, Wharfe Valley. 
 
 18«. \ Farnley Hall. 
 
 19. / 
 
 20. Bridge near Otley. 
 
 21. Launceston Castle, 
 
 22. Stream with ruins on hill in distance. ? Okehainpton. 
 
 23. Ruins of Okehampton Castle. 
 
 24. Okehampton Castle. See Water Colour in “ Rivers of 
 
 England.” 
 
 25. Launceston. 
 
 26. Do. 
 
 27. Do. 
 
 28. Do. , with “ Mill Stream ” in foreground. 
 
 29. Bridge and church. Probably Launceston. 
 
 30. Blank. 
 
382 
 
 TURNER DRAWINGS. [CXXXIV.] 
 
 Page 31. 
 
 55 
 
 55 
 
 55 
 
 15 
 
 15 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 32. 
 
 33. 
 
 34. 
 34a. 
 
 35. 
 
 36. 
 
 37. 
 37a. 
 
 38. 
 38a, 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 11 
 
 43. 
 
 44. 
 
 51 
 
 H 
 
 55 
 
 51 
 
 55 
 
 55 
 
 55 
 
 51 
 
 51 
 
 45. 
 45a, 
 
 46. 
 
 47. 
 
 48. 
 
 49. 
 
 50. 
 
 51. 
 51a, 
 
 „ 54. 
 
 „ 54a. 
 
 55 
 
 55 
 
 55 
 
 55. 
 
 56. 
 
 57. 
 
 55 
 
 58. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 58a. 
 
 59. 
 59a. 
 
 60. 
 
 11 
 
 61. 
 
 55 
 
 62. 
 
 Launceston, Town and Castle. 
 
 Launceston Castle in distance. 
 
 Bridge near Launceston. 
 
 The same bridge, with Launceston Castle in distance. 
 
 Part of a drawing. 
 
 Blank. 
 
 Bridge with water-mill on left. 
 
 Blank. 
 
 Two sketches in environs of Leeds. 
 
 Distant view of Leeds. 
 
 Do. 
 
 Cart, &c., in a field. 
 
 “ Galstock on the River Tamar. 
 
 “ ditto.'' 1 
 
 A ground plan, showing relative positions of “ Garden ,” 
 “ Chapter ” “ Refectory ,” “Cloister,” and “ Abbots 
 Lodge'' Probably of Fountains Abbey. 
 
 Another ground plan. Probably of Fountains Abbey. 
 
 River with bridges aud church tower on left on distant 
 hill. 
 
 Distant church tower among the hills. 
 
 Distant view of Leeds. 
 
 River, with castle (?) on right. 
 
 Another sketch of same building. 
 
 River with church tower on hill on right. 
 
 Another sketch of building sketched on pp. 47 and 46. 
 
 River, with bridge and chui’ch tower on hill on left. 
 
 Blank. 
 
 Continuation of the sketch on page which originally 
 came next. 
 
 Roadway and bridge. 
 
 Figures crossing a fiat stretch of country. ? Lancaster 
 Sands. 
 
 Two different views of Bolton Abbey. 
 
 A waterfall (?). Part of this leaf has been cut away. 
 (The two following leaves formed part of a parcel 
 labelled by Mr. Ruskin, “ A.B. 2. P. R.” They have 
 both been mounted on pieces of cartridge.) 
 
 A ruined abbey on banks of river. ? Kirkstall. 
 
 Bridge with two arches and houses on both sides. 
 
 River with hills on either side ; in mid-distance the 
 castellated building sketched on pp. 49, 47 and 46. 
 
 House among trees on hill. For possible continuation 
 of this drawing, see 45 a. ? Farnley. See pp. 12 and 15. 
 
 Details of roof with stacks of chimneys. 
 
 Bolton Abbey in distance. 
 
 Ruins of Bolton Abbey. 
 
 In the Wharfe Valiev (?). See also p. 7. 
 
 (The following drawings were mounted.) 
 
 Wharfe Valley. Over the foliage on hill on left is 
 written a name, which may be “ Manor Wood.” 
 “ Road ” in foreground of drawing. 
 
 River among hills, with Bridge in mid-distance. 
 
[CXXXXV.] DEVONSHIRE RIVERS, No. 3. 
 
 383 
 
 Page 63. 
 
 59 
 
 95 
 
 64. 
 
 65. 
 
 „ 66 . 
 
 ,> 67 . 
 ,, 68 . 
 
 Fountains Abbey. 
 
 Part of interior of Fountains Abbey. 
 
 Roadway leading to distant hill, with ruins of a castle 
 on its crest. Described on mount as Scarborough, 
 but this description may not be correct. 
 
 Town at the mouth of a river. Possibly the Tamar 
 or Dart. 
 
 Oakhampton Castle. 
 
 Small bridge leading to ruined abbey (?) on hill in mid- 
 distance. 
 
 Study of dock leaves, &c. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 59 
 
 95 
 
 95 
 
 55 
 
 S9 
 
 59 
 
 (The following eight drawings were lent to the University 
 of Oxford.) 
 
 70. Okehampton. (Oxford 83-1575 and 665.) See Water 
 
 colour engraved in “ England and Wales,” and once 
 in possession of Mr. Ruskin. 
 
 71. Okehampton. (Oxford 82-157«.) See water colour 
 
 No. 165, N.G., engraved in “ Rivers of England.” 
 
 72. Launceston. (Oxford 62-66a.) 
 
 73. Bolton Abbey, from down stream. (Oxford 76-675.) 
 
 74. Bolton Abbey, from up stream. (Oxford 77-67a.) 
 
 75. Bolton Abbey, from across the river. (Oxford 7 8-6 8a.) 
 
 For a water colour of this view of Bolton Abbey see 
 Mr. Salting’s drawing from the Farnley Collection. 
 That drawing is, however, dated 1809, and therefore 
 could not have been made from this sketch. 
 
 75a. Landscape, with bridge in foreground. (As p. 75 has 
 been stuck down tight on cartridge this drawing on 
 the reverse can only be seen when held up to the 
 light.) 
 
 76. Bolton Abbey, seen through the oaks. (Oxford 79-685). 
 76a. A drawing on reverse, but stuck down tight. 
 
 77. River llowing through wooded slopes, with castle 
 
 (described by Mr. Ruskin as “ Barden Tower ”) 
 beside river in distance. Pencil drawing partly 
 ■ worked in colour. (Oxford 80-69.) See also pp. 61, 
 60 and 7. 
 
 77a. Drawing of ruined castle (?) on reverse, but stuck 
 down tight. 
 
 78 Pic nic party. Pencil. No. 49, in 1st Loan Collection. 
 
 79. 1 Sketch of the town of Leeds. No. 525 a, N.G. See Water 
 
 80. / Colour of this subject, lithographed by J. D. Harding. 
 
 1823. 
 
 „ 81. | Bolton Abbey. Written on the water, “ Beautiful Refln .” 
 
 „ 82. j (? Riple. See “ R. on P. ,” p. 218.) No. 5255, N.G. 
 
 See Water Colour engraved in “ England and ’Wales.” 
 „ 83. River scene. — “ Rushes , Bright W., Dark W.,” &c. 
 
 (80 leaves drawn on.) 
 
384 
 
 TURNER DRAWINGS. 
 
 CXXXV.] 
 
 1813 * (AET. 38). 
 
 CXXXV.— CHEMISTRY AND “ APULEIA ” SKETCH 
 
 BOOK. 
 
 Schedule No. 371. 
 
 Small pocket book bound in red leather, with one 
 brass clasp. 
 
 On parchment label on back — “ 60." 
 
 Executor’s endorsement: — “No. 371. 14 leaves 
 
 of very slight sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Mr. Ruskin’s endorsement: — “371. Chemistry 
 and Studies of picture for Claude Bridge.” 
 
 Size of page, 3-^- x 4§. 
 
 Water mark, “ C. Wilmott, 1811.” 
 
 Inside one of covers is written by Turner in ink : — 
 
 11284 
 
 Twenty P. 1813. July 3. 
 
 1813. 
 
 1256 
 
 June 5. 1813. Cambridge Coll. 10. 
 
 11466 
 
 June 17, 1813. 
 
 10. 
 
 1831 
 
 June 15. — 13 — 
 
 10 
 
 1 7298 
 
 July 1 — 13 
 
 10 
 
 10264 
 
 June 10 — 13 
 
 10 
 
 19214 
 
 May 20. — 13 
 
 io: 
 
 Page 1. “ Maltese plague. 
 
 1. Symptoms. Sickness debility shivering heat 
 thirst. Headache. 
 
 2. Delirium. 
 
 3. Darkspots, ulcer. 
 
 Emetic. 10 Grains of epicacuina. 
 
 Purge. 5 Grains of Calomel 10 of Jalop. 
 
 Tea spoonfull of Sal. Mendiriri every 2 hours. 
 Common drink Lemonade. Head shaded. Vinegar 
 and Water applied with a sponge to the Head and 
 Body." 
 
 „ la. “ Receipt for covering Linen to make it impenetrable 
 to water," &c. 
 
 „ 2. Study of sky. 
 
 „ 2a. \ Do. 
 
 „ 3. f 
 
 „ 3 a. ) River with hills on either side ; Castle on promontory 
 
 „ 4. ( in distance. (? Dartmouth Castle.) 
 
 ,, 5. Another view of same scene. 
 
 „ 5 a. ) Trees with castle on hill in distance. 
 
 „ 6- f 
 
 „ 6a. \ Landscape with river in mid-distance. 
 
 „ 7. / 
 
 „ 7 a. \ Do. 
 
 „ 8. / 
 
 „ 8a. A plan. 
 
[CXXXV.] CHEMISTRY AND APULEIA. 
 
 385 
 
 Page 9. 
 
 Part of building. 
 
 9 a “ 40 inches wide , do. high. 2. 
 38 high , 40. ‘ 3.' 
 
 99 
 
 10. Commencement 
 
 9? 
 
 11. Scene on Coast. 
 
 5) 
 
 12-13. 
 
 Blank. 
 
 >5 
 
 14. Bridge with dish 
 and distance i 
 
 99 
 
 15. 
 
 Do. 
 
 V 
 
 15a. 1 
 
 1 A tree trunk. 
 
 99 
 
 16a. j 
 
 f 
 
 99 
 
 17. A 
 
 l fir tree. 
 
 99 
 
 17 a. 
 
 Do. 
 
 99 
 
 18. 
 
 Do. 
 
 99 
 
 18a. 1 
 
 t Two fir trees. 
 
 99 
 
 19. j 
 
 1 “ Crossing tl 
 
 99 
 
 19a. 1 
 
 1 Distant hills. 
 
 99 
 
 20. J 
 
 r 
 
 99 
 
 21. 
 
 Do. 
 
 99 
 
 21a. 1 
 
 1 Do. 
 
 99 
 
 22. J 
 
 r 
 
 99 
 
 23-27. 
 
 Blank. 
 
 99 
 
 27 a. Verses. 
 
 99 
 
 28-44. 
 
 Blank. 
 
 99 
 
 45. Trees. 
 
 99 
 
 46-54. 
 
 Blank. 
 
 &c. 
 
 Pen and ink. (? Bridge 
 
 do. 
 
 ’) 
 
 (? Study for two foreground trees in 
 
 Aa. “ Sir IF. Pilkington , Bart. 
 
 1 Number of the Coast. 18 s . 
 
 has A °. 1 and 3 of Liber Studiorum. 
 
 the rest to be sent." 
 
 „ 55. “ Pirogen. Opogene. Hipigene." 
 
 „ 55 a. “ Molyodic acid. 
 
 3 degrees 1 black. 2 blue oxide more oxigene green , 
 thin Acid. The Acid 500 its weight of water , the 
 adaition of Potash forms a salt more soluable solution 
 of the Acid," &c. 
 
 „ 56. “ Oil and Tin," &c. 
 
 „ 56a. “ Carthamus — Saffron — Alum yields a deep yellow pre- 
 cipitate," &c. 
 
 „ 57. “ 1 12 lbs of W. Lead 24 lb. of G. Flint, vitrified gives a 
 
 yellow color to the lead. Mastiot," &c. 
 
 „ 57 a. “ Solution of Bark 
 
 with Sulphate of Iron Green 
 Potash yelloiv white 
 Sulphate of Copper red yellow 
 Acetate of Lead yelloiv ivhite 
 Sulphate of" 
 
 „ 58. “ Golden Yellow 
 
 Antimony 6 parts 2 of Nitre Pf of Salt," &c. 
 
 „ 58 a. “ Lac. 1 part of Borax to 5 of Lac renders the whole 
 
 soluable by," &c. 
 
 „ 59. Blank. 
 
 59a. “ Potash added to a solution of Iron," &c. 
 60. Blank. 
 
386 
 
 TURNER DRAWINGS. [CXXXV.] 
 
 Page 60a. 
 
 99 
 
 61. 
 
 99 
 
 61a. 
 
 62. 
 
 99 
 
 99 
 
 99 
 
 9 » 
 
 99 
 
 99 
 
 99 
 
 9 ' 
 
 99 
 
 62a. 
 
 63. 
 63a. 
 
 64. 
 64a. 
 
 65. 
 65a. 
 
 66 . 
 
 66a. 
 
 99 
 
 67. 
 
 „ 67a, 
 
 „ 68 . 
 
 „ 68a. 
 
 Continuation of note about Varnishes on p. 61. 
 
 “ Caoutchouc Varnish , 
 
 digest one part of Gum in 20 turpentine rectified 
 highly. 
 
 Sandarach. 
 
 8 oz. 2 oz. of Venice Turpentine in 82 of Spirits 
 of Wine by a gentle heat. 
 
 Shell lac. reddish V. 
 
 5 oz. One of Turpentine 82 oz. of Alcohol. 
 
 Copal. 
 
 Saturate 1 oz. of Coped powdei'ed with a dracm of 
 Camphor ivhile these are mixing add by degrees 
 four oz. of strong Alcohol without heat.” 
 
 (Continued on p. 60a.) 
 
 “ Two oz. of Shell lac arnatto <k turpentine each 
 1 oz. dragons blood 80 Grains — with 20 oz. of Alcohol 
 in a gentle heat. — Gold Varnish .” 
 
 “ Thick Amber Varnish — a dark brown colour , */ 2 a lb. 
 of Amber over a gentle fire in cm Iron pot cover 
 (?) a small hole in it until melted , taken off, cooled, 
 little then add 1 lb. of Varnish , boil d and stir'd , 
 coold a lb. of turpentine added— of a bright color , 
 powderd amber must be used in a close vessd 
 dissolved in trenchant varnish, 
 
 Camphor &c. 
 
 “ Solution of Ammonia mutton oil of Turpentine to 
 dissolve Copal */ s 10.” 
 
 A Diagram. 
 
 Blank. 
 
 Buildings with trees. 
 
 Blank. 
 
 Studies of Nymphs. 
 
 Blanks. 
 
 | Nymphs dancing. 
 
 Study for “ Apuleia in search of Apuleius ” (Exd. B. 1. 
 1814.) 
 
 “ 8207 April 8, 1813. 20 
 
 6525 1 SepT. 1813. 20 
 
 Turner 
 
 Oct. 21. 
 
 1348 
 
 1086 
 
 3070 
 
 13140 
 
 3587 
 
 3588 
 9 
 
 25 Aug. 1813. 20 
 
 19 May 1813. Curtis 20 
 22 d une 1813. Miller 20 
 13 Sep. 1813. Miller 10 
 18 Sep. 3. 10 
 
 10 
 
 10 ." 
 
 Shirley 
 
 Turner 
 
 | Study for “ Apuleia.” 
 
 Do. Pen & ink. 
 
 (leaf torn out.) 
 
 (26 leaves drawn on.) 
 
LCXXXVL] 
 
 387 
 
 1814 (AET. 39). 
 
 OXXXVI .—“REVIEW AT PORTSMOUTH” SKETCH 
 
 BOOK. 
 
 Schedule No. 376. 
 
 Small sketch book bound in calf, with one brass 
 clasp. 
 
 Parchment label on back, with the number “ 55 ” 
 on it. Written in ink on cover — “ Review at Ports- 
 mouth .” 
 
 Water mark — “ Ivy Mill, 1811.” 
 
 Size of page, 4-[| x 3|. 
 
 Executor’s endorsement — “ No. 376. — 82 leaves of 
 slight pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 
 (Note.— From information very courteously supplied by 
 the Admiralty and Public Record Offices, it appears that this 
 review took place at Spithead, on 23rd June, 1814. Further 
 details are supplied in the following extracts from the “ Lon- 
 don Gazette” of 28tli June, 1814. — “Their Majesties the 
 Emperor of Russia and the King of Prussia having expressed 
 a desire to see the fleet and arsenal at Portsmouth, His Royal 
 Highness the Prince Regent was pleased to direct that the 
 Board of Admiralty should repair to Portsmouth, and that 
 the flag of the Lord High Admiral, as well as that of His 
 Royal Highness the Admiral of the Fleet, should be hoisted 
 on this occasion.” [Page 1319]. 
 
 “ This morning, at ten o’clock, His Royal Highness the 
 Prince Regent, accompanied by His Royal Highness the Duke 
 of York, who had arrived late the preceding evening, and His 
 Royal Highness the Duke of Cambridge, proceeded in his 
 carriage to the residence of His Majesty the King of Prussia, 
 and thence His Royal Highness and His Majesty, with the 
 Princes of Great Britain and Prussia, proceeded to the Com- 
 missioner’s house in the Dockyard, where they were received 
 by His Majesty the Emperor of Russia, and conducted to his 
 apartments. . . . 
 
 “ After a short delay,” the party proceeded through the 
 Dock-Yard “ to the King’s-Stairs, where His Royal Highness 
 the Prince Regent, their Majesties the Emperor and King, 
 her Imperial Highness the Grand Duchess, her attendants, 
 their Royal Highnesses the Princes of Prussia, attended by 
 the Viscount Melville, First Lord Commissioner of the Admi- 
 ralty, embarked in the barge prepared for their reception, on 
 which the royal standard of Great Britain was immediately 
 hoisted, and proceeded down the harbour to Spithead. 
 
388 
 
 TURNER DRAWINGS. 
 
 [CXXXVI.] 
 
 “ Abreast of the royal barge, on the right hand, a barge 
 carried the Imperial standard of Russia, and in the same 
 situation on the left, carried the royal standard of Prussia ; 
 both these barges were filled ,vith the suites of the respective 
 Sovereigns. 
 
 “ The Board of Admiralty, with the Ambassadors of Austria 
 and Russia, and several other persons of distinction, in their 
 barge bearing the flag of their Office, immediately preceded 
 His Royal Highness’s barge. 
 
 “The barges of the Admirals and Captains, carrying their 
 respective flags and pendants, followed in two lines, according 
 to their seniority ; the barge of the Admiral of the Fleet, in 
 which His Royal Highness the Duke of Clarence, with their 
 Royal Highnesses the Dukes of York and Cambridge, and His 
 Serene Highness the Duke of Saxe-Weimar were embarked, 
 leading the starboard line, and that of the Admiral of the 
 Port, in which were the Admiral and several persons of the 
 royal suite, leading the larboard line. 
 
 “ As the Prince Regent passed the garrison, he was saluted 
 with twenty-one guns from the battery on the platform ; and 
 when the royal standard was seen from the fleet at Spithead, 
 His Royal Highness was saluted in the same manner from the 
 several ships there, which was repeated by the guns on the 
 platform ; and as the royal barge passed the ships (com- 
 mencing with the westernmost of the line), the yards were all 
 manned, and their companies gave three hearty cheers, the 
 guards being turned out, beating a march, and the officers 
 saluting. 
 
 “ On His Royal Highness and their Majesties going on board 
 the ‘ Impregnable,’ the sides were manned by Lieutenants, 
 and His Royal Highness was received at the head of the ladder 
 by the Captain of the Fleet, and as soon as His Royal 
 Highness passed the guard of marines on the quarter-deck, 
 where he was l'eceived by His Royal Highness the Admiral 
 of the Fleet, the Union flag was struck and shifted to the 
 ‘ Chatham,’ of seventy-four guns, and the royal standard 
 was hoisted at the maintop mast-head, the flag of the Admiralty 
 at the foretop mast-head, and the Union flag at the mizen. 
 The Admiralty flag was also shifted from the ‘ Bombay ’ in the 
 harbour to the ‘ Yille de Paris,’ and the flag of Vice-Admiral 
 Sir H. Neale, Bart., to the ‘Norge,’ of seventy-four guns. 
 
 “ The standard was immediately saluted by the whole fleet, 
 except the ‘ Impregnable,’ as before, and the salute was 
 answered by an equal number of guns from the battery on 
 the platform. 
 
 “ His Royal Highness, accompanied by their Majesties, &c., 
 visited every part of the ship, with which they expressed 
 themselves in the highest degree gratified. Having partaken 
 of a collation in the great cabin of the ‘ Impregnable,’ they 
 were pleased to gratify the immense crowd which had as- 
 sembled round the ship, by appearing severally at the entrance 
 port, and His Royal Highness and their Majesties were re- 
 ceived with the most enthusiastic expressions of joy,” &c. 
 [Page 1320.] 
 
[CXXXVI.] REVIEW AT PORTSMOUTH. 
 
 389 
 
 Page 
 
 1 . 
 
 2 . 
 
 Blank, and partly torn. 
 “ Norge. 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 8 . 
 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 17. 
 ] 8 . 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 23. 
 23a. 
 
 24. 
 24a. 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 29. 
 
 St. Domingo 
 Bedford. 
 
 Rodney 
 
 Chatham 
 
 Ville de Paris 
 
 Impregnable 
 
 Prince 
 
 Tigre 
 
 Queen 
 
 Sceptre 
 Magnificent 
 Stirling Castle 
 Montague. 
 
 Cpt. Rainer. 
 
 ( R. Admiral Foote 
 \ Capt. Pechell. 
 
 C. J. Walker, 
 f V. A. J s - Martin 
 t Cpt. C. Inglis. 
 
 . . R.H. 
 
 Honbl (?) G. Blackwood. 
 
 L. H. A.* 
 
 Cpt. Jones. 
 
 ( The Standard 
 \ C. Adam. 
 
 A. Sir R. Bickerton , Bt. 
 Folkes. f 
 Cpt. Halliday. 
 
 R. A. Sir F. Laforey , Bt. 
 Colville.% 
 
 Devonshire. 
 
 Lake. 
 
 Butterfield. 
 
 Heywood." 
 
 Wooded landscape, with river ; house on right. 
 River among hills. 
 
 Hills. 
 
 River among hills. 
 
 Do. 
 
 Blank. 
 
 River among hills, with bridge near foreground. 
 River among hills. 
 
 River with bridge. 
 
 Bridge in middle distance. 
 
 River among hills. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Vessels off Portsmouth. 
 
 Cliffs on coast. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Fishing boat on coast. 
 
 Coast. 
 
 Vessels in distance. 
 
 Do. 
 
 Portsmouth, from sea. 
 
 Do. 
 
 Vessels. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 * i.e., Lord High Admiral’s flag, flown by Board ol Admiralty, 
 t Capt. G. Fowke, in Navy List, 1814. 
 j Lord Colville. 
 
 32796 
 
 2 C 
 
390 
 
 TURNER DRAWINGS. [CXXXVI.] 
 
 Page 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
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 11 
 
 11 
 
 30. Vessel with sails set — “ Mercury Head , W. G. B. St." 
 
 &c. 
 
 31. Sailing vessel. 
 
 32. Do. 
 
 33. Forts, from the sea. 
 
 31. Sailing vessel lowering mainsail. 
 
 35. Sailing vessels. 
 
 36. Sailing vessel. 
 
 37. Fort. 
 
 37a. Do. 
 
 38. Do. 
 
 39. Do. 
 
 40. Sailing vessels. 
 
 41. Landing stage (?). 
 
 42. Portsmouth Harbour. 
 
 43. Vessels off Portsmouth. 
 
 14. A sailing vessel. 
 
 45. Vessels. 
 
 46. Do. 
 
 47. Man-of-war, with sails set 
 
 48. A sail. 
 
 49. Vessels. 
 
 50. Do. 
 
 51. A three-masted vessel. 
 
 52. Vessels. 
 
 53—57. Blank. 
 
 57 a. Vessels. 
 
 58. “ K. P. Green bows ; with ” 
 
 58u,. Figurehead and bows of vessels. “ Antelope " and 
 “ Norge " and various scribbled notes, mainly 
 unintelligible. 
 
 59. Blank. 
 
 59a. Two sterns of vessels. 
 
 60. Blank. 
 
 60a. Figurehead and three-quarter back view of a man-of- 
 war. 
 
 61. Man-of-war and bows of a vessel. — “ Opposite." 
 
 61 a. Portsmouth Harbour. — “ Bedford" &c. 
 
 62. Vessels. 
 
 62a. Details of vessels. 
 
 63. Vessels. 
 
 63a. Bow and stern of “ Tigre.' 
 
 64. Vessels. 
 
 64a. Various details — “ Port Admiral ,” “ The Admiral ," &c. 
 
 65. Portsmouth Harbour. 
 
 65a. Sailing vessel. 
 
 66. Do. 
 
 67. Vessels. 
 
 68. Part of vessel. 
 
 69. Vessel sailing. 
 
 70. A three-master. 
 
 71-75. Blank. 
 
 75a. Portsmouth from the Solent. 
 
 76. Do. 
 
[CXXXVI.] REVIEW AT PORTSMOUTH. 
 
 391 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
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 99 
 
 9* 
 
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 77. Blank. 
 
 77 a. Vessels. 
 
 78. Blank. 
 
 (3 leaves torn out.) 
 
 79. “ ,5 Landport Terrace. 
 
 Naval Academy Dockyd." 
 
 (Leaf torn out.) 
 
 80-99. Blank. 
 
 99a. Vessels. 
 
 100. Blank. 
 
 100a. Firing a salute (?). 
 
 101. Vessels. 
 
 102. Blank. 
 
 102a. Vessels firing salutes. 
 
 103. The land forts. 
 
 103a. Vessels. 
 
 104. Vessels entering harbour. 
 
 105-123. Blank. 
 
 124. Portsmouth. 
 
 125-142. Blank. 
 
 142a. A man-of-war (?). 
 
 143. Do. 
 
 144. Man-of-war surrounded by small boats. 
 
 144a. \ Vessels. 
 
 145. / 
 
 145a. Vessels — “ G. White Jackets — White Jackets. B.caps 
 &c. 
 
 146. Man-of-war with flags. 
 
 146a. Vessels. 
 
 147. Bows of man-of-war. — “ G.—R — B — Gilt.' 
 
 147 a. Vessels. 
 
 148. Blank and partly torn. 
 
 149. Blank. 
 
 149a. Small boats near man-of-war. 
 
 150. Group of vessels. 
 
 150a. Group of vessels — “ Head on Portsmouth Harbour 
 . . . and the their Hulk ” — “ Alx. Red collar , 
 
 cocked hat white . . ...” 
 
 151. Vessels. 
 
 151a. Man-of-war surrounded by small boats. 
 
 152. Do. 
 
 153-162. Blank. 
 
 162a. Vessels. 
 
 163. Do. 
 
 164-165. Blank. 
 
 166. In Portsmouth Harbour. 
 
 166a. Do. 
 
 167. Blank. 
 
 167a. Vessels. 
 
 168. Blank. 
 
 168a. Vessels. 
 
 1 69 Blank. 
 
 169a. River among hills. 
 
 170.V., Blank. 
 
 32796 
 
 2 C * 
 
392 
 
 TURNER DRAWINGS. [CXXXVI.] 
 
 Page 170a. Landscape with river in mid-distance. 
 
 „ 171. Blank. 
 
 „ 171a. Houses with river beyond. 
 
 „ 172. Blank. 
 
 „ 172a. Hills. 
 
 „ 173. A vessel. 
 
 „ 173a. Hills. 
 
 „ 174. “ 58 Orch W. Hobart s 
 
 6 Mitcham Stride .” 
 
 „ 174a. Winding river. 
 
 „ 175-181. Blank. 
 
 „ 182. 
 
 The floating bulivark lies 
 
 Above (?) the holy cross unfurled. (?) 
 
 Blowing .... shows the saviour of the world 
 Hence gloomy evil infamy's .” 
 
 (This leaf is partly torn and loose from the binding.) 
 
 (96 leaves drawn on.) 
 
 1810 - 1816 * (AET. 35-41). 
 
 CXXXVII.— VALE OF HEATHFIELD SKETCH BOOK. 
 
 Schedule No. 181. 
 
 Sketch book bound in boards with dark green back 
 and corners. No. “ 113 ” on parchment label on back, 
 but no further description. 
 
 Water mark, “ J. Whatman, 1808.” 
 
 Size of page, 7^x9^. 
 
 Mr. Ruskin’s endorsement : — “ 181. 6 taken out, 
 
 many fine things left of the same kind. 
 
 Contains the studies for the Eddystone.” 
 
 The earliest drawing in this book is a sketch of 
 Somerhill, near Tunbridge. As an oil painting of 
 this subject was exhibited in the R.A., 1811, I 
 assume this drawing was made about 1810. The 
 notes of places on the N. and S. coasts of Devonshire 
 and Cornwall suggest that the book formed part of 
 Turner’s baggage on his “ Southern Coast ” tour in 
 1811. The sketches of Christchurch, Hants, and 
 Eddystone Lighthouse confirm this supposition 
 Most of the drawings are, however, connected with 
 the series of Sussex views made for Mr. J. Fuller, 
 and till recently in the possession of Sir Alexander 
 Acland-Hood. These cannot be earlier than 1815, 
 because the water mark of the “Hastings” sketch 
 book (Schedule 315), which contains others of these 
 sketches, is 1815. 
 
 As no record has been kept of the position of the 
 pages which have been cut out, I have been com- 
 pelled to number them after the pages left in the 
 book. 
 
[CXXXVIL] VALE OF HEATHFIELD. 
 
 393 
 
 Page 1. Written in ink, by Turner : — 
 
 “ Luhvo t th Gove water for 80 ton burthen. 
 
 Portland 4 miles from Wexjmouth. 
 
 Ferry at the end called Smallbrook the ivater call'd 
 the Fleet 5 miles. 
 
 Gheselbank extends from Port to Abbotbury 
 9 miles long. Cheswell. 
 
 The pebbles get smaller as the (Pthey) receded from 
 Portland. 
 
 Light House at Portland built by Mr. Johns of 
 Wey 63 feet high conical geometrical 
 
 Torbay to be seen the distance 25 leagues near is 
 Gave's hole perforated thro' from E. to West. 
 
 The inhabitants of Portland the ancient Belares. 
 The Reevepole the Saxon mode of keeping account of 
 land. 
 
 Some traces of a Roman encampment behind the 
 Portland Arms. 
 
 Abbotbury founded by Orcus Steward to the house- 
 hold ' of K. Canute , St. Catharines Chapel sea marks. 
 
 Swctnney (?) and Devey (?). 
 
 Dorchester Ac. a mile to the right a R. amphi- 
 theatre call'd Manbury near the village of Monckton. 
 Mardon Castle. The most perfect encampment of an 
 Oval form arear between 40 & 50 acres , treble ditch. 
 
 Lulworth Castle built about 1600. Seat of Thos. 
 Wild. Entertained their Majesties. 
 
 Weymouth 128 on the R. Wye. Melcombe Regis 
 formerley Wey carried a great trade rival'd by 
 Poole. 
 
 Bay 2 m extent Ralph Allen E. of Bath con- 
 structed the first machine 1760 for his own use. 
 Tues. Friday Market days. 
 
 Spring at Noitington contains hepatic phlogisti- 
 cated and fixed (?) air digestive salt of sylvius 
 vegetable and .... alkali strongly resembling 
 the Mojfatt water. 
 
 Barn-door or Durdle rock on the North shore. 
 
 Lyme Regis ivhere the Duke of Monmouth landed. 
 
 Teignmouth 187 — 15 from Ex. Danes landed 
 
 800 and by the French — divided into two E. and W. 
 by a rivulet called the Tame. West T. belongs to 
 Bishop Teignton E. to Dawlish. Partly Saxon or 
 Early Norman. Corbel of Head animals on the 
 
 circular or staircase , narrow 
 
 window C. lead. 
 
 Pipeclay trade and fish, the R. rises on Dartmoor 
 passes by Bradley an ancient Gothic House the 
 property of Tho. Lane , Esq. 
 
 Shalclon under the Ness , at Shilstone a Cromlech , 
 the Co it 14 feet 3 supporters 7 high , south of the 
 cromlech at New Steignton (?) is a loggan stone 
 about 18 feet E. and W. 10 high. 
 
394 
 
 TURNER DRAWINGS. [CXXXVII.] 
 
 Haccombe the smallest parish — seat of the Careivs 
 — on the C. door the remains of 4 Horse shoes of a 
 Horse that saved L. Carew by swimming a great 
 distance on the Sea. 
 
 Torr Abbey built by Lord W. Brewer reign of 
 King John — some windows or arches remain near 
 what is Kent hole — Naval officer ventured and was 
 near suffocated. Compton Castle contends with 
 Ha : ge (?) Farm near Exmouth as to the birthplace 
 of Sir W. Ray Ugh f 
 
 Continued on inside of cover : — 
 
 “ Berry Pomeroy Castle came into the Seymour 
 family 1556 — one of them command (? commenced) 
 the Castles. 
 
 Torbay 12 miles from Hopes Nose to Berry Head. 
 
 Brixham where William S landed 5 Nov 1 '- 1688 — 
 a well which ebbs and flows several times a day. 
 
 The old apopthegm Omnium rerum vicissitude, 
 applicable to the present town of Fowey. Cap>t. 
 Grouse extremely pleased with it. Place House 
 belonged to the family Trefry — Tin found here. 
 Menabilly (?) 2 miles N.W." 
 
 Page 
 
 2. 
 
 Blank. 
 
 5? 
 
 2a. 
 
 A diagram. 
 
 
 3. 
 
 Blank. 
 
 JJ 
 
 3a. 
 
 1 Somerhill, near Tunbridge. See Oil Paintinj 
 
 55 
 
 4. 
 
 / R.A., 1811. 
 
 55 
 
 5-6, 
 
 . Blank. 
 
 55 
 
 6a. 
 
 ) Bodiham Castle, Sussex. Engraved by W. 
 
 55 
 
 7. 
 
 1 1817, for “ Views in Sussex.” 
 
 55 
 
 7a. 
 
 Bodiham Castle. 
 
 8. Blank. 
 
 8ci. Continuation of drawing on p. 7 a. 
 
 9. Blank. 
 
 9 a. Bodiham Castle. 
 
 10. Blank. 
 
 10a. Continuation of drawing on p. 1 la. 
 
 11. Blank. 
 
 11a. Bodiham Castle. (Continued on p. 10a.) 
 
 12. Blank. 
 
 12a. ) Near Heatkfield, Sussex ; Pevensey Bav in distance. 
 
 13. j 
 
 13a. \ Do. 
 
 11 . } 
 
 14a. 1 A seat on hill. 
 
 15. f 
 
 16-17. Blank. 
 
 18. Boat with figures landing. 
 
 (A leaf containing water-colour drawing has been cut 
 out here.) 
 
 19-20. Blank. 
 
 (Leaf containing a water colour has been cut out here.) 
 
[CXXXVII.] VALE OF HEATHFIELD. 
 
 395 
 
 Page 21. Lulworth Cove, Dorsetshire. 
 
 „ 22. Do. 
 
 (Leaf with water colour on has been cut out here.) 
 „ 23. A bay or harbour. 
 
 (Two leaves cut out, one containing water colour.) 
 „ 24-27. Blank. 
 
 „ 27a. House among trees on hill. “Fuller” 
 
 „ 28-36. Blank. 
 
 „ 36a. 1 Brightling Observatory. 
 
 „ 37. ] 
 
 „ 38. Sea and sky. Water colour. 
 
 ,, 39. Eddystone Lighthouse. Water colour. 
 
 „ 40. Do. do. 
 
 „ 40a. Continuation of drawing on p. 41a. 
 
 „ 41. Eddystone Lighthouse ; night scene. Water colour. 
 
 „ 41a. \Vale of Heathfield (continued on p. 40a); with 
 „ 42. J Gibralter Tower on hill to the right. The water 
 
 colour based on this drawing was engraved 1816, 
 for “ Views in Sussex.” 
 
 „ 42a. Near Heathfield, with Beachy Head in distance. 
 
 „ 43. Blank. 
 
 „ 43a. ) Road (? river) between hills, with mansion on right. 
 
 „ 44a. Road among hills. 
 
 „ 45. Blank. 
 
 „ 45a. Road among hills. 
 
 „ 46. Blank. 
 
 „ 46a. River, with bridge in mid-distance. Calstock Bridge, 
 
 R. Tamar. 
 
 „ 47. Blank. 
 
 „ 47a. Bridge, with tower on hill in distance. Calstock Bridge, 
 R. Tamar. 
 
 „ 48. Distant hills. 
 
 „ 48a. ) Do. 
 
 „ 49. } 
 
 „ 49a. Houses beside river, with distant hill. 
 
 „ 50. Blank. 
 
 „ 50a. Road leading past square-shaped tower, with same hill 
 
 in distance (p. 49a). 
 
 „ 51. Blank. 
 
 „ 51a. Stream among hills. 
 
 „ 52. Blank. 
 
 „ 52a. Bridge, with trees on either side. 
 
 „ 53. Blank. 
 
 „ 53a. House beside a river ; low tide. A water colour founded 
 on this sketch is in the Ruskin School, Oxford, 
 described as “ Scene on river Tavey.” (Ruskin 
 donation) ; called also by Mr. Ruskin, “ Pigs in Sun- 
 shine.” 
 
 (Leaf torn out here.) 
 
 54. Blank. 
 
 54a. Wooded hills beside river (probably the Tavey). 
 
396 
 
 TURNER DRAWINGS. [CXXXVII.] 
 
 Page 55. Blank. 
 
 „ 55 a. The mouth of a river. 
 
 (3 leaves tom out.) 
 
 „ 56. Blank. 
 
 „ 56a. “ Wadhurst ” (between Tunbridge and Brightling, 
 Sussex). 
 
 „ 57. Blank. 
 
 ., 57a. | Near Heathfield, Sussex. 
 
 „ 58. j 
 „ 59. Blank. 
 
 „ 59a. Ruins of castle. Probably Pevensey Castle. 
 
 „ 60. Blank. 
 
 „ 60a. Same rains ; another view. 
 
 „ 61. Blank. 
 
 ,, 61a. Another view of same ruins. 
 
 „ 62. Blank. 
 
 „ 62a. Stream, with steep banks and a water wheel. 
 
 „ 63. Blank. 
 
 „ 63a. Broad river among hills. 
 
 „ 61. Blank. 
 
 „ 64a. House, with distant mountains. Pencil, one of the 
 
 peaks in water colour. 
 
 „ 65. Blank. 
 
 „ 66. Blank. 
 
 „ 66a. Landscape, with two female figures in foreground — 
 
 “ Blue Sleeve." 
 
 (1 believe the 6 following leaves to have formed part of 
 this book.) 
 
 „ 67. Christchurch, Hants. (Oxford 7l-62a, as “Abbey by 
 
 river side.”) 
 
 „ 68. Valley of Ashburnham. See Water Colour engraved in 
 
 “Views of Sussex.” (Oxford 87-1615, as “Park 
 Scene, Foreground.”) 
 
 „ 68a. Drawing on back, but stuck down tight. 
 
 „ 69. Valley of Ashburnham. bight-hand half of drawing of 
 
 which p. 68 forms the left-hand half. (Oxford 86- 
 161a, as “ Park Scene, Distance.”) 
 
 „ 70. “ Brougham Castle." See Water Colour engraved 
 
 “Rivers of England,” and published 1 June, 1825. 
 (Oxford 65-645, as “ Castle in ‘ Rivers of England.’ ”) 
 „ 71. Brougham Castle. 2nd Loan Collection, No. 41. 
 
 „ 72. “ Yanworth Tower." 6th Loan Collection, No. 10. 
 
 ,, 73. A water mill among rocks. 
 
 „ 74. River in valley, with figures. 
 
 „ 74a. Part of distant view. 
 
 (56 leaves drawn on.) 
 
[CXXXVIII.j 
 
 397 
 
 1815 - 1816 * (AET. 40-41). 
 
 C XXXVIII. — VIEWS IN SUSSEX SKETCH BOOK. 
 
 Schedule No. 162. 
 
 Page 
 
 99 
 
 99 
 
 11 
 
 11 
 
 11 
 
 '9 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 99 
 
 A number of loose leaves with no covers. They 
 were distributed and there were no means of dis- 
 covering their original sequence. 
 
 Water mark, “ J. Whatman, 1801.” 
 
 Size of page, 7}-| x 12f. 
 
 For what seem to be other leaves of this book, see 
 Schedule 137 (“ Somerset and North Devon” Sketch 
 Book, about 1811). 
 
 1. Near Heathfield, Sussex. (Drawing rubbed and paper 
 
 dirty.) 
 
 2. Battle Abbey. See water colour (recently in possession 
 
 of Sir Alexander Acland-Hood), engraved “Views 
 of Sussex.” 
 
 3. Group of trees. Probably a continuation of preceding 
 
 drawing. 
 
 4. Battle. 
 
 5. Hurstmonceux Castle. See water colour, dated 1817 
 
 (recently in possession of Sir Alexander Acland- 
 Hood), engraved 1820 for “Views in Sussex.” 
 
 6. Continuation of preceding drawing. 
 
 7. Pevensey Castle. See water colour, recently in posses- 
 
 sion of Sir Alexander Acland-Hood. 
 
 8. Crowhurst Park. See water colour, recently in posses- 
 
 sion of Sir Alexander Acland-Hood, engraved in 
 “ Views in Sussex.” 
 
 9. Continuation of preceding drawing. 
 
 10. Near Heathfield, Sussex. 
 
 10a. Drawing on back, but stuck down tight. 
 
 11. Road leading down hill, with trees and park wall on the 
 
 left ; query Battle Abbey in distance. 
 
 11a. Drawing on back, but stuck down tight. 
 
 12. Trees, with distant hill. Continuation of drawing on 
 
 another page. 
 
 12a. View across country. Probably continuation of another 
 drawing. 
 
 13. Ruins of Pevensey Castle. 
 
 14. Pevensey Castle. 
 
 14a. Written on back of drawing : — 
 
 “ 2801 9 May (18) 17—15 
 
 5709 18 Mar. 17—10 
 
 2512 29 Nov. 16—10 
 
 19186 6 Dec. 16 .” 
 
 (Leaf has been stuck down tight on cartridge, but 
 the writing can be seen by holding drawing up to 
 the light.) 
 
 15. Pevensey Castle and Bay. In foreground, “ Stone 
 
 Quarry .” 
 
398 
 
 TURNER DRAWINGS. [CXXXVIII.] 
 
 Page 16. Castle seen through trees. Probably Pevensey. Written 
 in margin, “ Sun shinning thro ’ the Tree Bghs{ ?).” 
 
 „ 17. Landscape, with country seat. (? Yale of Ashburnliam, 
 
 Sussex.) 5th Loan Collection, No. 43. 
 
 „ 18. Park scene and country house. Beaufort, near Bexhill. 
 
 Sketch for water colour, ex. Sir A. Acland-Hood 
 (Christie’s, 4 April, 1908). 6th Loan Collection, 
 No. 15. 
 
 „ 19. Park scene and sheep. Sketch for “ The Yale of 
 
 Pevensey, from Roseliill Park,” ex. Sir A. Acland- 
 Hood (Christie’s, 4 April, 1908). 6th Loan Collec- 
 tion, No. 13. 
 
 (19 leaves drawn on.) 
 
 1815 - 1816 * (AET. 40-4-1). 
 
 CXXXIX.— HASTINGS SKETCH BOOK. 
 
 Schedule No. 315. 
 
 Sketch book bound in boards, with dark green 
 leather back and corners. 
 
 Covers were broken off, and Turner’s label on 
 back was thus destroyed. But the leaves were 
 numbered before distribution. 
 
 Water mark, “ J. Whatman, 1815.” 
 
 Size of page, 5x8. 
 
 Executors’ endorsement — “No. 315. Contains 
 32 Leaves Pencil sketches, many on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement — “315. Hastings.” 
 Inside one cover is written in pencil by Turner — 
 
 “ Ilfracombe 
 Tintagel 
 
 Torbay Brixliam 
 Bridport 
 
 Watchet 
 
 Minehead 
 
 Lulworth 
 Margate ” ; 
 
 Inside the other cover a rough sketch map showing the 
 relative positions of the following places — 
 
 “ Appledore 
 
 Lympne Castle 
 
 Saliw — 
 
 Playden 
 
 
 Hythe — 
 
 Rye 
 
 New Romsey Dimchurch 
 
 
 Winchelsea 
 
 Lydd, Dungeness. 
 
 
 Saltwood Castle 
 
 Hythe Sandgate Castle. Folkestone , Dover." 
 
[CXXXIX.] 
 
 HASTINGS. 
 
 399 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9 ' 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. Steps leading to small summer house. (Drawing con- 
 
 tinued on cover.) Sketch for water colour of 
 “ Pheasant’s Nest,” Farnley Park (Ruskin Collection, 
 F.A.S., 1878). 
 
 2. Path among the woods. 
 
 3. Design for picture. 
 
 3 a. Design for classical composition. 
 
 4. Do. do. 
 
 5. Do. do. 
 
 6. Do. do. 
 
 7-15. Blank. 
 
 16 ) The sea-front at Margate. See Engraving in Southern 
 
 17 J Coast,” published February, 1824. 
 
 18. Blank. 
 
 18a. \ View from Dover Castle. 
 
 19. J 
 
 19a. \ Hythe, Kent. See Engraving in Southern Coast,” 
 
 20. j published 30th December, 1824. 
 
 20a. 1 Rye, from Winchelsea. 
 
 21 . j 
 
 21a. 1 Rye, from the Marshes. See Engraving in “Southern 
 
 22. J Coast,” published March, 1824. 
 
 22a. \ Hastings. 
 
 23. f 
 
 23 a. Line of cliffs. 
 
 24. Hastings. 
 
 24a. \ Do. 
 
 25. I 
 25a. 1 Do. 
 
 26. J 
 
 27. Do. 
 
 27a. Battle Abbey. 
 
 28. Do. 
 
 28a. \ Studies of clouds and setting sun. 
 
 29. J 
 
 29a. 1 Another view of Battle Abbey. 
 
 30. J 
 30a. Battle. 
 
 31. Blank. 
 
 31a. \ Sussex hills. 
 
 32. / 
 
 32a. Continuation of drawing on p. 33a. 
 
 33. Blank. 
 
 33a. 1 Rosehill, Sussex. Seat of Mr. John Fuller. Water 
 
 34. J colour recently in possession of Sir Alexander 
 
 Acland-Hood, Bt., M.P. 
 
 (Drawing continued on p. 32a.) 
 
 34a. 1 Brightling Observatory. (I have seen a water colour 
 
 35. j based on this drawing in one of Messrs. Agnew’s 
 
 exhibitions. 
 
 35a. 1 Washburne. See Water Colour in the Farnley Hall 
 
 36. J collection. (F. H. Fawkes, Esq.) 
 
 36a. ) Lake Tiny, Farnley ; also study of sky. 
 
 37a. ) 
 
 38. J 
 
400 
 
 TURNER DRAWINGS. 
 
 [CXXXIX.] 
 
 Page 38a. 1 Lake Tiny ; also part of the Wharfe Valley. 
 „ 39. / 
 
 Valley of the Wharfe, from Caley Park. 
 
 „ 42. Ground plan of a building, with measurements. 
 
 {Note . — It seems to me probable that the Fuller and 
 Farnley subjects were prior to the Rye, Hastings, and Mar- 
 gate sketches. These latter may have been made about 1821, 
 after Turner’s return from Italy. See “ Folkestone ” Sketch 
 Book, Schedule 353 (about 1821). 
 
 1816 1816 * (AET. 40-41). 
 
 CXL.— " HASTINGS TO MARGATE " SKETCH BOOK. 
 
 Schedule No. 339. 
 
 Small sketch book bound in boards, with black 
 leather back and corners. 
 
 Turner’s label on back : — “ 83. Richmond Rill. 
 Hastings to Margate ” ; written on cover, “ Rich- 
 mond Hill. Coast from Hastings to Margate .” 
 Executor’s endorsement, “ No. 339. Contains 
 82 leaves pencil sketches on both sides. 
 
 Water mark, “ 1813.” 
 
 Size of page, x 34- 
 
 Covers were broken off and pages distributed, but 
 as they were numbered it has been possible to re- 
 constitute the volume. 
 
 The leaves were divided into two parcels. Mr. 
 Ru skin’s endorsement on first : — 
 
 “ Invent. 339. The better leaves of it. Studies 
 for Richmond Bridge and Walton Bridge.” 
 
 This parcel contained 20 leaves in all, viz. : — 
 Nos. 14, 15, 16, 19, 20, 23, 36, 37, 42, 43, 55, 56, 57, 
 58, 59, 60, 61, 62, 63, 68. 
 
 Endorsement on second parcel : — 
 
 “ Invent. 339. Valueless leaves of it — at Eton, 
 Winchelsea and Richmond.” 
 
 This parcel contained all the remaining leaves, 
 except pp. 9, 13, 45, 70, viz., 61 in all. 
 
 Note, the pages are numbered the reverse way of 
 the journey. 
 
 On fly leaf, some details of ornaments. 
 
 (33 leaves drawn on.) 
 
 (Sgd.) C. Turner.” 
 
 Page 1. Details of ornaments. 
 
 la_ Do. 
 
 2. Blank. 
 
 Do. 
 
[CXL.] 
 
 HASTINGS TO MARGATE. 
 
 401 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 2a. Sketches at Eton and “ Ramsgate." Also : — 
 
 “5 Rayner Place, Ghelsect. 1 55 ” 
 
 1 Grower Place, Easton Sq. J 
 And — 
 
 “ 4 Pounds of Roman Vitriol 
 A Kettle of boiling water 
 
 2 Pounds of Peat ash 
 
 1 \ i of yellow Arsnic makes a 
 good green, for walls equal to oil." 
 
 3. Draft of verses. 
 
 3 a. Do. 
 
 4. Sketches at Windsor. Also draft of verses com- 
 
 mencing 
 
 “ Perfidious Rome, the Myrtle proffers still 
 But round its branch insidious entwined the asp ” — 
 And ending with — 
 
 “ Tho the declining Sun of Carthage daily set 
 ensanguined as her fate." 
 
 4 a. Design for composition. 
 
 5. Life study ; back view of standing female figure. 
 
 5 a. Three seated female draped figures. 
 
 6 . Life study ; three-quarter front view of standing female 
 
 figure. Also separate study of a foot and sketch of 
 draped figure. 
 
 6 a. Seated draped model ; also a head. 
 
 7. Life study ; side view of standing female figure. 
 la. Draft of verses. 
 
 8 . Do.— 
 
 “ With worse than Punic faith perfidious Rome 
 Held forth the peacef ul olive but round 
 The stem insidious twined the asp." 
 
 8a. Landscape with bridge ; “ 7 Arches. Chi shay B (?) ; 
 and other sketches. 
 
 9. Slight landscape, also three studies of a lily. 
 
 9 a. Landscape and bridge. Probably Richmond. 
 
 10. Blank and partly torn. 
 
 10a. Windsor Castle — “ Sheep washing ” ; also part of the 
 landscape on p. 9a. 
 
 11. St. George’s Chapel, Windsor ; also draft of verses 
 
 about Carthage. 
 
 11a. 1 Three sketches of Windsor Castle ; also more verses 
 
 12. / about Carthage. 
 
 12a. Various sketches of Windsor. 
 
 13. Several sketches of Windsor Castle. 
 
 13a. Do. 
 
 14. “ Ankerwyke Priory" (about 2 miles from Staines). 
 14a. St. George’s Chapel, Windsor. 
 
 15 Windsor. 
 
 15a. Wooden bridge near Windsor. 
 
 16. Sunset on river. 
 
 16a. Two river scenes, and bridge. 
 
 17-18. Blank. 
 
 18a. A lock, “ Penton Hook Lock ” (near Laleham). 
 
 19. Richmond. 
 
402 
 
 TURNER DRAWINGS. 
 
 [CXL.] 
 
 Page 19a. 
 
 „ 20 . 
 
 ,. 21 . 
 
 „ 21a. 
 
 „ 22 . 
 
 „ 22a. 
 „ 23. 
 
 „ 23a. 
 
 „ 21 . 
 
 „ 24a. 
 „ 25. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 25a. 
 
 26. 
 
 26a. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a 
 
 34. 
 34a. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37a. 
 
 38. 
 38a, 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 39. 
 39a. 
 
 40. 
 40a. 
 
 41. 
 41a. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 42. 
 42a. 
 
 43. 
 43a. 
 
 44. 
 44a, 
 
 45. 
 45a. 
 
 46. 
 
 Richmond. 
 
 Do. 
 
 Blank. 
 
 Landscape with distant church tower. 
 
 Blank. 
 
 A harbour. ? Ramsgate. 
 
 Ramsgate, from the sands. 
 
 Entrance Ramsgate Harbour. 
 
 Ramsgate Harbour. 
 
 Ramsgate. 
 
 Two sketches ; one of a castle, the other of church, &c. 
 “ Laleham ." 
 
 Blank. 
 
 Fishing boats off the coast. 
 
 Ramsgate Harbour. 
 
 Houses on the sea-front. 
 
 A fishing boat. 
 
 Houses on cliffs. 
 
 Cliffs on the Kent coast. 
 
 “ Richborough ." 
 
 “ W aimer Castle." 
 
 Castle, &c., on hill. 
 
 Dover Castle (?). 
 
 A castle. 
 
 Do. 
 
 Cliffs. 
 
 Fishing boats. 
 
 Pathway on the cliffs leading to town and castle. 
 
 A cliff. 
 
 Cliffs. 
 
 Cliffs on the coast. 
 
 Fishing boats off coast. 
 
 Town on river (? the Thames). 
 
 Houses and church on cliff. Folkestone. 
 
 Town at foot of hill. Probably on the coast. 
 
 Landscape, with Saltwood Castle in distance. 
 
 Do. do. 
 
 Two sketches ; near views of same castle. Saltwood 
 Castle, Kent. 
 
 Castle on hill near the sea. Saltwood Castle, Kent, 
 Ruined castle. Saltwood Castle, Kent. 
 
 Do. do. 
 
 Do. do. 
 
 Kew Bridge (?). 
 
 Saltwood Castle. In foreground, “ Cattle ” (?) and 
 “ deep lane." 
 
 Four sketches of bridges, with boats, &c. 
 
 Saltwood Castle, with “ Road ” in foreground. 
 
 Various sketches on river — “ Cypress, Lylock &c." 
 Town, with church on hill. 
 
 Road over hill. 
 
 Seashore, with town in distance. 
 
 Four views of Walton Bridges. 
 
 Landscape, with sea in distance. 
 
 Do. do. 
 
 99 
 
[CXL.] 
 
 HASTINGS TO MARGATE. 
 
 403 
 
 Page 46a. Sandgate, Rye. 
 
 „ 47. Ypres Tower, Rye. 
 
 , 47a. Houses and square tower on cliffs. 
 
 „ 48. Blank. 
 
 „ 48a. Church on hill. 
 
 „ 49. Do. , with distant cliffs. 
 
 „ 49a. Ruined church or castle on hill. 
 
 „ 50. Study of sky. 
 
 „ 50a. Winchelsea (?). 
 
 (An unnumbered page, partly torn : — Distant castle on 
 hill.) 
 
 „ 51. Another view of same building on p. 49a. 
 
 „ 51a. Rye, from the Appledore road (near Playden). 
 
 „ 52a. Do. do. 
 
 „ 52. Blank. 
 
 „ 5 3. Crest of a hill. 
 
 „ 53a. Martello Tower, with Rye in distance. ? Camber 
 
 Castle. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9’ 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 54. Do. do. do. 
 
 54a. Distant view of Rye. 
 
 55. Camber Castle ; in foreground, “ Military Canal ” and 
 
 “ Road to Rye." 
 
 55 a. Distant view of Winchelsea. 
 
 56. Blank. 
 
 56a. Winchelsea ; road leading to old gateway. 
 
 57. Blank. 
 
 57a. Winchelsea. 
 
 58. Blank. 
 
 58a. Winchelsea. 
 
 59. Distant house and trees ; commencement of a sketeh 
 59a. Winchelsea Church. 
 
 60. Architectural details. 
 
 60a. Winchelsea Gateway. 
 
 61. Architectural details — “ Winchelsea." 
 
 6 la. Winchelsea Gateway, with Rye in distance. 
 
 62. Blank. 
 
 62a Looking towards Hastings, from near Winchelsea. 
 
 63. Blank. 
 
 63a. Ruins. 
 
 64. Sea coast. 
 
 64a. Ruins, with trees, with Winchelsea (?) in distance. 
 
 65. Seated female figure. 
 
 65a. A ruined gateway. 
 
 66. Blank. 
 
 66a. “ Winchelsea " in distance. 
 
 665. Trees beside road. 
 
 66c. Landscape. 
 
 67. Lake among trees, with Beachy Head in distance. ? At 
 
 Hastings. 
 
 67a. \ Landscape, with trees. 
 
 68. j 
 
 68a. Distant view of Hastings. 
 
 69. Cliffs on coast, and trees. 
 
 69a. Landscape, with distant hills, ? View from Richmond 
 
 Hill. 
 
404 
 
 TURNER DRAWINGS. 
 
 [CXL.] 
 
 Page 70. 
 
 „ 70a. 
 „ 71. 
 
 „ 71a. 
 „ 72. 
 
 „ 72a. 
 
 73. 
 73a. 
 
 74. 
 74a. 
 
 75. 
 75a. 
 70. 
 
 70a. 
 
 77. 
 77a. 
 
 78. 
 78a. 
 
 79. 
 79a. 
 
 80. 
 80a. 
 81. 
 81a. 
 82. 
 82a. 
 
 83. 
 
 84. 
 
 85. 
 
 85a. 
 
 80. 
 
 80a. 
 
 87. 
 87a. 
 
 88 . 
 
 89. 
 89a. 
 
 90. 
 
 C. Light." 
 St. Ann's 
 
 Hill 
 
 in 
 
 Two seated female figures. 
 
 View from Richmond Hill. 
 
 A small sketch. 
 
 View from Richmond Hill. 
 
 Seated female figure. 
 
 Landscape ; in foreground, house covered with “ R. 
 Creeper" and an '•‘•Elder" tree. ? View from 
 Richmond Hill. 
 
 Seated female figure. 
 
 Study for “ Decline of Carthaginian Empire'’ (?). 
 Landscape, with distant cliffs. 
 
 | Draft of verses. 
 
 River scene. “ Dog in Water. 
 
 View from Richmond Hill, 
 distance. 
 
 Landscape, with distant cliffs. 
 
 Richmond Hill. 
 
 View from Richmond Hill. 
 
 Do. 
 
 Do. 
 
 “ Star and Garter." Richmond Hill. 
 
 | Study of trees. 
 
 | Do. 
 
 Richmond Hill. 
 
 Do. 
 
 Windsor ; also various calculations and 
 “ 2 Southampton Terr. 75 Mr. Duval &c." 
 
 Windsor Castle. “ Girls drawing a child (?) &c.” 
 Distant hills. 
 
 The following loose and unnumbered leaves probably 
 belonged originally to this book : — 
 
 Entrance of Ramsgate Harbour. Of. 
 
 “ Southern Coast,” published 20 December, 1824 
 also the one in “ Ports of England,” published 
 1 May, 1827. 
 
 Vessel in harbour. 
 
 Ramsgate, from the sea. (Part of leaf cut away.) 
 Distant headland. 
 
 Deal (?). 
 
 Do. 
 
 Do. 
 
 Entrance, Ramsgate Harbour. 
 
 Do. 
 
 Ramsgate : Town and Harbour, from the sea. 
 
 (90 leaves drawn on.) 
 
 names — 
 
 Engraving in 
 
 Rote . — It seems probable that the Rye, Saltwood, and 
 Folkestone sketches are connected with the Folkestone 
 sketches of 1821 ( see “Folkestone” Sketch Book). But I 
 hesitate to put the whole book later than 1816, on account of 
 its connection with the “ Decline of Carthaginian Empire,” 
 exhibited in 1817. 
 
 
[CXLI.] 
 
 405 
 
 1815 - 1818 * (AET. 40-43). 
 
 CXLI— “ HINTS RIVER” SKETCH BOOK. 
 
 Schedule No. 386. 
 
 Small pocket book, bound in boards, with black 
 leather back and corners. 
 
 Turner’s label on back — “ 1 06. Bints River.” 
 Executor’s endorsement, “ No. 386. 26 very slight 
 leaves of pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 Mr. Ruskin’s endorsement on cover — “ Inv. 386. 
 Some tiny marines and things good for distribution.” 
 Water mark, “ J. Whatman, 1813.” 
 
 Size of pages, 3 r 7 g x 4|. 
 
 Inside cover, a small marine sketch, and some calcula- 
 tions, mostly illegible. 
 
 Page 1. Sketches at the sea-side. 
 
 „ la. An embarkation pier beside large bridge. 
 
 „ 2. Do. do. 
 
 „ 3. Vessels. 
 
 „ 3a. Study for a marine picture. Possibly “ Orange merchant- 
 
 man on the bar,” exhibited 1819. 
 
 Vessels. 
 
 99 
 99 
 99 
 
 Some calculations. 
 
 ( Richmond Bridge (?) ; also — “ 170 Expenses E and . . 
 ( 20 Printing 
 
 11 Advertising 
 
 200 , &c .” 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 8 . 
 8a. 
 9. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9a. 
 
 10 . 
 
 10a. 
 
 11 . 
 
 11a. 
 
 12 . 
 
 12a. 
 
 13. 
 13a. 
 
 14. 
 14a. 
 
 15. 
 
 | On the river, at Richmond. 
 
 ( The Terrace, Richmond Hill. 
 
 J 
 
 j Do. 
 
 do. 
 
 1 Do. 
 
 do. 
 
 ) 
 
 Figures in boat. 
 
 
 River scene. Probably Richmond Bridge. 
 ) The Thames, from above Richmond. 
 
 16. Blank. 
 
 16a. Study of sky — “ Richmond.” 
 (Leaf torn out.) 
 
 17. M.S. note. 
 
 17a. ) Study of sky — rainbow. 
 
 32796 
 
 2 D 
 
TURNER DRAWINGS. 
 
 [CXLI.] 
 
 406 
 
 Page 18a. | Study of sky — rainbow". 
 
 ( Study of sky. 
 
 Do. 
 
 A bridge, (p. 22 partly torn). 
 
 i 
 
 . | Figures, &c., on river banks. 
 
 19. 
 
 19a. 
 
 20 . 
 
 20a. 
 
 21 . 
 
 21a. 
 
 22 . 
 
 23. Study of leaves 
 21-25. Blank. 
 
 25 a 
 
 26 
 
 26a. ) Group of figures : possibly copy of a Watteau ; and 
 
 27. j two studies for pictures. 
 
 27a. i Study, sky. 
 
 28. f 
 
 28a. Study, plants. 
 
 29. Blank (leaf torn). 
 
 30. Landscape. 
 
 30a. Design for classical picture. 
 
 31. Do. do. 
 
 31a. Do. do. 
 
 32. Do. do. 
 
 32a. ) Do. Possibly “ Decline Carthaginian Empire.” 
 
 33. ( 
 
 33a. \ Study, clouds. 
 
 34. } 
 
 34a. Figures in a boat ; also “ Stedman 40 Gt. James Street , 
 Bedford Square. Lord Strathmore. Solicitors .” 
 
 35. Study, clouds. 
 
 35a. The following list of work in hand : — 
 
 “ Lord Strathmore. 
 
 Longmans, Richmond 2 
 
 Wheelers. Cologne 3 
 
 Cookes. Vesu. 4 
 
 ditto Vesuvius 5 
 
 (Probably “ Gibside, Dur- 
 ham,” engraved Surtees’, 
 Durham, 1819.) 
 
 (Probably “ Richmond, 
 Yorkshire,” about 1817, 
 engraved for Whitaker’s 
 “ Richmondshire.”) 
 
 (Cooke’s “Vesuvius in 
 Eruption ” and “ In Re- 
 pose.” 
 
 Allmson. 
 
 Pola 6 
 
 ( “ Antiquities of Pola ” 
 from sketch by Allinson. 
 About 1817. Engraved 
 Cooke, 1818.) 
 
 Rahy. 1 
 
 Dort. 
 
 > Pictures. 
 
 (Exhibited R.A. 1818). 
 
 Waterloo 1 
 
 Knights 
 
 Panelius (?) 7 
 
 (Pictures of this subject 
 
 (Temple of Jupiter Pan- 
 hellenius), R.A., 1816. 
 This probably refers to 
 a water colour version of 
 one of them.) 
 
407 
 
 [CXLI.] HINTS RIVER SKETCH BOOK. 
 
 Hakewills I 
 Battle Abbey > 10 
 Rye ) 
 
 17 
 
 Hastings 
 
 18 
 
 Dunster Castle 
 
 19 
 
 W atchet 
 
 20 
 
 Edgecombe 
 
 21 
 
 Farnley 2 
 
 
 (“ Battle Abbey ” is pro- 
 bably one of the Fuller 
 drawings. ‘ Rye ” may 
 be the “ Southern Coast ” 
 drawing published 1824.) 
 
 (Probably “ Deep Sea 
 Fishing,” signed 1818.) 
 
 (Probably “ Mineliead.” 
 Published “ S. Coast,” 
 1821.) 
 
 (Published “ Southern 
 Coast,” 1820.) 
 
 (Probably “ Mt. Edgcumbe 
 from the sea,” published 
 “ S. Coast,” 1826.) 
 
 (Farnley drawings pro- 
 bably 1818.) 
 
 ditto (?) 
 
 26 
 
 27 
 
 28 
 
 (Probably a list of drawings in hand 1817 
 or beginning 1818.) 
 
 (33 leaves drawn on.) 
 
 1815 - 1817 * (AET. 40-42). 
 
 CXLIL— WALMER FERRY (?) SKETCH BOOK. 
 
 Schedule No. 154. 
 
 Sketch book, bound in leather, with one clasp, 
 broken. 
 
 Turner’s label on back — “ 60 .” 
 
 Mr. Ruskin’s endorsement — “ 152. One or two 
 good pen sketches. 5 leaves taken out, besides those 
 at Marlb. House.” 
 
 Water mark, “ 1813,” and “ J. Whatman, 1794.” 
 
 Size of page. x 4^. 
 
 Paper, white originally, has been prepared with 
 wash of warm slate colour, except the first and last 
 two pages. 
 
 (Note. — It is possible that some of the drawings in 
 this book are later than 1817.) 
 
 Page 1. Blank. 
 
 „ la. A castle, with trees in foreground. ? Walmer Castle. 
 
 „ 2. Do. do. 
 
 „ 2a. Do. do. 
 
 32796 
 
 2 D 2 
 
408 
 
 TURNER DRAWINGS. 
 
 [CXLII.] 
 
 Page 3. Blank — “ bound in smooth leather , and clasped ." 
 (Evidently instruction to the binder.) 
 
 „ 3 a. River scene. Whites scratched. 
 
 „ 4. A castle, with trees in foreground. Whites scratched. 
 
 „ 5. Trees on river bank. 
 
 „ 5 a. Study of branches. 
 
 „ 6. Blank. 
 
 ,, 7. Trees on river bank. 
 
 „ 8. Study weeds, &c. “ Plantain , Nettle , Gat's call (?), 
 
 Daisy , Lilock (?), Grass , 117/son — May." Pen and 
 ink, lights scratched. 
 
 „ 8a. Study sky. Pencil, lights scratched. 
 
 „ 9. Blank. 
 
 „ 9 a. Figures and trees on river bank. Perhaps near Kew. 
 
 Pen and ink, lights scratched. 
 
 ,, 10. Women in water, “ Catching eels." Pen and ink. 
 
 ,, 11. Study of “Hop and Willow" Pen and ink. 
 
 „ 12. Study of “ Thistle , Nettle , Convolvulus" &c. Pencil. 
 
 „ 13. “ Water Sorrel , Briar , — June." Pen and ink. 
 
 Exhibited Drawings, No. 564c, N.G. 
 
 „ 14. “ Yellow Lotus , — June." Pen and ink. Exhibited 
 
 Drawings, No. 564(7, N.G. 
 
 „ 15. Two male figures, standing, talking to two ladies seated. 
 
 Pen and ink and white chalk. 
 
 „ 15a. Barges on river. Pen and ink and white chalk. 
 
 „ 16. A flirtation. Pen and ink and white chalk. 
 
 „ 17. A bridge. Pen and ink and white chalk. 
 
 „ 18. A sketch. Pen and ink. 
 
 „ 18a. Barge. Pen and ink and white chalk. 
 
 ,, 19. Scene on river, near Shot Tower (?). Pen and ink 
 
 and white chalk. 
 
 19a. River scene. Pencil. 
 
 99 
 
 20. 
 
 Do. 
 
 Pen and ink and white chalk. 
 
 
 21. 
 
 Do. 
 
 do. do. 
 
 
 21a. 
 
 Do. 
 
 Pencil and white chalk. 
 
 99 
 
 22. 
 
 Do. 
 
 do. 
 
 99 
 
 23. 
 
 Do. 
 
 do. 
 
 99 
 
 23 a. 
 
 Do. 
 
 do. 
 
 99 
 
 24. 
 
 Do. 
 
 do. 
 
 
 24a. 
 
 Do. 
 
 do. 
 
 99 
 
 25. 
 
 Do. 
 
 do. 
 
 99 
 
 25 a. 
 
 Do. 
 
 do. 
 
 99 
 
 26. 
 
 Do. 
 
 do. 
 
 99 
 
 26a. 
 
 Do. 
 
 do. 
 
 
 27. 
 
 Do. 
 
 do. 
 
 99 
 
 28. 
 
 Do. 
 
 “ Deptford" (?). Pencil and white chalk. 
 
 
 29. 
 
 Do. 
 
 Pencil and white chalk. 
 
 99 
 
 30. 
 
 Do. 
 
 Pencil and white chalk. “ G. J. Francks. 
 
 1699. Poplar." 
 
 31. Blank. 
 
 31a. River scene. ? London Bridge. Pencil and white 
 chalk. 
 
[CXLII.] WALMER FERRY SKETCH BOOK. 409 
 
 Page 32. Blank. 
 
 „ 32a. A sketch. Pencil and lights scratched. 
 
 „ 33. River scene. Pencil and white chalk. 
 
 99 
 
 34. Blank. 
 
 
 59 
 
 34a. River scene. 
 
 Pencil and white chalk. 
 
 95 
 
 35. Vessels. Pencil. 
 
 99 
 
 36. River scene. 
 
 Pencil. 
 
 95 
 
 37-66. Blank. 
 
 
 55 
 
 66a. River scene. 
 
 Red ink and white chalk. 
 
 99 
 
 67-80. Blank. 
 
 
 99 
 
 80a. River scene. 
 
 Pencil and white chalk. 
 
 55 
 
 81. Do. 
 
 do. 
 
 59 
 
 81a. Castle among trees on river. Pencil and lights 
 
 
 scratched. 
 
 
 99 
 
 82-84. Blank. 
 
 
 99 
 
 85. River scene. 
 
 Pencil and white chalk. 
 
 59 
 
 85a. Do. 
 
 do. 
 
 95 
 
 86-87. Blank. 
 
 
 59 
 
 88. River scene. 
 
 ? 41 Barking." Pencil and white chalk. 
 
 99 
 
 88a. Do. 
 
 Pencil and white chalk. 
 
 99 
 
 89. Do. 
 
 do. 
 
 59 
 
 89a. Do. 
 
 Pencil. 
 
 99 
 
 90. Do. 
 
 Pencil and white chalk. 
 
 99 
 
 90a. Do. 
 
 do. 
 
 59 
 
 91. Do. 
 
 do. 
 
 55 
 
 91a. Do. 
 
 do. 
 
 59 
 
 92. Blank. 
 
 
 59 
 
 93. River scene, with figures in water. Pencil and lights 
 
 
 scratched. 
 
 Written in margin — “ Noiv look at me." 
 
 55 
 
 94. Blank. 
 
 
 '9 
 
 94a. Trees by river. Pencil. 
 
 99 
 
 95. Do. 
 
 do. “ W aimer Ferry" (?) 
 
 55 
 
 95a. Do. 
 
 Pen and ink. 
 
 59 
 
 96. Blank. 
 
 
 99 
 
 97. Castle seen from river, with punt and row of trees in 
 
 foreground. Possibly Zion House, Isleworth. 
 
 Pencil, pen and ink, and white chalk. 
 
 98. Horse watching swans in water. Pencil. Also note 
 
 about reflections. 
 
 98a. Various figures lightly drawn in pen and ink — “ Halj 
 afraid. All right. Extacg. Love. Psyche ,” &c. 
 
 99. Pillars and a ground plan. Pencil. 
 
 (One mounted leaf.) 
 
 100. Study of *' Flag ” and “ Horseradish,' 1 ' 1 11 July." Also 
 slight sketch of young woman seated on stile. Pen 
 and ink. 
 
 (56 leaves drawn on.) 
 
410 
 
 TURNER DRAWINGS. [CXLIII.] 
 
 1815 - 1816 * (AET. 40-41). 
 
 CXLIII.— LIBER NOTES (2) SKETCH BOOK. 
 
 Schedule No. 356. 
 
 Small sketch book, bound in boards, with black 
 leather back and corners. 
 
 Turner’s label on back, — “ 120 .” 
 
 Executors endorsement : — “No. 356, 17 pencil 
 sketches. 
 
 (Sgd.) H. S. Trimmer. 
 Water mark, “ J. Green, 1814.” 
 
 Size of page, 6 r % x 3§. 
 
 Mr. Ruskin’s endorsement on wrapper — “356. 
 Book with a sky and a few slight ships in pencil. 
 The rest empty.” 
 
 Inside end cover the following in pencil : — 
 
 1 “ Glacus and Scylla. H. 1 (“Glaucusaxxd Scylla,” 
 
 R. ? 3. Unpub. plate.) 
 2 (“ Isis, R. 68. Pubd. 
 
 1 Jan. 1819.) 
 
 3 (R. 65. Engraver C. 
 Turner. On plate, 
 “ pubd. Jan. 1, 1816,” 
 but issued Jan., 1819.) 
 4 (“ Watei’cress gather- 
 ers,” R. 62. Pubd. 
 1 Jan. 1819.) 
 
 5 Daw's Bonneville. E.P.&M . 5 (Bonneville, R. 64. 
 
 Engraver Dawe. On 
 plate “ pubd. Jan. 1, 
 1816,” but issued 
 Jan. 1819.) 
 
 6 (Ben Arthur, Scotland, 
 R. 69. Engraver 
 Lupton. Pub’d Jan., 
 1819.) 
 
 7 (“ JEsacus and Hes- 
 perie,” R. 66. Pub’d 
 Jan. 1, 1819.) 
 
 8 (Query “ Tenth Plague 
 Egypt, R. 61. En- 
 graver Say. Pub’d 
 Jan. 1816.) 
 
 9 (“ Interior of Chui’ch,” 
 
 R. 70. Engraver 
 Turner. Pub’d Jan. 
 1819.) 
 
 Note . — If the “ Tempest” really stands for “The Tenth Plague of Egypt,” 
 which was issued January, 1816, it is probable that all these subjects were in 
 hand before that date. 
 
 2 L d . Egremont. Isis. E. P. 
 
 3 C. Turner. Inverary. M. 
 
 4 Twickenham Bridge. P. 
 
 6 Glen Crow. Lupton. M. 
 
 7 Eacus and Hip 2 ]olita. H. 
 
 8 Tempest. H. 
 
 9 Church. 
 
 A." 
 
[CXLIII.] 
 
 LIBER NOTES. 
 
 411 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 99 
 
 59 
 
 99 
 
 >5 
 
 55 
 
 59 
 
 5? / 
 
 99 
 
 99 
 
 55 
 
 55 
 
 5? 
 
 9? 
 
 95 
 
 59 
 
 55 
 
 ?? 
 
 59 
 
 59 
 
 55 
 
 55 
 
 1. An iron bridge with stone supports. ? The railway 
 
 bridge over the Thames at Richmond, 
 la. Part of bridge 
 
 2. Same bridge. 
 
 3. River scene. 
 
 4. Study of sky.— “ Gold Grey , Warm Grey <Scc." 
 
 5. River scene with barges. 
 
 6. River scene. — “ Light Dun , Grey Dun, Orange, Cola 
 
 Grey, Blue <ic .” 
 
 6a. Vessels (?). 
 
 7. River scene. 
 
 8. Vessels sailing. 
 
 9. Do. 
 
 10-62. Blank. 
 
 62a. Vessels sailing. 
 
 63. Blank. 
 
 63a. Vessels sailing. 
 
 64. Blank. 
 
 64a. Vessels sailing. 
 
 65. Blank. 
 
 65a. Vessels sailing. 
 
 66. Blank. 
 
 66a. Vessels sailing. 
 
 67-81. Blank. 
 
 Sla. Vessels sailing. 
 
 82. Blank. 
 
 82a. Vessels sailing. 
 
 83. Do. 
 
 84. Blank. 
 
 (17 leaves drawn on.) 
 
 1815 - 1816 * (AET. 40-41). 
 
 CXLIV. — “ YORKSHIRE /." SKETCH BOOK. 
 
 Schedule No. 261. 
 
 Sketch book, bound in leather, with three loops 
 for pencil. 
 
 Turner’s label on back : — “ 43. Yorkshire, ; 
 also written on cover, “ Yorkshire /.” 
 
 Executor’s endorsement : — “ No. 261 — 78 leaves of 
 pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 Mr. Ru skin’s endorsement on wrapper: — “261. 
 A valuable book of the middle time. Not worth 
 dividing at present.” 
 
 Water mark, “ 1813.” 
 
 Size of page, 6 X V x 3f . 
 
412 
 
 TURNER DRAWINGS. 
 
 [OXLIV.] 
 
 Page 1. Blank. 
 
 „ la. Ruins of Spofforth Castle, near Harrogate. 
 
 „ 2. “ Spofforth '' 1 
 
 „ 2a. Spofforth Castle. 
 
 3. Spofforth. 
 
 3 a. Plumpton Rocks. 
 
 11 
 
 4. 
 
 Do. 
 
 
 99 
 
 4a. 
 
 Do. 
 
 
 95 
 
 5. 
 
 Do. 
 
 
 59 
 
 5a. 
 
 Do. 
 
 
 99 
 
 6. 
 
 Do. 
 
 
 55 
 
 6a. “ 
 
 Spofforth." 
 
 
 55 
 
 7. Spofforth Castle. 
 
 
 99 
 
 la. 
 
 Do. 
 
 
 59 
 
 8. I 
 
 liver with bridge. 
 
 Probably Riv> 
 
 
 8a. 1 
 
 0 i 
 
 I Do. 
 
 do. 
 
 59 
 
 91 
 
 j. j 
 9a. 1 
 10. j 
 
 I Cowthorpe Oak (on banks of Ri' 
 
 55 
 
 99 
 
 10a. 1 
 11. j 
 
 Do. 
 
 do. 
 
 95 
 
 12. 
 
 Do. 
 
 do. 
 
 H 
 
 19 
 
 99 
 
 99 
 
 99 
 
 99 
 
 59 
 
 91 
 
 99 
 
 91 
 
 99 
 
 19 
 
 95 
 
 *9 
 
 99 
 
 59 
 
 95 
 
 55 
 
 99 
 
 99 
 
 19 
 
 99 
 
 12a. 
 
 13. 
 13a. 
 
 14. 
 
 14a. 
 
 15. 
 15a. 
 
 16. 
 16a. 
 
 17. 
 17a. 
 
 18. 
 18a. 
 
 19. 
 19a. 
 
 20 . 
 21 . 
 21a, 
 22 . 
 
 I Road leading to mansion. 
 
 J 
 
 1 A Tudor mansion. P Bilton Hall. Various archi- 
 / tectural details in margin, also the note, — “ the 
 window to he shuffled one on." 
 
 An old building. 
 
 Distant view of York. 
 
 | Ouse Bridge, York. 
 
 J Do. 
 
 | York Minster, from the river. 
 
 | On banks of river. 
 
 | York Minster, from the river. 
 
 Building, with “ W. Band to Window" near river. 
 
 | York Minster. 
 
 22a. Distant view of York Minster, from the river. 
 23. Do. do. 
 
 23a. 
 
 24. 
 24a. 
 
 25. 
 
 | York Minster, from river. 
 
 | Ruins of St. Mary’s Abbey. 
 
 25 a. “ Aldborougli ” and River “ Ouse." 
 
 26. Blank. 
 
 26a. \ Bridge with distant church ; also road leading to a 
 
 27. / row of buildings. 
 
 28. Blank. 
 
 28a. St. Mary’s Abbey, York. 
 
[CXLIV.] YORKSHIRE 1 SKETCH BOOK. 
 
 413 
 
 Page 
 
 29. 
 
 30. 
 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 34a. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37a. 
 
 38. 
 38a. 
 
 39. 
 39a. 
 
 40. 
 40a. 
 
 41. 
 
 42. 
 
 43. 
 
 43 a. 
 
 44. 
 44a. 
 
 45. 
 
 46. 
 46a. 
 
 47. 
 47a. 
 
 48. 
 48a. 
 
 49. 
 49a. 
 
 50. 
 50a. 
 
 51. 
 51a. 
 
 52. 
 52a. 
 
 53. 
 53a. 
 
 54. 
 54a. 
 
 55. 
 55 a. 
 
 56. 
 
 Distant view of York. 
 
 Ellingthorpe Hall (?) — “ Ellenhorpe (or Alnthorpe) 
 Ouse , B.B." (Borough Bridge). 
 
 “ Borough Bridge ." 
 
 “ Aldhorough." 
 
 “ Borough Bridge.'" 
 
 Do. 
 
 Group of trees. 
 
 Mansion on slight hill. ? Borough Bridge Hall. 
 Mansion, with “ XJre River" in foreground. 
 
 Bridge with five arches. 
 
 Bridge leading to tower. 
 
 Castle (?) on hill with river in foreground. ? Ripon. 
 
 | Town with castle or cathedral in distance. ? Kipon. 
 
 Ripon Cathedral, from south- west. 
 
 Landscape, with ruins (?) 
 
 Architectural details. 
 
 An Elizabethan mansion. 
 
 | Fountains Abbey. 
 
 Road near river with bridge on right. 
 
 Blank 
 
 1 River with hills beyond ; also various architectural 
 J details in margin. 
 
 Landscape with distant hill. 
 
 Road with distant hills. — “ Road to Midgley " (? Ripley 
 or Malmesby). 
 
 | Bridge with castle. 
 
 Castle with bridge. — “ Chimney on the N 4 th Battle- 
 ments." 
 
 Hills with distant steeple. 
 
 “ Jervaulx Abbey." 
 
 Ruins of abbey. 
 
 Blank. 
 
 | Knaresborough. 
 
 ) Landscape with distant hills ; also details of build- 
 / ings, — “ Burton Constable " and “ Knaresborough." 
 
 | River with Knaresborough in distance. 
 
 | Knaresborough, from river. 
 
 | Do. 
 
 Details of a ruined castle. Probably Knaresborough. 
 Do. do. 
 
 Do. 
 
 Do. 
 
 do. 
 
 do. 
 
 Landscape with ruined castle in centre. Knares- 
 borough. 
 
414 
 
 TURNER DRAWINGS. 
 
 [CXLIV.l 
 
 Page 
 
 95 
 99 
 95 
 59 
 95 
 99 
 95 
 59 
 55 
 99 
 55 
 55 
 55 
 99 
 59 
 55 
 59 
 59 
 99 
 59 
 55 
 99 
 55 
 95 
 55 
 59 
 55 
 59 
 99 
 55 
 5 • 
 
 55 
 
 55 
 
 55 
 
 55 
 
 59 
 
 99 
 
 55 
 
 55 
 
 55 
 
 95 
 
 55 
 
 95 
 
 Road leading to castle in mid.-distance. 
 Ruins of castle on hill. Knaresborough. 
 
 56a. Town with ruined castle on hill. Knaresborough. 
 
 57. Landscape with town in distance. Do. 
 
 57a. \ Hills, with ruined castle in distance. Do. 
 
 58. / 
 
 58a. Bridge (?) with distant hills. 
 
 59. Hills with castle in mid-distance. 
 
 59a. 1 Landscape with ruined castle and bridge in mid- 
 
 60. / distance. 
 
 61. A mansion. Possibly Harewood House. 
 
 61a. 1 Road through grounds leading to same mansion. 
 
 62. j 
 62a. 
 
 63. 
 
 63a. 1 
 
 64. / 
 
 65-67. Blank. 
 
 67a. \ A castle. 
 
 68 . / 
 
 68a. “ Newby Park ” ; and a gateway at “ Leeds." 
 
 69. Blank. 
 
 69a. House among trees. 
 
 70. Mansion. 
 
 70a. Bridge, with church beyond on hill. 
 
 71-73. Blank. 
 
 73a. \ Ruins of castle on hill. Knaresborough 
 74. / 
 
 75-95. Blank. 
 
 95a. Study for historical picture. 
 
 96. Blank. 
 
 96a. Study for historical picture. 
 
 97. Blank. 
 
 97a. Study for historical picture. 
 
 98. Blank. 
 
 99. Various sketches, — “ Children playing with Water 
 
 Helebore as Umbrellas" “ Brooms " &c. 
 
 100-1. Blank. 
 
 101a. Study for a Carthage picture. 
 
 102. Blank. 
 
 102a. Study for a Carthage picture. 
 
 103. Blank. 
 
 103a. Study for historical subject. 
 
 104. Blank. 
 
 104a. Knaresborough Castle. 
 
 105 “ Richmond™. 16135. 5. 11 May. 1816." No drawing. 
 
 Leaf torn. 
 
 106. Knaresborough Castle. 
 
 107. Blank. 
 
 (79 leaves drawn on.) 
 
[CXLV.] 
 
 415 
 
 1816 * (AET. 41). 
 
 CXLV.— “YORKSHIRE 2" SKETCH BOOK. 
 
 Schedule No. 275. 
 
 Small sketch book, bound in boards, with brown 
 leather back and corners. 
 
 The covers have been broken off, thus destroying 
 Turner’s label on the back ; written on one of 
 covers, “ Yorkshire 2 .” 
 
 Water mark, “ I. & E. Smith, 1812.” 
 
 Size of page, 6 x 3|. 
 
 Executor’s endorsement — “No. 275. 157 leaves 
 
 with pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 The leaves were distributed into three parcels, but 
 they were numbered before distribution. The 
 following were in the parcel endorsed “275. Inferior 
 leaves” 1, 2, 11, 12, 13, 15, 21, 22, 23, 26, 31, 34, 
 35. 36, 48, 49, 52, 53, 54, 55, 56, 57, 62, 65, 66, 78, 79, 
 81, 84, 85, 86, 87, 96, 115, 116, 118, 119, 120, 121, 122, 
 126, 136, 144, 147, 150, 155, 156, 157, 164, 166, 168, 
 169, 171, 172, 173, 174, 175, 176, 177, 185, 186 (61 
 in all). 
 
 Inside one cover is a slight stretch of distant hills with 
 “ Milnthorpe ” written beside it ; inside other cover, various 
 slight sketches — “ Ingleboro' & Hey sham ,” “ Crook of Lune," 
 &c. 
 
 Page 1. A slight sketch (? subject) and the following note 
 
 “ Robert Thompson Carlilly. Sunday, July 24 
 (or 29) at ? / 2 past eight in the morning — was from 
 home, no fire, or either Hay or Corn in the house for 
 Horse." 
 
 „ la. The mouth of a river, with “ Milnthorpe ” in distance. 
 
 Probably mouth of River Kent, in Westmoreland. 
 
 „ 2. “ Whitburne Scar," “ Medcup Marsh," &c. 
 
 „ 2a. “ Ingleboro ' .” 
 
 „ 3-4. Blank. 
 
 „ 4a. “ Skipton." 
 
 „ 5-8. Blank. 
 
 „ 8a. Nearer view of Skipton. 
 
 „ 9-11. Blank. 
 
 „ 11a. “ Skipton." 
 
 „ 12 a. \ “ Weathercote Glebe." 
 
 „ 13. / 
 
 „ 13a. “ Kendal Church." 
 
 „ 14. Kendal. 
 
 „ 14a. “ Skipton." 
 
 „ 15. “ Skipton." 
 
TURNER DRAWINGS. 
 
 [CXLV.] 
 
 16-21. Blank. 
 
 21 a. Distant view of “ Ingleboro' from Settle with River 
 “ Ribble " in foreground. 
 
 22. Blank. 
 
 22a. Part of Skipton Castle. 
 
 23. Skipton Castle. 
 
 24-26. Blank. 
 
 26a. Skipton Castle. 
 
 27. Blank. 
 
 27a. “ Skipton ” Castle. 
 
 28-31. Blank. 
 
 31a. Distant view of “ Penneyent 
 
 32. Village, with distant hills. 
 
 33. Distant hills. 
 
 33a. “ Kendal." 
 
 34. Kendal, from the River Kent. 
 
 34a. Westmoreland hills. 
 
 35. ‘■'■Kendal " (leaf torn). 
 
 36. Distant hills. 
 
 37-38. Blank. 
 
 39, Distant view of Ingleboro’ (?) — “ From the E. of 
 WorthlepooL " (?). 
 
 40-41. Blank. 
 
 41a. Castle in mid-distance. 
 
 42. Nearer view of same castle. 
 
 43-48. Blank. 
 
 48a-49. Hillside. 
 
 49a. 1 Hillside. 
 
 50. / 
 
 50a. \ “ Entrance of Gordale." 
 
 51. / 
 
 51a. \ Gordale. 
 
 52. / 
 
 52a. \ Gordale. 
 
 53. / 
 
 53a. 1 “ Gordale." 
 
 56a. “ Gingelpool, looking toward the Chapel." 
 
 57. “ Hartlepool " (?). 
 
 58. Kirkby Lonsdale. 
 
 58a. Continuation of previous drawing — “ the continuation 
 of K. L. Cyd. View," with “ Ingleboro' ” in distance. 
 
 59. Kirkby Lonsdale Bridge. For more elaborate drawing 
 
 of same subject, see “ Yorkshire 5 ” Sketch Book 
 (CXLVIII, pp. 4 c and 5). 
 
 59a. Commencement of a sketch. 
 
 60. Kirkby Lonsdale Bridge. 
 
 61. Hornby Castle. 
 
 62. Blank. 
 
[CXLV.] YORKSHIRE 2 SKETCH BOOK. 
 
 417 
 
 Page 62a. “ Hornby Town" (or Terrace) and “ Ingleborough 
 from H." See Engraving of “ I ngleborough from 
 Hornby Castle ” in Whitaker’s “ Lonsdale.” 
 
 „ 63. Hornby Castle. 
 
 „ 63a. Do. 
 
 „ 64. Do. 
 
 59 
 
 9? 
 
 99 
 
 59 
 
 59 
 
 59 
 
 55 
 
 55 
 
 59 
 
 55 
 
 59 
 
 95 
 
 99 
 
 99 
 
 99 
 
 59 
 
 55 
 
 55 
 
 55 
 
 99 
 
 55 
 
 95 
 
 59 
 
 99 
 
 95 
 
 5) 
 
 95 
 
 55 
 
 95 
 
 59 
 
 99 
 
 99 
 
 59 
 
 59 
 
 59 
 
 95 
 
 99 
 
 95 
 
 59 
 
 99 
 
 59 
 
 64a. Hornby Castle in distance. 
 
 65. Blank (and torn). 
 
 66. River, with distant mountains. 
 
 67-68. Blank. 
 
 68a. “ Ingleborough above the Scar — in continuation." 
 
 69. Crook of Lune. — “ Crook looking down ” and “ Girl 
 
 driving Cow to Milk." 
 
 69 a. “ Crook of Lune." 
 
 70. Do. 
 
 70 a. Do. 
 
 71. Do. 
 
 71a. Do. 
 
 72. Do. 
 
 72a. Lancaster. 
 
 73. Lancaster Aqueduct (?) in mid-distance. 
 
 73a. Lancaster. 
 
 74. Do. 
 
 74«. Do. in distance. 
 
 75. Lancaster Church. 
 
 75 a. Lancaster, from river. 
 
 76. Do. 
 
 76a Church and gaol. 
 
 77. Lancaster. 
 
 77a. Village under a cliff (Heysham), also “ Peel Castle." 
 
 78. Blank. 
 
 78a, “ Regsham ” 
 
 79. Distant hills. 
 
 79a. Hills. 
 
 80. Blank. 
 
 80a. Ruins on rocks, probably in Morecambe Bay. 
 
 81. Architectural details. Possibly of the Lancaster Aque- 
 
 duct. “ This band, returns thro' Arch" 
 
 82. Blank. 
 
 82a. “ Lancaster ” in distance. 
 
 83. In Morecambe Bay. 
 
 83a. Do. 
 
 84. “ Raysliam." 
 
 84a. Distant hills. 
 
 85. Do. 
 
 85a. “ Conishead." 
 
 86. In Morecambe Bay. 
 
 87. Lake among hills. 
 
 87a. Hills. 
 
 88. Blank. 
 
 88a. Hills. 
 
 89. Distant hills. 
 
 89a. Town on both sides of river, connected by a two- 
 arched bridge ; ruins on hill in distance. 
 
418 
 
 TURNER DRAWINGS. 
 
 [CXLV.] 
 
 Page 
 
 99 
 
 ?9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 -99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 90. Town on river, with distant hills. 
 
 90a. “Appleby.” 
 
 91. Hills. 
 
 91a. River running between hills, with town in distance. 
 
 92. Appleby. 
 
 92a. Do. 
 
 93. Study of sky. 
 
 93a. Houses at foot of mountain. 
 
 94. Another view of same mountain. 
 
 94a. Distant mountains. 
 
 95. Mansion, with trees and bridge. 
 
 95a. Two sketches, with MS. notes. “ Wither (?) Chaple ” 
 “ Medcup ” and “ this belongs to the Castle Head- 
 land (?),” &c. 
 
 96. Mountains. Written over a distant peak, “ Mill.” 
 
 96a. Castle (or church ?) among hills. 
 
 97. Do. 
 
 97a. “ Heluellyn” from Vale of Penrith (?). 
 
 98. Distant mountain. 
 
 98a. A hill-side. 
 
 99. Blank. 
 
 99a. Pool among mountains. 
 
 100. Distant hills. 
 
 100a. A waterfall. 
 
 101. Boulders in stream. — “ Cold G and Bottle ” (green or 
 
 blue). 
 
 101a. Stream and rocks. 
 
 102. Stream among mountains. 
 
 102a. Among the mountains. 
 
 103. Three drawings ; one of Barnard Castle and two of 
 
 Bowes Castle. 
 
 103a. Barnard Castle. 
 
 104. Ruins near river, and another river view with house 
 
 in mid-distance. 
 
 104a. “ Worton (or Horton) C (?) near Wycliff'e.” (? Wharton 
 Hall on river Eden.) 
 
 1 05. Two views in Bowes Park and one of bridge at 
 
 “ Middleton.” 
 
 105 a. Priory (?) with trees. 
 
 106. Scene on river “ Greta.” 
 
 106a. River with distant hills. 
 
 107. Three drawings ; one of “ Cotherstone (?) Castle” one 
 
 “ Middleton” and a third at Rokeby. 
 
 107a. Landscape with ruined Abbey (?). — “ Wood — Corn — 
 Child 11 , at Play , &c.” 
 
 108. “ Rokeby.” 
 
 108a. Landscape with ruins. See also p. 107a. 
 
 109. Distant hills. 
 
 109a. River with ruined abbey. 
 
 110. “ Kinpool.” 
 
 110a. Castle (?) in mid-distance, seen through trees. 
 
 111. A mansion. 
 
 112. Ruined abbey. (? St. Agatha’s.) 
 
[CXLV.] YORKSHIRE 2 SKETCH BOOK. 
 
 419 
 
 Page 112 a. 
 „ 113. 
 
 „ 113a. 
 
 „ 114. 
 
 „ 114a. 
 „ 115. 
 
 „ 115a. 
 „ 116. 
 
 „ 116a. 
 
 „ H7. 
 
 „ 117a. 
 „ 118. 
 
 „ 118a. 
 
 „ H9. 
 
 „ 119a. 
 „ 120 . 
 
 „ 120a. 
 „ 121 . 
 
 99 
 
 ?? 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 >9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 121a. 
 
 122 . 
 
 122a. 
 
 123. 
 123a. 
 
 124. 
 124a. 
 
 125. 
 125a. 
 
 126. 
 126a. 
 
 127. 
 
 128. 
 128a. 
 
 129. 
 129a. 
 
 130. 
 130a. 
 
 131. 
 131a. 
 
 132. 
 132a. 
 
 133. 
 133a. 
 
 134. 
 134a. 
 
 135. 
 135a. 
 
 136. 
 136a. 
 
 137. 
 137a. 
 
 138. 
 138a. 
 
 Three sketches of “ St. Agatha' s." 
 
 “ St. Agatha's " and “ St. Martin." 
 
 Ruins on hill, with stream below — “ Stones," and 
 “ Deadale (?). 
 
 “ Wycliffe " House. 
 
 Richmond. 
 
 Blank. 
 
 Distant hills. 
 
 Blank. 
 
 On the moors. 
 
 River with steep banks. 
 
 River among hills, with ruined tower on left. 
 
 Blank. 
 
 Ruined tower among hills. 
 
 Do. 
 
 Do. 
 
 River among mountains. 
 
 “ Grinton." 
 
 River, with ruined abbey and distant bridge, among 
 the hills. 
 
 River among hills. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Castle on hill. Bolton Castle (Wensley Dale). 
 
 Ruins of Bolton Castle. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Bolton Castle in distance. 
 
 Blank. 
 
 In Wensley Dale. 
 
 Blank. 
 
 Hills with Armscliffe (?) in distance. 
 
 Blank, 
 
 In Wensley Dale — three sketches. 
 
 River scene. ? Swale or Ure. 
 
 Richmond (?). 
 
 Blank. 
 
 Stones in stream. 
 
 Blank. 
 
 Hills, with river “ Ure " in foreground. 
 
 Scene on river Ure. 
 
 River among hills. 
 
 Distant hills. 
 
 A waterfall, on river Ure. (Probably Aysgarth Force.) 
 Blank. 
 
 River among hills. 
 
 Blank. 
 
 | Houses on hill. 
 
 On river Ure. 
 
420 
 
 TURNER DRAWINGS. 
 
 [CXLV.] 
 
 Page 139. 
 
 View over hills. 
 
 99 
 
 139a. 
 
 “ Askrigg." 
 
 91 
 
 140. 
 
 “ Whernside " in distance. 
 
 91 
 
 140a. 
 
 “ Ure Bridge ." 
 
 99 
 
 141. 
 
 “ Askrigg .” 
 
 19 
 
 141a. 
 
 | Trees overhanging a pool or waterfall. 
 
 99 
 
 142. 
 
 99 
 
 142a. 
 
 1 A waterfall — “ Gobton Hall Fall." 
 
 99 
 
 113. 
 
 ) 
 
 99 
 
 143a. 
 
 River among hills. Written over point in distance, 
 “ Addleboro.' " 
 
 99 
 
 144. 
 
 Blank. 
 
 99 
 
 144a. 
 
 Town in dale. 
 
 99 
 
 145. 
 
 Blank. 
 
 99 
 
 145a. 
 
 1 A watei'fall. 
 
 99 
 
 146. 
 
 ) 
 
 99 
 
 146a. 
 
 Lake Simmer, near Askrigg. 
 
 99 
 
 147. 
 
 Do. 
 
 99 
 
 147a. 
 
 Do. (?) 
 
 99 
 
 148. 
 
 Blank. 
 
 99 
 
 148a. 
 
 Houses among hills, with waterfall and stream 
 
 99 
 
 149. 
 
 Blank. 
 
 19 
 
 149a. 
 
 River with distant hills. 
 
 99 
 
 150. 
 
 Blank. 
 
 99 
 
 150a. 
 
 Road among hills. 
 
 99 
 
 151. 
 
 Blank. 
 
 99 
 
 151a. 
 
 Cliffs overhanging a road. 
 
 99 
 
 152. 
 
 Do. 
 
 19 
 
 152a. 
 
 Distant view of Penegant." 
 
 91 
 
 153. 
 
 Bridge, with cliffs beyond. 
 
 99 
 
 153a. 
 
 Three sketches of mountains. 
 
 99 
 
 154. 
 
 A mountain pass (?). 
 
 91 
 
 154a. 
 
 Figure on hill. 
 
 99 
 
 155. 
 
 Mountain pass (?). 
 
 *9 
 
 155a. 
 
 Do. 
 
 9 ' 
 
 156. 
 
 Do. 
 
 99 
 
 156a. 
 
 Do. 
 
 99 
 
 157. 
 
 Do. — “ LD." 
 
 99 
 
 157a. 
 
 Do. 
 
 99 
 
 158. 
 
 Do. 
 
 99 
 
 158a. 
 
 j Three sketches of a river with steep hanks. 
 
 99 
 
 159. 
 
 99 
 
 159a. 
 
 River with distant hills. 
 
 99 
 
 160. 
 
 Blank. 
 
 99 
 
 160a. 
 
 | A mountain pass. Probably Gordale Scar. 
 
 99 
 
 161. 
 
 J 
 
 99 
 
 161a. 
 
 1 Do. 
 
 99 
 
 162. 
 
 1 
 
 99 
 
 163. 
 
 Do. 
 
 99 
 
 163a. 
 
 1 Do. 
 
 99 
 
 164. 
 
 / 
 
 99 
 
 165. 
 
 Blank. 
 
 99 
 
 165a. 
 
 Town on river, with distant hills. 
 
 99 
 
 166. 
 
 Blank. 
 
[CXLV.] YORKSHIRE 2 SKETCH BOOK. 
 
 421 
 
 Page 166a. ) Gordale Scar. 
 
 „ 167a. I 
 „ 168. ) 
 
 „ 168a. \ Do. 
 
 „ 169. J 
 
 „ 169a. Bridge, with houses and distant hills. 
 
 „ 170. Skipton. 
 
 „ 170a. Do. (?). 
 
 „ 171. “ Skipton." 
 
 „ 171a. Village street with castle on hill beyond. 
 
 „ 172. Trough of Bowland. 
 
 „ 172a. Do. 
 
 „ 173. Blank. 
 
 „ 173a. Two sketches of “ Trough ” of Bowland. 
 „ 174. Trough of Bowland. 
 
 ,, 174a. Do. 
 
 „ 175. “ BoUand" and “ Longride ” (? Longridge). 
 
 „ 175a. View from hill. 
 
 „ 176. “ Bowland 
 „ 176a. Do. 
 
 „ 177. Do. 
 
 „ 177a. “ Ribchester ” (?). 
 
 „ 178. “ L. ridge ” (Longridge), “ Bolun ” (Bowland), 
 “ M r . Cross, Bide ” (?). 
 
 „ 178a. Winding river, with castle on hill in distance. 
 
 „ 179. Bridge, with church among trees on hill on left. 
 
 „ 179a. Bridge, with distant hills. 
 
 „ 180. Blank. 
 
 „ 180a. Town among hills. 
 
 „ 181. Blank. 
 
 „ 181a. An aqueduct (?). 
 
 „ 182. Blank. 
 
 „ 182a. 1 Probably Skipton Castle. 
 
 „ 183. / 
 
 „ 183a. Bridge over Eller Beck (?). 
 
 „ 184. Castle in distance. 
 
 „ 184a. Another view of bridge on p. 183a. 
 „ 185. A tower and trees. 
 
 „ 185a. Road beside a river with two one-arched bridges. 
 
 „ 186. No drawing, but the following note : — 
 
 “ Porterage. 
 
 2 . 
 
 8 
 
 Fare to Leeds. 2 
 
 . 2 . 
 
 . 
 
 1 Coachman 
 
 1 
 
 
 Dinner at Eaton 
 
 5 . 
 
 6 
 
 2 Coachman — Scroohy — 
 
 1 . 
 
 6 
 
 3 ditto. 
 
 1 
 
 
 Breakfast. Doncaster. 
 
 2 . 
 
 3 
 
 Brandy & water. Grantham. 
 
 1 . 
 
 6 
 
 4 Coachman & Guard. 
 
 4 . 
 
 6 
 
 *3 
 
 . 2 . 
 
 11 
 
 and 
 
 * Correct total is £3 1#. 11 d. 
 
 2 K 
 
 32796 
 
422 
 
 TURNER DRAWINGS. 
 
 LCXLV.] 
 
 Page 186a. 
 
 91 
 
 187. 
 
 “ 2022 
 
 25 May. 
 
 1816. — 20 
 
 2021 
 
 20 
 
 8376 
 
 8 June. 
 
 1816 — 10 
 
 8375 
 
 
 10 
 
 6890 
 
 17 May — 
 
 1816 — 5 
 
 7923 
 
 1 7 May — 
 
 Greta Bridge. 5 
 
 16135. 
 
 11 May — 
 
 5 
 
 18032 
 
 11 May — 
 
 5 
 
 1718 
 
 6 April. 
 
 Lancaster. 5 
 
 14971 
 
 2 
 
 8 May — 
 
 Chapman. 10 
 
 10 
 
 34788 
 
 13 May. Sup. at Askrigg. 1 
 
 34789 
 
 Richmond. 
 
 1 
 
 17917 
 
 13 April. 
 
 Chapman. 2 
 
 45520 
 
 11 April. 
 
 Chapman. 1. 
 
 Landscape, with distant hills. (This leaf is partly 
 torn, and was unnumbered). 
 
 (161 leaves drawn on.) 
 
 1816 * (AET. 41). 
 
 CXLVI —“YORKSHIRE 3” SKETCH BOOK. 
 
 Schedule No. 330. 
 
 Sketch book bound in board, with black leather 
 back. 
 
 Turner’s label — “ 81 Yorkshire" ; written on cover, 
 “ Yorkshire 3." 
 
 Executor’s endorsement — “ No. 330. Contains 29 
 leaves in pencil.” 
 
 (Sgd.) C. Turner.” 
 
 Water marks, “ Pine Smith & Allnutt, 1813,” and 
 “ H. Salmon. 1809.” 
 
 Size of page, 4§ x 7J-|- 
 
 Eight pages were withdrawn for framing and 
 exhibition (Exhibited Drawings, No. 450 a, b,c, d and 
 451a, b, c, d), but the leaves were all numbered 
 before. 
 
 Page 1-2. Blank. 
 
 „ 2a. 1 View from the outskirts of York ; windmill in fore- 
 
 „ 3. J ground and York Cathedral in distance. Part of 
 
 the drawing is framed (that on p. 3) as Exhibited 
 Drawings No. 45 Od, N.G. There is written on fore- 
 ground of this drawing: — “ Miller mending the 
 sails of the mill." 
 
 „ 3a. 1 On back of this drawing is part of another similar 
 
 ,, 4. / view, with the Cathedral in distance, continued 
 
 over p. 4. 
 
[CXLVI.] 
 
 YORKSHIRE 3. 
 
 423 
 
 Page 
 
 5. 
 
 6 . 
 
 6a. 
 
 7. 
 
 8 . 
 
 9 . 
 
 10 . 
 
 11 . 
 
 11 
 
 11a. 
 
 11 
 
 12. 
 
 11 
 
 13. 
 
 11 
 
 13a. 
 
 11 
 
 14. 
 
 ?1 
 
 15. 
 
 11 
 
 15a. 
 
 11 
 
 16. 
 
 11 
 
 16a. 
 
 11 
 
 17. 
 
 11 
 
 18. 
 
 11 
 
 19. 
 
 11 
 
 19a. 
 
 11 
 
 20. 
 
 51 
 
 21. 
 
 11 
 
 22. 
 
 11 
 
 22 a. 
 
 1’ 
 
 23. 
 
 11 
 
 23 a. 
 
 51 
 
 24. 
 
 11 
 
 24 a. 
 
 11 
 
 25. 
 
 51 
 
 25a. 
 
 11 
 
 26. 
 
 11 
 
 26a. 
 
 11 
 
 27. 
 
 55 
 
 27 a. 
 
 55 
 
 28. 
 
 51 
 
 28a. 
 
 55 
 
 29. 
 
 55 
 
 29a. 
 
 55 
 
 30. 
 
 15 
 
 31. 
 
 15 
 
 32. 
 
 51 
 
 32a. 
 
 11 
 
 33-51 
 
 | Ruins of a Gothic abbey. ? Fountains Abbey. 
 
 | Fountains Hall and grounds. 
 
 Bridge with number of arches ; Ripon Cathedral in 
 distance. Exhibited Drawings, No. 450c, N.G. 
 
 Ripon Cathedral, from the river Ure. 
 
 1 Fountains Abbey and Hall. Exhibited Drawings, No. 
 J 451 d, N.G. Also on p. 11, trees and fragments of a 
 
 building. 
 
 f View over hills and dales ; river winding through 
 \ centre and church with tall spire in distance. 
 
 River (probably the Ure) winding among hills. 
 ? Hackfall. 
 
 | Do. do. 
 
 Sloping banks of river. 1 Exhibited Drawings, No. 451a 
 River between hills. / N.G. 
 
 Waterfall. ? In Hackfall Woods. 
 
 f Bridge with three arches, houses and castellated 
 | towers beyond — “ no distance 
 
 Bridge, with church and houses beyond. ? Masham 
 Church. Exhibited Drawings, No. 450a, N.G. 
 
 View over hills and dales, with cluster of ruins in fore- 
 ground. 
 
 | Group of ruins near a road. ? Jervaulx Abbey. 
 
 \ Ruins, with distant mountains. Page 21 is Exhibited 
 / Drawing, No. 4505, N.G. 
 
 ) Church, with ruins on crest of hill in mid-distance. 
 / Page 23 is Exhibited Drawing, No. 4515, N.G. 
 
 1 Ruins, with distant hills. Page 23a is the back of 
 / 4515, N.G. 
 
 } Wensley Dale, with “ Leyburn” on the right. 
 
 | Ruins in Wensley Dale. ? Jervaulx Abbey. 
 Richmond. 
 
 } 
 
 | ? Aske Hall, Richmond. 
 
 | A mansion, from the river. 
 
 ) 
 
 1 Knaresborough. 
 / 451c, N.G. 
 
 Knaresborough. 
 
 !. Blank. 
 
 Page 31 is Exhibited Drawing, No. 
 
 (31 leaves drawn on.) 
 
 32796 
 
 2 E 2 
 
424 
 
 TURNER DRAWINGS. [CXLVII.] 
 
 1816* (AET. 41). 
 
 CXLVII. — " YORKSHIRE 4" SKETCH BOOK. 
 
 Schedule No. 279. 
 
 Sketch book, bound in mottled boards, with red 
 leather back and corners. 
 
 Turner’s label on back — “ 78" (or 79) “ Yorkshire." 
 Written on back — “ Yorkshire 4." 
 
 Executor’s endorsement — “No. 279. Containing 
 44 leaves Pencil sketches on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 The leaves were distributed, but were numbered 
 before being separated. 
 
 Water mark, “ J. Whatman, 1814.” 
 
 Size of page, 4^1 x 8. 
 
 Inside one cover are three slight sketches of ruins on a hill. 
 
 Page 1. “ Dove Cove." 
 
 „ la. “ Thornton Force." 
 
 „ 2. “ Dove Cove." 
 
 „ 2 a. i “ Simmer Water" Askrigg. 
 
 „ 3. | 
 
 „ 3 a. i “ Simmer Water." 
 
 „ 4. f 
 
 „ 4 a. “ Upper Fall , Mill Beck." 
 
 „ 5. “ or Mill Gill , Askrigg." 
 
 „ 6. “ Askrigg, at the lower fall." 
 
 „ 7. “ Askrig." 
 
 „ 7 a. A castle. 
 
 „ 8. A waterfall. “ Dark Pool" and “ Children looking 
 
 down ” 
 
 J9 
 
 9. 
 
 “ Fall at Burton." 
 
 99 
 
 10. 
 
 “ Upper Wednesly Dale." 
 
 99 
 
 11. 
 
 “ Asgarth Force." 
 
 99 
 
 11a. 
 
 \ “ Looking down the Fall." 
 
 99 
 
 12. 
 
 ) 
 
 99 
 
 12a. 
 
 ) “ Middle Asgarth." 
 
 99 
 
 13. 
 
 \ 
 
 99 
 
 13a. 
 
 “ Asgarth." 
 
 99 
 
 14. 
 
 Waterfall, Aysgarth. 
 
 99 
 
 15. 
 
 “Sd." (? second) “Fall." 
 
 99 
 
 16. 
 
 Wensley Dale. 
 
 99 
 
 16a. 
 
 Wensley Dale, with Aysgarth Church in foreground. 
 
 99 
 
 17. 
 
 A ruined castle. 
 
 
 18. 
 
 A nearer view of the same ruins. 
 
 99 
 
 19. 
 
 In Wensley Dale. 
 
 99 
 
 19a. 
 
 Valley of River Ure, with town in middle distance, and 
 
 
 
 distant mountain. 
 
 99 
 
 20. 
 
 Wensley Dale. 
 
 99 
 
 21. 
 
 Ruins in a valley. 
 
 99 
 
 22. 
 
 Another view of same valiey. 
 
[CXLVII.] 
 
 YORKSHIRE 4. 
 
 425 
 
 Page 23. 
 
 „ 24. 
 
 „ 24a. 
 „ 25. 
 
 „ 25a. 
 „ 26. 
 
 „ 26a. 
 
 „ 27. 
 
 „ 28. 
 
 „ 28a. 
 „ 29. 
 
 „ 29a. 
 „ 30. 
 
 „ 30a. 
 „ 31. 
 
 „ 31a. 
 „ 32. 
 
 „ 33. 
 
 ,, 33a. 
 „ 34. 
 
 „ 3la. 
 „ 35. 
 
 „ 35a. 
 „ 36. 
 
 36a. 
 „ 37. 
 
 „ 37a. 
 „ 38. 
 
 „ 38a. 
 „ 39. 
 
 „ 39a. 
 „ 40. 
 
 ,, 40a. 
 „ 41. 
 
 41a. 
 
 42. 
 
 42a. 
 
 43. 
 43a. 
 
 44. 
 
 44a. 
 
 River flowing through valley, with distant hills. 
 
 “ Gave at Rokeby." 
 
 “ Lune R." and “ Road to Orton." 
 
 River, with tower on wooded slope on left. 
 
 Another sketch of tower. 
 
 “ Wy cliff" 
 
 Do. 
 
 Do. 
 
 Do. 
 
 “ Bignall." 
 
 “ Bignall Church ” and “ Wycliffe House." 
 
 “ Bignall." 
 
 “ Bignal Hall." 
 
 Bridge, with houses and ruins on hill at its side. 
 
 “ Egg ” (Egglestone Abbey). 
 
 Ruins of Egglestone Abbey. 
 
 Ruins of Castle (?) on hill, with bridge below. 
 
 River, with ruins on hill in middle distance. “ B.C." 
 
 (? Barnard Castle). 
 
 “ Weather cote Upper (?) Fall." 
 
 Waterfall, with figure seated on stone in foreground. 
 
 | “ Ken Head." 
 
 1 River among hills, with distant views of “ Miln- 
 J thorpe." 
 
 | Mouth of a river (? the Kent). 
 
 Kirkby Lonsdale Bridge. 
 
 Mouth of river, with distant headland. 
 
 | In Morecambe Bay (?). 
 
 Do. 
 
 “ Heysham." 
 
 1 Heysham, with names written over distant peaks — 
 / “ Blackcombe" 11 Old Man " “ Helvellyn " (?) 
 
 “ Floo " (? Flookburgh), “ Castle H.," and “ Arn- 
 side." See Engraving in Whitaker’s “ Richmond- 
 shire,” also other sketches in “Yorkshire 2” 
 (Sch. 275), pp. 77a, &c. 
 
 } Hornby Castle, from Tatham Church. See Engraving, 
 Whitaker’s “Lonsdale” (the Water Colour is in the 
 Y. & A. Museum). — “ Lime Kiln on the .... 
 Bridge" “ Alders" “ Meadow" and “ River shining 
 thro' the Trees." 
 
 Hornby Castle. 
 
 Blank. 
 
 A cave, or rocks. 
 
 River, with distant hills ; in foreground, “ IFa^ and 
 Bank." 
 
 Bridge, with houses on either side, and church tower on 
 right. 
 
 (44 leaves drawn on.) 
 
426 
 
 TURNER DRAWINGS. [CXLVIII.] 
 
 1816 * (AET. 41). 
 
 CXLVIII .— “YORKSHIRE 5” SKETCH BOOK. 
 
 Schedule No. 263. 
 
 Sketch book bound in boards, with black leather 
 back and corners. 
 
 Turner’s label on back, “ 110 Yorkshire ” ; written 
 on one of covers, “ Yorkshire 5." 
 
 Water mark, “ J. Whatman, 1815.” 
 
 Size of page, 6yf x 10R 
 
 Executor’s endorsement, “ No. 263, 40 pencil 
 
 sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 Mr. Ru skin’s endorsement on wrapper, “ 263. 
 26 leaves taken out.” 
 
 Most of the leaves were distributed. As no record 
 was kept of their original sequence, it has been 
 found impossible to reconstitute the book with any 
 pretensions to accuracy. 
 
 Inside one of covers a rough copy in pencil of a song about 
 ‘ John Bull.” The following is the first verse : — 
 
 “ Here's a health to Honest John Bull , 
 
 When he is gone , where will ye find such another ? 
 
 So with Hearts as with Bumpers quite full 
 Here's a health to Old Eng d his mother." 
 
 1-2. Blank. 
 
 2 a. I A fertile vallev, with houses and church and distant 
 
 3. J hills. 
 
 3 a. 1 Town with church on hill sloping down to river (pro- 
 
 4. / bably R. Lune), with “ Ingleboro' ” in distance on left. 
 4a. Crook of Lune, looking towards Hornby. 
 
 45. Blank. 
 
 4 c. Kirkby Lonsdale Bridge. Exhibited drawings No. 623a, 
 N.G. 
 
 5. Kirkby Lonsdale Bridge. 
 
 5 a. \ A bend of river (probably the Lune). 
 
 6 . J 
 
 6a. Chain bridge over the Tees. See Engraving “ England 
 and Wales ” series. 
 
 7. Blank. 
 
 la. A waterfall. 
 
 8. Blank. 
 
 8a. A waterfall. 
 
 9. Blank. 
 
 9a. A waterfall. Probably High Force. Tees. 
 
 10. Back of 10a ; stuck down tight. (Oxford, 84-70a.) 
 10a. Richmond, Yorks. (Oxford, 84-70a.) 
 
 11. Continuation of previous drawing. (Oxford, 158). 
 
 11a. View of Richmond from the Moors. (Oxford, 158.) 
 
 12. Continuation of previous drawing. 
 
[CXLVIII.] 
 
 YORKSHIRE 5. 
 
 427 
 
 Page 12a. 
 
 95 
 
 59 
 
 55 
 
 13. 
 13a. 
 
 14. 
 
 } 
 
 } 
 
 Richmond. 
 
 Do. 
 
 5? 
 
 59 
 
 59 
 
 55 
 
 59 
 
 99 
 
 55 
 
 59 
 
 59 
 
 95 
 
 95 
 
 55 
 
 5* 
 
 55 
 
 55 
 
 59 
 
 59 
 
 9 * 
 
 99 
 
 59 
 
 55 
 
 59 
 
 59 
 
 55 
 
 5 « 
 
 99 
 
 59 
 
 95 
 
 59 
 
 55 
 
 99 
 
 59 
 
 59 
 
 99 
 
 59 
 
 59 
 
 9’ 
 
 95 
 
 55 
 
 59 
 
 99 
 
 59 
 
 14a. River, with wooded slopes beyond. 
 
 15. A waterfall. 
 
 15a. 1 Moss Dale Fall, Yorkshire. See Engraving in Whitaker. 
 
 16. / The Water Colour is in the Fitzwilliam Museum, 
 
 Cambridge (Ruskin Donation). 
 
 17. Back of 17a ; stuck down tight, but contains a sketch. 
 
 (Oxford, 95-735.) 
 
 17a. “ Whitfield Gill Force." (Oxford, 95-735, as “Water- 
 fall.”) 
 
 18. Continuation of previous drawing. 
 
 18a. Town on river-bank at foot of hills. 
 
 19. Blank. 
 
 19a. f Bridge with town at foot of hills. Probably the 
 
 20. \ same place as 18a. At the side is written, “ C. Cope , 
 
 29 Park Square, by the 31st of Dec 1 '." 
 
 21. Blank. 
 
 21a. 1 Valley among hills 
 
 22. I 
 
 22a. 1 Do. 
 
 23. ] 
 
 23 a. 1 Bend of river, with distant hills. 
 
 24. f 
 
 25. No drawing. “ C. Cope, 29 Park Square , Leeds, by the 
 
 31st of Dec 1 '., 1825." ( Cfi '. pp. 19a & 20.) 
 
 26. Blank. 
 
 26a. River in valley with distant hills. 
 
 27. Blank. 
 
 27a. River in valley with hills. 
 
 28. Blank. 
 
 28a. Waterfall. 
 
 29. River in valley with hills. 
 
 29a. Do. do. 
 
 30. Blank. 
 
 30a. Waterfall. 
 
 31. A few tree trunks. 
 
 31a. A waterfall, “ Bolton (?) Hall Fall." 
 
 32. Blank. 
 
 32a. \ River, with distant mountains. Perhaps mouth of 
 
 33. J Lune. 
 
 33a. | Do. do. 
 
 34. f 
 
 34a. Mouth of Lune, Lancaster Bay (?). 
 
 35. Continuation of previous drawing, on back of Exhibited 
 
 Drawing No. 6225, N.G. 
 
 35a. Lancaster from the Aqueduct. Exhibited Drawing 
 No. 6225, N.G. See Engraving in “ England and 
 Wales ” series. 
 
 36. View of Lancaster with Aqueduct in foreground. 
 
 (Oxford, 66-64, as “ Carlisle.”) 
 
 36a. Drawing on back of 36, but stuck down tight. 
 
 37. Blank. 
 
428 
 
 TURNER DRAWINGS. [CXLVIII.] 
 
 Page 37a. 1 Lancaster. 
 
 „ 38. f 
 
 „ 38a. Town on river, with distant mountains. 
 
 „ 39-40. Blank. 
 
 „ 41. Richmond, Yorkshire. 6th Loan Collection, No. 12. 
 
 „ 41a. Ruined castle on hill. (Continuation of drawing on 
 
 another page.) Reverse of p. 41. 
 
 „ 42. Valley, with river and distant mountains. 6th Loan 
 Collection, No. 8. 
 
 (39 leaves drawn on.) 
 
 1816 - 1818 * (AET. 41-43), 
 
 CXLIX.— YORKSHIRE 6 SKETCH BOOK. 
 
 Page 1. 
 
 99 
 
 99 
 
 99 
 
 91 
 
 9? 
 
 99 
 
 99 
 
 *1 
 
 19 
 
 99 
 
 99 
 
 hJ, 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 8 . 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 Schedule No. 368. 
 
 Sketch book, bound in leather, with one brass 
 clasp. 
 
 Turner’s label on back, “ 64 ” 
 
 Water mark, “ C. Ansell, 1812.” 
 
 Size of page, 5f| x 3]-^. 
 
 Executor’s endorsement — “No. 368. 32 leaves of 
 
 very slight pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 
 {Note. — This volume may not be connected with 
 the Aug.-Sep. 1816 sketching tour, to which the 
 books “ Yorkshire 1-5 ” belong.) 
 
 On inside of cover and page 1 there are two sketch 
 maps marking the following places : — 
 
 “ Barnestone, Exilby, Kettlewell , Goniston, Linton , 
 Burnsall, Bardon,& Tower" (on R. Wharfe) ; also : — 
 “ Kirkby Stephen, Wharton Park, Pendragon Castle, 
 Haws, Maker, Askrigg, Aysgarth, Thornton, Kettle- 
 ivell, Bolton Hall, Wensley , Middleham, Cover Abbey 
 and Vale, Norton (?), Thomson Steward (?), Bedale" 
 and “ Snape Pk ” (?) (on R. Ure). 
 
 Castle among trees. — “ Light yellow yet cold clouds <tc." 
 
 River, with rainbow. 
 
 Castle, with trees. 
 
 Study of sky. 
 
 Do. 
 
 Landscape, with distant castle. 
 
 River scene, with houses and trees. 
 
 Clouds. 
 
 Distant castle and trees. 
 
 Study of clouds. 
 
 Group of figures (? soldiers) in boat. 
 
 Do. 
 
[CL.] 
 
 YORKSHIRE 6. 
 
 429 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 95 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 14. Banks of river. 
 
 15. Figures in boat. 
 
 16. Soldiers in boat. 
 
 17. Landscape with bridge. — “ Maudlin Chapel." 
 
 18. Group of trees by stream. 
 
 19-81. Blank. 
 
 82. Dogs. 
 
 83. Do. 
 
 84-289. Blank. 
 
 289a. 1 “ Hambleton," with “Moor" and “ Pool" in distance. 
 
 290. J 
 
 290a. j On the moors. Written in margin — “ Wrightson, 
 
 291. J Kirby, Black Horse, Pavement." 
 
 291 a. 1 Moors. 
 
 292. / 
 
 292a. \ Do. 
 
 293. / 
 
 293a. 1 Road over moors. 
 
 294. / 
 
 294a. 1 Do. 
 
 295. J 
 
 296. A cliff. 
 
 297-8. Blank, 
 
 298a. 1 Figure, with gun and dog, asleep on moors. 
 
 299. j 
 
 299a. 1 Figure, with gun and two dogs, on moors. 
 
 300. / 
 
 300a. pjg Ure w ith gun, seated on stone near a pool. 
 
 301a. I Figures with guns and dogs on moors. 
 
 302. | 
 
 302a. On the moors — “ .... sley." 
 
 (33 leaves drawn on.) 
 
 1816 - 1818 * (AET. 41-43). 
 CL.—" SCARBOROUGH ” I. SKETCH BOOK. 
 
 Schedule No. 168. 
 
 Small sketch book, bound in leather. 
 Turner’s label, “ 101 
 
 written 
 
 in ink on cover, “ Scarborough. 
 
 Water marks, 
 
 j R. Barnard, 1812. 1 
 \ John Hayes, 1812. J ” 
 
 Size of page, 7^ x 4^. 
 
 Endorsement on wrapper, “ 168. Scarborough 
 Pencil. 11 leaves taken out and nothing left of any 
 value.” 
 
 Most of the leaves were distributed. As no record 
 was kept of their original order, it has been found 
 impossible to reconstitute the book. 
 
430 
 
 TURNER DRAWINGS 
 
 [CL.] 
 
 Page 1. Looking along the coast. 
 
 „ 2. Buildings and trees in a valley. 
 
 ,, 2a. Ruins on rock. 
 
 „ 3. Scarborough Castle. 
 
 „ 4. View from Scarborough Castle (?). 
 
 ,, 5. Blank. 
 
 „ 5 a. “ Can Howard ask in vain to view the Block 
 
 Graced with the verse of Nelson," &c. 
 
 ,, 6-7. Blank. 
 
 „ la. Looking down on the Harbour from the Castle. 
 
 „ 8. Scarborough. See Mr. C. Morland Agnew’s “ Scar- 
 
 borough,” dated 1818 (Exhibited Messrs. Agnews’, 
 February, 1907) ; see also Studies of waves, pp 31 
 and 32. 
 
 „ 9. “ From the Castle Cliff." 
 
 „ 10. Vessels in harbour. 
 
 „ 11. Looking along the coast. 
 
 „ llrt. The Castle. 
 
 „ 12. The Castle, from the North. 
 
 „ 13. Rocks on coast. 
 
 „ 14. Cliffs, with sea in distance. 
 
 „ 15. Do. 
 
 „ 16-18. Blank. 
 
 „ 1 8a. Houses near coast. 
 
 „ 19. Blank. 
 
 „ 19«. A ship. 
 
 „ 20. Ships. 
 
 „ 21. “ Path with Cattle" ; castle in distance. 
 
 „ 22. Cattle on sands. 
 
 ,, 23. The Bay, Scarborough. — “ Boy dabbling" in foreground. 
 
 „ 24. The castle and harbour. 
 
 „ 25. Houses on cliffs. — “ Windy sky," “ all reflected," “ white 
 
 ivave, green reft " (?).” 
 
 „ 26. Path up to the castle from the jetty. 
 
 ,, 27. Cows on sands. 
 
 „ 28. Figure on horseback riding across bay at low tide. 
 
 „ 29. Man on horseback galloping across the sands. 
 
 ., 30. Cattle on the Castle cliffs. 
 
 „ 31. Waves breaking on shore. (Oxford, 161-145a, as Sea- 
 wave on Beach.”) See Mr. Morland Agnew’s water 
 colour of “ Scarborough.” 
 
 „ 32. Waves breaking on shore. (Oxford, 162-145/5.) 
 
 (28 leaves drawn on.) 
 
[CLI.] 
 
 431 
 
 1816 - 1818 * (AET. 41-43). 
 
 CLI .-" SCARBOROUGH ” II. SKETCH BOOK. 
 
 Schedule No. 169. 
 
 Small sketch book, bound in paper, with part of 
 the “ Lives of the Evangelists ” printed on cover. 
 
 Turner’s label on back, “ 99 ” ; written in 
 
 ink on cover — 11 Scarborough." 
 
 Water mark— “ I Fellows ’ 1811 > \ 
 
 water maik j R Barnard? 1812> j » 
 
 .71 
 
 ' 8 
 
 x 41- 
 
 Size of page- 
 
 Endorsement on wrapper — “ 169. Scarborough. 
 5 taken out. Some good for distribution.” 
 
 The distributed leaves have been replaced in their 
 original positions so far as these can be guessed. 
 Inside one cover there is a pen and ink sketch of Scar- 
 borough and on other, a pencil sketch of an aqueduct, probably 
 the one used in “ Liber ” plate of “ Stork and Aqueduct.” 
 
 Page 1. Blank and torn. 
 
 „ 2. Cliffs on coast. 
 
 „ 3. Cattle on cliffs, with Scarborough Castle in distance. 
 
 „ 4. Cliffs on coast. 
 
 „ 5. Cliffs to the south of Castle. 
 
 „ 5 a. Cliffs. 
 
 „ 6. Cliffs. 
 
 „ 7. Castle Cliff from the south. 
 
 „ 8. The Castle from the south (inland). 
 
 „ 9. Do. do. 
 
 „ 10. Harbour and Castle from the south. 
 
 „ 11. Do. do. 
 
 „ 11a. ) Do. do. 
 
 „ 12. / 
 
 „ 13. Do. do. 
 
 ,, 14. Church and houses on coast. 
 
 „ 15. Looking over cliffs, with sea in distance. 
 
 „ 16. Aqueduct. 
 
 „ 17. Rocks by the sea. 
 
 „ 17a. Cliffs on the coast. 
 
 „ 18. Sunset (or cloud effect) on “ Hawksworth Moor." Ex- 
 
 hibited Drawings, No. 438a, N.G. 
 
 (17 leaves drawn on.) 
 
432 TURNER DRAWINGS. [CLII.] 
 
 1816 1818 * (AET. 41-43). 
 
 CLII . — “ THE AQUEDUCT” SKETCH BOOK. 
 
 Schedule No. 256. 
 
 Small sketch book, bound in paper, with part of 
 the book of Leviticus or Deuteronomy printed on 
 cover. 
 
 Turner’s label on back — “ 100 .” 
 
 w , , “ f R. Barnard. 1812. 1 
 
 Watermarks { a Wilmott l812 . } ” 
 
 Size of page, x 4^. 
 
 Executors’ endorsement — “ No. 256. Containing 
 11 Leaves Pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement on wrapper — “ 256. A 
 few leaves only, but very precious English. Pencil.” 
 
 Inside cover, draft of verse on “ Independence,” com- 
 mencing — 
 
 “ Sweet Independence, rough is (? in) thy nature, hardy, 
 sincere, 
 
 Thou gives the humble roof content devoid of fear 
 Even of to-morrow's fate, and add a hlissfull jog 
 To its perhaps lone inmate, lone (?) without alloy f &c. 
 
 A slight pencil sketch on other cover. 
 
 Page 
 
 1 . 
 
 la. 
 
 2 . 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 Draft in pencil of verses. 
 
 Do. do. 
 
 Aqueduct. See unpublished “ Liber ” plate, known as 
 “ The Stork and Aqueduct” (R. 83). 
 
 Buildings, with Yoi'k Cathedral in distance. 
 
 A mill on river. 
 
 “ Mill Race," near a bridge. 
 
 Figures returning from shooting. 
 
 do. 
 
 7. 
 
 Do. 
 
 8. 
 
 River, with bi 
 
 9. 
 
 In Wharfdale. 
 
 9a. 
 
 Do. 
 
 10. 
 
 Do. 
 
 11. 
 
 Blank. 
 
 11a. 
 
 Hillside. 
 
 12. 
 
 Blank. 
 
 12a. 
 
 Hillside. 
 
 13. 
 
 Study plants. 
 
 13a. 
 
 Do. 
 
 14-16. Blank and 
 
 (12 leaves drawn on.) 
 
[CLIII.] 
 
 433 
 
 1816 - 1818 * (AET. 41-43). 
 
 0L1II. — " FARNLEY" SKETCH BOOK. 
 
 Schedule No. 317. 
 
 Sketch book, bound in boards with red leather 
 back, with one brass clasp. 
 
 Parchment label on back with number “ 122” on 
 it. “ Farnley ” written in ink on one of the covers. 
 
 Executor’s endorsement “ No. 317. Contains 
 20 leaves pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, “ A. Lee. 1813.” 
 
 Size of page, 4f- x 1\. 
 
 Inside one cover is written : — 
 
 “ Mr. Fawke's Frame — 11 feet long 9 wide 
 
 22 
 
 
 
 
 18 
 
 
 
 
 40 
 
 
 
 
 40 Feet at £1 — 10 pr foot 
 
 £60 . 
 
 0 
 
 . 0 
 
 Corners addittional — 5 each 
 
 20 . 
 
 0 
 
 . 0 
 
 
 80 . 
 
 0 
 
 . 0 
 
 40 Feet. 25s per Foot 
 
 50£ 
 
 
 
 Corners 4 
 
 16 
 
 
 
 
 66” ; 
 
 
 
 inside other cover, some figures, and sketch of a tablet with 
 the date 1818. ( t his is the tablet over one of the lodge gates.) 
 
 Page 1. 
 
 2 Ladies — 1 Gentleman — taking the air 
 
 2 — about 3 — Ducks— 2. 1 Mallard — nothing 
 
 else stirring. 
 
 3 — 2 Stags — 3 Hinds — 
 
 4 — a few Deer — cantering off hi the Distance — 
 
 2 Men on shooting ponies entering the gate 
 with the Park Keeper on foot. 
 
 5 — Deer below. 
 
 G. Deer below — Rabbit Shooter — ” 
 
 11 
 
 11 
 
 1 a. 1 Lake Tiny, Farnley. See Water Colour in Farnley 
 2. / Hall Collection, 
 
434 
 
 TURNER DRAWINGS. 
 
 [CLIILJ 
 
 Page 2a. il Liber Studiorum. Plates out Jan. 1. 1819. 
 
 Daw 3 
 
 Say 
 
 I 
 
 I 
 
 l 
 
 l 
 
 Knight's Picture .’ 
 
 plate of Kingston Bank 1 2 
 to get cleaned. 
 
 Isis. 3 
 
 Glaucus & Scylla 4 * 
 Egremont's Picture , 6 7 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 3 . 
 
 3 a. 
 
 4 . 
 
 5 . 
 
 5 a. 
 
 6 . 
 
 7 . 
 
 7 a. 
 
 8 . 
 9 . 
 
 9 a. 
 
 10 . 
 
 11 . 
 
 10 «. 
 
 Turner | Salt Hill. 6 
 
 „ 7 , [ Winchelsea 1 
 
 eg no ( s ^ Woman of Samaria" 8 
 
 Continuation of drawing of Lake Tiny. Written over 
 trees in foreground, “ Wild Cherry — Spanish Ches." 
 
 ( Summer house, seen through row of saplings at edge 
 of pool. 
 
 j Caley Park, Otley Chevin. Written on side of page, 
 > away from the drawing, “ Gosfort." 
 
 j The deer park, Otley Chevin. 
 
 | Valley of the Wharfe, looking up the Chevin. 
 
 “ 1. Old Drawing 
 
 2. Lake 
 
 3. Lake with Lindleg. 
 
 4. Lake from Lindley 
 
 5. Washburn 
 
 6. Pheasant Nest. 
 
 7. Ditto. Door 
 
 8. New House 
 
 9. Old Park 
 
 10. Oak Room 
 
 11. Gate Way. 
 
 12. Merton Gate Way 
 
 13. Fir Walk 
 
 14. W incover Porch 
 
 15. ditto Walk 
 
 16. Lindley Hall 
 
 1 7. New Hall." 
 
 1 “ The Temple of Jupiter, &c.” (R. 77.) Unpublished plate. 
 
 2 “ Kingston Bank. ” (R. 87.) Unpublished plate. 
 
 3 “Isis.” (R. 68.) Published 1 Jan., 1819. 
 
 ' “ Glaucus and Scylla.” (R. 73.) Unpublished plate. 
 
 s “ Narcissus and Echo.” (R. 90.) Unpublished plate. 
 
 6 “ Also known as “ Sheep- Washing, Windsor.” (R. 74.) Unpublished plate. 
 
 7 “ East Gate, Winchelsea.” (R. 67.) Published 1 Jan., 1819. 
 
 3 “ Christ and the Woman of Samaria.” (R. 71.) Published 1 Jan., 1819. 
 
[GLIII.] FARNLEY SKETCH BOOK. 
 
 435 
 
 Page 11a. “ 18. Library. 
 
 19. Old Lodge 
 
 20. New Lodge 
 
 21. Caley 
 
 22. Rocks West 
 
 23. Rocks. Deer. 
 
 24. Park Gate 
 
 25. Lake 
 
 26. Root House 
 
 “ 26 Dining Room 
 
 28. Drawing Room 
 
 29. New Stairs Case 
 
 30. Old Stairs Case 
 
 31. Fawkes' Room 
 
 32. Ditto. 
 
 33. New Road 
 
 34. New Path 
 
 35. Farnley Pool Bank. 
 
 Town House 
 
 London from ditto 
 
 Drawing Room 
 
 Album of Farnley and Rocks. 
 
 Flags 
 
 Drawing Room Town 
 Vignette Book. 
 
 36 Vavasour 
 
 Caltarf Castle Do. 
 
 „ 11a. 1 Also Valley of Wharfe, with 11 Riff a " Wood, Poole 
 
 „ 12. J Bridge and Caley House on right and Almscliffe in 
 
 12a. \ Otley. 
 
 13. / 
 
 13a. 1 New lodge and gate, Farnley Hall ; also Farnley 
 
 14. / Hall and various architectural details. 
 
 14a. \ Old lodge and gate, Farnley Hall ; also details of 
 1 - r > < cornices, &c., of gate posts. 
 
 The library, Farnley Hall. 
 
 „ 18-40. Blank. 
 
 „ 41. Design for a sea-piece. 
 
 „ 42-89. Blank. 
 
 „ 89a. Design for sea-piece. 
 
 „ 90. Blank. 
 
 „ 90a. Design for sea-piece. 
 
 Scarboro' 
 Putney 
 Cottage door 
 
 Mt Blanc." 
 
 distance. 
 
 (20 leaves drawn on.) 
 
436 
 
 TURNER DRAWINGS. 
 
 [CLIV.] 
 
 1818 and later (aet. 4i). 
 
 OLIV.— FARNLEY AND RELATED SUBJECTS. 
 
 Various Loose Sheets of Farnley Subjects. 
 
 A. Scene on the Moors. 
 
 On the back, written in ink by Turner, “ Subject for 
 Mr. Fawkes." The drawing is about (> x 9, on the back of 
 portion of a letter addressed to “ Walter Fawkes, Esq re ., 
 Farnley Hall, Otley, Yorkshire,” and bearing the “ Lang- 
 holme ” (?) post mark ; it also bears portion of a postscript, 
 which runs as follows : — “ you must call at Zargonde (?) if 
 you go, one day, but not to dinner, will do for Dillon (?).” 
 
 (The following 4 subjects are drawn on one sheet of paper 
 folded in two. Size of leaf, 8| x 7 T 5 <j.) 
 
 B. Written in a square central panel : — 
 
 “ Bad Advisers 
 Arbitrary Measures 
 Forced Loans 
 The King's Will 
 The Law." ; 
 
 above two batons crossed, with “ Benevolence ” written on the 
 superior one, and “ Arbitrary Imprisonment" on the inferior 
 one. Above the batons, a pair of scales, and “ Liberty ” and 
 “ Prerogative." In the margin stands a male figure in 
 Elizabethan costume. The page has also been used as a water- 
 colour palette. 
 
 Q. “ Resistance to Oppression ” in panel, “ Petition of Rights ” 
 and “ Commons Remonstrance ” above, with fan, in which is 
 written “ J°. Hamde ” (? John Hampden). 
 
 D. “ Civil War," with decorative margin. 
 
 E. “ Ruin of the Royal Cause , 
 
 The King Prisoner , 
 
 The King executed 
 
 The Protectorate," in central panel, “ Marston Moor, Naseby, 
 &c., above, with axe and sword crossed and other decorations. 
 
 (These 4 drawings are designs for illuminated frontispieces 
 made for Mr. Faw r kes.) 
 
 F. Wharfedale from Chevin. See Water Colour in Farnley 
 
 Collection. 
 
 8| x 141. 
 
 G. Scene in Wharfe Valley. 
 
 8^ x 101. Pencil on Bristol board. 
 
 (A drawing based on this sketch was in Christie’s, 1906, and 
 at Agnews’ Water Colour Exhibition, 1907, as “Washburne 
 Valley ” (42). It was in black and white chalk on brown 
 paper with a commencement of body colour.) 
 
[OLIV.] 
 
 FARNLEY SUBJECTS. 
 
 437 
 
 H. On Banks of the Wharfe. 
 
 7§ x 10|. Pencil on Bristol Board. 
 
 (Connected with previous drawing.) 
 
 I. The Banks of the Wharfe. 
 
 8 x 10 jV Pencil on Bristol board. 
 
 (The drawing is continued on back of previous drawing.) 
 
 J. Valley of River, with “ COW CALF ” in distance. 
 
 7| x 8-ff. Pencil. 
 
 K. Junction of Greta and Tees. 
 
 About 10^ x 8 j, folded and drawn on on both sides. Pencil. 
 
 L. Barden Towers, Wharfedale. 
 
 173 v 9<U Pencil 
 
 Water mark J. Whatman. 1804.” 
 
 M. “ Addingham," on the Wharfe. 
 
 174 x 23|. Pencil. 
 
 Addingham is between Ilkley and Bolton Bridge. 
 
 N. View from the Chevin, looking 1 towards Ilkley, with 
 
 Farnley and Washburn Foot on the rigrht. 
 
 11 i x 23|. Pencil. 
 
 Written on distant hill “ Ling ,” the local name for Heather. 
 
 O. Gordale Scar. 
 
 214 x 30. Oil colour (?) on paper. 
 
 {See sketches of Gordale Scar in ‘‘ Yorkshire 2 ” Sketch 
 Book, Schedule 275.) 
 
 P. Newall Hall, near Farnley. 
 
 154 x 20. Body colour on brown paper. 
 
 Over doorway, “ Anno D. 1620 ” (? 1624). 
 
 Exhibited Drawings, No. 550, N.G. 
 
 Q. Bolton Abbey. 
 
 17| x 23|. Pencil. 
 
 R. Bolton Abbey, from above Stream. 
 
 17| x 234. Pencil. 
 
 S. Bolton Abbey in mid-distance. 
 
 17|- x 23|. Pencil. 
 
 T. Bolton Abbey : A nearer view. 
 
 17| x 234. Pencil. 
 
 U. The Strid, Bolton Woods. 
 
 17|- x 23j. Pencil. 
 
 The water colour at Farnley Hall is based on this drawing. 
 
 V. Leathley Old Church. 
 
 174 x 234. Pencil. 
 
 The water colour at Farnley Hall is based on this drawing. 
 32796 • % P 
 
438 
 
 TURNER DRAWINGS. 
 
 [CLIV.] 
 
 W. A View of Lindley Bridge and Hall. 
 
 The water colour based on this sketch was once in Farnley 
 Collection. 
 
 17f x 23 Pencil. 
 
 X. A Sheet of Paper, folded, containing three Pencil 
 
 Sketches. 
 
 («.) Lindley Bridge and Hall. 
 
 Sketch for the water colour at Farnley. 
 
 ( b .) Two figures standing on rock. 
 
 (c.) Another sketch of same subject. 
 
 Query the Great Almias Cliff. 
 
 9 x 14*. 
 
 Water mark, “ J. Whatman. Turkey Mill. 1822.” 
 
 Y. Fragment of letter from Mr. Walter Fawkes, of 
 
 Farnley. 
 
 X 7 Ur. 
 
 “ By to-morrow’s coach I shall send you a box containing 
 two Pheasants, a brace of partridges, and a hare, — which I 
 trust you will receive safe and good. We have tormented 
 the poor animals very much lately and now we must give 
 them a holiday. 
 
 Remember the Wharfdales — everybody is delighted with 
 your Millf — I sit for a long time before it every day. 
 
 Ever very truly yrs. 
 
 (Sgd.) W. Fawkes.” 
 
 Reverse : Sketch of Church, in pencil. 
 
 Water Mark, — “ Hooke & S . . . . 1803.” 
 
 (25 drawings.) 
 
 1816-1818 # (AET. 41-43). 
 
 CLIV (a).— LIBER NOTES (2) SKETCH BOOK. 
 
 Schedule No. 405. 
 
 Small pocket book, bound in dark brown leather, 
 with one broken clasp. Leather warped as though 
 it had been in water. 
 
 Sir Charles Eastlake’s endorsement — “405. Book 
 containing 36 leaves of pencil sketches. 
 
 (Sgd.) C. L. E. 
 
 J. P. K.” 
 
 Water mark, . 
 
 Size of page, 3* x 4*. 
 
 Inside cover is written — 
 
 “ 3 '/* (? 9V0 x . . . 
 
 Hakewill. S J / 2 x 5 ? /,. 
 
 Coast to Teignmouth (?) 9 by 6 ” ; and other illegible 
 notes. 
 
 t Possibly the “ View of Otley Mills, with the river Wharfe and mill weir,” 
 sold at Christie’s 27 June, 1890. It was bought by Sedelmyer, 
 
[CLIV (a).] 
 
 LIBER NOTES (2). 
 
 439 
 
 Page 1 . Houses. Pen and ink. 
 
 „ la, “ N°. 4 New Broad Street. Excise o ffice ; ’ also — 
 “ 200 Gs. 
 
 35 10 
 
 70 — 7 15 
 
 1 0 
 
 305 — 7 
 
 100 
 
 Impress (?) 
 
 100 
 
 200 
 
 200 Cannon 
 
 100 
 
 150 
 
 100 
 
 5 — 0 
 7 — 5 
 
 5 — 0 
 
 350 — 17 — 5 .” 
 
 2 . 
 
 2a. 
 
 A house near road. — “ 400. Ore] id." Pen and ink. 
 
 3. 
 
 3a 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 9. 
 
 Edinburgh 
 
 1 
 
 
 
 Haddington 
 
 2 
 
 Dumblaine 
 
 23 
 
 Tantallon 
 
 3 
 
 Holy Rood 
 
 9 
 
 Dunbar 
 
 4 
 
 Tolbooth 
 
 10 
 
 Fast castle 
 
 5 
 
 Castle 
 
 11 
 
 Hosslyn 
 
 5 
 
 Chriton Castle 
 
 12 
 
 ditto Chapel 
 
 6 
 
 Craigmillar 
 
 13." 
 
 Borthwick x 
 
 7 
 
 
 Linlithgow 
 
 Jedburg 
 
 Kelso 
 
 8 
 
 
 
 , 10 
 32796 
 
 Melrose 
 Dryburgh 
 Botliwell 
 Glasgow 
 Duglass Castle 
 Dumbarton 
 Stirling 
 Donne Castle 
 Camber sthwaith 
 Inchcomkill 
 Dum ferm line." 
 
 Blank. 
 
 | A stream. 
 
 A sorrel plant. — Sorrel. Stalk red." 
 
 A strawberry plant. — ■“ Strawberry . Young Leaves 
 
 yellow green. Old Dark and cold." 
 
 “ Marsh Mallow " and “ Yelloiv white flowers." 
 
 7 a. Clouds. 
 
 8 . “ Feather Feu." 
 
 Study of plants at “ Stamford Hill," 
 
 (Two leaves torn out.) 
 
 Clouds. 
 
 2 F 2 
 
440 
 
 TURNER DRAWINGS. [CLIV (a).] 
 
 Page 10a. “ 500 Drawing (? Printing) — 268 
 200 Large 200 
 
 50 India 90 
 
 this 
 
 is calculated at 25 disct. 
 
 558 
 
 40 
 
 240 
 
 800 
 
 25 
 
 860 
 
 258 
 
 860 
 
 1100 2 — 2 — 0 
 
 27 
 
 D 
 
 25 
 
 230 
 
 i 
 
 1100 
 
 
 
 200 
 
 
 
 25 profit 
 
 ; ” also 
 
 
 “ Richmond (?) Academy (?) Club, July 18 (?) 1818. 
 
 11. 
 
 A landscape. 
 
 
 11a. 
 
 “ Engraving 
 
 173 
 
 
 Drawing 
 
 52 — 10 
 
 
 Letterpress in sheet 
 
 6 
 
 
 Printing 500 drwg (?) 
 
 4 — 10 
 
 
 Large ditto 
 
 s — 
 
 
 Paper ivrapper 
 
 5 
 
 
 .... plates 
 
 21—6 
 
 
 Contingent 
 
 28 
 
 
 Expenses. 
 
 — 
 
 
 
 300 
 
 
 36 p ... . 
 
 thick." 
 
 11a. 
 
 ) A landscape and some ille 
 
 gible M.S. calculations. 
 
 12. 
 
 i 
 
 
 12a. 
 
 1 Do. 
 
 do. 
 
 13. 
 
 i 
 
 
 13a. 
 
 1 A landscape. (Leaf torn out between pp. 13a-14.) 
 
 14. 
 
 
 
 15-16. Blanks. 
 
 
 (Leaf torn out.) 
 
 17. “ 180. 108 
 
 60 all finished. 
 
 6. 48 among 6. 
 
 8 each Artist of the finished (?) 
 12 slightly finished." 
 
 18-21. Blank. 
 
 21a. t Study of a sky ; also — “ 1 Rood 26 poles 
 
 22 . / 20 £." 
 
 23. Blank, 
 
[GLIV (a).] LIBER NOTES (2) SKETCH BOOK. 
 
 Page 23a. The following in pencil — 
 
 N°. 
 
 1 
 
 Cows and Bridge 
 
 
 2 
 
 E. P. Bridge 
 
 1. 
 
 3 
 
 Basle Br idge 
 
 
 4 
 
 French Coast 
 
 
 5 
 
 Jason 
 
 
 1 
 
 White Horse 
 
 2. 
 
 2 
 
 E. P. Castle 
 
 
 3 
 
 Mt. St. Gothard 
 
 
 4 
 
 Lord Egremont 
 
 
 5 
 
 Holy Island 
 
 
 1 
 
 Pembury Mill 
 
 
 2 
 
 Walton Bridge 
 
 3 . 
 
 3 
 
 Leaders 
 
 
 4 
 
 Devils Bridge 
 
 
 5 
 
 Morpeth 
 
 
 1 
 
 Cocks and Hens. 
 
 4. 
 
 2 
 
 Clyde 
 
 
 3 
 
 Dunstanboro' 
 
 
 4 
 
 Thun 
 
 
 5 
 
 Beckfords." 
 
 
 1 
 
 Juvenile T ricks 
 
 
 2 
 
 E. P. Chepstow 
 
 5. 
 
 3 
 
 Coast of Yorkshire. 
 
 
 4 
 
 Hind Head 
 
 
 5 
 
 Spenser Fairy Queen 
 
 
 1 
 
 Windmill. Gd. Junction 
 
 
 2 
 
 Boy drag Sheep. Leives. 
 
 6. 
 
 3 
 
 Martello Towers. 
 
 
 4 
 
 Boats Calm 
 
 
 5 
 
 Cephalus & Procris. 
 
 
 i 
 
 Dunkarton's Mill 
 
 7. 
 
 2 
 
 Minerva Medica * 
 
 
 3 
 
 Marine Dabblers 
 Inverary Pier 
 
 
 5 
 
 Laujfenbourg . 
 
 
 1 
 
 Boys fishing. Jews Harp 
 
 
 2 
 
 St. Catharine's Hill 
 
 8. 
 
 3 
 
 Sunset. Mildmay 
 
 
 4 
 
 Scotchman 
 
 
 5 
 
 Peat Bog. 
 
 441 
 
 * See note to p. 26a. 
 
442 
 
 TURNER DRAWINGS. [CLIV (a).] 
 
 Page 24«. 
 
 9 
 
 1 Soldiers. 
 
 2 Tall Tree. Says. 
 
 3 Rispath. 
 
 4 Soanes 
 
 5 W. M. Plague . 
 
 55 
 
 55 
 
 55 
 
 55 
 
 25. 
 
 25«. 
 
 26. 
 
 10 
 
 1 
 
 o 
 
 3 
 
 4 
 
 5 
 
 Blank. 
 
 Frontispiece 
 Hedging and Ditching 
 Chepstow River Wye 
 Mer de Glace 
 Chain of Alps 
 Rivaulx Abbey." 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 9 
 
 10 
 1 3 
 
 15 
 
 16 
 
 17 
 
 18 
 
 19 
 
 20 
 
 “ PASTORAL 
 Cocks and Hen 
 Farm Yard 
 Hedging and Ditching 
 Twickenham Bridge, x 
 Thames Bank, x 
 Juvenile Tricks, x 
 Boy Fishing. 
 
 Flounder Fishing x 
 Solway Moss. 
 
 Cows and Bridge 
 Say's Mill 
 Dunkarton Mill 
 Windmill 
 Snow, x 
 
 Frosty Morning x 
 Sheep washing x 
 Soldiers and Winckelsea x 
 Norham." 
 
 Haymaking . 
 Ploughing . 
 Harvest. 
 Potatoes dig." 
 
 Blank. 
 
 26a. . “ E. P. 
 
 1 St. Catharine's Hill. 
 
 2 Chepstow River Wye 
 Clyde Fall 
 Walton Bridge 
 Berry Pomeroy 
 Minerva Medical * 
 
 Castle. 
 
 Done. 
 
 Bridge 
 My Chepstow 
 Lewis Sheep 
 Tall Tree 
 
 Say Call <k Inn (?) 
 
 Isleworth." 
 
 (Leaf torn out.) 
 
 27. “ Appuleia. 
 
 Egremont's Isis 
 
 ditto. Thames" ; also — “ 4 . 20 G. 4. 
 
 8 . 
 
 1 Rood." — - 
 
 * A ruined temple at Rome. This building appears in mid-distance of the 
 so-called “Hindoo Worshipper,” R. 23, published 1st January, 1811. 
 
[CLIV (a).] LIBER NOTES (2) SKETCH BOOK. 443 
 
 Page 27a. 
 
 “ MARINE . 
 
 1 Dabblers. 
 
 2 French Coast. 
 
 3 Martello Towers. 
 
 4 Coast of Yorkshire. 
 
 5 Palace. 
 
 6 Calm. 
 
 7 Sunset Mild may 
 
 8 Dunstanboro' . 
 
 9 Leader. 
 
 10 Egremonts." 
 
 28 Shipwreck. 
 
 Leicester (?) Shipwreck 
 
 Fawkes ditto 
 
 Spithead 
 
 Bed Capj 
 
 Hamoase 
 
 Storm 
 
 Calais Pier 
 
 Dort." 
 
 28a. “ MO UNTA INO US. 
 
 1 Hind Head 
 Inverary Pier 
 Scotchman 
 Peat Bog 
 Thun Lake 
 Bonneville. 
 
 Glen Croe 
 Chain of Alps. 
 
 Gt. Devil's Bridge. 
 
 Little Devil's Bridge 
 St. Gothard. 
 
 Source of Arveron 
 Mer de Glace." 
 
 29 “ Avelanche." 
 
 29 a. “ A RCHITECTURE. 
 
 Morpeth 
 Dunblaine 
 Thun 
 Basle 
 
 Laujfenbourg 
 Rivaulx Abbey 
 Soanes 
 
 Holy Island." 
 
 30. Blank. 
 
 30a. “ HISTORICAL. 
 
 Rispath 
 
 Spenser's Fairy Queen 
 Cephalus and Procris 
 Jason 
 
 Peckford Plague 
 10 Plague." 
 
444 
 
 TURNER DRAWINGS. [CLIV (a).] 
 
 Page 31. “ Pan and Syrinx 
 
 Woman of Samaria 
 Glaums and Scylla. 
 
 Esacus and Hesperia 
 Tempest. 
 
 Deluge. 
 
 Hannibal. 
 
 Cambycus in the Desert. 
 
 Carthage 
 
 Elisha. Valley of Bones. 
 
 Python." 
 
 „ 32-38. Blank. 
 
 „ 39. “ M r Cooke .” 
 
 „ 40-16. Blank. 
 
 „ 46a. Study of skies — “ Dulwich Sky." 
 
 (Leaf torn out.) 
 
 „ 47-51. Blank. 
 
 „ 51a. A ground plan. 
 
 „ 52-53. Blank. 
 
 „ 53a. “ Half an ounce of Camphor dissolved in a gill oj 
 
 Brandy and taken at three different times of 
 3 minutes a remedy for a surfit or when the rinsing 
 of cold water has taken effect. D' . J ohn de Alton (?) 
 
 White (?).” 
 
 „ 54-55. Blank. 
 
 „ 55 a. Trees and houses on river bank. 
 
 „ 56. Sky. 
 
 „ 56a. \ Sky. 
 
 „ 57. J 
 
 „ 57a. Sky. 
 
 (One leaf torn out.) 
 
 Waterloo 
 
 Faivkes, 
 
 40 
 
 Ships. 
 
 Knights. 
 
 25 
 
 Wheeler. 
 
 30 
 
 Allison 
 
 20 
 
 Cooke , Vesuvius 
 
 30 
 
 Richmond 
 
 25 
 
 Guide to Stratford (?) 
 
 30 
 
 Roby 
 
 200 
 
 Dort 
 
 550 
 
 Scarboro. \ 
 
 Castle <k Town j 
 
 30 
 
 Murray 
 
 400 
 
 Cooke Hastings 
 
 1380 
 
 40 
 
 Coast 
 
 30 
 
 Rye. Battle. 
 
 16 
 
 
 1466 
 
[CLIV (a).] LIBER NOTES (2) SKETCH BOOK. 445 
 
 Page 58a. Woman holding child in her arms. 
 
 „ 59. “ Januaray, January 
 
 Feburary ." 
 
 „ 60-62. Blank. 
 
 „ 62a. \ Study of sky. 
 
 „ 63. J 
 
 „ 63a. A diagi-am. 
 
 (Leaf torn out ) 
 
 „ 64. Blank. 
 
 „ 64a. “ 40 Chancery 
 
 M rs Starkey." 
 
 „ 65. A soldier. 
 
 „ 65a. Clouds. 
 
 „ 66. Do. , &c. 
 
 „ 66a. Houses among trees. — “ R'rnond Hill , &c.” 
 
 „ 67. Distant houses, &c. 
 
 „ 67a. A vessel. — “ Copper Bottom. Rudder, Eggs, straw, &c." 
 
 68. Study of clouds. 
 
 68a. A wreath ; written inside — “ 81 1818" ; 
 
 also — 
 
 “ 30 March paid Miss West 8 
 
 15 April ditto 7 — 10 
 
 Watson. 23 April — 10 
 
 Twitson. 12 Feby — — 5." 
 
 69. Design for Mr. Fawkes’s “ Dort ” ; also — 
 
 “ M Fawkes' Bond 1200 
 
 Note 780 
 
 Dort 550 — 27 — 10 
 
 Sir John Leicester's Note 400 — 20. 
 
 2930 
 47 10 
 
 Interest upon Sir John, 2 years 40 — 
 
 3017 — 10 
 
 *9 
 
 11 
 
 69a. 
 
 70a. 
 
 | 
 
 Study of sky. 
 
 11 
 
 71. 
 
 71a. 
 
 I 
 
 I 
 
 Do. 
 
 11 
 
 72. 
 
 / 
 
 
 11 
 
 72a. 
 
 1 
 
 Do. 
 
 11 
 
 11 
 
 73. 
 
 73a. 
 
 / 
 
 Do. 
 
 11 
 
 11 
 
 74. 
 
 74a. 
 
 ) 
 
 Do. 
 
 11 
 
 75. 
 
 
 Do. 
 
 11 
 
 75a. 
 
 
 Do. 
 
 11 
 
 76. 
 
 
 Do. 
 
 11 
 
 76a. 
 
 
 Do. — ' 
 
 i y 
 
 77 
 
 
 Do. — ' 
 
 Opposite the Sun. W. N.E. 
 
 the Roby drag," &c. 
 
 N.E. leaving off of Rain." 
 
 On 
 
446 
 
 TURNER DRAWINGS. [CLIV (a).] 
 
 Page 77a. “ Land upon Twickenham Lane 
 
 King Head Turf. Feb. 1. 25. Wednesday. 
 M r James, New Boswell Ct., and M‘ Peyton. 
 
 21 Golden Lane. Feb. 23. Monday. 
 
 2 Brig, of Guards. 2 Bat. of the Coldstr earns. 
 
 2 B. of 3 Rt. of F. Gds. 1 Bat. of German Horse 
 Artillery. Ac." 
 
 (38 leaves drawn on.) 
 
 1816 4822 * (AET. 41-47). 
 
 CLV . — “ Kl RKSTALL LOCK” SKETCH BOOK. 
 
 Schedule 164. 
 
 Page 
 
 95 
 
 59 
 
 55 
 
 99 
 
 55 
 
 55 
 
 59 
 
 59 
 
 55 
 
 95 
 
 95 
 
 95 
 
 99 
 
 59 
 
 59 
 
 59 
 
 59 
 
 95 
 
 1. 
 
 r** • 
 
 3. 
 
 4. 
 4a, 
 
 5. 
 
 A number of loose leaves, and part of one paper 
 cover or fly-leaf of a sketch book. 
 
 Water mark, — none. 
 
 Size of page, 7f x 9|. 
 
 Road running through rural landscape — “ Horses and 
 Ploughmen Returning f rom Work." 
 
 Lock gates with “ Barges unloading Coals." 
 
 House by river, with distant church tower. 
 
 River scene. 
 
 | Bridge, with lock gates. 
 
 5a. Another view of same bridge. 
 
 6. River scene. 
 
 7. Near Kirkstall Lock. 
 
 8. Houses with boats on shores of river. 
 
 9. Group of houses. 
 
 10. Bay, with cliffs. 
 
 11. Houses, with distant headland. 
 
 12. Town in middle distance, at foot of hills. 
 
 13. Lock gates. 
 
 14. Kirkstall Abbey. 
 
 15. Lock gates, with Kirkstall Abbey in distance. 
 
 16. Kirkstall Lock. Water colour. (The view engraved 
 
 in “ River Scenery ” [1827] is looking in opposite 
 direction.) 
 
 17. River scene, with “ Carpenters at work mending the 
 
 sluice." 
 
 18. Trees and buildings beside river. 
 
 19. Kirkstall Abbey, with cornfield. Water colour. 4th 
 
 Loan Collection, No. 29. 
 
 (19 leaves drawn on.) 
 
[CL VI.] 
 
 447 
 
 1817 * (AET. 42). 
 
 CL VI . — “ RABY" SKETCH BOOK. 
 
 Schedule No. 226. 
 
 Sketch book, bound, in mottled boards, with black 
 leather back and corners. 
 
 Turner’s label — “115. Baby.'" 
 
 Executor’s endorsement — “No. 226. 27 in Pencil 
 and 2 in Colors. 
 
 (Sgd.) C. Turner.” 
 
 Watermark — “ J. Whatman, 1815.” 
 
 Size of page, 9| x 13. 
 
 The drawings were distributed, but no record was 
 made of their original sequence. Most of the draw- 
 ings are continued over two sheets of paper, which 
 affords some clue to their proper positions ; but as 
 some of the leaves have been mounted and stuck 
 down tight, the drawings on the back have thus 
 been sacrificed. 
 
 Page 1. Blank. 
 
 „ 2. Stream, with one-arched bridge ;• a square-shaped 
 
 tower and cottage on hill in middle distance. The 
 foreground is worked in water colour, with a mono- 
 chrome foundation. Exhibited Drawings, No. 297, 
 N.G.. as “ Scotland (Latest Period).” 
 
 „ 3. \ Gibside,the seat of the Earl of Strathmore. See Engraving 
 
 „ 4. J in Surtees’ “ Durham,” published December 1st, 1819. 
 
 „ 5. Distant landscape, with river and hills. 
 
 „ 5 a. ) Another view of Gibside, near Swalwell, on River 
 
 „ 6. j Derwent. 
 
 ., 6a. Another view of Gibside. 
 
 „ 7. A mansion on hill in park ; probably Gibside. Appa- 
 
 rently continued on another page, which is now 
 missing. 
 
 „ la. Another view of Gibside. 
 
 „ 8. Gibside in distance. 
 
 „ 8a. Two landscapes, and details of Hilton Castle and church. 
 
 „ 9. River between hills, with a castle in middle distance. 
 
 „ 9a. Details of Hilton Castle, 
 
 „ 10. Hilton Castle. See Engraving in Surtees’ “ Durham ” ; 
 
 also CXCVII, P. 
 
 „ 11. Landscape. 
 
 „ 11a. Landscape. Looks like portion of a missing drawing. 
 
 In foreground — “ Road to near (? New) Roby .” 
 
 „ 12. Blank and torn. 
 
 „ 12a. Huntsmen and dogs at Raby Meet. 
 
448 
 
 TURN Eli DRAWINGS. 
 
 [CLVI.] 
 
 Page 13. 
 
 „ 13a. 
 „ 14. 
 
 ,. 14a. 
 „ 15. 
 
 „ 15a. 
 „ 16. 
 
 „ IGa. 
 „ 17. 
 
 „ 18- 
 
 „ 18a. 
 
 „ 19. 
 
 „ 19a. 
 
 „ 20 . 
 
 „ 21 . 
 
 „ 21a. 
 
 „ 22 . 
 
 22a. 
 
 23. 
 23a. 
 
 24. 
 
 99 
 
 ’9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 24a, 
 
 25. 
 
 25a, 
 
 26. 
 
 26a. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 
 29. 
 
 30. 
 30a, 
 
 31. 
 
 *9 
 
 99 
 
 99 
 
 31a. 
 
 32. 
 
 32a, 
 
 Two view's of Raby Castle ; low r er one, “ Rahy , from 
 the Auckland Road." 
 
 Meet at Raby Castle. 
 
 Raby Castle. 
 
 Huntsmen ancl horses. 
 
 Landscape, with Raby Castle in middle distance. 
 
 “ Rahy S. W." 
 
 Landscape, wdth Raby in middle distance. 
 
 | Raby Castle. 
 
 Part of landscape. Looks like portion of a missing 
 drawing. 
 
 ) Raby Castle. 
 
 | Raby Castle. 
 
 The reverse of 21a ; contains a drawing,, but is stuck 
 down tight. 
 
 Raby Castle. (Oxford, 89-705.) 
 
 Raby Castle. Continuation of previous drawing. 
 (Oxford, 88-65). 
 
 Details of buildings, trees, &c. “ Belonging to Rahy." 
 
 A draw ing, but stuck down tight, 
 
 Raby Castle. Partly coloured. (Oxford, ill -925.) 
 
 Raby Castle. Partly coloured. Continuation of pre- 
 vious drawing. (Oxford, 90-92a.) 
 
 A drawing on back, but stuck down tight, 
 
 Raby Castle. 
 
 ( An abbey church (?) on hill in middle distance, with 
 < winding river in foreground. The palace of the 
 ( Bishop of Durham. Bishop Auckland. 
 
 Another view of same scene. 
 
 Blank. 
 
 | Another view of same building. 
 
 \ Hilly landscape, with houses. Part of p. 29 has been 
 / cut off. 
 
 River winding among hills. 
 
 1 Streatlam Castle, Staindrop (near Raby). View T of 
 j the house and grounds ; in margin, various archi 
 tectural details — “ Side windows stone hand only, 
 West door" &c. 
 
 | Another view of same building. 
 
 Part of landscape ; continuation of a missing drawing. 
 
 (31 leaves drawm on.) 
 
[CLVII.] 
 
 449 
 
 1817 * (AET. 42). 
 
 CLVII.— " DURHAM, NORTH SHORE” SKETCH BOOK. 
 
 Schedule No. 373. 
 
 Sketch book, bound in leather, with one brass 
 clasp (broken). 
 
 Turner’s label on back, “ 32. Durham, North 
 Shore ” ; written in ink on one of the covers, 
 “ Northumberland and Part of Durham." 
 
 Executor’s endorsement, “No. 373. 56 leaves of 
 slight sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Water mark, “ J. Whatman, 1811.” 
 
 Size of page, 44 x 7 T 3 ^. 
 
 Inside one cover, a slight sketch of a cliff and “ G. Spoors , 
 Solicitor ” ; inside other : — 
 
 
 
 “ Newcastle 
 
 1 
 
 
 
 Ditto 
 
 1 
 
 
 
 Wine 
 
 1 
 
 
 
 Newcastle Bill 
 
 2 
 
 
 
 Durham 
 
 1.” 
 
 Page 
 
 1 . 
 
 Vessel on river. 
 
 
 ff 
 
 2. 
 
 Lighthouse and 
 
 pier. 
 
 ff 
 
 3. 
 
 Bridge at Newcastle-on-Tyne 
 
 ff 
 
 4. 
 
 Do. 
 
 do. 
 
 ff 
 
 5. 
 
 Do. 
 
 do. 
 
 (Leaf with sketch on torn out.) 
 
 „ 6. Durham Castle. 
 
 „ 7. Bridge at Durham. 
 
 „ 8. Durham Cathedral from across the river. 
 
 „ 9. Do. do. 
 
 „ 10. Durham, with river and bridge. 
 
 „ 11. Durham Cathedral. 
 
 „ 12. Durham. 
 
 „ 13. Do. 
 
 „ 14. Path over hill. 
 
 ,, 15. Ruined castle. 
 
 „ 16. Do. 
 
 „ 16a. \ Castle, with bridge in foreground. 
 
 „ 17. J 
 
 „ 17a. 1 Landscape, with castle. 
 
 „ 18. / 
 
 „ 19. Blank. 
 
 „ 19a. ) Road over hill, with figures mending bridge. 
 
 „ 20 . 1 
 „ 21 . ) 
 
450 
 
 TURNER DRAWINGS 
 
 [CLVII.] 
 
 Page 21a, 1 
 
 j The Episcopal Palace, Bishop Auckland. 
 
 See 
 
 99 
 
 99 ' 
 
 :■ pp. 25a-28, “ Raby ” Sketch Book, for other draw- 
 
 99 
 
 23. 1 
 
 ! ings of same buildings. 
 
 
 
 99 
 
 23a. i 
 
 ! Do. do. 
 
 do. 
 
 
 99 
 
 24. j 
 
 r 
 
 
 
 99 
 
 24a. 1 
 
 1 Do. do. 
 
 do. 
 
 
 99 
 
 25. j 
 
 r 
 
 
 
 99 
 
 25. 
 
 Do. do. 
 
 do. 
 
 
 99 
 
 26a, i 
 
 1 Do. do. 
 
 do. 
 
 
 99 
 
 27. j 
 
 r 
 
 
 
 99 
 
 27 a. ] 
 
 ( Landscape, with distant hills. 
 
 
 
 99 
 
 28. j 
 
 r 
 
 
 
 
 28 a. | 
 
 [ Do. — “ Cock 
 
 Lake n 
 
 (or 
 
 99 
 
 29. j 
 
 \ Castle). 
 
 
 
 2 9a. \ Hilly landscape, with figure on horseback. 
 
 30. J 
 
 I Hilly landscape, with figures, horse and cart, <fee. 
 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 
 Road aci-oss hills. 
 
 \ Hilly landscape. 
 
 J 
 
 | Bridge, with ruins on hill above. Barnard Castle 
 
 33a. 
 
 34. / 
 
 35-49. Blank. 
 
 50. Distant hills. 
 
 51. Blank. 
 
 51a. 1 Distant hills. — “ Towards Bowes." 
 
 52. J 
 
 53-74. Blank. 
 
 74a. River, with trees, and castle in mid-distance. 
 
 75. Blank. 
 
 75 a. River, with trees, and castle in mid-distance. 
 
 76. Blank. 
 
 76a. Bridge, with town on hill beyond. 
 
 77. Blank. 
 
 77a. \ Prudhoe Castle, Northumberland. See Engraving in 
 
 78. J “ England and Wales,” published March 1, 1828. 
 78a. I Prudhoe Castle. 
 
 79. J 
 
 79a. 1 Do. 
 
 80. j 
 
 80a, \ Do. 
 
 81. J 
 
 81a. River scene. 
 
 82. Blank. 
 
 82a. River, with ruins. 
 
 83. Blank. 
 
 83a. River, with ruins. 
 
 84. Blank. 
 
 84a, River, with ruins. 
 
 85. Blank. 
 
 85a. River, with ruins. 
 
 86. Blank. 
 
451 
 
 [CLVII.] DURHAM, NORTH SHORE. 
 
 Page 86a. 
 „ 87. 
 
 „ 87 a. 
 „ 88 . 
 
 „ 88 a. 
 
 „ 89. 
 
 „ 89a. 
 „ 90. 
 
 „ 90a. 
 „ 91. 
 
 ,, 91a. 
 „ 92. 
 
 „ 92a. 
 „ 93. 
 
 „ 93a. 
 
 River, with ruins. 
 
 Blank. 
 
 River, wilh building in mid-distance. 
 
 Blank. 
 
 River, with castle in mid-distance. 
 
 Blank. 
 
 Landscape, with trees. 
 
 Blank. 
 
 Ruined castle. 
 
 Blank. 
 
 Castle on hill. 
 
 Buildings and trees. 
 
 Landscape, with bridge and distant castle (?) 
 
 Blank. 
 
 Ruined castle. 
 
 (57 leaves drawn on.) 
 
 1816 - 1818 * (AET. 41-43). 
 
 CLVIII . — “ SKI ES " SKETCH BOOK. 
 
 Schedule No. 159. 
 
 Sketch book bound in parchment. 
 
 Turner’s label on back, “ 79. Skies." 
 
 Water mark, “ J. Whatman, 1814.” 
 
 Size of page, 4| x 9f. 
 
 All the drawings are in water colour unless otherwise 
 specified. 
 
 Inside one of the covers there is a slight sketch in pencil of 
 a sky, with the written notes, “ Yellow 'light. Blue Shadows. 
 Red Crimson Light." 
 
 Page 
 
 1 . 
 
 Blank anc 
 
 99 
 
 2. 
 
 Study of 
 
 9 ? 
 
 3. 
 
 'Do. 
 
 99 
 
 4. 
 
 Do. 
 
 99 
 
 5. 
 
 Do. 
 
 99 
 
 6. 
 
 Do. 
 
 99 
 
 7. 
 
 Do. 
 
 99 
 
 8. 
 
 Do. 
 
 99 
 
 9. 
 
 Do. 
 
 99 
 
 10. 
 
 Do. 
 
 99 
 
 11. 
 
 Do. 
 
 99 
 
 12. 
 
 Do. 
 
 99 
 
 13. 
 
 Do. 
 
 99 
 
 14. 
 
 Do. 
 
 V 
 
 15. 
 
 Do. 
 
 sky. 
 
452 
 
 TURNER DRAWINGS. [CLVIII.] 
 
 Page 16. Study of sky. 
 
 55 
 
 17. 
 
 Do. 
 
 
 95 
 
 18. 
 
 Do. 
 
 
 59 
 
 19. 
 
 Do. 
 
 
 
 20. 
 
 Do. 
 
 
 99 
 
 21. 
 
 Do. 
 
 
 
 22. 
 
 Do. 
 
 
 •9 
 
 23. 
 
 Do. 
 
 
 
 24. 
 
 Do. 
 
 
 
 25. 
 
 Do. 
 
 
 
 26. 
 
 Do. 
 
 
 
 27. 
 
 Do. 
 
 
 9 9 
 
 28. 
 
 Do. 
 
 
 
 29. 
 
 Do. 
 
 
 99 
 
 30. 
 
 Do. 
 
 
 99 
 
 31. 
 
 Do. 
 
 
 95 
 
 32. 
 
 Do. 
 
 
 
 33. 
 
 Do. 
 
 
 59 
 
 34. 
 
 Do. 
 
 
 99 
 
 35. 
 
 Do. 
 
 
 59 
 
 36. 
 
 Do. 
 
 
 *9 
 
 37. 
 
 Do. 
 
 
 •9 
 
 38. 
 
 Do. 
 
 
 99 
 
 39. 
 
 Do. 
 
 
 95 
 
 40. 
 
 Do. 
 
 
 99 
 
 41. 
 
 Do. 
 
 
 99 
 
 42. 
 
 Do. 
 
 
 99 
 
 43. 
 
 Do. 
 
 
 99 
 
 44. 
 
 Do. 
 
 
 55 
 
 45. 
 
 Do. 
 
 
 55. 
 
 46. 
 
 Do. 
 
 
 99 
 
 47. 
 
 Do. 
 
 
 95 
 
 48. 
 
 Do. 
 
 
 9* 
 
 49. 
 
 Do. 
 
 
 99 
 
 50. 
 
 Do. 
 
 
 99 
 
 51. 
 
 Do. 
 
 
 
 52. 
 
 Do. 
 
 
 
 53. 
 
 Do. 
 
 
 
 54. 
 
 Do. 
 
 
 
 55. 
 
 Do. 
 
 
 99 
 
 56. 
 
 Do. 
 
 
 55 
 
 57. 
 
 Do. 
 
 
 
 58. 
 
 Do. 
 
 
 99 
 
 59. 
 
 Do. 
 
 
 *9 
 
 60. 
 
 Do. 
 
 
 99 
 
 60«. 
 
 Salt Hill, Windsor. 
 
 Pencil. 
 
 99 
 
 61. 
 
 Study of sky. 
 
 
 *9 
 
 61a. 
 
 Salt Hill, Windsor. 
 
 Pencil. 
 
 
 62. 
 
 Study of sky. 
 
 
 „ 62a. Sheep washing, Salt Hill, Windsor. Pencil. See “Liber” 
 
 plate (R. 74). Unpublished. 
 
 „ 63. Study of sky. 
 
 „ 63«. Sheep washing, Windsor. Pencil. 
 
 „ 64. Study of sky. 
 
[CL VIII.] 
 
 SKIES SKETCH BOOK. 
 
 453 
 
 Page 64a. 
 
 55 
 
 5 ? 
 
 95 
 
 99 
 
 55 
 
 95 
 
 55 
 
 95 
 
 95 
 
 99 
 
 65. 
 65a. 
 
 66 . 
 
 66a. 
 
 67. 
 67a. 
 
 68. 
 68a. 
 69. 
 69a. 
 
 j Fourth of June at Eton. Pencil.* 
 
 | Fourth of June at Eton. Pencil. 
 
 Mansion, with portico. Pencil. 
 
 Study of sky. 
 
 \ Greenwich Hospital, &c., from Greenwich Hill, u Sl. 
 / Magnus ” in distance. Pencil. 
 
 River scene. Pencil. 
 
 Study of sky. 
 
 An interior with open doors leading to garden. Pencil. 
 
 (68 leaves drawn on.) 
 
 1817 (AET. 42). 
 
 CLIX.— ITINERARY RHINE TOUR SKETCH BOOK. 
 
 Schedule No. 394. 
 
 Small pocket book, bound in brown leather. 
 Turner’s label on back — u 42. Rhine” ; written in 
 ink on cover — “ Ostend, Rhine.” 
 
 Executors’ endorsement — “ No. 394. Contains 
 66 leaves pencil sketches. 
 
 (sgd.) H. S. Trimmer, 
 
 C. Turner.” 
 
 Water mark — “ 1817.” 
 
 Size of page — 2J x 4 X V 
 
 Mr. Ruskin’s endorsement on wrapper — “ 394. Of 
 little value, but has the study for Fawkes’s Dort. 
 One leaf out.” 
 
 Written inside covers : — 
 
 “ Boots (? Books) 
 
 Pouch 
 
 Fever medicine 
 Bark 
 Pencils 
 Colors ” ; 
 
 “ Vier ist myn Simmer 
 Where is my Chamber” dec. 
 
 (Pages 1 to 30 form a kind of MS. guide book, written in 
 ink by the artist. Interspersed with small pencil sketches, 
 &c.) 
 
 * Entry in Mrs. Fawkes’s diary for Jth June, 1818 : — “ Went to Eton to see the 
 boat race. Dined and slept at Salt Hill, Little Turner came with us.” 
 
 2 0 
 
 33796 
 
454 
 
 TURNER DRAWINGS. 
 
 [CLIX.] 
 
 Page 1. “ Ostend 
 
 “ Lcdsser passer sans aucune empechement. 
 
 Inn The Hotel de la Gour Imperiale. Badly served. 
 Charges dear. 2 francs for Breakfast. En passant. 
 
 Napoleons a nd f rancs to have. Table 
 
 d'hote 1 \ 2 past one. 2 fr. f 2 . good (?) sup. the place of 
 the Schuyls'to Bruges — f 3 a League. Ganotte freight 
 7, a franc, trichschuyts .- Barque, jagartge postil- 
 lion . .” 
 
 ,, 1 a. “ Schippers. horsemen . . . best Cabin a franc , 
 
 time 2 hours. 12 miles to Bruges." ; 
 
 „ la. | also slight pencil sketch off “ Newhaven." 
 
 o I 
 
 „ 2a. A coach. 
 
 „ 3. “ Bruges. 
 
 Porters for luggage with brouette. Barrow, passport 
 ex. printed blanks to fill up at the Inn. 
 
 Inn. Fleur de Bles near the Grande Place. 
 
 Table de Hate very early dinner at 
 
 3 f rancs. 
 
 Saint Sauveur Hospital a few pictures, one of Phillip 
 the Good by John of Bruges, the Martyrdom of 
 St. Quinct ill anus in white of Egg, 7 acts of Mercy 
 by Ac. Ac." 
 
 „ 3 a. “ Buildings , the Halle , nr the Grand Place, the 
 
 Esplanade des Dames Anglaises." 
 
 „ 4. Two groups of figures. 
 
 „ ia. Landscape with building. 
 
 „ 5 “ Ghent. 
 
 Schuyts come Morning at 9. A Bell gives notice from 
 the Town poorte or quay, but cabin 5 francs. Ac. 
 dinner at one o'clock. Bordeaux wine 2 f . 7 /, pr. bottle. 
 
 Inn. Hotel de Flandre or Due de Wellington, both in 
 the High Street. 
 
 Buildings. Church of the Dominicans. St. Michael, 
 the Crucifixion by Vandyke. St. Bavon Ac." 
 
 „ 5. “ Evertign. Hantort, Ac." 
 
 ,, 6. Bridge and buildings. 
 
 ,, 7. 11 Brussels . to Lei ge 15 franc. 
 
 So miles from Ghent 
 
 Inns. Hotel de Holland. 8 o'clock 3 fr. 4 — 4 fr. 
 
 Flander. 
 
 de Belle Vue. 
 
 Prince of Wcdes on one side of the Park, the Hotel de 
 Angleterre — 
 
 Bill Carte, with prices. Fourberies. 
 
 C heeds. 
 
 Road to Louvain the best view 
 
 Buildings. The Cathedral St. Gudule. New Church 
 of Cousenberg , Palace of Laekin," 
 
[CLIX.] 
 
 ITINERARY RHINE TOUR. 
 
 455 
 
 Page la. “ failles veils , sabots — wooden shoes, chaise d Simon (?) 
 a cart with a Hood and 2 Horses. 
 
 Waterloo lies on the road to Charleroi. Jean de 
 Nivelles a inspection — at the end of St. Jean the 
 roads f rom Charleroi and Nivelles meet." 
 
 „ 8. “ Dutch casks " and vessels. 
 
 „ 9. “ Antwerp. 
 
 Inns. Grand Hotel de VOurs. Place de Min (?). 
 du Grand La.bourer de V Empereur 
 B. Cathedral Notre Dame. Church St. Jaques. The 
 Jesuit's Church — by Rubens. 
 
 Fare to Rotterdam. 23 francs. St. Antoine. 
 
 Guilder or florin about 20 pence Place du Vert. 
 
 8." 
 
 „ 1 0. “ Amsterdam. 
 
 Inn. The Arms of Amsterdam, corner of Rusland. 
 table d'Hole 3 o'clock 2 florins with a pin t of Bordeaux 
 Pictures, the Surgeon — Theatre de Anatomic. 
 
 Stad House , Rembrant Corp de Garde, over the 
 Museum — gratuity a florin." 
 
 „ 10a. A bridge and town. 
 
 „ 11. MS. note in pencil. 
 
 ,, 11a. I Distant hills ; also on p. 12 
 
 „ 12. / “ Haarlem, 9 Miles from A. 
 
 Schuyts from the Hciarlche Poorteall hours, fare a 
 Guilder. 
 
 Inn. The Gehroonde Zwaan, near the Leydclie Poorte " 
 „ 13. “ The Hague, 
 
 or Weys de Bosche 
 
 Inn. Bosse Vierhuis . . op. de Qui." 
 
 „ 13a. “ Helvcutsluys. Place Inn. 80 feet water . 
 
 Brill to Rotterdam, 12 miles Ac." 
 
 „ 14. “ Rotterdam 
 
 Boomptjee or Boomquciy. Ac." 
 
 „ 14a. “ Can ive de Rasphuye see Ac." 
 
 „ 15. “ Ccm ich here essen — can I have cmything to eat Ac." 
 
 (2 leaves torn out.) 
 
 ,, 10. “ Spire — on the Rhine. 
 
 Hidelburg — about 70 miles above Spire, the most 
 
 way— to Frankfort on the Main, 
 
 then by Darmstadt to Hidelburg . 
 
 Antwerp. The Bear Black." 
 
 „ 17. “ Manheim. 
 
 Building the Jesuits Church, Town House. 
 
 Inn. Cour Palatine. Good" 
 
 „ 18. “ Mentz to Manheim flat. 
 
 Bridge of 40 Boats." 
 
 „ 19. “ Mentz to Bingen 21 Miles. 
 
 between which there are 40 towns with several castles . — 
 Waallujf a small town on the Nahe, at its junction 
 with R. is Bingen." 
 
 „ 20. “ Bingen loch. 
 
 A Castle and Abbey, on the Nahe A \ — the Island and 
 Toivn. Bridge over the Nahe built by Drusus " 
 
 2 0 2 
 
 32796 
 
456 
 
 TURNER DRAWINGS 
 
 [CLIX.] 
 
 Page 21. “ Rudeslieim opposite to Bingen 
 
 Johannis-berg, about the middle of the Rhinegau " 
 also a slight pencil sketch of bridge and town. 
 
 „ 22. “ Baccharach or Bacchi-ara. 
 
 Inn, the Star — le Etoile. 
 
 In the ivag — Husbeck, an ancient Gateway, Castle of 
 Hoggestein and two others in the way — from the 
 apartment at Baccli. the city of Kaub, and two more 
 Castles and the remains of a Church , Gothic. 
 
 3 miles below Baccharah a Plats and a, castle on a rock 
 in the middle of the R." 
 
 „ 2d. “ Oberwesel 6 miles below B. 
 
 Boat ten pence, a franc. Castle of Tefels commands 
 the town, or Vessel Castle, Church of St. Martin." 
 
 ,. 23a. “ French Language. D. L. 292 Holborn. 
 
 2 Gs. the month. 
 
 „ 24. “ St. Goar 
 
 4 small distance below Vessel a dangerous Whirlpool, 
 a mile below where the banks are very close. Castle 
 of Rhenfels. good Inn. the Bois Ver 'd. Schwalbach 
 water or sour water sold here which corrects the sour 
 wine. The castle of the Cat seen from the Inn. the 
 r. Bank with Goarhausen at the bar and Patisberg — ” 
 
 „ 24a. “ likewise the Mouse Castle with Village of Welmich." 
 
 „ 25. “ Boppart 
 
 a Tower and Nunnery 
 
 Brabach — by Spiez. 
 small Inn by the water side but badly 
 The castle of Marxburg. Reuse 
 
 Obers Lahnstein 
 
 Castle of Lonach. Hermitage near." 
 
 ,, 26. “ The Entrance of the Lalm 
 
 at Nether Lahnstein 
 Castle of Capelle seen from the Inn 
 Ober Lahnstein at its foot. Tiberius. 
 
 Haverdorf. r. side of R. 
 
 1 j 2 way between Nether Lahnstein and Coblentz fine 
 view of Ehrenbreitslein." 
 
 „ 27. “ Coblenz 
 
 Stone Bridge over the Moselle 14 Arch 
 At the Palaces. 
 
 Inn at the river side opposite Ehrenbreitstein . 
 
 Friar's Grace." 
 
 „ 28. “ Andernach. Roman. 
 
 Castle and walls. Rafts. Touffstein. 
 
 Hammerstein 2. 
 
 Castle and town. 
 
 Lintz opposite. 
 
 opposite Hammerstein — Reinach. Castle at its foot. 
 Tower Reineck." 
 
 „ 28a. Four pencil sketches of Draclienfels and Roland’s Eck. 
 
[CLIX.] 
 
 ITINERARY RHINE TOUR. 
 
 457 
 
 “ a league below towards Cologne 
 Rowland's Keitz Castle — v romantic with Umkel or 
 Unkel. 
 
 Bonne 
 
 a watering place near here mntd by Miller. 
 
 Cologne." 
 
 A number of figures of women, porters, &c. — “ Men 
 Black Scotch Bonnet ," 11 Nun Black," “ Striped with 
 a Hood," <kc. 
 
 “ Aix la Chctpelle 
 Inn Cour des Londre 
 
 Castle of Schonfort 3 miles not remarkable 
 Castle of Shogwin 
 near Liege 
 
 Hui — - 
 Namur." 
 
 (End of Itinerary written in ink.) 
 Also pencil sketch of female head-dress — “ White 
 cap sometime color'd but most red or pink spots." 
 
 '60a. View of Rhine near Drachenfels, and sketch of a 
 building, with “ Island" written beneath it. (Build- 
 ing on Island of Nonnenwerder.) 
 
 31. “ Brussels. — Hotel de Flandrcs. do Angleterre. Hotel 
 
 de Belle Vue. 
 
 Cortenberg 
 
 1% 
 
 Louvain 
 
 T\, 
 
 Tirlemont 
 
 2% 
 
 St. Trond 
 
 2 
 
 Orey 
 
 2% 
 
 Liege 
 
 2 I j J . Hotel I'Aigte Noir. Hotel de 
 Flanders. 
 
 Batizza 
 
 2 r h 
 
 Aix la Chapelle 
 
 3 Le Grand Hotel, le Dragon d'or 
 
 Juliers. 
 
 3 
 
 Berchima 
 
 2% 
 
 Cologne 
 
 3 La Ville de Baque. Le Grand 
 Rheinberg,&c." 
 
 “ 5 1 /., Hours. 
 
 3 posts <kc." 
 
 “ Bonn. 
 
 3. La Cour Imperiale 
 
 Remag en 
 
 2% 
 
 Andernach 
 
 3 
 
 Coblenz. 
 
 3. Les Trois Swisses. Le Gout de 
 Treves. Left Bank of the Rh inc, 
 La Lille la post. 
 
 Boppart. 
 St. Goar. 
 
 2 % La Poste. Le Mirroir. 
 
 If. La Forest Verte. Le Lys. 
 
 Bacharacli. 
 
 If 
 
 Bingen 
 
 
 Mayence 
 
 3 Les Trois Couronnes. Le Cour de 
 Mayance." 
 
 Page 29. 
 
 29. 
 
 30. 
 
458 
 
 TURN Eli DRAWINGS. 
 
 [CLIX.J 
 
 Page 33. 
 
 34. 
 
 “ Hadersheim 
 Fravckfort 
 
 Darmstadt 
 Hepperheim 
 Wenheim. 
 
 Heidelberg. 
 
 Wissloch. 
 
 Bruchsal. 
 
 Darlach. 
 
 Ettlinger 
 Rastadt 
 “ Buhl. 2 
 
 Appen weher 3 
 
 Offerberg. & La Gouronne. 
 
 2 L. Blanc. Le Bonn Noir 
 
 2 L. L'Hotel de Angleterre La Gygne 
 
 Wine Bush 
 
 3 La G our de Hesse. La Paste 
 3‘lz Le Soleil. 
 
 0 
 
 2 . 
 
 2 
 
 1 
 
 2 
 
 Le Brochet d'Or. Les Trois Rois. 
 Baden. 
 
 Le Cerf 
 La Paste 
 
 La Croix Le Soleil." 
 
 Friesenheim 
 Kenzingen 
 Ernmendingen 
 Fribourg 
 Krotzinyen. 
 Muhlheim 
 Kaltcnherborge 
 Basle 
 
 PI. 
 
 3 
 
 PI s 
 
 0 
 
 1 
 
 o 
 
 Le Negre 
 
 Les Trois Roc. 
 
 .>■). 
 
 “ Coblentz 
 Nassau 
 Ncistadten 
 Schwalbach 
 Wisbaden 
 Hadersheim 
 Francfort 
 
 93 
 
 Swechl and Goode. 
 
 Quick good, 
 geschwind quick 
 Abtritt. privy." 
 
 to Frankfort Right bank of Rhine. 
 
 3 Hoofd 
 
 ? Rotterdam The Wines Hoof 
 
 2 Boar's Head. 
 
 9 1 
 
 13*12 
 
 65 
 
 36. 
 
 37. 
 37a, 
 
 38. 
 38a. 
 
 39. 
 39a. 
 
 40. 
 40a. 
 
 41. 
 
 A ruined castle with mountains in distance (probably 
 Bingen), and figures — “ Woman drying and Bleaching 
 clothes." 
 
 The ruined castle at “ Bingen." 
 
 “ Sinsig." 
 
 “ Sinsig." 
 
 “ Sinsig." 
 
 Male and female figures, bottles, baskets, &c. 
 
 Various figures. 
 
 Do. 
 
 Do. 
 
 Do. 
 
[CLIX.] ITINERARY RHINE TOUR. 459 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 42. Blank. 
 
 43. Study of clouds. 
 
 43a. Do. 
 
 44. Do. 
 
 44a. Do. 
 
 45. Blank. 
 
 45a. 1 View of “ York." 
 
 46. J 
 
 46a. Three figures. 
 
 47. A quay with church in distance. 
 
 47a. A quay with houses. 
 
 48. Boats (?). 
 
 48a. The Swing Bridge, Bonn 
 (Some leaves torn out.) 
 
 49. Bonn Cathedral. 
 
 49a. A town on a river. 
 
 50. Vessels at Dordrecht. 
 
 50a. Near Dordrecht (?). 
 
 51. Clouds. 
 
 51a. A castle. 
 
 52. Do. 
 
 52a. Stags fighting, &c. 
 
 53. Road with bridge in mid-distance. 
 
 53a. Stags fighting. 
 
 54. Young stags. 
 
 54a. Young stags. (This leaf was torn out, and numbered 
 “ 2185 ” in black ink and “ 1002 ” in red ink, by 
 Mr. Ruskin.) 
 
 55. Clouds. 
 
 55 a. Female figure and small view of “ Cologne." 
 
 56. Various figures, &c. 
 
 56a. A castle. 
 
 (Leaf torn out.) 
 
 57. “ Katz ” Castle. 
 
 57a. 4“ Above Goar." 
 
 58. J 
 
 59. Church and town. 
 
 59a. 4 Mayence. 
 
 60. / 
 
 61. Blank. 
 
 61a. Town on the Rhine. 
 
 62. Female figures. 
 
 62a. Three dogs — “Mary " and “ Grafton." 
 
 63. Dogs. 
 
 63a. A landscape (“ Aix ”) ; and dogs — “ Chesterfield ." 
 
 64. Dogs — “Marlin." 
 
 64 a. Dogs — “ Blucher," dec. 
 
 (Leaf torn out.) 
 
 65. Figures on horseback. 
 
 65a. River scene with bridge, &c. 
 
 (2 leaves torn out.) 
 
 66. Landscape with windmill. 
 
 67-69. Blank. 
 
 69a. Carts (various) with figures and horse. 
 
 70. Horses and carts. 
 
460 
 
 TURNER DRAWINGS. 
 
 [CLIX.] 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 n 
 
 99 
 
 9 ) 
 
 71-73. Blank. 
 
 73a. Landscape with, trees. 
 
 74. Blank. 
 
 74a. Various figures. 
 
 75. Blank. 
 
 75a. “ Bacliarach." 
 
 76. Various figures. 
 
 76a. “ Iffels (?).” (? Teffels.) 
 
 77. “ Kaub ." 
 
 77a. Do. 
 
 78. “ T iffels." 
 
 78 a. “ T iffels." 
 
 79. “ Capelle." 
 
 79 a. “ Andernach." 
 
 80. “ Andernach." 
 
 80a. “ Aix " 
 
 81. Female headdresses. 
 
 81a. “ Rheineck " and “ Lonech " (?). 
 
 82. V “ liheineck." 
 
 82 a. Ox carts, &c. 
 
 83. Steep banks of Rhine. 
 
 83a. “ Drakenfels " and “ Oberwesel." 
 
 84. “ Henndorf." 
 
 84a. 1 “ Bonne." 
 
 85. / 
 
 85a. \ “ Bonne." 
 
 86 . } 
 
 86a. Ruins of castle. 
 
 87. “ Aix." 
 
 87 a. A gateway. 
 
 88. A town. 
 
 88a. A well, &c. 
 
 89. Towers. 
 
 89a. Bowls, glasses, &c. 
 
 90. A jug. 
 
 90a. Ox cart, &c. 
 
 91. Blank. 
 
 91a. 1 “ Market Boats at Cologne figures, &c. 
 
 92. J 
 
 92a. Various figures, with tubs, &c. — “ Boy holding up a 
 Kite," “ Corbetle," “ Red Bonnet with gold jacket," Ac. 
 
 93. The match seller, &c. 
 
 93a. Wagon, &c. 
 
 94. Various figures. 
 
 94a. A tower. 
 
 95. Blank. 
 
 95a. \ A headland ; also, — 
 
 96. j “ Coblents. 2 Naps. 
 
 Neder H. . sheirn. 1 
 
 Mayence 
 
 St. Goar 
 
 Cologne 
 
 Aix 
 
 Liege 
 
 Brussels 
 
 1 
 
 1 
 
 2 
 
 1 
 
 1 
 
 5 
 
 Change (?) 10" (or 11). 
 
[CLIX.j ITINERARY RHINE TOUR. 461 
 
 Page 96a. Two boats. 
 
 „ 97. “ Bought of .... 6 fr 
 
 Had 4 
 
 2 Pound Note 2 
 
 Cologne 20 
 
 ■32." 
 
 „ 97a. Vessel. 
 
 ,, 98. “ Manuel pour les Voyageurs sur le Rhin a la Holland 
 
 by Aloise Schriber or Schrieder. 
 
 „ 98a. Study of sky. 
 
 , 99. Various carts, carriages, &c. 
 
 „ 92a. Boat at sea. 
 
 Sunday 10 Aug 1 left London 
 
 
 Mondag off Margate. 
 
 11 
 
 Tuesday Ostcnd 
 
 Bruges. 
 
 12 
 
 Wednesday. 
 
 Ghent. 
 
 13 
 
 Thursday- — E 
 
 Brussels. 
 
 14 
 
 Friday 
 
 ditto. 
 
 15 
 
 Saturday. 
 
 Waterloo. 
 
 16 
 
 Sunday, diligence. Liege , Aix le C. 
 
 17 
 
 Monday. 
 
 Cologne. 
 
 18 
 
 Tuesday, walk. 
 
 Bonne. 
 
 10 
 
 Wednesday . do. 
 
 Remagen 
 
 20 
 
 Thursday. 
 
 Coblentz. 
 
 21 
 
 Friday. 
 
 ditto. 
 
 22 
 
 Saturday. 
 
 St. Goar. 
 
 23 
 
 Sunday. 
 
 ditto. 
 
 24 
 
 Monday. 
 
 Mayence. 
 
 25 
 
 Tuesday 
 
 ditto. 
 
 26 
 
 Wed. 
 
 St. Goar. 
 
 27 
 
 Thursday 
 
 Coblentz. 
 
 28 
 
 Friday 
 
 Cologne 
 
 29 
 
 Saturday 
 
 Ditto. 
 
 30 
 
 Sunday, diligence. 
 
 Aix. 
 
 31 
 
 Monday ditto. 
 
 Liege. 
 
 1 
 
 Tuesday 
 
 Antwerp. 
 
 o 
 
 W ednesday. 
 
 Antwerp. 
 
 3 
 
 Thursday. 
 
 Rotterdam . 
 
 4 
 
 Friday 
 
 ditto 
 
 5 
 
 Saturday. 
 
 Hague. 
 
 6 
 
 Am. 
 
 
 7 
 
 U. (? Utreelit). 
 
 
 8 
 
 R. (?). 
 
 
 0 
 
 D. 
 
 
 10 
 
 R. 
 
 
 11 
 
 S. 
 
 
 12 
 
 (?) 
 
 
 13 
 
 (?) 
 
 
 14 
 
 (?) 
 
 
 15 
 
 100a. Vessel at sea. 
 
 
462 
 
 TURNER DRAWINGS. 
 
 [CLIX.] 
 
 Page 101. “ Bankers account. 
 
 J. D. Hirstatt. Cologne 
 
 Aug 1 Tuesday 1 7 — 20." ; also : — 
 
 “ Lost in the Walett. 
 
 A Book with Leaves 
 ditto. Cambell's Belgium 
 3 Shirts. 
 
 1 Night ditto. 
 
 A Razor 
 
 A Ferrell for Umbrella 
 A 'pair of Stockings 
 A waiscoast 
 ‘j, Doz. of Pencils 
 6 Cravats. 
 
 1 Large ditto 
 1 Box of Colors." 
 
 ,, 101a. Study of sky. 
 
 „ 102. “ Have you seen my baggage , &c." 
 
 „ 102a. A headland ; also : — 
 
 “ M r W. F. Sunday. 
 
 Rev d R. Harrison , Wistoe. 
 
 South Shield," &c. 
 
 (74 leaves drawn on.) 
 
 1817 (AET. 42). 
 
 CLX.— WATERLOO AND RHINE SKETCH BOOK. 
 
 Schedule No. 258. 
 
 Sketch book, bound in leather, with one brass 
 clasp (broken). 
 
 Turner’s label on back : — “ 25 . Rhine." 
 
 Executor’s endorsement : — “ No. 258. 91 leaves — 
 most of them used on both sides with pencil 
 sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Water 1 mark, “ J. Whatman, 1816. 
 
 Size of page, 5| x 3§. 
 
 The covers have been broken off and the leaves 
 distributed, but they were numbered first. 
 
 The following pages were placed in a packet 
 endorsed, “ Invent. 258. Inferior Leaves ” : — 1, 5, 6, 
 7, 10, 11, 13, 17. 18, 19, 20, 22, 23, 24, 25, 28, 29, 30, 
 31, 32, 34, 35, 39, 44, 46, 66, 76, 80, 82, 84, 88, 89. 
 (32 leaves.) 
 
 On inside of both covers there are various pencil sketches 
 of views on the Rhine. 
 
 Page 1. Harbour (?). 
 
 „ la. Four sketches of the Lurlev Beg — “ Laureligh." 
 
[CLX.] 
 
 WATERLOO AND RHINE. 
 
 463 
 
 Page 
 
 99 
 
 99 
 
 99 
 
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 99 
 
 99 
 
 2. I “ La Halle sar la grande Place a Bruges." (Loan 
 
 3. / Collection, No. 1, 121c and 121 d.) (P Continuation 
 
 of drawing on back of p. 4.) 
 
 4. Bridge, with buildings. 
 
 5. Building, with two towers. 
 
 5 a. The Minne-Water, Bruges ; tower and bridge. 
 
 (i. Tower on canal, Bruges. 
 
 7. The Minne-Water, Bruges. 
 
 la. Do. 
 
 8. Blank. 
 
 8a. \ St. Michael’s, Ghent. 
 
 9. / 
 
 9a. The Stadthouse, Brussels. 
 
 10.. Blank. 
 
 10a. ) The outskirts of a town — “Am" (?) (? Arnheim). 
 
 11. J 
 
 11a. \ Ste. Gudula, Brussels. 
 
 12 . / 
 
 12a. \“ Bruxelles." 
 
 13. / 
 
 13a. Ste. Gudula, Brussels. 
 
 14. “ Palace Laekin." 
 
 14 a. Brussels : Bate to Watei'loo." 
 
 15. “ditto." 
 
 15 a. A church at Antwerp (?). 
 
 16. On the quay, “Anvers." 
 
 16a. “ Waterloo." 
 
 17. Antwerp Cathedral. 
 
 17a. Near Waterloo. 
 
 18. Do. 
 
 18a. Do. 
 
 19. “ Belle Alliance Inn ” and “ Haye Sainte." 
 
 19a. Near Waterloo. 
 
 20. Do. 
 
 20a. “ Haye Sainte" and “ Causeway " leading to “Belle 
 Alliance." 
 
 21. ‘ ditto B." 
 
 21 a. “ Causeway down which Bounaparte advanced ," with 
 “ Orchard'' “Line of Army E," “ 4000 killed here," 
 “ Picton killed here," and “1000 killed here." 
 
 22. Another view of same farmhouse. 
 
 22a. Three sketches : (1) “ Belle Alliance," “Haye Sant" 
 in distance, “British Lines," and “French Lines" ; 
 (2) “ Orchard Entrance of Hugomont " ; (3) “ Hugo- 
 mont, side wall of." 
 
 23. A diagram. 
 
 24. Farmhouse, with trees. 
 
 24a. Entrance Gate of Hugomont, forced 4 times," &c. 
 
 25. “ Ruins of Hugomont Gate." 
 
 25 a. Hugomont. 
 
 26. “ General View of Hugomont from the British Lines.' 
 
 26a. I Quay side (?), with church in distance. 
 
 27. / 
 
 27a. Church tower, with “Piles of wood" in foreground. 
 
464 
 
 TURNER DRAWINGS. 
 
 [CLX.] 
 
 Page 28. 
 
 „ 28a. 
 „ 29. 
 
 „ 29a. 
 „ 30. 
 
 „ 30a. 
 „ 31. 
 
 „ 31a. 
 „ 32. 
 
 „ 32a. 
 „ 33. 
 
 ,, 33a. 
 „ 34. 
 
 „ 34a. 
 
 Blank. 
 
 | Castle on hill in mid-distance. 
 
 1 Mountains beside a river (? the Rhine). Probably 
 j the Rosenbourg, near Bonn. 
 
 ( The Castle of Godesberg. 
 
 I The Hochkreuz near Godesberg, with the Castle of 
 j Godesberg in distance. 
 
 | The Castle of Godesberg. 
 
 Nearer view of the castle. 
 
 ) Castle of Godesberg. 
 
 „ 35a. 1 Konigswinter. 
 
 „ 36. I 
 
 „ 36a. 1 A nearer view of Konigswinter. 
 
 „ 37. / 
 
 „ 37a. 1 Another view of Konigswinter — “ Raw Large figure 
 „ 38. j minding the Row vines below." 
 
 ,, 38a. ) Rolandseck and Nonnenw T erth, with the Seven Moun- 
 
 ., 39. J tains. 
 
 ., 39a. \ The Seven Mountains. 
 
 „ 40. J 
 
 „ 40a. | Chateau (?) on hiil beside river. (? Priory of Apol- 
 „ 41. ( linarisberg.) 
 
 „ 41 a. 1 Four sketches. Ehrenbreitstein ( see water colour 
 
 „ 42. j at Bury Art Gallery, Wrigley Donation)," Katz." &c. 
 
 „ 42a. \ Ehrenbreitstein and the “ Katz." 
 
 43. j 
 
 ,, 43a. 1 Priory on hill. 
 
 ,, 44. 
 
 „ 44a. ) Boats and view T on Rhine. 
 
 „ 45. ) 
 
 „ 45a. 1 Town, with mountains. 
 
 „ 46. / 
 
 „ 46a. “ Rentage n," &c. 
 
 „ 47. Tower on river bank. 
 
 „ 47a. The Castle of Rheineck. 
 
 ,, 48. Do. 
 
 „ 48a. Three sketches ; with ruins of the Castle of Hammer- 
 
 stein in distance. 
 
 „ 49. Near Hammerstein ; three sketches. 
 
 „ 49a. Andernach ; also 
 
 ,, 49a. ) Ruins of the Castle of the Electors of Cologne, at 
 
 ,,50. j Andernach. 
 
 „ 50a. \ Ruins of castle at Andernach. 
 
 „ 51. / 
 
 „ 51a. 1 Six sketches on the Rhine. 
 
 „ 52. j 
 
 „ 52 a. View of the river from above. 
 
 „ 53. Ruins of a castle (? Rheinfels). 
 „ 53a. A castle. 
 
[CLX.] 
 
 WATERLOO AND RHINE. 
 
 465 
 
 Page 54. Ruins. 
 
 „ 54a. A castle. 
 
 95 
 
 55 
 
 55 
 
 95 
 
 55 
 
 59 
 
 55 
 
 99 
 
 55 
 
 95 
 
 55 
 
 59 
 
 59 
 
 95 
 
 59 
 
 55 
 
 55 
 55 
 55 
 55 
 99 
 • 5 
 5'» 
 95 
 
 59 
 
 99 
 
 59 
 
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 55 
 
 99 
 
 95 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5 ) 
 
 55 
 
 95 
 
 59 
 
 55 
 
 55 
 
 .55 
 
 55 
 
 55 
 
 55 
 
 55. A town on the Rhine. 
 
 55 a. Castle on Rhine. 
 
 56. Ruins of a castle (? Rheinfels). 
 
 56a. “ Andernach" (?). 
 
 57. Castle (? St. Goarshausen). 
 
 57a. Two sketches — “ Cappelle ” (probably the Castle of 
 Stolzenfels). 
 
 58. “ Liebenstein ” and Sterrenburg ; also “ Boppart." 
 
 58 a. “St. Goar." 
 
 59. Ruined castles. 
 
 59a. A ruined castle. 
 
 60. Three views on the Rhine. 
 
 60a. \ Four views on the Rhine. 
 
 61. J 
 
 Ola Ruins. Probably of Stableck. 
 
 62. Caub and the Pfalzgrafenstein ; also Sooneck. 
 
 62a. Bacharach." 
 
 63. j 
 
 63a. Bacharach. 
 
 64. Ruins of Furstenberg and Sooneck. 
 
 64a, Ruins of church of St. Werner, Bacharach. 
 
 65. Welmich, with ruins of Thurnberg (?), &c. 
 
 65a. Ruined castle (? Sooneck). 
 
 66. Ehrenfels (?) and “ Rudesheim ." 
 
 66a. \ “ Johannisberg ” and “the Rheingau." 
 
 67. / 
 
 67a. “ Walluf" and three other sketches in the Rheingau. 
 
 68. Various sketches at “ Bingen ,” “ Biebrich “ Walluf" 
 
 “ Elfelt ,” &c. 
 
 68a. \ Mayence. 
 
 69. j 
 
 69a. j Mayence — “ Timber ” and “ Boats with Hap ; ” also 
 
 70. J two other sketches. 
 
 70a. ) “ Johannisberg “ Edrich Castle “ Elfelt and other 
 
 71. J sketches in the Rheingau. (Probably on return 
 journey). 
 
 “ Rudesheim ," “ Bornhofen," and the Brothers. 
 
 Three sketches (? of the Katz, St. Goarshausen). 
 
 Several sketches of Caub ; also one with a rainbow — 
 “ below Boppard .” 
 
 Five sketches on the Rhine. 
 
 “ Hi rzenacli," &c.” 
 
 Braubach, with the castle of Marksburg ; also distant 
 views of “ Lahnstein." 
 
 Various sketches at Coblenz, with a distant view of 
 “ Neuivied ." . 
 
 “ Neuwied ,” “ Andernach ,” “ Weissenihurm &c. 
 
 J 
 
 71 a. \ 
 
 72. j 
 72a. \ 
 
 73. J 
 73a. ) 
 
 74. 
 
 74a. 
 
 75. / 
 75a. \ 
 
 76. J 
 76a. ) 
 
 77. / 
 77a. 1 
 
 78. j 
 78a. ( 
 
 79. I 
 
466 
 
 TURNER DRAWINGS. 
 
 [CLX.] 
 
 Page 79a. 1 Tower near Andernach, with “ Sinzig ” in distance; 
 „ 80. / and two other sketches, one of “ Hammer stein.'’’ 
 
 „ 80a. ) “ Brohl “ Rheineck “ Sinzig," and “ opposite 
 „ 81. j Sinzig." 
 
 „ 81a. I “ Lintz" “ Unkel — neatf beloiv Erpel," “ Rolandseck," 
 „ 82. J “ Rheineck," &c. 
 
 ,, 82a. \ Drachenfels, Rolandseck, and Nonnenwerth. 
 
 „ 83. / 
 
 „ 83a. \ “ Bonn " and the Rosenberg. 
 
 „ 84. J 
 
 „ 84a. 1 “ Rolandseck," &c. 
 
 „ 85. J 
 
 „ 85 a. Cologne ; gate near St. Martin’s Church. 
 
 „ 86. Distant view of Bonn (?) 
 
 „ 86a. Walls of Cologne. 
 
 „ 87. Two views of “ Cologne " showing the Bayen Thurm 
 and Cathedral. 
 
 „ 87a. Bayen Thurm and Cathedral. 
 
 „ 88. Do. do. 
 
 „ 89. Blank. 
 
 „ 89a. 1 Ruins of “ Laurestein ; ” also a diagram of fortifica- 
 
 „ 90. j tions, showing — “ Glacis, Counterscarp, Ditch, 
 
 Rampart , Banquette," &c. 
 
 „ 90a. 1 “ Laurenstein" also various sketches of turrets, 
 
 „ '.ll. / towers, «S c. 
 
 „ 91a. Diagram of fortifications, showing “ Body of the place ," 
 “Ravelin," “ Glacis," &c. 
 
 (The following leaf, though unnumbered, seems to have 
 belonged to this book.) 
 
 „ 92. Andernach. 
 
 Andernach, and two other sketches. 
 
 ,, 93. Two views of town. — “ Children playing at ” 
 
 ., 93a. Views of town. — “ Lavenstrin (?).” 
 
 (93 leaves drawn on.) 
 
 1817 (AET. 42). 
 
 CLXI . — THE “RHINE" SKETCH BOOK. 
 
 Schedule No. 177. 
 
 Sketch Book, bound in leather, with one clasp, 
 broken. 
 
 Turner’s label on back — “ 19. Rhine." 
 
 Water mark — “ J. Whatman, 1816.” 
 
 Size of page — 7ff x 10 j. 
 
 The leaves were distributed, but they were 
 numbered first. 
 
 Page 1. Blank — “ Victorious. 1809." 
 
 „ 2. Rolandseck. 
 
 „ 2a. Drachenfels and Rolandseck. 
 
[CLXL] 
 
 THE RHINE. 
 
 467 
 
 Page 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
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 yy 
 
 yy 
 
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 yy 
 
 yy 
 
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 yy 
 
 yy 
 
 yy 
 
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 yy 
 
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 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 3. 
 
 3a. 
 
 4. 
 
 4 a. 
 
 5. 
 
 6 . 
 6a. 
 
 7. 
 
 7 a. 
 
 8 . 
 8a. 
 9. 
 
 10 . 
 
 10a. 
 
 11 . 
 
 I la. 
 12 . 
 12 a. 
 
 13. 
 13a. 
 
 14. 
 
 15. 
 
 16. 
 
 16a. 
 
 17. 
 
 18 . 
 
 19. 
 19a. 
 
 20 . 
 20a. 
 21 . 
 
 Drachenfels and Rolandseck, with the Convent of 
 Nonnenwerth. 
 
 | Rains of the Castle of “ Hammer stein." 
 
 | Do. 
 
 Blank. 
 
 | The Moselle Bridge at Coblentz 
 | Ehrenbreitstein. 
 
 I View of Ehrenbreitstein. (Page 8a is No. 39, 5th 
 J Loan Collection.) 
 
 Rains of a castle. 
 
 | A bend of the river. 
 
 j Do. 
 
 | Do. 
 
 | Do. 
 
 Do. 
 
 Schloss Stolzenfels, with village of Capelleu at its feet. 
 — “ Gapelle" 5th Loan Collection, No. 40. 
 
 | A ruined castle : Stolzenfels. 
 
 The Castle of Marksburg, at Braubach ; figures in 
 foreground, “ Peasants mixing manure." (Oxford 
 173-725, as “On the Rhine.”) 
 
 Marxburg. 
 
 | Braubach, with the Marksburg. 
 
 Continuation of drawing on p. 21. 
 
 A drawing, but stuck down tight ; the reverse of the 
 following drawing (p. 21a). 
 
 21a. Ruins of the Fortress of Rheinfels. (Oxford, 174-73a.) 
 
 22. Continuation of previous drawing, showing banks of 
 
 River with the Castle of Thurnberg on the right. 
 
 22a. ) Rheinfels, with the Katz on the opposite bank in 
 
 23. J distance. 
 
 23a. Part of a drawing of the ruins of Rheinfels. 
 
 24. Continuation of drawing of Rheinfels. Reverse of 
 
 p. 24a (No. 38, 5th Loan Collection). 
 
 24a. St. Goarshausen and the Katz. 5th Loan Collection, 
 No. 38. 
 
 25. St. Goarshausen and the Katz. (Exhibited Drawings, 
 
 6245, N.G.) 
 
 25 a. \ The Katz, with the Lurleyberg in distance. 
 
 26. j 
 
 26a. The Katz. 
 
 265. St. Goar. 
 
 26c. 1 St. Goar and St. Goarshausen with the Katz, with 
 
 27. J Rheinfels and Thurnberg in distance. 
 
468 
 
 TURNER DRAWINGS. 
 
 [CLXI.] 
 
 Page 
 
 27a. 
 
 28. 
 
 28a. 
 
 29. 
 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 34a. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37 a. 
 
 38. 
 38a. 
 
 39. 
 39a, 
 
 40. 
 
 41. 
 41a 
 
 42. 
 
 42a. 
 
 43. 
 
 43a, 
 
 44. 
 44a. 
 
 45. 
 45a. 
 
 46. 
 46a. 
 
 47. 
 47a. 
 
 48. 
 48a. 
 
 49. 
 
 St. Goar, with Rheinfels and Thurnberg. 
 
 The Katz. (Oxford, 172-72a.) 
 
 I The Katz, with Rheinfels across the river. (One 
 J half of this drawing is stuck down tight behind 
 p. 28, the Oxford drawing.) 
 
 ] The Katz with Rheinfels. 
 
 ( Bacharach, with the ruins of Stahlecb. 
 
 \ Ruins of Castle of Fiirstenberg, with Bachai’ach in 
 J distance. 
 
 \ Rheinstein in middle distance, on the left. 
 
 | Assmannshausen. 
 
 ( Rheinstein and Assmannshausen. 
 
 ( Bingen, with the Mausethurm in foreground. 
 
 ) Neuwied, with the monument to Hoche in fore 
 j ground on the left. 
 
 1 The ruins of Rheinfels, at St. Goar. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 \ St. Goar, with the Katz in distance. (Page 42 was 
 j lent to Oxford [170-1605], described as “ Bacharach. 
 
 Original of Oxford sketch.”) 
 
 A drawing on back of p. 42, but stuck down tight. 
 Ruins of castle on rock, with church below. On 
 opposite bank, “ Conical Hills'" and “ Women and 
 Men mending Road" ? Stolzenfels, near Lahnsteins. 
 | Another view of same castle. 
 
 i 
 
 A bend of the River. 
 
 “ Eattenheim" in the Rheingau. 
 
 | A bend of the river. 
 
 | Do. Querv near Ober Lalinstein 
 
 i 
 
 | Ober Lalinstein (?). 
 
 “ Lahneclc," Ober Lahnstein. 
 The Marksburg, Braubach. 
 
 99 
 
 49a, 
 
 A bend of the river. 
 
 Near Ober Lahnstein. 
 
 99 
 
 50. 
 
 Do. 
 
 do. 
 
 99 
 
 50a. 
 
 Do. 
 
 do. 
 
 99 
 
 51. 
 
 “ Ode r Lalinstein." 
 
 
 99 
 
 51a. 
 
 1 Ober Lahnstein. 
 
 
 99 
 
 52, 
 
 j 
 
 
 ?? 
 
 53. 
 
 Cologne Cathedral. 
 
 Exhibited Drawings, 
 
 N.G. 
 
[CLXI.] THE RHINE SKETCH BOOK. 
 
 469 
 
 Page 54. St. Martin’s Church, Cologne. 
 
 „ 55. Cologne from the river, showing the Bayen Thurm, 
 
 Cathedral, &c. 
 
 , 55a. Blank, with exception of the two words, “St. Cane 
 
 beare ” and “ Wafenwerft .” 
 
 „ 56. Cathedral at Cologne. (Oxford, 169-1595.) 
 
 „ 57. Town Hail, Cologne. (Oxford, 168-1 59a.) 
 
 „ 58. Cologne, from the river. 
 
 „ 58 a The Bayen Thurm, Cologne. 
 
 „ 59-68. Blank. 
 
 (58 leaves drawn on.) 
 
 1817 (AET. 42). 
 
 CLXII.— DORT SKETCH BOOK. 
 
 Schedule No 259. 
 
 Sketch book, bound in blue boards, with green 
 parchment back and corners. 
 
 Executor’s endorsement : — “No. 259. 90 leaves — 
 
 many used with pencil on both sides. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Size of page, 6§- x 3f. 
 
 On the inside of both covers numerous small sketches of 
 shipping at Dort. 
 
 Page 
 
 >5 
 
 1. Three sketches of shipping. 
 
 la. “ Louvain ,” “ Malines ,” and “ Dort .” 
 
 2. Three sketches of a fortress ; probably Namur. 
 2a. \ Antwerp Cathedral. 
 
 3. / 
 
 4 a. Part of Antwerp Cathedral (?). 
 
 5. Vessels and a distant tower. 
 
 5 a. \ Antwerp Cathedral (?). 
 
 6 . } 
 
 6a. 1 Antwerp (?). 
 
 7- i 
 
 7 a. Peasant women. 
 
 8. Diligence on road. 
 
 8a. Four sketches ; one of a diligence and gateway — 
 “ Morning and Moonlight ” ; two others of scenes 
 in canal — “ D. to Rotterdam." 
 
 9. Distant towers, &c. — “ Rotterdam." 
 
 9a. Rotterdam, from the quay. 
 
 10. On river. 
 
 10a. Do. 
 
 11. Do. 
 
 11a. Do. 
 
 12. Do. 
 
 32796 
 
 2 H 
 
470 
 
 TURNER DBA WINGS. 
 
 [CLXII.J 
 
 Page 13. 
 
 „ 13 a. 
 „ 14. 
 
 „ 14a. 
 „ 15. 
 
 „ ] 5 a. 
 „ 16. 
 
 „ 16a. 
 
 „ 17. 
 
 ,. 17a. 
 
 „ 18. 
 
 „ 18a, 
 
 „ 19. 
 
 „ 19a. 
 
 „ 20. 
 
 „ 20a. 
 
 „ 21 . 
 
 „ 21a. 
 
 99 
 
 „ 22a. 
 „ 23. 
 
 „ 23a. 
 „ 24. 
 
 „ 25 
 „ 26- 
 „ 27- 
 „ 28 
 „ 28- a. 
 „ 29. 
 
 „ 29a. 
 „ 30. 
 
 „ 30a. 
 „ 31. 
 
 „ 31a. 
 „ 32. 
 
 „ 32a. 
 „ 33. 
 s, 33a. 
 „ 34. 
 
 „ 35. 
 
 „ 35a. 
 „ 36. 
 
 „ 36a. 
 „ 37. 
 
 „ 37a, 
 „ 38. 
 
 „ 38a. 
 
 „ 39. 
 
 „ 39a. 
 ,, 40. 
 
 „ 40a 
 „ 41. 
 
 Column on quay at Botterdam. 
 
 | Oude Hooft-Poort, Rotterdam. 
 
 ( Rotterdam, with the Cathedral of St. Lawrence 
 
 ( Vessels on the quay. 
 
 St. Lawrence, Rotterdam. 
 
 Figures of Dutch men, women, and children. 
 
 | St. Lawrence, Rotterdam. 
 
 Do. 
 
 | “ Passage Nord." 
 
 j On river banks. 
 
 Figures and two bottles. 
 
 Blank. 
 
 A town (? Utrecht). — “ Sckellfkatz" (?). 
 
 Utrecht, with cathedral and bridge. 
 
 Figures. 
 
 Vessels, with figures. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Ship aground. 
 
 Vessels, with figures. 
 
 Do 
 
 Do. 
 
 Blank. 
 
 Vessels, with figures. 
 
 Do. 
 
 Figures, with distant church tower. 
 
 Figures, with vessels. 
 
 Do. 
 
 Do. 
 
 A field, with figures. 
 
 Figures, with desci’iptions of their costume. 
 
 On the canal. 
 
 Do. 
 
 The “ Hague." 
 
 A “ Float of Timber ,” and figures in a cart, with the 
 note — “ Men drive always on the wrong side." 
 
 Boat at the Hague — “ Cabbage Boat, with boards placed 
 at top to pole from'' 
 
 Distant view of “ Amsterdam." 
 
 Boats passing a windmill. 
 
 “ Mouth of the Rhine at Katwick from the Canal." 
 Distant view of Amsterdam. 
 
[CLXII.] 
 
 DORT SKETCH BOOK. 
 
 471 
 
 Page 41a. Boats and buildings. 
 
 At Amsterdam (? the West Kerk). 
 The Palace, Amsterdam. 
 
 42. 
 42a. 
 
 43. 
 43a. 
 
 44. 
 44a. 
 
 45. 
 45a. 
 
 46. 
 46a. 
 
 47. 
 47a. 
 
 48. 
 48a. 
 
 49. 
 49a. 
 
 50. 
 50a. 
 
 51. 
 51a. 
 
 52. 
 52 a. 
 
 53. 
 53a. 
 
 54. 
 54a. 
 
 55. 
 55a. 
 
 56. 
 56a. 
 
 57. 
 57a. 
 
 58. 
 58a. 
 
 „ 59. 
 
 „ 59a. 
 
 „ 60. 
 
 „ 60a. 
 
 „ 61. 
 
 „ 61a, 
 
 | Distant view of the Palace — “ Elands grefl .” 
 
 | Amsterdam, from the river. 
 
 A bridge at Amsterdam. 
 
 Do. 
 
 1 Montalban’s Tower, Amsterdam, with various details 
 / of boats, costumes, &c., in margin. 
 
 | Vessels and carriages. 
 
 Montalban’s Tower. 
 
 Do. 
 
 ) Do. 
 
 Vessels. 
 
 The Herring Tower, Amsterdam 
 
 | Vessels on river. 
 
 J Do. 
 
 | “ Herring Tower," Amsterdam. 
 
 Group of vessels. 
 
 Amsterdam from the quay. 
 
 Vessels at the mouth of a river. 
 
 Vessels. 
 
 1 “ Fishing Boat" “ Ballast Boot" “ Amstel St room 
 
 J &c. 
 
 Various Boats, &c. — “ Float of Timber — 1000 Feet long 
 at least, lashed in two pieces and guided by the cross 
 piece of timber which hauls either part of the float 
 or buoy in two lines — and drawn by 3 Horses down 
 the Canal." 
 
 Boats and a wagon. 
 
 “ Oud Kirk," (? Oude-Kerk, Delft), “ Turf Boat," 
 “ Covered with Straw," a “ Soldier's Wife," “ Nursing 
 Maid," and various pots and mugs. 
 
 Sketches of crockery ware, &c. (pen and ink). — “ Brass 
 Scroops, Ornamented Brass Dishes, Dirt Cart, 
 Barrel of Wader, Woman with a moveable stall," 
 &c. (Exhibited drawings, No. 413a, N.G.) 
 
 “ Dort," “ London ” — with St. Paul’s from river, 
 “ Blackmail, ” “ Frith," &c. (On back of 41 3a, N.G.) 
 
 Crockery, &c. (in pencil). — “ Brick Makers Works, 
 England," “ Large tubs with outside Hoops, painted 
 green within," &c. (Exhibited drawings, No. 413&, 
 N.G.) 
 
 “ Walls of U"( trecht). (On back of 4136, N.G.) 
 
 2 H 2 
 
 32796 
 
472 
 
 TURNER DRAWINGS. 
 
 [CLXII.] 
 
 Page 62. Various figures. 
 
 „ 62a. On the river, 
 
 „ 63. Do. 
 
 „ 63a. Four sketches of a tower at “ Abcough" (? Abkoude). 
 
 „ 64. Two windmills. 
 
 „ 64a. “ Neurlius," “ Ploughing with 4 Horses' ’ &c. 
 
 „ 65. At Utrecht, 
 
 „ 65a. Do. 
 
 „ 66. River (or canal) from a height. 
 
 .. 66a. ) Lock gates. 
 
 „ 67. / 
 
 „ 67a. At Utrecht. 
 
 ,, 68. Two sketches, one of “ Voorder." (? Haarlem, Groote 
 
 Hout Poort.) 
 
 „ 68a. ) The Cathedral at Utrecht. 
 
 „ 69. / 
 
 „ 69a. Do. 
 
 „ 70. “ Ut. (Utrecht) Porte," a ‘ Utrecht House" and “ Girl 
 
 cleaning tubs and porringers for milking bg the 
 river side." 
 
 55 
 
 95 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95 
 
 99 
 
 55 
 
 95 
 
 55 
 
 99 
 
 59 
 
 55 
 
 95 
 
 95 
 
 55 
 
 59 
 
 59 
 
 95 
 
 5? 
 
 55 
 
 59 
 
 V 
 
 55 
 
 95 
 
 55 
 
 55 
 
 55 
 
 55 
 
 59 
 
 71. 
 71a. 
 
 72. 
 72a. 
 
 73. 
 73a. 
 
 74. 
 74a. 
 
 75. 
 75 a. 
 
 76. 
 
 Blank. 
 
 Vessels sailing. 
 Houses with figures. 
 | Vessels in a port. 
 
 Two figures, one a soldier, and view of a port — ? 
 Houses on a quay. 
 
 Do. 
 
 “ W asset or Rhine Boat." 
 
 | Four sketches of Rotterdam. 
 
 76a. Vessels “ getting out of harbour," “ Rotterdam." 
 77. Sketch and description of a “ Dordrecht Schuyt ." 
 77a. Dort, “ Dead Calm, water lighter in the port." 
 78-79. Blank. 
 
 80. A tower, with vessels in the distance, 
 
 Sailing boats. 
 
 Vessels at a port. 
 
 Dort. 
 
 80a. 
 
 81. 
 
 81a. 
 
 82. 
 
 82a. 
 
 83. 
 83a. 
 
 84. 
 84a. 
 
 85. 
 85a, 
 
 86 . 
 
 Vessels sailing. 
 
 Vessels off “ Skiedam." &c, 
 
 Do. 
 
 A boat with figures. 
 
 Dort : A stormy sky. 
 
 Vessels at Dort, 
 
 A “ Ferry Boat," a cart, and three sketches of “ Dort." 
 — “ Ray of Light through Cloud to the right," <fcc. 
 86a. At Dort, 
 
 87. Figures, vessels, <%c., at Dort, 
 
 87 a. Boat with figures, &c. 
 
 88. At Dort. 
 
 88a. 
 
 89. 
 
 Windmill at Utrecht (?). 
 
[CLXII.] 
 
 DORT SKETCH BOOK. 
 
 473 
 
 Page 89a. Cathedral at Dort. — “ Houton Vorstel." 
 
 » 90. Blank. 
 
 „ 90a. On the Quay. 
 
 „ 91. Do. 
 
 „ 92. Vessels in Port. — “ Women putting out clean clothes to 
 
 dry — white cap , light Blue J." 
 
 „ 92a. Various vessels. 
 
 (90 leaves drawn on.) 
 
 1817 - 1818 * (AET. 42-43). 
 
 CLXIIL— ARTISTS’ BENEVOLENT FUND SKETCH 
 
 BOOK. 
 
 Schedule No. 372. 
 
 Small pocket book, bound in brown leather, with 
 one brass clasp. 
 
 Turner’s label on back — “ 61 .” 
 
 Executor’s endorsement — No. 372. 17 leaves of 
 pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Mr. Ruskin’s endorsement on wrapper — “ Inv. 372. 
 Valueless, but for some written (?) skies. The leaf 
 of languages cut out.” 
 
 Water mark, “ Bath, 1815.” 
 
 Size of page, 3 X 7 ^ x 4§. 
 
 On inside of one cover is written — “12 City Road. oppo. 
 Peerless Pool, wrought Iron Portico ; ” inside the other 
 cover — u 8 House. 53 — 13 — 20 Stafford Street, Lisson 
 
 Grove," also — 
 
 “ 7 Ex. Kelly (?) 
 
 20 C-atmel 
 
 20 Not W alley &c. 
 
 Page 1. The following written in ink — 
 
 “ V Grammar by Lotti (?) 
 
 April or May. October south. 
 
 Parma, Modena, Bologna. 
 
 Road to Rome as far Foligno — fall of Term. 
 
 4 or 5 drops of Vincolio (?) acid purify water. 
 
 2 small balls of camphor to drive away fleas and 
 bugs or 4 or 5 drops of spirit of Lavender. 
 London to Gen. 20 Louis. 
 
 L. to Florence. 36 L — 30 days. 
 
 Paris to Florence 26 L. Milan 22. 
 
 Messrs. Delavane and Emery. Swiss Car. near 
 Recordon, Watch Makers, Gockspur St. 
 
 Pass Comte de Lachatre. 8 Lower Seymour Street, 
 Sherwood A Jones. Cox's Italian Tours. 
 Paternoster Row." 
 
474 
 
 TURNER DRAWINGS. 
 
 [CLXIII.] 
 
 Page 2. Written in pencil — 
 
 “ April the . . 
 
 Attend the minutes of ... . — read the last 
 minutes as they are confirmed . 
 
 A Thousand to be printed." 
 
 „ 2a. Written in pencil — 
 
 “ Collections 
 
 at Ghent Shrisdia (?). one coll, in which the fair 
 of Ghent is the principal ( not worth) 
 Brussels. Chevalier Bertrand, good pictures. 
 Hague. two colls. 
 
 Bruges. 
 
 Amsterdam — the Stadt House , Corp du garde , the 
 Surgeon's Half Rembrandt, and the Tilt or Till 
 House — worth seeing." 
 
 „ 3. Blank. 
 
 „ 3a. Written in pencil — 
 
 “ KaXAitpaTTys. Callicrates. 
 
 Iktu'os. Ictinus. 
 
 B u^poipr/lov. Bostropolo." 
 
 „ 4-5. Blank. 
 
 „ 5a. Clouds — “ Morning." 
 
 „ 6. Blank. 
 
 „ 6a. Written in pencil : — 
 
 “ The action of each Fund to cease. 
 
 “ The Joint Stock Fund to continue subject to the 
 regulations of the Laws for sickness of age but in 
 case they have no claimants, the proceeds to go to the 
 General purse, but if more are claimed then the same 
 to be made up by the proceeds of the other sick (?) 
 Fiend, the said Joint Stock funds being made ap- 
 plicable to them by their laws. 
 
 “ The Benevolent Fund be applicable to the same 
 restrictions as their laws import, being for the 
 Widows and Children of the J. S. Fund, but they 
 are to receive the same relief (?) they would obtain 
 according to the ratio of their Capital, but by means 
 of Annuity Fund by which means the claimant will 
 have," &c. 
 
 „ 7. Continuation of above : — 
 
 “ The Funds of the Benevolent & Interest to hold 
 likewise to G. Purposes, but as Artists may aid and 
 particularly by establishing an additional fund by 
 way of Annuity, for themselves under the said title 
 and donation expressly for the above purposes, but 
 otherwise all Donations to be for G. Benevolent pur- 
 poses. The Artists Fund therefore being therefore 
 fur artists exclusively their claims are to consider 
 eligible either by one sum or annual payment, making 
 the same lifelong (?) interest when wholly paid — the 
 same to valid — but all claims either by artists, 
 & ors (?), upon the G. A. B. I. to be at the discretion 
 of the Directors." 
 
 „ 8-11. Blank. 
 
[CLXIII.] ARTISTS’ BENEVOLENT FUND. 
 
 475 
 
 Page 11a. Written in pencil : — 
 
 u What are you prepared to give to the widoiv Jk O. 
 of the Joint Stock Fund to be guaranteed to them 
 when their," &c. 
 
 „ 12. Blank. 
 
 „ 13. MS. note (illegil >le). 
 
 „ 14. Front of a building. 
 
 „ 15. A building, 
 
 „ 16-20. Blank. 
 
 „ 20a. 1 Study of sky, with names of colours written over it. 
 
 „ 21. J 
 „ 22-23. Blank. 
 
 „ 23a. Vessels. 
 
 „ 24. Written in ink — 
 
 “ Feby. 25, 1817. 
 
 Insure for 300 upon Budding 
 July 5. 1817." 
 
 „ 24 a. Bridge, with boats. 
 
 „ 25. Various flags. 
 
 „ 26-27. Blank. 
 
 „ 27a. A group of figures. 
 
 (2 leaves torn out.) 
 
 „ 28. A ground plan and diagrams. 
 
 „ 29-33. Blank. 
 
 (Leaf torn.) 
 
 „ 34. Note and calculations written in pencil : — 
 
 “ Query how much per year will it require to 
 
 insure for 1000 ? ” &c. 
 
 „ 34a. “ M r Warren, 
 
 2 Ticehurst St." 
 
 „ 35. Study of a plant. 
 
 „ 36-40. Blank. 
 
 „ 40a. Study of sky. 
 
 „ 41. Do. 
 
 „ 42. Blank. 
 
 „ 42a. Ruins (?). 
 
 „ 43. Blank. 
 
 „ 43a. Vessels at quay (?) 
 
 „ 44. Woman dancing a child on her lap. 
 
 „ 45. A child. 
 
 „ 16-48. Blank. 
 
 „ 48a. Bridge, with vessels. 
 
 „ 49. Blank. 
 
 „ 49a. Design for a picture (?). 
 
 „ 50. Written in pencil : — 
 
 “ Marquis of Stafford 21 
 
 Duke of Bedford 21 
 
 Lord Orosvenor 10 
 
 M r Anger stein 20 
 
 M r Bet if 
 
 Viscount Bulkeley. am. (? ann.) 5." 
 
 „ 50 a. Design for a picture. 
 
 51. Blank. 
 
 5? 
 
476 
 
 TURNER DRAWINGS. 
 
 [CLXIIL] 
 
 Page 51a. 
 „ 52 . 
 
 „ 52a. 
 „ 53. 
 
 „ 53a. 
 
 „ 54a. 
 
 Design for a picture. 
 
 Blank. 
 
 Design for a picture. 
 
 A bush. 
 
 Various towers. 
 
 A tower. 
 
 Various architectural details. 
 
 (24 leaves drawn on.) 
 
 1817 1818 * AET. (42-43\ 
 
 CLXIV.— GUARDS SKETCH BOOK. 
 
 Schedule No. 396. 
 
 Small pocket book with leather covers. 
 
 Executors’ endorsement : — “ No. 396 contains 
 15 leaves pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement on wrapper : — “ In- 
 vent. 396. Valueless, but odd. Cuirassiers curious.” 
 
 Water mark, 
 
 Size of page, 2f x 3f. 
 
 On inside of one cover is a ground plan drawn in pencil ; 
 on the other the following, also in pencil : — 
 
 “ Butcher 10 . 3 . 7 
 
 Coals 10 . 11 . 10 
 
 3 Bate 1 
 
 4 Rate Poor. 2 .10 
 
 24 . 5 . 5 ” 
 
 Page 1. Blank. 
 
 „ 2. MS. note ; illegible. 
 
 „ 3. Do. 
 
 „ 4. Do. 
 
 4a. “ 6201 — 1. ’ 
 
 4 Dec r 1817. 20 p." 
 
 „ 5. MS. note ; illegible. 
 
 „ 6. Various female figures. 
 
 „ 7. Do. 
 
 „ 8. Design for “ Dort." 
 
 „ S. A ground plan, in pencil, and the following in ink : — 
 
 “ Ex. Soda w. 2 
 
 Servants 12 
 
 Beer 2 
 
 Wine for 13' 
 
[CLXlV.] 
 
 GUARDS SKETCH BOOK. 
 
 47? 
 
 Page 9a. Ground plan. 
 
 „ 10. Do. and “ April 2." 
 
 „ 11-13. Blank. 
 
 „ 13a. “ B. Sandycomb 400 
 
 N° 26064 200 
 
 Drawings. 100 
 
 N° 26005. 700 
 
 4 7 Queen St. G.F. 100. 
 
 P.P. Drawings. 1000 
 
 1800 
 
 renewed Jang. 1818 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Burling - 2 W.S. 300. 
 
 Insurance at the Atlas." 
 
 14. Blank. 
 
 15. Draft of letter, in pencil : — 
 
 “ My Lord " Ac. (mostly illegible). 
 16-24. Blank. 
 
 24a. A cuirassier’s helmet. 
 
 25. Blank. 
 
 25a. Details of soldier’s accoutrements. 
 
 26. Blank. 
 
 26a. A cuirassier. 
 
 27. Do. 
 
 28. A mounted soldier. 
 
 29. An officer’s saddle. 
 
 30. A horseman’s cloak. 
 
 31. A helmet, Ac. 
 
 32. Details of harness and uniform. 
 
 32a. Details of uniform. 
 
 33. Do. do. 
 
 34-43. Blank. 
 
 43a. Details of uniform — “ Corporal of Guards." 
 
 44-50. Blank. 
 
 50a. Details of uniform — “ Guards." 
 
 51. Blank. 
 
 51a. A mounted soldier. 
 
 52. Blank. 
 
 52a. A foot soldier. 
 
 53-58. Blank. 
 
 58a. “ Knight . — 1 
 
 Cooke — 2 Hastings 
 
 Fawkes — 3 
 
 Mawrnan — 1 
 
 2 'omhinson — 2 
 
 L d Strathmore — 4 
 Laivson — 1 .” 
 
 59. Ground plan. 
 59 a. Do. 
 
4-78 
 
 TURNER DRAWINGS. 
 
 [CLXIV.] 
 
 Page 60. “ Italian Book. 
 
 Vasil's Book of Rome with 40 Views of Buildings and 
 Plan — 12 s — Bound. 
 
 Reichard's Itinerary of Italy , views and S Maps , 10-6. 
 Bound , Leigh 18 Strand .” 
 
 „ 60a. A ground plan showing position of kitchen, garden, &c. 
 
 „ 61. Various architectural designs. 
 
 , 61a. Ground plan. 
 
 (24 leaves drawn on.) 
 
 1818* (AET. 43). 
 
 CL XV.— “BASS ROCK" AND “EDINBURGH" SKETCH 
 
 BOOK. 
 
 Schedule No. 270. 
 
 Sketch book bound in brown leather. 
 
 No label, but written in ink on cover by Turner — 
 “ Edinburgh. Bass Rock." 
 
 Executor’s endorsement — “ No. 270 — 62 leaves of 
 pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 Mr. Ruskin’s endorsement on wrapper — “270. 
 Book at Edinburgh. Some valuable things.” 
 
 Water mark, “ J. Dickinson & Co. 1814.” 
 
 Size of paper, 6^ x 3f. 
 
 Slight pencil sketches inside both covers ; on one the 
 note — “ Ornamental band round the capit." 
 
 Page 1. “ Hardwick (?) Castle ,” three heads and part of a 
 
 female figure. 
 
 „ la. St. Abb’s Head (?). 
 
 „ 2. “St.Abs." 
 
 „ 3. Town on the Firth of Forth. 
 
 ,, 3a. An island —“St. Agatha ” (?), &c. 
 
 „ 4. Islands. 
 
 „ 4a. Headlands — “ May." 
 
 „ 5. An island — same as on p. 3a. 
 
 „ ha. An island. 
 
 „ 6. Headlands. 
 
 „ 6a. Do. 
 
 „ 7. Rocks. 
 
 „ 7a. Do. 
 
 „ 8. Do. 
 
 „ 8a. Do. (? Bass Rock.) 
 
 „ 9. Ruins on rocks. 
 
 „ 9a. Do. 
 
 ., 10. Rocks. 
 
 „ 10a. Ruins. 
 
 11. Rocks. 
 
[CLXV.] BASS ROCK AND EDINBURGH. 
 
 479 
 
 Page 
 
 11a. 
 
 12 . 
 
 12a. 
 
 13. 
 
 Rocks on coast. 
 
 Do. 
 
 An island. 
 
 Do. 
 
 13a. Rocks. 
 
 14. 
 14a. 
 
 15. 
 
 Do. 
 
 Do. 
 
 Ruins. 
 
 and distant islands — “ Long 
 
 15a. Rocks. 
 
 16. Do. 
 
 16a. Islands off Dunbar. 
 
 17. “ Plan of Dunbar 
 
 Stack ” (?), &c. 
 
 17 a. Rocks on coast. 
 
 18. Do. 
 
 19. Ruins. 
 
 20. Blank. 
 
 20a. Ruins of Dunbar. 
 
 21. Do. 
 
 21a. Do. 
 
 22. Do. 
 
 22a. Islands off the coast — “ Hough Head , Round, and Long 
 Steeple .” 
 
 23. Islands. 
 
 23a. Ruins of Dunbar. 
 
 24. Do. and “ Cheviot " Hills in distance. 
 
 24a. A town 
 
 25. Dunbar Harbour (?). 
 
 25a. Figures in boats. 
 
 26. Blank. 
 
 26a. Rocks. 
 
 27. Ruins. 
 
 28. Blank. 
 
 28 a. Boats. 
 
 29-32. Blank. 
 
 32a. Bridge connecting two rocks. 
 
 33. Rocks. 
 
 33a. Sailing vessel off coast. 
 
 34. Ruins of Dunbar. 
 
 31a. Do. 
 
 35. Rocks on coast — “ Cromwell' s Stile" (?), &c. 
 
 36. Dunbar. 
 
 37. Castle on rock — “ Hall." 
 
 37 a. Bass Rock. 
 
 38. Do. 
 
 38a. A headland. 
 
 39. Blank. 
 
 39a. Rocks on coast. 
 
 40. Do. 
 
 40a. Buildings on a hill (? Corstorphin). 
 
 41. The Castle, Edinburgh. 
 
 41a. Clouds. 
 
 42. Distant mountains — “ Grampians ,” &c. 
 
 42a. Castle, Edinburgh. 
 
480 TURNER DRAWINGS. [CLXV.] 
 
 Page 43. Castle, Edinburgh. 
 
 „ 43a. A hill. 
 
 „ 44. The Castle in distance. 
 
 „ 44a. Do. — “ Craig Locke rt." 
 
 „ 45. Distant hills. 
 
 „ 45a. Edinburgh, from Braid Hill. 
 
 ,, 46. Do. 
 
 ,, 46a. Arthur’s Seat. 
 
 „ 47. The Firth of Forth. 
 
 „ 47a. The Castle, Edinburgh. 
 
 „ 48. “ Hoslin 
 
 „ 48a. The Castle, Edinburgh, from the Golf Ground. 
 
 „ 49. Distant view of Edinburgh. 
 
 „ 49a. The Grass Market and Castle. 
 
 „ 50. The Castle. 
 
 „ 50a. High Street, Edinburgh. 
 
 „ 51. Figures, barrow, &c. 
 
 „ 51a. A view from Calton Hill. 
 
 „ 52. Rocks off coast. 
 
 „ 52a. Lighthouse on coast. 
 
 „ 53. Dunbar. 
 
 „ 53a. A distaut hill (? Calton). 
 
 „ 54. Rocks (?)• 
 
 „ 54a. Holyrood and Arthur’s Seat. 
 
 „ 55. Calton Hill. 
 
 „ 55 a. Do. 
 
 „ 56. Blank. 
 
 „ 56a. Edinburgh, from Arthur’s Seat. 
 
 „ 57. Calton Hill. 
 
 „ 57 a. Edinburgh, from Arthur’s Seat. 
 
 „ 58. Calton Hill, &c. 
 
 „ 58 a. Edinburgh, from St. Anthony’s Chapel. 
 
 „ 59. Nelson’s Monument, Calton Hill. 
 
 „ 59 a. Edinburgh, from Calton Hill. 
 
 „ 60. Distant churches, &c. 
 
 „ 60a. Nelson’s Monument. 
 
 „ 61. A church tower. 
 
 „ 61a. The Gaol, from Calton Hill. 
 
 „ 62. Calton Hill, and a woman carrying coal. 
 
 „ 62a. The Gaol. 
 
 „ 63. Buildings. 
 
 „ 63a. The Castle. 
 
 „ 64. Do. 
 
 „ 64a. Do. — “ A. IF.” 
 
 „ 65. A castle, &c. 
 
 „ 65a. The “ Castle from the West,." 
 
 „ 66. Turrets of a building. 
 
 „ 66a. “ Fast Castle ,” &c. 
 
 (A loose leaf which may have belonged to this book.) 
 „ 67. The Castle, Edinburgh. 
 
 „ 67a. Heriot’s Hospital, Edinburgh 
 
 „ 68. Heriot’s Hospital. 
 
 „ 68a. Buildings. 
 
 (65 leaves drawn on.) 
 
[GLXVI.1 
 
 481 
 
 1818 (AET. 43). 
 
 CLXVI.— " EDINBURGH, 1818,” SKETCH BOOK. 
 
 Schedule No. 359. 
 
 Small pocket book, bound in red leather, with one 
 brass clasp. 
 
 Turner’s label on back — u 92. Scotland , Lothians ” ; 
 written in ink on one of covers — “ Edinburgh & Scot- 
 land, 1818.” 
 
 Executor’s endorsement — “ No. 359. 68 leaves of 
 
 pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 Water mark— “ J. Green, 1817.” 
 
 Size of page — 3^ x 4|. 
 
 Slight sketches on insides of both covers — a fish cart, coal 
 cart, milk pails, &c. 
 
 Page 1. A street, with church. 
 
 „ la. A jetty. 
 
 ,, 2. Houses on a quay. 
 
 ,, 2a. Vessels in harbour. 
 
 „ 3. Boats with figures. 
 
 „ 3 a. 1 A harbour. 
 
 „ 4. / 
 
 „ 4 a. I Fort on an island in Firth of Forth (?). 
 
 „ 5. J 
 
 ,, 5 a. A three-masted vessel. 
 
 ,, 6. Five sketches of skies, vessels, &c. ; one of “ Horses 
 
 waiting for the Mail.” 
 
 „ 6a. A port. 
 
 „ 7. Do. 
 
 la, A church, near the Castle.— “ Wall round the old, open 
 parapets Tower and Church, vase at the corner of 
 the Col d .” 
 
 „ 8. Hills. 
 
 99 
 
 8«. 
 
 Q 
 
 \ Vessels and a church. 
 
 99 
 
 9' 
 
 a. 
 
 9a. 
 
 J 
 
 1 Harbour, with shipping. 
 
 99 
 
 10. 
 
 J 
 
 99 
 
 10a. 
 
 1 Vessels and distant hills. 
 
 99 
 
 11. 
 
 J 
 
 99 
 
 11a. 
 
 \ Cliffs, shipping, &c. 
 
 99 
 
 12. 
 
 J 
 
 99 
 
 12a. 
 
 1 Harbour, with shipping. 
 
 99 
 
 13. 
 
 J 
 
 99 
 
 13a. 
 
 1 Houses. 
 
 99 
 
 14. 
 
 } 
 
 9) 
 
 14a. 
 
 1 Houses and cliffs. 
 
 99 
 
 15. 
 
 } 
 
 >9 
 
 15a. 
 
 1 Harbour. 
 
 99 
 
 16. 
 
 } 
 
 99 
 
 16a. 
 
 ) Houses, a bridge, and ruins of a castle. 
 
 99 
 
 17. 
 
 / 
 
482 
 
 TURNER DRAWINGS. [CLXVI.] 
 
 Page 17 a. 
 
 99 
 99 
 99 
 99 
 9? 
 99 
 99 
 99 
 99 
 99 
 99 
 99 
 9 ’ 
 99 
 
 IS. 
 
 18a. 
 
 19. 
 19a. 
 
 20. 
 20a. 
 21 . 
 21a. 
 22 . 
 22a. 
 
 23. 
 23a. 
 
 24. 
 24a. 
 
 25. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 25a. 
 
 26. 
 
 26a. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 
 29. 
 29a. 
 
 30. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 30a, 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 34a, 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37 a. 
 
 38. 
 38a. 
 
 39. 
 39a. 
 
 40. 
 40a, 
 
 41. 
 41a. 
 
 42. 
 42a, 
 
 43. 
 
 | A town. 
 
 | Dunbar. 
 
 | On the coast. 
 
 I Dunbar. 
 
 | Dunbar. 
 
 1 “ Line in the direction of Chrichton (?) G," “ Ber- 
 J wick." and “ IVie Town." 
 
 Five studies of skies. 
 
 Rocks. 
 
 1 Dunbar. See Engraving in part 9 of Scott’s “ Provin- 
 J cial Antiquities.” 
 
 ( Distant view of Duddington Cast.," and view of 
 / “ Rocks, Dunbar." 
 
 | Ruins on rocks. 
 
 Ruins on hill. Probably Roslin Castle. 
 
 Borthwick Castle. 
 
 Do. , and a street scene. 
 
 Blank. 
 
 Bass Rock (?) and a ruined castle. 
 
 Ruins of “ Rosytli" Castle (W. of North Queensferry), 
 and two other sketches. 
 
 ( Ruins of castle on rocky promontory. 
 
 | Castles on hills. 
 
 Two views of Linlithgow Palace and one of distant 
 Cheviot ” hills. 
 
 Three views of Linlithgow Palace. 
 
 \ Linlithgow Palace. See Engraving in Part VI. of 
 j Scott’s “ Provincial Antiquities.” 
 
 | Two views of “ Linlithgow Lock." 
 
 j Linlithgow Lock, “ Blackness ” Castle, &c. 
 
 | Linlithgow Lock. 
 
 | Firth of Forth (?). 
 
 j Two sketches of Roslin Castle (?). 
 
 | Roslin Castle (?) and other sketches. 
 
 1 Two views of Firth of Forth. 
 
 \ A mansion (? Hopetoun House), and in distance 
 j “ Garvi ” (Inch Garvie). 
 
 ) Ruins, a distant promontory, &c. 
 
[GLXVI.'J EDINBURGH, 1818, SKETCH BOOK. 
 
 483 
 
 Page 4 3a. 
 „ 44. 
 
 „ 44a. 
 „ 45. 
 
 „ 45a. 
 „ 46. 
 
 „ 46a. 
 „ 47. 
 
 „ 47a. 
 „ 48. 
 
 „ 48a. 
 „ 49. 
 
 „ 49a, 
 „ 50. 
 
 „ 50 a. 
 „ 51. 
 
 | “ Stormy eff. at Hopetoun ,” &c. 
 
 | View on the Firth of Forth. 
 
 | “ Port Edgar," vessels, &c. 
 
 | “ East of Garvie," &c. 
 
 | On the north side of the Firth of Forth. 
 
 ) A castle north of Queensferry (? Rosyth), with 
 / “ Hopetoun ” in distance. 
 
 | A tower on the Forth. 
 
 1 Houses and church on coast. “ Horses landing, and 
 I carts of Timber bawled up from the boat by the 
 
 Tackle." 
 
 „ 51 a. “ Dalkeith." 
 
 „ 52. Borthwick Castle (?). 
 
 „ 52 a. 1 A bridge, “ The four (?) stone was laid by Lord 
 
 „ 53. J New Battle in 1818," a study of sky and vessels 
 
 passing castle on promontory. 
 
 „ 53 a. 1 The Firth of Forth. 
 
 „ 54. J 
 
 „ 54a. 1 The Castle, Edinburgh. 
 
 „ 55. / 
 
 „ 55a. Crichton Castle. 
 
 „ 56. Two views of Crichton Castle. See Engraving in 
 
 Part II. of Scott’s “Provincial Antiquities.” 
 
 „ 57. Distant view of Forth. 
 
 „ 58. Interior of a church. 
 
 „ 58 a. ) “ The effect of Tivylight near Edinburgh." 
 
 „ 59. J 
 
 „ 59a. 1 Nelson’s Monument, Calton Hill, and two other 
 
 „ 60. / sketches. 
 
 „ 60a. The Old University of Edinburgh, &c. 
 
 „ 61. Details of North Bridge, &c. ; also, ‘■‘■The Castle to do 
 
 from High Street. The Neiv C., the Castle E. from 
 Castle and, W., the C.E. of Tron, and Herricks." 
 
 „ 61 a. ) Landscape, with castle and distant view of the Forth. 
 
 „ 62. / 
 
 „ 62a. Edinburgh, from Braid Hill, &c. 
 
 „ 63. Ruins of a castle. 
 
 „ 63a. 1 St. Bernard’s Hill, and view of Edinburgh from 
 
 „ 64. / Stockbridge. 
 
 „ 64a. ) Vessel sailing past a tower and houses ; also, in 
 
 ,, 65. / margin, some MS. notes, “ W. Ross. Portobello 
 
 Coffee," “ Forsyth, Portobello C. at Mr. Murray 
 upstairs," &c. 
 
 ,, 65a. A vessel, and sketches of “ Neiv Town." 
 
 „ 66. Various architectural details. 
 
 „ 66a. Figures with a hand-cart, also a tower on a hill. 
 
 „ 67. Various figures. 
 
 „ 67a. 1 A figure and two landscapes of a bridge, “ South Esk 
 
 „ 68. j Bridge of Dal ” (-keith). 
 
484 
 
 TURNER DRAWINGS. 
 
 [CLXVL] 
 
 Page 68a. 1 Three slight sketches, one “belongs to Borthwick .” 
 „ 69. j 
 
 „ 69a. Castles and sky, “ Garnets Park." 
 
 „ 70. “ Dalkeith." 
 
 „ 70a. “ Sefton (?) Tower" &c. ; also — 
 
 “ 1 — 2 to Grantham 
 1 — 2 to York 
 
 15 to Newcastle. 
 
 2 — 19" 
 
 (70 leaves drawn on.) 
 
 1818 (AET. 43). 
 
 CLXVII .-" SCOTCH ANTIQUITIES ” SKETCH BOOK. 
 
 Schedule No. 232. 
 
 Sketch book, bound in boards, with brown leather 
 back, and one broken clasp. 
 
 Turner’s label on back : — “ 89. Scotch Antiqui- 
 ties written on one of covers — “ Scotch Work." 
 
 Executor’s endorsement : — “ No. 232, 81 Pencil 
 Sketches. 
 
 (Sgd.) C. Turner. 
 
 Water mark, “ Alice, 1813.” 
 
 Size of page, 4f x 7£. 
 
 The leaves were distributed, but were numbered ; 
 four unnumbered leaves have, however, been found 
 which appear to have formed part of the book. 
 
 Inside one of covers there is a slight sketch of “ Inverary " 
 and “ Tower Town also the following MS, notes : — 
 
 .. 
 
 U 
 
 Work 6 J / 3 
 
 by 9 2 j a . Calico It's Edinburgh from Brede Hill;" and 
 3 . . . charged to Grantham 
 
 2 at Newark 
 
 1 at Newcastle 
 
 2 at Morpeth 
 
 1 at Dunbar." 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 1. Blank. 
 
 2. Newcastle-on-Tyne. See Engraving in “Rivers of 
 
 England.” 
 
 3. Tantallon Castle and the Bass Rock. 
 
 4. Tantallon Castle. 
 
 4a. Tantallon Castle and Bass Rock. 
 
 5. Tantallon Castle. 
 
 5 a. ) Tantallon Castle and Bass Rock. See Engraving in 
 
 6. I part VI. Scott’s “ Provincial Antiquities.” 
 
 6a. Distant view of Tantallon Castle. 
 
[CLXVII.] SCOTCH ANTIQUITIES. 
 
 485 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 7. 
 
 8 . 
 
 8 a. 
 85. 
 8c. 
 
 9. 
 
 9 a. 
 10 . 
 10a. 
 11 . 
 12 . 
 12a. 
 
 13. 
 13a. 
 
 14. 
 
 15. 
 
 16. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 16a. 
 
 17. 
 17a. 
 
 18. 
 18a. 
 
 19. 
 
 20 . 
 21 . 
 
 Tantallon (?) 
 
 The Bass Rock. 
 
 | Distant view of Tantallon Castle. 
 
 | Tantallon. 
 
 \ The Bass Rock. 
 
 | Tantallon Castle. 
 
 Do. 
 
 \ Do. 
 
 | Do. 
 
 Do. 
 
 A bay, with the Bass Rock at its entrance. — 1 
 (?) Bay " 
 
 \ Rocks on the coast 
 I Dunbar. 
 
 | Do. 
 
 Rocks on the coast. 
 
 Dunbar. 
 
 „ 21a. \ Do. 
 
 22. J 
 
 „ 22a. \ Do. 
 
 „ 23. / 
 
 „ 23a. 1 Do. 
 
 „ 24. / 
 
 „ 24a. 1 Do. 
 
 „ 25. J 
 „ 26. Do. 
 
 „ 27. Do. 
 
 „ 28. Do. 
 
 „ 29. Do. 
 
 ,, 29a. \ Dunbar. See Engraving in part IX. of 
 „ 30. J “ Antiquities.” 
 
 ,, 30a. \ Fishing boats, fish, nets, baskets, on the shore. 
 „ 31. } 
 
 ,, 31a. 1 View along the coast. ? at North Berwick. 
 
 „ 315. J 
 „ 31c. \ Dunbar, 
 v 32. J 
 „ 32a. 1 Do. 
 
 „ 33. / 
 
 „ 34. A bridge. 
 
 „ 35. St. Bernard’s Well, Water of Leith. 
 
 ,, 36. Do. do. 
 
 „ 36a. 1 Edinburgh, from near Stockbridge. 
 
 Contes 
 
 Scotr's 
 
 32790 
 
TURNER' DRAWINGS. [CLXVII.] 
 
 486 
 
 Page 37a 
 
 St. Giles’s Cathedral, High Street ; looking west. 
 
 38. / 
 
 39. Blank. 
 
 39a. ) Edinburgh, from the Calton Hill. See Engraving in 
 
 40. • part IV. of Scott’s “ Antiquities.” 
 
 41. 1 
 
 40a. 1 Figures on Calton Hill. 
 
 41. / 
 
 41a. \ Part of Linlithgow Church. 
 
 42. j 
 
 42a. | Linlithgow Palace and Church. 
 
 43. J 
 
 43a. I Linlithgow Palace. 
 
 44. 
 
 45. I 
 
 455. 
 
 Linlithgow. 
 
 45c. 
 
 Do. 
 
 46. 
 
 Do. 
 
 46a. 
 
 1 Do. 
 
 47. 
 
 / 
 
 47a. 
 
 Do. 
 
 48. 
 
 Do. 
 
 48a, 
 
 Do. 
 
 49. 
 
 Do. 
 
 49a, 
 
 Do. 
 
 50. 
 
 Do. 
 
 50a. 
 
 1 Do. 
 
 51. 
 
 1 
 
 51a, 
 
 Do. 
 
 52. 
 
 Do. 
 
 52a, 
 
 1 Do. 
 
 53. 
 
 J “ Antiqi 
 
 53a, 
 
 Three sketc 
 
 See Engraving in part VI. of Scott’s 
 
 VI. of Scott’s “ Antiquities.” 
 
 ,, 54. Court of Linlithgow Palace. Op. Engraving by E. Blore 
 
 of this subject, in part VI. of Scott. 
 
 „ 55. Linlitlieow Palace. 
 
 55 a. 
 
 56. 
 56a. 
 
 57. 
 57 a. 
 
 58. 
 58a. 
 
 59. 
 59a. 
 
 60. 
 60a. 
 61. 
 61a, 
 62. 
 62a, 
 
 63. 
 63a. 
 
 64. 
 
 \ On the Firth of Forth. 
 
 J 
 
 j Distant view of Edinburgh. 
 
 \ Do. 
 
 \ Edinburgh, from near Dean’s Cemetery. 
 \ Edinburgh, from the Water of Leith. 
 
 Do. 
 
 do. 
 
 High Street, looking west, with St. Giles’s in distance. 
 Blank. 
 
 A row of houses, “ W. Boss. Red dr.” 
 
 Blank. 
 
 I Edinburgh, from near Murray field. 
 
[CLXVII. i 
 
 SCOTCH ANTIQUITIES. 
 
 487 
 
 Page 64a. I High Street, Edinburgh. See Engraving in part III. 
 „ 65. / of Scott’s “ Antiquities.” 
 
 „ 65a. Roslin Castle. 
 
 „ 66. Do. 
 
 ,, 66a. The Firth of Forth. 
 
 „ 67. Road between hill leading to a distant town. 
 
 ,, 67a. Craig-Millar Castle. 
 
 „ 68. High Street, looking west. 
 
 „ 68a. 1 Craig-Millar Castle. Cp. Engraving by Rev. J. 
 
 ., 69. J Thomson in part X., Scott, 
 
 ,, 69a. Roslyn Castle. 
 
 „ 70. A hilly landscape, with men ploughing ; castle in 
 
 distance. 
 
 „ 70a. Roslyn Castle. 
 
 „ 71. Do. 
 
 „ 71a. 1 Two views of Roslyn Castle. 
 
 „ 72. J 
 
 „ 72a. Roslin Castle and Church. 
 
 „ 73. Roslin Castle. 
 
 „ 73a. Do. 
 
 „ 74. Do. 
 
 „ 74a. 1 Four sketches of a town, and castle (probably 
 „ 75. J Borthwick). 
 
 „ 75a. Borthwick Castle. 
 
 „ 76. Borthwick Castle. See Engraving in part I., Scott’s 
 
 “ Antiquities.” 
 
 „ 76a. Three sketches of Borthwick Castle. 
 
 „ 77. Borthwick Castle. 
 
 „ 77a. Three sketches of Borthwick Castle. 
 
 „ 78. Crichton Church and Castle. 
 
 „ 78 a. Crichton Castle. 
 
 „ 79. Do. 
 
 „ 79a, Do. 
 
 „ 80. Do. 
 
 „ 80a. Do. 
 
 „ 81. Do. 
 
 „ 81a, 1 Vessels in the Firth of Forth. 
 
 „ 82. J 
 
 ,, 82a, Landscape, with Pentland Hills in distance (continued 
 
 over inside of cover). 
 
 (The following pages though unnumbered appear 
 to have once belonged to this book.) 
 
 „ 83. Edinburgh, from village of Dean. 
 
 „ 83a. 1 Do. do. 
 
 „ 84. J 
 
 „ 84a. 1 Do. do. 
 
 „ 85. J 
 
 „ 85a. Craig-Millar Castle ; also, “ Scotch work , 6 by 
 Rhine work . . . by 6 %.” 
 
 „ 86. Heriot’s Hospital. See Engraving, part VII. of Scott. 
 
 ,, 86a. English school and other buildings, on right of previous 
 
 subject. 
 
 ,, 87. View of Edinburgh, with St. George’s Church. 
 
 „ 87a. Arthur’s Seat (?). 
 
 (90 leaves drawn on.) 
 
 2 12 
 
 3279G 
 
488 
 
 TURNER DRAWINGS. [CLXVIII, CLXIX. 
 
 1818 - 1826 * (AET. 43-51). 
 
 CLXVIII.— TITLE PAGES OF “ PROVINCIAL 
 ANTIQUITIES,” &c. 
 
 A. Design for title-page of Vol. 1 
 
 Wash drawing; Indian ink. 
 
 Size of page, about 9-2- x 7. 
 
 B. Design for title-page of Vol. II. 
 
 Wash drawing ; Indian ink. 
 
 Size of paper, about 10]- x 7. 
 
 C. Noptune’s Trident: Vignette on Wrapper of 
 
 “ Marine Views,” 1824-1825. 
 
 A trident, with dolphins entwined, also a crown set with 
 ships. 
 
 Wash drawing ; Indian ink. 
 
 Size of paper, ?]- x 5]-. 
 
 (3 drawings.) 
 
 1819 * (AET. 44). 
 
 CLXIX. — “ iESACUS AND HESPERIE ” SKETCH 
 
 BOOK. 
 
 Schedule No. 257. 
 
 Small pocket book, bound in boards, with red 
 leather backs and corners. 
 
 Turner’s label on back — “116 
 
 Executors’ endorsement — “No. 257. Containing 
 16 leaves — Pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark — “ J. Whatman, Turkey Mills, 1817.” 
 Size of page, 3§ x 4f. 
 
 Mr. Ruskin’s endorsement on wrapper, — “ Invent. 
 257. Study for figure in iEsacus and Hesperie 
 also — “ Study for figure for iEsacus and Hesperie. 
 Otherwise valueless.” 
 
[CLXIX.] H3SACUS AND HESPERIE. 
 
 489 
 
 On inside of one cover there are two pen and ink sketches 
 of the figure of the nymph in the “ Liber ” plate known as 
 “ iEsacus and Hesperie ” ; inside other cover a list, appar- 
 ently of “Liber ” plates, written in pencil, but so rubbed as 
 to be almost indecipherable. The following is as much as I 
 can decipher of this list : — 
 
 Page 
 
 95 
 
 V) 
 
 Bonneville. 
 
 Printed. 
 
 JEsacus -) 
 
 Isleworth 
 
 
 Inver ary (?) f 
 C. Turner 
 
 J 
 
 Say's Peacock. 
 
 13 
 
 Glencro. 
 
 Lupton. 
 
 Deluge. 
 
 Kingston. 
 
 Glaucus. 
 
 Say. 
 
 Apuleia. 
 
 ditto. 
 
 Salthill 
 
 G. Turner 
 
 Pass(?) Bridge. 
 
 Lupton. 
 
 1 
 
 Snow 
 
 Y Daw. 
 
 Devil Bridge 
 
 Church. 
 
 
 Moon 
 
 
 Putney. 
 
 doubtful ." 
 
 1. Helmets and weapons. 
 la. MB. note in pencil. 
 
 2. Various figures. 
 
 (Bonneville. R. 64. En- 
 graved Dawe.) 
 
 (R. 66.) 
 
 (Twickenham. R. 63. En- 
 graved Dawe.) 
 
 (R. 65. Engraved C. Tur- 
 ner.) 
 
 (Isis. R. 68. Engraved 
 Say.) 
 
 (Ben Arthur. R. 69. En- 
 graved Lupton.) 
 
 (R. 88. Unpublished.) 
 
 (R. 87. Unpublished.) 
 
 (R. 73. Engraved Say. Un- 
 published.) 
 
 (R. 72. Engraved Say. Un- 
 published.) 
 
 (Sheep Washing. Engraved 
 Charles Turner. R. 74. 
 Unpublished.) 
 
 (? Swiss Bridge. R. 78. Un- 
 published.) 
 
 (? Crowhurst. R. 76. Un- 
 published.) 
 
 (? Swiss Bridge. R. 78. Un- 
 published.) 
 
 (? Interior of a church. 
 R. 70.) 
 
 (? Moonlight at sea. R. 85 
 Unpublished. Or — 
 
 “ Barges on Medway.” 
 R. 86. Unpublished.) 
 
 (? Flounder fishing. R. 89. 
 Unpublished.) 
 
490 
 
 TURNER DRAWINGS. 
 
 [CLXIX.j 
 
 Page 4. The following in ink : — 
 “ 1810. 8915 — 9 
 
 4432 —10 
 4127 — 8 
 
 4935 — 6 
 
 4648 —17 
 5255 —19 
 4440 —11 
 4961 — 12 
 5313 — 3 
 
 42,030 — 15 
 
 9 
 
 42,030 — 15 
 
 in 9 years. 
 
 4670 — 1 — 3 
 
 Exhibiting." 1 * 
 
 „ In. “ . . . . under the Line. 
 
 Calcott. 1 
 
 Turner. 2 
 
 Willde. 1 
 
 Mulready. 1 
 
 Bone. 1." f 
 
 „ 5. Mountains. 
 
 „ 5a. Do. 
 
 „ ti. “ Above the Line. 
 
 Beechey. Princess Augusta. J 
 2 Phillips. 3 Shee. 
 
 4 Owen. 5 Beechey ” ; also a diagram. 
 
 6a. Diagrams of positions of pictures. 
 
 „ 7. The following in pencil — 
 
 “ to pay M' Akermann in the work of the Rhine 
 
 to the value of 40£ M r Ackerman promising 
 
 to suppress his publication of the Rhine and becomes 
 responsible for the Drawings made for him shall not 
 be sold to any one for the purpose of publishing until 
 3 or 4 Numbers of" 
 
 „ 7 a. “ our Work are out. If M r Skeuby should pro- 
 
 duce a ivork from the above drawings which M r A. 
 agrees to stop the publishing of, then nothing to be 
 paid of the forty pounds. If M r Ackermann can 
 have an additional 5 per cent, from M r Murray or 
 the same as Murray's arrangements he will urge the 
 work. M r A. to be paid by numbers of the work 
 when published." 
 
 ., 8. “ M r Greaning to have an equivalent for his notes 
 
 for the 24 drawings to the value of 30 £. . . . M r A. 
 agreed to give him 10 numbers at about 3£ per 
 number, the map now on the road £6." 
 
 * Evidently Academy business, 
 t Probably refers to 1818 or 1819 exhibition, 
 j Exhibited 1819. 
 
[CLXIX.] iESACUS AND HESPERIE. 
 
 491 
 
 with measurements. (? for a fowl house.) 
 
 Page 9-10. Blank. 
 
 „ 11. A 
 „ 12-13. Blank. 
 
 „ 13a. Sky, with description of colours. 
 
 „ 14. Blank. 
 
 „ 14a. Sky. 
 
 „ 15. Do. 
 
 „ 16. Blank. 
 
 „ 16a. ) Lines of coast. 
 
 „ 17. f 
 
 „ 17a. \ Distant view of “ Windsor." 
 
 „ 18. / 
 
 „ 18a. 1 Landscape, with figures. 
 
 „ 19. / 
 
 „ 20-24. Blank. 
 
 „ 24a. In ink — “ Many inconveniences having occurred from 
 
 the removal of Pictures arranged by the Committee 
 for Ex. 
 
 “ Resolved. That to prevent such Inconveniences 
 recurring in f uture no application for changes Pic- 
 tures , <L-c. can be attended to. April 25 , 1819.” 
 
 25. " ' " 
 
 on 
 
 5a. 
 
 26. 
 
 Details of costume. 
 
 \ Landscape, probably near Windsor. “ Beautiful ” 
 J written in margin. 
 
 26a. “ May it please , &c. ivas in hopes 
 
 27. u of having peaceable jmsession — but found a Tenant 
 named Martha Friday (?) in possession of part 
 of the . . . .” 
 
 “ who had a kind of ... . possession. I was obliged to 
 eject her at great loss ” 
 
 “ that on that occasion I have incurred an expense 
 
 £ besides the loss of rent amounting to £ — — 
 
 ( River scene, with bridge. “ Houses warm against 
 the sky.” 
 
 size — 1 
 
 2 la. 
 28. 
 
 28a. 
 
 29. 
 
 30. 
 
 of 
 
 29 May. E.' 
 
 Harold — 
 
 8 Fullers.” 
 
 31-33. Blank. 
 
 33a. \ Two skies. 
 
 34. / 
 
 34a. A helmet, &c. 
 
 35. “ Sketch Books , Colors , .... . . 
 
 Portable Soup (?) Wallet”; also 
 Ba stile (? Basle) 
 
 Oberwasel. 
 
 Lahneck. 
 
 Johannesberg 
 
 Remagen 
 
 Maintz 
 
 Manse Tower 
 Katz. 
 
 Bacharach ” (crossed through). 
 
492 
 
 TURNER DRAWINGS. [CLXIX.] 
 
 Page 36. “ 2 
 
 10 
 
 4. Battle. Rye — Gateway. 
 
 2 3 Ashb. . (? Ashburnham). 
 
 „ 36«. MS. note. 
 
 (2 leaves torn out.) 
 
 „ 37. Various figures. 
 
 Mountains. 
 
 39. The following in ink — 
 
 Second Council , Jan. 20, 1810. 
 
 Read the Minutes. 
 
 M r Nixon = request granted to draw 
 M r Vaughan Letter 
 
 Address to the P. Regent sent to L d Sidmouth 
 
 Bishop of London 
 
 M r Ly son's ditto. 
 
 Louis Gailliard. Letter. 
 
 10£ to M r Flaxman. 
 
 , 39«. Two helmets, &c. 
 
 , 40. In pencil — 
 
 “ Pension of M r Nixon. £10 don. 
 
 20 Donation to Tho s Vaughan. 
 
 the Four new members of Council for the year 
 
 ... of Apr il Pictures to he sent. 
 
 2 of May. 
 
 Pictures. Sculpture, Architect'', <lc. 
 
 15 £ to he granted to strangers 
 
 P. cause (?) of despair 
 
 A. Pliny Villa, drawing in Perspective 
 
 S. Jacob and Angel 
 
 A. Shoreditch Street." 
 
 , 40«. Helmet, cross-bow, &c. 
 
 Stuart — not Rolls, not. + + past 
 
 Jukes — not Engleheart. not. 
 
 Watts — not Conquest, not. 
 
 Boxall — past Hearn, not 
 
 Thurston, past Cartwright not 
 
 Lance — not Sandifoot. past 
 
 Hilton. — not Wilkinson, past. 
 
 Mcizey — not Pastorins. not. 
 
 Wood — past Holts, not. 
 
 Fancourt. past Herrins, x 
 
 Gramption. not Henings XV (?). 
 
 Stores. — past. Marshall, not. 
 
 M r and M r .... to add a ... . 
 
 or 
 
 2 at the door of the Library." 
 
 (23 leaves drawn on.) 
 
[CLXX.j 
 
 493 
 
 1818 - 1820 * (AET. 43-45). 
 
 CLXX — SCOTLAND AND VENICE SKETCH BOOK. 
 
 Schedule No. 306. 
 
 Sketch Book, bound in boards, with dark green 
 back and corners. 
 
 Turner’s label on back — “ 109 ” 
 
 Water mark — “ J. Whatman, 1815.” 
 
 Size of page — 7 x 10|-. 
 
 Executors’ endorsement — “ No. 306. Contains 
 13 leaves in Pencil, Indian ink and colours. 
 
 (Signed) H. S. Trimmer, 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement on wrapper : — “ 306. 
 Book contains first sketch of Borthwick, Of little 
 value.” 
 
 Page 
 
 \y 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 1. Design for “ Borthwick Castle.” This view was not 
 
 used for Scott. 
 
 2. Design for “ Borthwick Castle.” 
 
 3. Blank. 
 
 4. Crichton Castle. Colour rough for drawing in Scott’s 
 
 “ Antiquities.” 
 
 4. Various diagrams, and some colour blots. 
 
 (A leaf with coloured drawing on it has been cut out 
 here.) 
 
 5. Bridge, with church in distance. Sepia. 
 
 6. Side view of a bridge, with another bridge seen through 
 
 an arch. Sepia. 
 
 7. Bridge, with shipping. Sepia. 
 
 8. Shipping. Sepia. 
 
 9. Bridge, with shipping and figures. Sepia. 
 
 10. Venice. Sepia. 
 
 11. On the Canale di S. Marco, Venice. Sepia. 
 
 12. A colour sketch — beginning. 
 
 13. Do. do. 
 
 14-40. Blank. 
 
 40«. Colour sketch — beginning. 
 
 41. Blank. 
 
 (The following drawing, though not part of this 
 book, is placed here because it is a study for the 
 same subject as that on p. 11.) 
 
 42. On the Canale di S. Marco, Venice. Sepia and neutral 
 
 tint, wash. 
 
 (15 leaves drawn on.) 
 
494 
 
 TURNER DRAWINGS. 
 
 [CLXXI.] 
 
 1819 (AET. 44). 
 
 CLXXI .—' “ROUTE TO ROME” SKETCH BOOK, 
 
 Schedule No. 383. 
 
 Small pocket book, bound in leather, with one 
 brass clasp. 
 
 Written in ink on one of the covers — “ Route to 
 Rome." 
 
 Executor’s endorsement — “No. 383. 26 leaves of 
 pencil sketches. 
 
 (Signed) H. S. Trimmer.” 
 Water mark — “ Allee, 1813.” 
 
 Size of page — 3 T 7 ¥ x 44. 
 
 Inside cover is written, in ink — 
 
 “ Paris to Milan. 
 
 622 
 
 Milan to Bologna. 
 
 233 
 
 Bol. to Florence. 
 
 70 
 
 Florence to Rome by Aqu. 
 
 176 — 4 P. 9. 
 
 1101 ” 
 
 Page l. The following, in ink — 
 
 “ Milan to Venice. 50 francs, dis. 4 L. 
 to Como. 4 
 
 to Varnince (?) Friday , Tuesday , Sunday. 
 
 PK del Monta. 1209. To Lyons. 
 
 Pa ris to Turin , by OP. Cenis — 11 7% Leagues. 351 Miles. 
 
 Lyons to Turin. 243. 81 ~L. total. 594 
 
 Paris to Milan. Genoa. 126 Lea. 378. 
 
 Geneva by Simplon. 245. 85 Lea. total. 622 to Milan. 
 Turin to Genoa. 105 Italian Miles. 122 English. 
 Genoa to Milan. 99 Italian. 83 En. 
 
 Milan to Como and Isola Bella Vernese ... by 
 Seriano (?) 37 ! J 2 . 
 
 Lavino Varnese Como Milan. 51. 
 
 Milan to Venice by Verona and Padua. 183 I. 
 135 E. 25 P. 
 
 Venice to Rimini by Ravenna. 122 and Chiozza 
 2 Post. 
 
 Milan to Bologna by Parma and Modena 233 I. 
 149 English. 
 
 Bologna to Flo. by Modena. 16 Post *j 4 . F. to P. 
 Pontrimoli. 
 
 Parma to Florence bq Pisa. 68 I. 70 En. Bologna 
 to F. 63 1. 70 Eng. 
 
 Florence to Rome by Aqua prudenta 176 miles 
 and . . < . 
 
 F. to R. by . . . . , Perugia , Narni , Terni , 
 
 Civita Castellana. 27 P. 
 
 Bologna to Ancona 52 m. Ancona to Ro. 172 m. 
 Rome to Terracina 69 m. F. to Naples 57 1 l 3 -127 m. 
 Fano to Foligno and Ro.by Tanaglia. 90 miles. lPR-" 
 
[CLXXL] 
 
 ROUTE TO ROME. 
 
 495 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 9f 
 
 99 
 
 99 
 9 9 
 
 99 
 
 99 
 
 la. A sketch at “ Ancona ,” a figure, &c. 
 
 (The following writing on page 2 and on subsequent 
 pages is not by Turner, but by Hakewill, I think. 
 It is in effect a MS. guide book, written specially 
 for Turner’s benefit. The notes are written on 
 one side only of the leaves, the other sides being 
 utilised by Turner for slight pencil sketches.) 
 
 2. “After leaving Dijon enter the Jura mountains at 
 
 Poligny — good Inn. Continue to Moriz — good Inn — 
 Geneva — Eau de Geneve, good — 
 
 Best view of Geneva, said to be from Secheron — 
 
 In the Route of the Simplon, when at Martigny, you 
 are at the nearest point to Chamouny and Mont 
 Blanc.” 
 
 2 a. Various thumb-nail sketches ; one of distant view of 
 “ Ccirmagnola (?),” &c. 
 
 3. “ Stop at Sion, the Capital of the Vallais. 
 
 At Tourtimagne, is a good waterfall. 
 
 Don’t go to Brig but to Glise at the foot of the Simplon 
 — go leisurely over the Mountain. The descent on 
 the Italian side the finest. 
 
 Good Inn at Domo Dossola and at Baveno where you 
 take boat to visit ” — 
 
 3 a. Various sketches of figures, &c. 
 
 4. “ the Islands in the Lago Maggiore. 
 
 See the Isola Bella (and if you have time the Isola 
 Madre but it not particular). 
 
 Como — go up the Lake to Cadinabbia stopping at the 
 Plinciana &c. — go opposite Cadinabbia to the Villa 
 of a Duke (I forget his name). 
 
 Take two boatmen and pay them 3 francs ea. p. day. 
 The men will point out what is worth seeing — The 
 Orrido, Fiume Latte, &c.” 
 
 4 a. Sketch of “ Bistoco .” 
 
 5. “At Milan — Go to the Albergo Reale in the Street, tre 
 
 Re (sounded tra ra). 
 
 The Inn kept by Baccala — 
 
 A few doors higher up lives a printseller who talks 
 English well, and will be civil, buying of him the 
 Maps, &c., which you may want — perhaps he will 
 remember my name. 
 
 See— the Academy formerly called .” 
 
 ha. In pencil in Turner’s handwriting : — 
 
 “ Venezia. Palestrina. 
 
 Tivoli , d ;c.” 
 
 6. “ The Brera — The Hospital. The Cathedral, 
 
 Palace 
 
 Church of St. Ambrose, 
 
 Library Do. 
 
 Amphitheatre 
 
 Last Supper of Leonardo da Vinci. 
 
 Mem. — Baccale will give you a letter of introduction to 
 the houses in his line at Genoa, &c., &c., and 
 having ” — 
 
 6a. A bridge. 
 
TURNER DRAWINGS. [CLXXI.] 
 
 7. “ fixed y r price with him, you will be saved the 
 trouble of further altercation ; but remember not 
 to commence inmate in any house without first 
 settling this necessary business.” 
 
 xUso two pencil sketches by Turner of “ Macerata .” 
 
 7 a. Two sketches of “ Capuchins,” and a landscape; also 
 (not in Turner’s handwriting) — 
 
 “ Genoa — 
 
 Doria Palace 
 Durazza Palace. 
 
 Serra Palace 
 
 Doge’s public palace — no art in it.” 
 
 8. “ Genoa — 
 
 Go to the Durazzo Palace, without the walls for a 
 good view of the City. 
 
 Go to the Marq. de Negre’s botanic garden — 
 
 In the Church of St. Etienne, a famous picture of 
 the Stoning the Saint. — 
 
 See the Bridge of Carignano and Church. Your 
 attendant will take you to the principal palaces.” 
 8a. xl landscape, with oxen and figures. 
 
 9. “ On no account trust yourself in a felucca — But hire 
 
 horses and guides to Spezia. The remainder may 
 be posted. — Before you arrive at Massa visit the 
 quarries of the Carrara marble. — 
 
 Inn. The Dongella, dear but good. 
 
 Pisa. — The great mass of buildings is all that is worth 
 visiting.” 
 
 9a. Various figures, with descriptions of their costumes. 
 
 10. “ Lucca. — Make an excursion for the day to the Baths. 
 Inn at Lucca — Croix de Malta good. — 
 
 See a picture, called a Vandyke, in the Church. ” 
 
 11. “Florence. 
 
 Principal Hotel. Schniederfs, commonly called 
 Sniders. 
 
 {Note on p. 10a. — “ There are numerous inferior 
 ones and all good.”) 
 
 See the Museum, enquire for the engraved gems. 
 Academy. 
 
 Palazzo Pitti. 
 
 Cathedral. 
 
 Baptistery for the gates, &c. 
 
 Medici Tomb.” 
 
 12. “ Church of Sante Ci’oce for the modern monuments — 
 
 — of the Annunciata for the Madonna del Sacco by 
 
 Andrea del Sarto. 
 
 — wax anatomical preparations. Manufactory of 
 
 pierres dures.” 
 
 13. “ Take some mode of travelling gently to Rome, as 
 
 Perugia, Spoleto, Terni, Narni, Civita Castellana 
 should all be stopped at.” 
 
 Written across this in Turner’s hand, in ink — 
 
 “ Cortona (?) P. — an Altar Sarcofagus, Bust of 
 Cicero, Antigone Chair, and female head E. fine, a 
 Christ by Guercino, &c.” 
 
[CLXXI.] ROUTE TO ROME SKETCH BOOK. 
 
 497 
 
 Page 13a. Several small landscape sketches in pencil ; also the 
 following in ink, also crossed out : — 
 
 “ Go to Dee’s, corner of the Piazza di Spogna and 
 the Yia della Croce and buy for me 4 Cameos on 
 shells (unmounted). Subjects for a necklace. 
 
 And a Mosaic, a little larger, for a Locket, a large 
 butterfly or a basket of flowers.” 
 
 „ 14. “ Rome. — 
 
 Go to Franz’s in the Strada Condotti — Table d’Hote 
 good. 
 
 Get the English guide book. I forget the name — 
 
 I wish you could get our Servant Lorenzo. Enquire 
 of Mr, Chiavari.” 
 
 14a. “ Camerere , not laquez de place. 
 
 Usual pay of a camerere, 9 scudi per month. 
 
 Vari, in the S trade Babuino 1 D , ,, „ 
 
 Monoldini, in the Piazza di Spogna} 00 vSe eis ’ c - 
 See Camucuni’s (?) pictures and notice a small cruci- 
 fixion by Vandyke.” 
 
 Written across this in ink in Turner’s hand : — 
 
 “ P. Farense. The story of Cupid and P. by 
 Raffaello and Julio Romana, the Spandrils of the 
 Graces , &c .” 
 
 15. (Continued from p. 14) — 
 
 “the Banker for him — or of Mr. Joseph Modetti, 
 on the Corso near the Piazza Colonna, on the right 
 going down the street. 
 
 Hire a couple of horses and a guide and make one 
 tour to Albano, Marino, Grotta Terrata, Frascati, 
 and Tivoli, and back to Rome. There is a — ” 
 
 15a. A small landscape and a figure,— “ Borgetta ,” &c. ; also 
 “ Buy for me, a head of the Pope in imitation of a 
 gem. And the parte of it to take impressions from 
 — probably 2/6 will purchase both.” 
 
 16. (Continued from p. 15) — 
 
 “ good map of the environs of Rome. 
 
 In going to Naples, stop for a day at Mola di Gaeta 
 and go to Gaeta for the picturesque buildings. 
 The Inn at Mola di Gaeta is sufficiently good.” 
 
 16a. Slight sketches of a landscape, oxen, figures, &c. 
 
 17. “At Naples go to the Crocelle — pronomreed Crochelly. 
 Go to Puzzuoli and the Coast of Baiae. — 
 
 to' Ischia, Procida & Capri, 
 to Pompeii, Salerno & Paestum. 
 
 In Naples, see Canova’s group at the Marquis Berrios.” 
 17a. \ Sketch of buildings, — “I. Mola,” — “St. Agolina,” &c. 
 
 18. f 
 
 18. “ The Studii or Royal Academy for the Farnese 
 
 Hercules, &c., &c. 
 
 The unrolling the papyri.” 
 
 18a. A figure, &c. ; also : — 
 
 “ Bologna. 
 
 For pictures see Palazzo Mareschelsi. 
 
 Ercolina.” 
 
498 
 
 TURNER DRAWINGS 
 
 [CLXXI.] 
 
 Page 19. 
 
 19a. 
 
 „ 20 . 
 
 
 20a. 
 
 21 . 
 
 * J 
 
 21a. 
 
 22 . 
 
 1) 
 
 22a. 
 
 23. 
 
 23a. 
 
 24. 
 
 24a. 
 
 25. 
 
 95 
 
 25a. 
 
 26. 
 
 26a. 
 
 “ Travel back to Rome by the same road and to Florence 
 by the Sienna Road. 
 
 Cross the Appenines to Bologna, one day’s journey of 
 posting. 
 
 At Bologna. Inn, La Pace. Parche, 2 syllables. 
 
 See the Academy for the collection of pictures.” 
 Another view of the buildings sketched pp. 17a and 18 ; 
 
 — “ Imola ” (? ). 
 
 Various figures, &c. ; also 
 “ Great Theatre — 
 
 Theatre del Soli. 
 
 Mezzofanti I Two professors of Languages, both speak 
 Scandilari j English well. 
 
 New burial ground or Campo Santo, lately the 
 Convent of the Certosa (Chertosa). 
 
 Don’t go the Ferrara road to Venice, ’tis very bad. — ” 
 Various figures, &c. 
 
 “ At Parma see the Theatre, and Palace for the 
 Corregios. 
 
 At Mantua see the Palazzo T. 
 
 On the Lago di Garda, a good Inn at Desenzano.” 
 
 1 Various landscape sketches and figures ; also on 
 J p. 22 : 
 
 “Verona — 
 
 Amphitheatre. 
 
 Gates. 
 
 View from Count Guisti’s. 
 
 Tomb of Romeo & Juliet.” 
 
 Numerous figures. 
 
 “ Vicenza. Get a guide to show you Palladio’s house 
 and some of his Palaces. 
 
 Go to the Rotondo Villa. 
 
 Padua. See the Church of St. Justina. 
 
 Do. St. Antonio.” 
 
 Also a sketch of mountainous scene — “ Belforti ” (P). 
 Sketches of various pictures — “ Benozzio Bad.” 
 
 Two landscape sketches, also — 
 
 “ Venice — Go to the Leone Bianco on the grand canal. 
 See the Palaco of the late Viceroy. 
 
 the Hall of the Council of State in the Place of 
 St. Mark. 
 
 the Academy for the Tintoret (Miracle of St. Mark), 
 the Church of the Frati for the 
 
 St. Peter Martyr of Titian.” 
 
 | Sketches of various pictures, one by “ Palma ,” an- 
 J other “ Tintoretto ,” the Pisano Veronese (now in 
 the National Gallery), &c. 
 
 Also, on p. 25 — 
 
 “ The Palace Pisani, for the Alexander and family of 
 Darius by P. Veronese. 
 
 — for Mrs. Hakewill observe particularly.” 
 
 1 Sketches of various pictures ; a Crucifixion (? by 
 | Veronese), &c. 
 
 A landscape — “ Very like L' 1 Eg's Claude'' a figure, &c. 
 
[CLXXI.] ROUTE TO ROME SKETCH BOOK. 499 
 
 Page 27, 
 
 11 
 
 27a. 
 
 28. 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 ’1 
 
 11 
 
 11 
 
 11 
 
 11 
 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 
 35. 
 35a. 
 
 36. 
 
 37. 
 
 38. 
 
 11 
 
 38a. 
 
 11 
 
 37a. 
 
 36a. 
 
 Sketch of a picture. 
 
 (Leaf partly torn.) 
 
 A group of figures, &c. 
 
 In ink, probably in Turner’s hand — 
 
 “ Sutri from Terni to Rieti. 
 
 Bracciano — 
 
 Ostia — 
 
 from Tivoli to St. Giorgio 
 Autium ( Capo cV Aviso) 
 
 go up to La Servara on the road from Tivoli to 
 Subiaco 
 
 from Suhiaco to Poligno & Palestrina , <tr.” 
 
 Various figures. 
 
 Sketches of various pictures. 
 
 Do. do. 
 
 Sketch of a picture. 
 
 Sketches of various pictures. 
 
 Do. do. also a landscape. 
 
 Various flowers, leaves, &c. 
 
 A landscape. 
 
 Architectural details. 
 
 Two landscapes. 
 
 Do. “ Poggio — approaching ,” and “ Spo- 
 
 letoP 
 
 A diagram. 
 
 “ Drewette (?).” 
 
 Flowers, &c. 
 
 Two landscapes, one of “ Loretto." 
 
 A landscape, figure, &c. 
 
 Landscape. 
 
 The following is also in Hakewill’s handwriting. It 
 commences at end of the book on p. 38a, and is con- 
 tinued on pp. 37a, 36a, 35a, and 35 — 
 
 “ Route. 
 
 Through the Jura Mountains to Geneva. From Geneva 
 cross the Simplon to Domo d’Ossola, cross the Lago 
 Maggiore to Varese and the town of Como. Go up 
 the Lake to Cadenabbia & return. From Como to 
 Milan. From Milan to Genoa (if not thought worth 
 while to go to Turin, which if time presses is not 
 recommended.) 
 
 “ From Genoa by land to Rapallo, Spezia, Sargana & 
 Pisa — From Pisa to Lucca and Florence — From 
 Florence by Perngia to Rome. Rome to Naples. 
 Excursion from Rome to Albano & cross from Albano 
 to Frascati by Marino &c. to Tivoli and back to Rome. 
 Return to Florence by the Sienna Road. From 
 Florence — 
 
 “ cross the Appenines to Bologna. Bologna to Modena, 
 Parma, Guartalla, Mantua. From Mantua to Pes- 
 kuria & the Lago di Garda. Verona — Verona by 
 Padua, &c„ to Venice. 
 
 “ Plome by the Tyrol, through Switzerland & France. 
 
500 
 
 TURNER DRAWINGS. [CLXXI.] 
 
 Page 35a. “ At Rome — 
 
 “ Frescoes in the Chapels of the Church of St. 
 Gregorio. 
 
 “ Pictures in the Palazzo Schiarra. 
 
 — Palazzo Cbigi. 
 
 Palazzo Doria. 
 
 ( in the Church of the Capuchines 
 1 is the St. Michael of Guido. 
 
 “ Palazzo Rospigliosi for the Aurora 
 of Guido. 
 
 “ Villa Ludovici for the Aurora of 
 Guercino and fine statues. 
 
 “ Spada Palace for the Statue of 
 Pompey. 
 
 ,, 35. “ Statue of Moses in the Church of St. Peter Vincola. 
 
 “ Inside of the Church of S. Clementa. 
 
 “ Church of St. Martino. 
 
 “ At Monte new church & handsome. 
 
 “ Statue of S. Cecilia in the Church of the same name. 
 
 “ Vatican & Capitol Museums.” 
 
 (33 leaves drawn on.) 
 
 1819 (AET. 44). 
 
 CLXXII.— ITALIAN GUIDE BOOK SKETCH BOOK. 
 
 Schedule No. 388. 
 
 Pocket book, bound in boards. 
 
 Turner’s label on back — “ 98. Foriegn Hint .” 
 Executors’ endorsement — “ No. 388. 16 leaves of 
 
 pencil and pen and ink sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 Mr. Ruskin’s endorsement on wrapper — “ 388. The 
 Roman Book. With minute sketches. (J.R.)” 
 
 Water mark, “ J. A., 1811. ” 
 
 Size of page, 6^ x 4. 
 
 On inside of the two covers are various sketches, one of a 
 landscape in pen and ink. 
 
 Page 1. “ Thursday ,” otherwise blank. Partly torn. 
 
 „ 2. Buildings and two figures — “ Venus, Juno, Raffaello 
 
 „ 2a* 1 A building. 
 
 ,, 3. J 
 
 „ 4. '■‘■Parma. 2 Stages to Reggio, the Cathedral, Church of 
 
 St. Prosper of &c. 
 
 „ 4 a. Further extracts from a guide book, in Turner’s hand, 
 
 ,, 5. Do. do. do, 
 
 „ 5a. A landscape. 
 
[CLXXII. 1 ITALIAN GUIDE BOOK. 
 
 501 
 
 Page 6. “ Santa Groce— Alban Alt. to the South," &c. 
 
 „ 7. Further extracts. 
 
 „ 7 a. Do. 
 
 •n 8. Do. list of tombs and palaces at Rome. 
 
 „ 8a. A landscape. 
 
 „ 9. Do. 
 
 „ 9a. Further extracts. 
 
 „ 10. Do. 
 
 „ 10a. Do. 
 
 „ 11. Do. 
 
 „ Ha. Do. 
 
 „ 12. Do. 
 
 ,, 12a. Do. 
 
 „ 13. Do. 
 
 >, 13a. Do. 
 
 „ 11. Do. 
 
 „ 11a. Do. 
 
 „ 15. Do. 
 
 „ 15a. Do. 
 
 „ 16. Do. 
 
 „ 16a. Do. 
 
 „ 17. Ten small pen and ink sketches of various places of 
 
 interest in Italy. These views seem to be copied 
 from the plates in “ Select Views in Italy, with 
 Topographical and Historical Descriptions in English 
 and French.” Published by John Smith, Wiiliam 
 Byrne, and John Ernes, 1792-1796. The subjects on 
 this page are : — 
 
 (1) Bologna, (2) Palazzo Publico, in Bologna, (3) 
 Dogana, on Pietra mala, (1) In the Apennines 
 between Bologna and Florence, (5) In the Appenines 
 between Bologna and Florence, (6) Florence, (7) II 
 Ponte Vecchio, at Florence, (8) Vale of the River 
 Arno, (9) Cortona, (10) Lake of Perugia 
 
 „ 18. Twelve similar pen and ink sketches : — 
 
 (1) Perugia, (2) Assisi, (3) Temple of Clitumnus, 
 (4) Castle of Spoleto, (5) Approach to the Cascade of 
 Terni, (6) Cascade of Terni, (7) Lake of Piede Lugo, 
 (8) Bridge of Augustus at Narni, (9) Modern Bridge 
 at Narni, (10) Borghetto and Ponte Felice, (II) 
 
 ' Civita. Castellana, (12) Distant view of St. Peters and 
 the Vatican at Rome. 
 
 „ 19. Twelve similar pen and ink sketches : — 
 
 (1) II Ponte St. Angelo at Rome, (2) Inside view 
 of the Coliseum, (3) General view of the Coliseum, 
 (4) Campo Vaccino, (5) Arch of Septimus Severus, 
 (6) Temple of Bacchus, (7) Ponte Lucano, (8) Villa 
 Adriana, (9) Villa of Mecenas, (10) Sybil’s Temple, 
 (11) The great Cascade at Tivoli, (12) Convent of 
 St. Cosimato. 
 
 „ 19a. Two similar pen and ink sketches : — 
 
 (1) Villa of Horace, (2) Village near Castello 
 Nuovo, — “ 15 miles from Rome , No, 22." 
 
 2 K 
 
 32796 
 
502 
 
 TURNER DRAWINGS. [CLXXII.] 
 
 Page 20. 
 
 20a. 
 
 95 
 
 95 
 
 21 . 
 
 21a. 
 
 99 
 
 95 
 
 55 
 
 55 
 
 55 
 
 55 
 
 59 
 
 55 
 
 55 
 
 95 
 
 55 
 
 59 
 
 55 
 
 55 
 
 55 
 
 59 
 
 55 
 
 59 
 
 22 . 
 22 a. 
 
 23. 
 23a. 
 
 24. 
 24a. 
 
 25. 
 25a. 
 
 26. 
 26a. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a. 
 
 Twelve similar pen and ink sketches : — 
 
 (1) Sepulchral remains in the Campania, (2) 
 Frescati, (3) Marino, (4) Lerici, (5) Hermitage at 
 Albano, (6) Lake of Albano, (7) Lake of Nemi, (8) 
 Veletri, (9) Terracina, (10) Castle of Fondi, (11) 
 Tomb of Cicero, (12) Ferry over the Garigliano. 
 
 Twelve similar pen and ink sketches : — 
 
 (1) Amphitheatre at Capua Vecchia, (2) Cuma, 
 (3) Lake Avernus, (4) Bay of Puzzuoli, (5) Solfatara, 
 (6) Lake Agnano, (7) Entrance into the Grotto of 
 Posilipo, (8) On the shore of Posilipo, (9) View of 
 part of the City of Naples, (10) General view of the 
 Bay and City of Naples, (11) On Mount Vesuvius 
 above Portici, (12) The Summit and Crater of Mount 
 Vesuvius. 
 
 Two landscapes. Pencil. 
 
 Twelve small pen and ink sketches : — 
 
 (1) On the Island of Caprea, (2) Amalfi, in the 
 Bay of Salerno, (3) La Cava, (4) Hermitage near La 
 Cava, (5) Salerno, (6) Ruins at Pesturn, (7) Scylla, 
 (8) Genoa, (9) Convent of St. Domenico at Sienna, 
 (10) Colle, (11) Etruscan Gateway at Volterra, 
 (12) Loretto. 
 
 Two landscapes. Pencil. 
 
 A building. 
 
 Blank. 
 
 A landscape. 
 
 Blank. 
 
 A landscape. 
 
 Do. 
 
 Vessels. 
 
 Do. 
 
 Vessels and bridge. 
 
 Blank. 
 
 A vessel. 
 
 Two landscapes. 
 
 Various figures. 
 
 A landscape, &c. 
 
 Vessels, &c. 
 
 Two sketches. 
 
 Vessels, figures, &c. 
 
 (20 leaves drawn on.) 
 
[CLXXIII.] 
 
 503 
 
 1819 (AET. 44). 
 
 CLXXIII.— “PARI S, FRANCE, SAVOY 2” SKETCH BOOK. 
 
 Schedule No. 395. 
 
 Sketch book, bound in calf, with one brass clasp. 
 Turner’s label on back — “ 2. Paris , Cross France , 
 Savoy , IF to Italy ” ; written in ink on one of the 
 covers — “ Paris , France , Savoy , ,2.” 
 
 Executors’ endorsement — “ No. 395. Contains 
 87 leaves Pencil Sketches. 
 
 (Signed) H. S. Trimmer. 
 
 C. Turner.” 
 
 Note in pencil at side— “ I make it 89 ? J.R.” 
 Water mark — “ J. Whatman, 1814.” 
 
 Size of page — 4 ?, x 7 X V 
 
 There are slight pencil sketches on the inside of both 
 covers ; one of “ Mt. B ” (Mont Blanc) ; also, on front cover, 
 the following note : — 
 
 U 
 
 Changed at Calais a L or and a 5 Note. 
 
 20 Left 
 10 to Hannah 
 10 to Daddy 
 40 Left in SO Checks. 
 
 5 changed in Lond. 
 11 the .... 
 
 5 at Calais. 
 
 2 Silver to Dover. 
 
 23 to Lyons.'" 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. A cathedral, from the market place. 
 
 la. “ Left Dover at 10. Arr. at Calais at 3 in a Boat 
 frorn^the Packet Boat. Beset as usual. Began to 
 rain next morn, on the setting out of the Dil. Con- 
 versation in the diligence, the Russe 2 Frenchmen 
 and 2 English Cab. 3 Engl. Russe great par example 
 the Emperor Alexander tooit part tout the French 
 tres bon gens but the English everything at last teas 
 bad , Pitt the cause of all , the King's death and fall , 
 and Robespierre their tool. Rained the whole way to 
 Paris. Beaumont sur Siene (?) good." 
 
 2. Bridge and quays. 
 
 2a. 1 Two mountain scenes and a bridge, probably at 
 
 3. j Paris. (? Palais-Bourbon and Pont de la Con- 
 
 corde.) 
 
 3 a. Three mountain sketches. 
 
 4. Scene on the Seine. 
 
 4 a. Three mountain sketches. 
 
 5. Scene on the Seine. 
 
 32796 
 
 2 K 2 
 
504 
 
 TURNER DRAWINGS. [CLXXIII.J 
 
 Page 5 a. 
 „ 6 . 
 
 „ 6a. 
 
 „ 7. 
 
 „ 8. 
 
 „ 8a. 
 
 „ 9. 
 
 „ 9 a. 
 
 „ 10 . 
 
 „ 10a. 
 
 „ IE 
 „ 12 . 
 
 „ 13. 
 
 „ U. 
 
 „ 14a. 
 „ 15. 
 
 „ 16. 
 
 „ 16a. 
 
 „ 17. 
 
 „ 18. 
 
 „ 19. 
 
 „ 20 . 
 
 „ 21. 
 
 „ 22 . 
 
 „ 23. 
 24 
 
 55 {j'X. 
 
 „ 25. 
 
 „ 25a. 
 „ 26. 
 
 „ 27. 
 
 „ 27 a. 
 „ 28. 
 
 „ 28a. 
 
 Two sketches, probably in Savoy. 
 
 ? St. Cloud. 
 
 | Distant view of Paris (i). 
 
 Bridge, with houses. 
 
 | Buildings, and a river scene. 
 
 | Two mountain scenes, and an avenue beside river. 
 
 | Two mountain scenes, and a fountain. 
 
 River scene. 
 
 A bridge. 
 
 Paris, from the Barriere of “ Passy." 
 
 A landscape. 
 
 Do. 
 
 An archway over bridge. 
 
 A landscape, with boat. 
 
 Three sketches, one of an archway. 
 
 Bridges and buildings. 
 
 Two sketches at “ Chalons." 
 
 Two sketches. 
 
 Vessels. 
 
 *‘ Tournus ” (?). 
 
 Various sketches. 
 
 Do. 
 
 Do. 
 
 | Bridge and Town. 
 
 Do. 
 
 Various female figures. 
 
 Bridge and town. 
 
 Two mountain sketches — one of “ G. Croix." 
 
 59 
 
 5? 
 
 55 
 
 95 
 
 55 
 
 55 
 
 55 
 
 59 
 
 95 
 
 59 
 
 55 
 
 59 
 
 55 
 
 55 
 
 55 
 
 59 
 
 95 
 
 95 
 
 29. Bi’idge and quay. 
 
 29a. Road between mountains. 
 
 30. Town on river. 
 
 30a. Distant mountains. 
 
 31. Do. 
 
 31a. Do. 
 
 32. Houses on shores of a lake— “ Beautiful afternoon." 
 32 a. Figures resting near a diligence. 
 
 33. Three landscape sketches. 
 
 33a. Mountains. 
 
 34. Trees and buildings on a river. 
 
 35. Three sketches on a lake or river. 
 
 35a. A building on hill, &c. — “ Sand " and “ Mont Mare." 
 
 36. Buildings on a hill, &c. 
 
 36a. A Roman archway, &c. 
 
 37. Scenes on a lake or river. 
 
 37a. A town, with arch’way. 
 
 38. Three sketches of a town on river or lake. 
 
 39. Five landscape sketches. One of “ Turneaux (?)." 
 
 40. “ Turnex." (? Tournus, near Macon.) 
 
 41. An “ Embankment." 
 
[CLXXIII.] PARIS, FRANCE, SAVOY 2. 
 
 505 
 
 Page 41ft. Two landscapes. 
 
 „ 42. Castle (?) on hill. 
 
 „ 43. Road leading to a town. 
 
 „ 43ft. Sketches of mountains. 
 
 „ 44. Three sketches of Castle on hill. 
 
 „ 45. Ruins on hill. 
 
 ,, 45ft. Landscape. 
 
 „ 46. Town beside lake. 
 
 „ 46ft. Mountains. 
 
 „ 47. A town. 
 
 „ 47ft. Mountains. 
 
 „ 48. Two sketches ; one near “ Mt. Genis." 
 
 „ 48ft. Mountains. 
 
 „ 49. Do. 
 
 „ 49ft. Do. 
 
 „ 50. Building near river. 
 
 „ 51. Town with bridge. 
 
 „ 52. Cathedral (?). 
 
 „ 52 ft. Mountains. 
 
 „ 53. Do. 
 
 „ 54. Do. 
 
 ,, 55. Do. 
 
 „ 55ft. Do. 
 
 „ 56. Four landscape sketches ; one of “ Beauvoison ” (pro- 
 
 bably Beauvoisin, near Chambery). 
 
 „ 56«. Various figures. 
 
 „ 57. Buildings, with distant mountains. 
 
 „ 57ft. Distant mountains. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 5 ? 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 58. 
 58ft. 
 
 59. 
 59ft. 
 
 60. 
 60ft. 
 61. 
 61ft. 
 62. 
 62a. 
 
 63. 
 63ft. 
 
 64. 
 64ft. 
 
 65. 
 65ft. 
 
 66 . 
 66ft. 
 
 67. 
 67ft. 
 
 68. 
 68ft. 
 
 69. 
 
 (Leaf torn out.) 
 
 Do. 
 
 | Various figures and mountains. 
 
 River running under walls of a town, with one-arched 
 bridge and figures. 
 
 Blank. 
 
 River, with bridge and town, probably Lanslebourg, 
 
 Mt. Cenis in distance. 
 
 ) Two sketches near Mt. Cenis. 
 
 | Two landscapes in Savoy. 
 
 \ Three sketches of mountain scenery. 
 
 | Distant mountains. 
 
 Mountains. 
 
 Do. 
 
 Three sketches on the road to Suza. 
 
 The Valley of the Dora, with Rochemelon in distance (?). 
 A road with oxen. 
 
 Three sketches. 
 
 | Lanslebourg, with the glaciers beyond. 
 
506 
 
 TURNER DRAWINGS. [CLXXIII.] 
 
 Page 69a. 
 „ 70. 
 
 „ 70a. 
 „ 71. 
 
 „ 71a. 
 „ 72, 
 
 „ 72a. 
 „ 73. 
 
 „ 73a. 
 „ 71. 
 
 „ 74a. 
 „ 75. 
 
 „ 76. 
 
 „ 77. 
 
 „ 77 a. 
 „ 78. 
 
 „ 78a. 
 „ 79. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 '9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 79a. 
 
 80. 
 
 80a. 
 
 81. 
 
 81a. 
 
 82. 
 
 82a. 
 
 83. 
 
 83a. 
 
 83a. 
 
 81. 
 
 84a. 
 
 85. 
 85a. 
 
 86 . 
 86a. 
 
 87. 
 87 a. 
 
 88 . 
 88a. 
 89. 
 89a. 
 
 On the Mt. Cenis road. 
 
 Do. 
 
 Termignon (?). 
 
 A roadway. 
 
 A sketch. ' 
 
 Two sketches. 
 
 Mountains. 
 
 Two sketches of entrance to tunnel. 
 
 Three sketches. 
 
 Do. 
 
 Four sketches. 
 
 Various sketches. 
 
 Three sketches. 
 
 Two sketches. 
 
 Aiguebelle and the Roc of Charbonniere. 
 
 Four sketches, one of Aiguebelle. 
 
 Glaciers. 
 
 Three sketches among the mountains. One “ Looking 
 down,' 1 ' another “ up." 
 
 Road between mountains. 
 
 Three sketches. 
 
 Four sketches. 
 
 Do. 
 
 Three sketches. 
 
 Various sketches. 
 
 Three sketches. 
 
 Do. 
 
 Valley of the Isere (?). 
 
 | Glaciers. 
 
 Four sketches. 
 
 Three sketches. 
 
 \ Town and glaciers, &c. 
 
 Mountains. 
 
 Do. 
 
 | Susa (?). 
 
 “ Mt. Cenis ” road. 
 
 Susa (P). 
 
 A figure and various landscape sketches. 
 
 (89 leaves drawn on.) 
 
[CLXXIV.] 
 
 507 
 
 1819 (AET. 44). 
 
 CLXXIV.— " TURIN, COMO, LUGARNO, MAGGIORE " 
 
 SKETCH BOOK. 
 
 Schedule No. 284. 
 
 Sketch book, bound in boards, with red leather 
 back. 
 
 Turner’s label on back was destroyed when the 
 covers were broken off ; written in ink on one of the 
 covers — “ Turin , Como , Lugarno , Maggiore." 
 
 Executor’s endorsement — “ No. 284. Contains 
 90 Leaves. Pencil sketches on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, “ Smith & . . . . 18 . .” 
 
 Size of page, 4f x 7|. 
 
 The leaves were distributed (but numbered) 
 mainly in two parcels, one inscribed — “ 284. Maggiore. 
 Four out, R. N. W. ” ; the other, “ 284. Cover and 
 inferior leaves.” 
 
 The following were the inferior leaves — 
 
 3, 3 a, 4, 5, 6, 7, 8, 9, 12, 13, 14, 15, 17, 18, 22, 29, 
 33, 42, 43, 46, 48, 49, 50, 52, 53, 56, 57, 58, 59, 61, 63, 
 64,65,66,8.1,82,88. (37 in all). 
 
 There are various slight pencil sketches on insides of the 
 covers ; one of “ Sesto ,” near Florence. 
 
 Page 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 1. Mountains, and a wooden bridge, 
 la. ) Mountains. “ Gotliard .” 
 
 2 . / 
 
 2a. Buildings and mountains. 
 
 3. Ruins on a hill. 
 
 3a. 1 “ St. Giorgio.' 1 ' (? St. George, near Bussolino, between 
 3 b. / Susa and Turin). 
 
 3 c. Road leading past a portico to distant mountains. 
 
 4. Road, with ruins on a hill. 
 
 4a. Three sketches. 
 
 5. Mountains. 
 
 5a. Three sketches. 
 
 6. Castle on mountain. 
 
 6a. A bridge. 
 
 7. Castle. 
 
 7a. Three sketches. 
 
 8. Castle on mountain. 
 
 8a. Three sketches. 
 
 9. Town, with ruins on a hill. 
 
 9a. Two sketches. 
 
 10. Two sketches ; one of Fort Exilles (?). 
 
 10a. Two landscapes. 
 
508 
 
 TURNER DRAWINGS. [CLXXIV.] 
 
 Page 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 11 . 
 
 lla. 
 
 12 . 
 
 12a. 
 
 13. 
 13a. 
 
 14. 
 lla. 
 
 15 . 
 
 16. 
 16 a. 
 
 17. 
 17a. 
 
 18 . 
 
 19. 
 19a. 
 
 20 . 
 20a. 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 21 . 
 21a. 
 22 . 
 22 a. 
 
 23. 
 23a. 
 
 24. 
 
 yy 
 
 24 a. 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 25. 
 
 25a. 
 
 26. 
 26a, 
 27. 
 27a. 
 
 yy 
 
 yy 
 
 yy 
 
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 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 yy 
 
 28. 
 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a, 
 
 33. 
 33a. 
 
 34. 
 34a. 
 
 35. 
 
 36. 
 
 Campanile and dome of cathedral at Turin. 
 
 Vessels on a lake or river. 
 
 A tower, with mountains. 
 
 Buildings near a river. “ Sesto " (near Florence). 
 
 Town on a hill. 
 
 | Buildings, with distant mountains. 
 
 | Town, with distant mountains. 
 
 Town. 
 
 Mountains. 
 
 A town. 
 
 Ruins. 
 
 A town. 
 
 Campanile and other buildings. 
 
 Landscape, with building. 
 
 Town, with distant Alps. ? Turin. 
 
 Two sketches ; one of a building described as “ Monte 
 Catrini .” 
 
 Drawing on p. 20 continued. 
 
 | “ Turin." 
 
 The Superga, Turin, and another sketch. 
 
 | Missing. 
 
 Town in valley, probably Turin. Reverse of 125c, 
 2nd Loan Collection. 
 
 Convent on hill, Turin. Mr. Ruskin has written in 
 ink in margin — “ Joins 25 nicely.” 2nd Loan Col- 
 lection, No. 125c. 
 
 Turin, wdth distant Alps. Continuation of drawing 
 on p. 24a. 
 
 A bridge. 
 
 Building on hill near a river. 
 
 ) The Palazzo Madama. Turin. 2nd Loan Collection, 
 ( No. 125rf. 
 
 Continuation of drawing on p. 28. Reverse of No. 125(7, 
 2nd Loan Collection. 
 
 Facade of S. Giovanni, the cathedral at Turin. 
 
 The Piazza Castello, Turin. 
 
 Blank. 
 
 \ Street scene, Turin. 
 
 Figures, &c. 
 
 Church & campanile. Probably in Turin. 
 
 ) Group of buildings. Castello Reale, &c., Turin. 
 
 | Group of buildings. 
 
 \ Group of buildings. “ Santa Croce , Paregade Italia." 
 
 “ Piazza San Carlo." (Turin.) 
 Academy of Science, Turin. 
 
 The Superga, Turin. 
 
[CLXXIV.] TURIN, COMO, LUGARNO, &C. 
 
 509 
 
 Page 36a. 
 
 99 
 
 99 
 
 99 
 
 •9 
 
 ’9 
 
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 99 
 
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 37. 
 37a. 
 
 38. 
 38a. 
 
 39. 
 39a. 
 
 40. 
 40a. 
 
 41. 
 41a. 
 
 42. 
 
 43. 
 
 44. 
 44a. 
 
 45. 
 45a. 
 
 46. 
 
 47. 
 47a. 
 
 48. 
 48a. 
 
 49. 
 49a. 
 
 50. 
 50a. 
 
 51. 
 51a. 
 
 52. 
 52a. 
 
 53. 
 53a. 
 
 54. 
 54a. 
 
 55. 
 55a. 
 
 56. 
 56a. 
 
 57. 
 57a. 
 
 58. 
 58a. 
 
 59. 
 59a. 
 
 60. 
 60a. 
 61. 
 61a. 
 62. 
 62a. 
 
 63. 
 63a. 
 
 64. 
 
 Distant Alps. 
 
 Bridge, with citadel (?) on hill beside it. 
 
 Do. do. 
 
 Town, with distant Alps. 
 
 I Town, with distant Alps. 
 
 Distant Alps. 
 
 Buildings. •* Corso de Perla ” (?). 
 
 | Distant Alps, &c. 
 
 Distant Alps. “ Gt. St. Bernard." 
 
 A landing place. 
 
 Buildings at “ Buffalara " (Buffalora, between Novara 
 and Milan). 
 
 On the quay at Buffalora. 
 
 | Town, with bridge. 
 
 A narrow passage. 
 
 Slight sketch. 
 
 Vessels on river, with buildings. 
 
 Distant Alps. 
 
 Mountains beside a lake. Lake Como. 
 
 | Vessel, with mountains. 
 
 A sketch. 
 
 Church on margin of a lake. 
 
 “ Opposite Laglio ” on Lake Como. 
 
 \ Olives, beside Lake. “ Olives , thin cold leaves , white 
 / under." No. 1255, 2nd Loan Collection. 
 
 Blank. 
 
 | Lake, with mountains. Probably Lake Como. 
 
 Building, with tower. 
 
 Do. 
 
 | Lake, with mountains, &c. “ Como." 
 
 Lake, with mountains. 
 
 Do. 
 
 | Do. 
 
 Buildings on margin of lake. 
 
 Mountains. 
 
 Buildings beside lake, with distant mountains. 
 
 An inscription, dated 1815. 
 
 Mountains. 
 
 Trees, with distant mountains. 
 
 Various sketches on Lake Como ; one of “ Campo." 
 Mountains and town. 
 
 Town with mountains. 
 
 Do. 
 
 1 A church (? Cathedral, Como); also various archi- 
 j tectural details. 
 
 Three sketches, buildings, mountains, &c. 
 
 Three sketches, one of “ Laglio." 
 
510 
 
 TURNER DRAWINGS. [CLXXIV.] 
 
 Page 64a. Two sketches, one of “ Brino ” (? Brienno). 
 
 „ 65. Do. 
 
 „ 65a. Three do. 
 
 „ 66. Two do. 
 
 „ 66a. “ Canipo ,” “ Sola," &c. 
 
 „ 67. Lake Como. Reverse of No. 125a, 2nd Loan Collection. 
 
 „ 67a. Bellaggio. Lake Como. No. 125a, 2nd Loan Collection. 
 
 ,, 68. Mountains. 
 
 „ 68a. Four sketches on Lake “ Como." 
 
 „ 69. Various sketches on “ Lac Piano " (Lago di Piano). 
 
 ,, 69a. Four sketches ; one of Lago di Piano and two of “ Ponte 
 St. Peters." 
 
 „ 70. Various sketches ; two of “ Palazzio " (probably Porlezza 
 
 on L. Lugano), one of “ Lugea" (? Loggia), &c. 
 
 „ 70a. Four sketches, pi’obably on Lake of Lugano ; one of 
 
 “ Albogasio." 
 
 „ 71. Sketches of “ Oria ,” ‘‘ Albogasio," and “ Gandria" (all 
 on Lake Lugano). 
 
 „ 71a. Above Lugarno" and other sketches. 
 
 „ 72. “ Landing Place" and views of Lugano, with “ Melide" 
 
 and sketch of a “ Tobacco " plant. 
 
 „ 72a. Three sketches on Lugano, with a view of M. San 
 
 Salvatore. 
 
 „ 73. Three sketches at Ponte Tresa. 
 
 „ 73a. Near Ponte Tresa. 
 
 „ 74. Views on lake. 
 
 „ 74a. “ Lago Maggiore," near Luino, with the Castle of 
 “ Cannero." 
 
 „ 75. Near the Borromean Islands, on Lago Maggiore ; one 
 
 view of “ Lavino " in distance on the right, with a 
 headland, “ Giuliano " (?), on opposite side; with 
 various remarks, such as “ Sea green with dark 
 waves" also “ Boats have the (sign for awning) over 
 the edge , close seat behind for the tiller , which is 
 changed , the Maggiore one had the tiller (another 
 sign), the Steersman sat upon the spare oar " ; 
 another sketch of “ Intra," with Monte Rosso 
 behind the town and “ St. Gothard" in distance*; 
 other sketches of “ Glascio ” (?), “ Baso call'd Castello 
 St. Petro," &c. Exhibited Drawings, No. 603c, N.G. 
 
 „ 75a. Various sketches ; some of “Intra," with M. Rosso and 
 
 St. Gothard in distance. Exhibited Drawings, 
 No. 603c (reverse). 
 
 „ 76. “ St. Gothard" from Lago Maggiore. 
 
 „ 76a. A town on the lake. 
 
 „ 77. Terraces from the lake. 
 
 „ 77a. “ Baveno," on Lago Maggiore. 
 
 „ 78. Buildings, &c. 
 
 „ 7 8a. Villas, &c., from the lake. 
 
 „ 79. “ Feriolo," &c. 
 
 * Mr. Ruskin says Turner “ has mistaken lower peaks for “ Rosa and St. 
 Gothaid, neither of them being visible from this part of Lago Maggiore” 
 (R. on P. p. 245). Mr. Ruskin, however, appears to have confused M. Rosa with 
 M. Rosso, this latter certainly being visible from the lake. 
 
TURIN, COMO, &C. 
 
 511 
 
 [CLXXIV.] 
 
 Page 7 9a. Various sketches. 
 
 „ 80. “ Domodossolct ” from Lago Maggiore. 
 
 „ 80a. Facade of a building and distant mountains. 
 
 ,, 81. Mountainous scene. 
 
 „ 81a. Scene on Maggiore. 
 
 „ 82. Mountains. 
 
 „ 82a. Do. 
 
 ., 83. Do. 
 
 „ 83a. Castle on hill, &c. 
 
 ,, 84. Mountainous scenes. 
 
 „ 84a. Do. 
 
 „ 85. Do. 
 
 „ 85a. Do. 
 
 „ 86. Do. 
 
 „ 86a. Do. 
 
 „ 87. Do. 
 
 „ 87a. A mountain pass. 
 
 „ 88. Do. 
 
 „ 88a. Do. 
 
 „ 89. Do. 
 
 „ 89a. Do. 
 
 „ 90. Do. 
 
 „ 90a. Do. 
 
 ., 91. Do. 
 
 „ 91a. Town on lake or river. 
 
 „ 92. Town, with church tower. 
 
 „ 92a. Four sketches of mountains. 
 
 (88 leaves drawn on, with one leaf missing.) 
 
 1819 (AET. 44). 
 
 CLXXV.— “MILAN TO VENICE" SKETCH BOOK. 
 
 Schedule No. 300. 
 
 Sketch book, bound in boards, with red leather 
 back, and one brass clasp. 
 
 Turner’s label on back — “ Milan to Venice ” ; also 
 on one of covers — “ Milan to Venice. 5.” 
 
 Executor’s endorsement — “ No. 300. Contains 
 90 leaves, Pencil sketches most on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, “ A. Lee. 1813.” 
 
 Size of page, 4| x 7 T 7 ^. 
 
 The leaves were distributed, but numbered. The 
 following pages were in a separate bundle, labelled 
 by Mr. Ruskin, “ 300. Inferior leaves ” — 
 
 3-39 (inclusive), 47, 51, 53, 63, 68, 69, 89, 90 
 (45 in all). 
 
 Various MS. notes and sketches on insides of covers. 
 
512 
 
 TURNER DRAWINGS. [CLXXV.] 
 
 Page 
 
 95 
 
 55 
 
 95 
 
 59 
 
 95 
 
 95 
 
 59 
 
 1. 
 
 la. 
 
 2 . 
 
 3. 
 
 3 a. 
 35. 
 
 4. 
 
 5. 
 
 5 a. 
 
 6. 
 6 «. 
 
 55 
 
 99 
 
 95 
 
 55 
 
 55 
 
 55 
 
 55 
 
 59 
 
 55 
 
 7. 
 
 8 . 
 8 «. 
 9. 
 9ft. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 18ft. 
 
 19. 
 19ft. 
 
 20 . 
 21 . 
 21ft. 
 
 59 
 
 55 
 
 55 
 
 95 
 
 95 
 
 95 
 
 55 
 
 55 
 
 59 
 
 99 
 
 55 
 
 55 
 
 59 
 
 59 
 
 55 
 
 55 
 
 55 
 
 59 
 
 59 
 
 22ft, 
 
 23. 
 23ft. 
 
 24. 
 24ft, 
 
 25. 
 
 26. 
 26ft, 
 
 27. 
 
 28. 
 28 ft. 
 
 29. 
 29ft. 
 
 30. 
 
 31. 
 31ft. 
 
 32. 
 32«. 
 
 33. 
 33ft. 
 
 Study of sky. 
 
 | The Cathedral, Milan. 
 
 Commencement of a sketch. 
 
 A fountain (?). 
 
 Various small figures. (Only a fragment of a leaf.) 
 
 Part of the Cathedral, Milan. 
 
 Do. do. 
 
 Part of the Cathedral, Milan. 
 
 Part of Milan Cathedral. 
 
 Spires, cornices, and other architectural details of Milan 
 Cathedral. 
 
 Various buildings. 
 
 Do. 
 
 | Do. 
 
 | Roman Colonnade, Sau Lorenzo. 
 
 Do. do. 
 
 Interior of Milan Cathedral. 
 
 Do. do. 
 
 Architectural sketch ; also a figure. 
 
 Tower of the Cathedral. 
 
 Various architectural details. 
 
 Buildings, with figures. 
 
 Tower and other buildings. 
 
 A postilion and other figures. 
 
 A church (?). 
 
 | A street. 
 
 A town. 
 
 “ Desenzano,” on Lago di Garda, with “ Sirmione " in 
 distance. 
 
 “ Lonato" (between Breschia and Verona). 
 
 Landscape, and various figure subjects. . 
 
 A row of buildings. 
 
 Various figures, &c. 
 
 Various figures, bridges, &c. 
 
 A distant mountain. 
 
 An amphitheatre (?). (? at Verona.) 
 
 Buildings, figures, &c. 
 
 A gateway (?). 
 
 Towers, &c. 
 
 Part of a church (?). 
 
 | The Bridge of Castel Vecchio, Verona. 
 
 Do. 
 
 Various figures and landscapes. “ Ghiara," &c. 
 Buildings. 
 
 Baskets, &c. 
 
 Tower and facades of buildings. “ Scala ” (?). 
 Buildings, with tower. 
 
 Various buildings. 
 
 Do. 
 
[CLXXV.] MILAN TO VENICE SKETCH BOOK. 513 
 
 Page 34. Figures and buildings. “ Breschia ” (?). 
 
 „ 35. A palace (?). 
 
 „ 36. Towers and other buildings. 
 
 „ 36a. Figures, &c. 
 
 „ 37. A boat. 
 
 „ 37a. Boats. 
 
 „ 38. Gondolas passing the Barbarigo (?) Palace, Venice. 
 
 „ 38a. Do. do. 
 
 „ 39. Vessels, with Ponte di Rialto in distance. 
 
 „ 39a. Boats, with the Bridge of Sighs in distance. 
 
 „ 40. The Custom House, Venice. Exhibited Drawings, 
 
 6025, N. G. 
 
 „ 40a. Distant view of Doge’s Palace ; also part of leg of one 
 
 of the figures, and weeds in .foreground of Titian’s 
 St. Peter Martyr. — “ Weeds in F. St. Peter Martyr .” 
 
 „ 41. A vessel. 
 
 „ 41a. 1 Basilica di S. Marco. 
 
 „ 42. / 
 
 „ 42a. | The Piazzetta, looking towards the Lagune, with the 
 
 „ 43. / Campanile and Library on the right, and the Ducal 
 
 Palace on the left ; also various architectural details 
 of St. Mark’s, &c. 
 
 „ 43a. On the Grand Canal, with the Palazzo de’ Camerlenghi 
 and the Erberia. 
 
 ,, 44. Piazza S. Marco. Exhibited Drawings, No. 602c, N.G. 
 
 „ 44a. “ Venetian Merchants. White <fr B. (?) sash." Sketch 
 of two small figures. Reverse of 602c, N.G. 
 
 ,, 45. S. Marco, with part of Ducal Palace on the right, with 
 Sansovino’s Loggetta on the left. 
 
 „ 45a. An interior (?) ; also an “ Old Boat at Venice." 
 
 „ 46. Blank. 
 
 ,, 46a. The Piazzetta, looking towards Ipola di S. Giorgio 
 
 Maggiore ; part of the Ducal Palace in the fore- 
 ground, on the left, with the two granite columns 
 on the right. 
 
 „ 47. Blank. 
 
 „ 47a. Tower of S. Bartolomeo from the Fruit Market, looking 
 
 over the Rialto. 
 
 „ 48. Blank. 
 
 ,, 48a. The Rialto, witli the east side of the Grand Canal. 
 
 Exhibited Drawings, No. 602m, N.G. 
 
 „ 49. Continuation of previous drawing ; also “ The Inn of 
 
 Great Britain , Albergo." 
 
 „ 49a. Various sketches of the Campanile and Towers of 
 St. Mark’s, and the entrance to the Grand Canal, 
 with San Giorgio and the Salute. 
 
 „ 50. The Campanile of St. Mark’s, and San Giorgio. 
 
 „ 50a. I Sketches on the Canale di S. Marco. 
 
 „ 51. / 
 
 „ 51a. The Campanile of St. Mark’s, with part of the Doge’s 
 
 Palace (with figure of Eve and Serpent). 
 
 „ 52. View between the columns in the Piazzetta. 
 
 „ 52 a. The Ducal Palace, the Zecca, and the Salute. 
 
 „ 53. Blank. 
 
TURNER DRAWINGS. [CLXXV.] 
 
 53a. The Molo, looking towards the Riva dei Schiavoni. 
 
 54. S. Maria della Salute. Exhibited Drawings, No. 
 
 602a, N.G. 
 
 55. Entrance to the Arsenal. 
 
 55 a. On the Grand Canal, with palaces of “ Pesaro ” and 
 Vendramin Calergi. 
 
 56. Blank. 
 
 56a. The Ducal Palace and Riva dei Schiavoni from the 
 Canal, with sketches of the Salute. 
 
 37. A tree, various buildings, &c. 
 
 57a. Looking along the right-hand side of the Canale di S. 
 Marco, commencing at the Ducal Palace and 
 Piazzetta. 
 
 58. Blank. 
 
 58a. S. Maria della Salute and Seminario Patriarcale. 
 
 59. Riva degli Schiavone, with St. Mark’s and Zachary’s. 
 
 Exhibited drawings, No. 602//, N.G. 
 
 59a. Two small sketches. Reverse of do. 
 
 60. The Doge’s Palace and Mint. Exhibited drawings, No. 
 
 6027/, N.G. 
 
 60a. Sketches of boats and gondoliers. 
 
 61. The Grand Canal, from Casa Foscari to the Rialto. 
 
 Exhibited drawings, No. 602 /, N.G. 
 
 61a. Distant view of Campanile and St. Mark’s. Reverse of 
 do. 
 
 62. Distant view of the Campanile and Doge’s Palace. 
 
 62a. Looking towards the Canale di S. Marco, with the 
 
 Dogana on the right. 
 
 63. Blank. 
 
 63a. 1 S. Maria della Salute and Dogana on left, with 
 
 64. j Campanile and Piazzetta on the right. 
 
 64a. 1 Dogana di Mare and S. Maria della Salute. 
 
 65. J 
 
 66a. \ Isola di S. Giorgio Maggiore. 
 
 67. / 
 
 67a. Looking from the Grand Canal, with the Salute on the 
 right. 
 
 68. Blank. 
 
 68a. Looking along the Grand Canal, with the Salute on the 
 right, and the Palazzo Corner della Ca Grande on the 
 left. 
 
 69. Boats, with figures, &c. 
 
 69a. \ Looking along the Grand Canal towards its entrance, 
 
 70. J from the front of the Accademia di Belle Arti. 
 
 70a. 1 Looking up the Grand Canal from near the Accademia 
 
 71. j di Belle Arti ; showing the Palazzo Balbi and the 
 
 Tower of the Frari on the left, with the Palazzo 
 Garzoni (the French Consulate), Palazzo Grassi, &c., 
 and the Campanile of S. Stefano on the right. 
 
 71a. The Grand Canal ; with Palazzi Foscari, Giustiniani, 
 Rezzonico, &c., on the right. 
 
 Do. 
 
 do. 
 
 ; another view. 
 
[CLXXV.] MILAN TO VENICE SKETCH BOOK. 515 
 
 Page 72. 
 
 72 a. 
 
 99 
 
 73. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 74. 
 74a. 
 
 75. 
 
 75 a. 
 
 76. 
 76a. 
 
 77. 
 77a. 
 
 78. 
 78a. 
 
 79. 
 79a. 
 
 80. 
 80a. 
 81. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 81a. 
 
 82. 
 
 82a. 
 
 83. 
 83a. 
 
 84. 
 
 99 
 
 99 
 
 81a. 
 
 85. 
 
 86a. 
 
 99 
 
 87. 
 
 99 
 
 99 
 
 87a. 
 
 88 . 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 88a. 
 
 89. 
 89a. 
 
 90. 
 90a. 
 
 Continuation of previous drawing. Exhibited drawings, 
 No. 602e, N.G. 
 
 Palazzi “ Pisani ” and “ Barbarigo" Reverse of ditto. 
 Casa Grimani and tlie Rialto. In bottom r.h. corner is 
 written “ Tragetto de S. Benetto ” (Benedetto) and 
 “ Chapelo Morozini." 
 
 The Coal Market. Exhibited drawings, No. 602 k, N.G. 
 Drawing on reverse of ditto. 
 
 The Rialto, with the west side of tha Canal. Exhibited 
 drawings, No. 602?, N.G. 
 
 “P. Cansiano ” (?). Reverse of do. 
 
 Figures on a raft or quay. 
 
 | The Fish Market. 
 
 Ponte di Rialto. 
 
 Blank. 
 
 1 Ponte di Rialto, with Fondaco de’ Tedeschi and other 
 / buildings seen through its arch. 
 
 Vessels with Ponte di Rialto in distance. 
 
 Various sketches of gondolas, figures, etc. 
 
 \ View on the Grand Canal near the “ Ghiesa SS. 
 J Apostoli .” Page 81 is reverse of Exhibited 
 drawing, No. 6027, N.G. 
 
 | The fruit market. Exhibited drawing, No. 6027, N.G. 
 
 1 View on the Grand Canal, with the Ponte di Rialto ; 
 J the dome of S. Bartolomeo in distance. 
 
 1 View on the Grand Canal ; S. Bartolomeo and the 
 J Campanile (with scaffolding on top) in distance, 
 also “ Entrance to the G. Canal ” and “ Sa. Lucia." 
 Gondolas on the Grand Canal. 
 
 “ Fishing Boats " ; also view looking along the Grand 
 Canal with “ Ghiesa degli Scalzi ” in the foreground 
 on the left, and “ San Simeone Piccolo ” on the right. 
 View on the Cannaregio with “ Scon Giobbe" on the 
 right. 
 
 Various boats, also sketch of a bridge, &c. (probably on 
 the Cannaregio). 
 
 Boats and various views of mountains looking across 
 the lagoon. 
 
 \ In the Cannaregio, with the Palazzo Labia and S. 
 J Geremia on the left, with the Ghetto in distance ; 
 
 also group of gondolas. 
 
 | On the Grand Canal. 
 
 Bridge and buildings. 
 
 Church of S. Ambrogio, Milan ; and other sketches. 
 Interior of Milan Cathedral. 
 
 (90 leaves drawn on.) 
 
516 
 
 TURNER DRAWINGS. [CLXXVI.] 
 
 1819 (AET. 44). 
 
 CLXXVI.— " VENICE TO ANCONA” SKETCH BOOK. 
 
 Schedule No. 318. 
 
 Sketch book, bound in boards, with red leather 
 back, and one brass clasp. 
 
 Turner’s label on back — “ 9. Venice to Ancona ” ; 
 also written on one of covers, “ Venice to Ancona." 
 
 Executors’ endorsement — “ No. 318. Contains 83 
 Leaves in Pencil mostly on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, “ Allnutt, 18 . . .” 
 
 Size of page, 4f x 7f. 
 
 Mr. Ruskin’s endorsement on wrapper — “ 318. 
 Venice to Ancona. Very careless. A few fine 
 things.” 
 
 Various small sketches of figures and buildings on inside 
 of both covers. 
 
 Page 
 
 1 . 
 
 la. 
 
 2 . 
 
 3. ’ 
 
 3a. 
 
 4. 
 4a. 
 
 5 . 
 
 5a. 
 
 6 . 
 
 Various figures, and a view of “ Ancona ” (?). 
 
 Various figures. 
 
 Piazza San Marco. 
 
 The Piazzetta. 
 
 \ View from the Mola, with S. Maria della Salute and 
 f Dogana in the distance. 
 
 r 
 
 View from Riva degli Schiavone. 
 
 6a. 
 
 7. 
 
 Do. do. ; with Isola di S. 
 
 / Giorgio Maggiore and the Salute in the distance 
 on the left. 
 
 1 “ Parocliia of S. Zaccaria with Santa Maria della 
 J Pieta and Campanile of S. Marco. 
 la. Gi’oup of fishing boats. 
 
 8. Bridge, with buildings ; also a doorway or monument (?) 
 
 — “ Tonde del Schiavoni ," — “ Thomas Philogus Ra- 
 vennis , dec." 
 
 Sa. \ Looking along the Schiavoni, with bridge on right, 
 
 9. j near “ Parocliia de S. Giovanni in Bragora." — 
 
 “ Ponte della GcC di Dio." 
 
 9 a. \ 
 
 10. / the Rio dell’ Arsenale. 
 
 10a. A view with groups of fishing boats. 
 
 11. Two sketches of a sunset, with view of distant 
 
 mountains. 
 
 11a. ) Distant islands (Burano and Torcello' 1 , with mountains 
 
 12. j beyond. 
 
 12a. 1 View of the Rialto, with Palazzo Camerlenghi. 
 
 13. / 
 
 14. “ S. Croce," chiesa della Giudecca. 
 
 Looking along the Riva degli Schiavone from near 
 
[CLXXVI.] VENICE TO ANCONA. 
 
 517 
 
 Page 14 a. 
 „ 15. 
 
 „ 15a. 
 
 „ 16. 
 
 „ 16a. 
 
 „ 17. 
 
 „ 17a. 
 „ 18. 
 
 „ 18a. 
 
 „ 19. 
 
 19a. 
 
 20 . 
 
 20a, 
 
 21 . 
 
 21a. 
 
 22 . 
 
 22a. 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 26a, 
 
 265. 
 
 26c. 
 
 26d. 
 
 26e. 
 
 26/. 
 
 26g. 
 
 26h. 
 
 27. 
 
 28. 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a. 
 
 31. 
 
 31a. 
 
 32. 
 32a. 
 
 \ S. Marco, from the Piazetta dei Leoni. 
 
 Looking across the Giudecca, with “ II Redentore ” and 
 “ San Giacomo." 
 
 Dogana and S. Maria della Salute. 
 
 Isola di S. Giorgio Maggiore ; also Campanile and 
 Doge’s Palace. 
 
 Isola di S. Giorgio ; also groups of fishing boats. 
 
 | On the Giudecca, looking towards the Salute. 
 
 On the Giudecca, with “ S'. Marta." 
 
 Two views on the Giudecca : one of the back of the 
 Salute, Dogana, and Tower of S. Marco, &c., the 
 other of the back of the Salute looking towards the 
 mountains (inland). 
 
 The Dogana and the Salute, from the Giudecca. 
 
 Two sketches on the canal. 
 
 \ “ The lower part of the Canal from 
 j della Salute " ; water “ dull green,' 
 reflections (?) of the Boats," sky 
 “ Fleecy," “ all the steeples blood red," &c. 
 
 A bridge and church tower. 
 
 A landscape, with “ River Areno ” (?). 
 
 Sketches of calves and a wagon. On one of the calves, 
 “ Dun Brown, Claude." 
 
 A house, with study of foreground plants. 
 
 A gateway. 
 
 A town ; probably Jlologna. 
 
 Do. do. 
 
 (The following four leaves were found loose, but appear 
 to belong here.) 
 
 \ Palazzo Publico, Bologna, with fountain of Neptune 
 J in foreground. 
 
 Bridge, with buildings on a hill. 
 
 Palazzo del Podesta, and other buildings. 
 
 Various figures, &c. 
 
 The Piazza del Nettuno ; also “ Arcade to Madonna 
 del ” (probably Madonna di San Luca). 
 
 Buildings on an eminence. 
 
 View of Bologna, with the Torre Asinelli to the right. 
 
 the Madonna 
 “ Very dark 
 “ Grey ” and 
 
 Church with Campanile. S. Francesco. 
 
 The Towers of Asinelli and Garisenda. 
 
 View of Bologna, from gardens. 
 
 View of Bologna, with the Towers of Asinelli, &c. 
 
 Do. do. 
 
 Do. do. 
 
 Distant hills from steps of a building, &c. 
 
 Street scene, with Campanile of S. Francesco on the 
 right. 
 
 Views of distant hills. 
 
 View from Madonna di San Luca. 
 
 Arcades of Madonna di San Luca. — “ Arcades to the 
 Madonna." 
 
 2 L 
 
 32796 
 
518 
 
 TURNER DRAWINGS. [CLXXVI.] 
 
 Page 33. A church (probably Madonna di San Luca). 
 
 „ 33a. View of “ I mala ” ( ?). 
 
 „ 34. Distant view of Bologna, with arcades in foreground. 
 
 „ 34a. Madonna di San Luca. 
 
 „ 35. Bologna, from Madonna di San Luca. 
 
 „ 35a. ( Lake (or river) among mountains. (Probably view 
 „ 35. / of the Apennines from San Luca.) 
 
 „ 36a. l “ Plains of Lombardy ” in distance. 
 
 „ 37. J 
 
 ,, 37a. 1 Madonna di San Luca. 
 
 „ 38. / 
 
 „ 38a. View with San Luca in distance. 
 
 „ 39. Bridges. 
 
 „ 39a. I Bridge with town and distant mountains (probably 
 „ 40. J the Apennines). 
 
 ,, 40a. 1 Town. 
 
 „ 11. / 
 
 „ 4 la. Bridge, &c. 
 
 „ 42a. Various buildings. 
 
 „ 42a. I Bridge with tower ; also a piazza with fountain and 
 
 „ 43. J church. (Probably Cesena.) 
 
 „ 43a. A gateway. 
 
 ,, 44. Triumphal arch. 
 
 „ 44a. Group of buildings. 
 
 „ 45. Do. 
 
 ,, 45a. Bridge over the “ Bunco." 
 
 „ 46. Do. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95 
 
 55 
 
 95 
 
 59 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95 
 
 95 
 
 55 
 
 59 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 95 
 
 59 
 
 47. “ Cesena." 
 
 48. Street scene. 
 
 48a. \ “ St. Agustino " (?). 
 
 49. / 
 
 49a. Town (probably Cesena) with the Savio in mid-distance. 
 
 50. Do. do. 
 
 50a. Town on hill. 
 
 51. Distant range of hills. 
 
 51a. ) Town with river ; also distant range of hills. 
 
 53. Another view of same town. 
 53a. \ Bridge with town. 
 
 54. j 
 
 54a. Distant hills. 
 
 55. Blank. 
 
 55a. \ “ Rimini " ; two sketches. 
 
 56. j 
 
 56a. Porta Romana or Arco d’Augusto, Rimini. 
 
 57. “ G radar a " (small town 7 miles N.W. of Pesaro). 
 57a. 1 “ Pesaro ” ; two sketches. 
 
 58. J 
 
 58a. l J iazza with fountain. Probably at Fano. 
 
 59. Arch of Augustus, Fano. 
 
 59a. “Fano." 
 
 60. Do. 
 
 61. Do. 
 
 62. A town. 
 
[CLXXVI.] VENICE TO ANCONA. 
 
 519 
 
 Page 63. 
 
 „ 63a. 
 „ 64. 
 
 „ 64a. 
 „ 65. 
 
 „ 65a. 
 „ 66 . 
 
 „ 66a. 
 „ 67. 
 
 „ 67a. 
 „ 68 . 
 
 >5 
 
 99 
 
 55 
 
 55 
 
 55 
 
 99 
 
 99 
 
 99 
 
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 V 
 
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 99 
 
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 68a, 
 
 69. 
 69a. 
 
 70. 
 70a. 
 
 71. 
 71a. 
 
 72. 
 72a. 
 
 73. 
 73a. 
 
 74. 
 74a. 
 
 75. 
 75 a. 
 
 76. 
 76a. 
 
 77. 
 77a. 
 
 78. 
 78 a. 
 
 79. 
 79a. 
 
 80. 
 80a. 
 81. 
 
 8 1 a. 
 82. 
 83. 
 
 84. 
 
 85. 
 
 86. 
 86a. 
 
 Bay or mouth of river. 
 
 | “ Senigallia." 
 
 A town with the Apennines beyond. 
 
 A bay on the Adriatic, with Ancona (?) in distance. 
 Port of Ancona. 
 
 Two sketches. 
 
 | Ancona. 
 
 Pier at Ancona. 
 
 Piazza del Plebiscito, with the church of San Domenico, 
 al Ancona. 
 
 | Town and harbour of Ancona. 
 
 J Do. 
 
 Do. 
 
 Triumphal arch on pier at Ancona. 
 
 | Town of Ancona. 
 
 ( Triumphal arches at Ancona. 
 
 i 
 
 | Town and harbour of Ancona. 
 
 Ancona. 
 
 Do. 
 
 | Harbour of Ancona. 
 
 | Ancona. 
 
 | Harbour of Ancona. 
 
 An archway. 
 
 Torre Asinelli, Bologna. 
 
 Ancona, 
 
 Do. 
 
 | Do. 
 
 | Do. 
 
 Blank. 
 
 (Leaf torn out.) 
 
 A town, with “ Rimini ” in distance. — “ Ponta ” (?). 
 Blank. 
 
 (Leaf torn out.) 
 
 MS. note. 
 
 Numerous figures, boats, &c. 
 
 (88 leaves drawn on.) 
 
 32796 
 
 2 L 2 
 
520 
 
 TURNER DRAWINGS. [CLXXVII.] 
 
 1819 (AET. 44). 
 
 CLXXVII.—'' ANCONA TO ROME” SKETCH BOOK. 
 
 Schedule No. 298. 
 
 Sketch book, bound in boards, "with brown leather 
 back and one brass clasp. 
 
 Turner’s label on back — “ 5. Ancona to Rome ” ; 
 written in ink on cover, “ Ancona to Rome.” 
 
 Water mark — “ A. Lee, 1813.” 
 
 Size of page, 4f x 7-§. 
 
 Executor’s endorsement — “ No. 298, 91 leaves of 
 pencil sketches. 
 
 (Signed) H. S. Trimmer.” 
 Mr. Ruskin’s endorsement on wrapper — “ 298. 
 Ancona to Rome. A careless book, with good things 
 here and there.” 
 
 On inside of covers three slight sketches and various MS. 
 notes, among them the following : — 
 
 “ Loretto to Recanata. Color of the hills Wilson 
 
 Claude , the olives the light when 
 
 the sun shone green, the ground reddish green grey 
 and apt to Purple, the Sea quite Blue, under the Sun 
 a warm vapour, from the Sun Blue relieving (?) the 
 shadow of the olive Trees dark, while the foliage light 
 or the whole when in shadow a quiet grey. Beautif ul 
 dark green yet warm, the middle Trees, yet Bluish in 
 parts, the distance; the aqueduct reddish, the fore- 
 ground light grey in shadow.” 
 
 Page 1. Various figures at “ Loreto.” 
 
 „ la. At Loreto (?). 
 
 „ 2. Do. 
 
 „ 2a. “ Recanati.” 
 
 „ 3. Do. 
 
 „ 3ru “ Tour de Bandini.” Probably the villa of Prince 
 Bandini between Macerata and Urbisaglia. 
 
 „ 4. Landscape, with distant hills. 
 
 „ 4a. Osimo. 
 
 5 “ n&im.nP 
 
 “ Lor ” (probably Loreto). 
 
 “ The first hit of Claude ” (probably 
 distant view of Loreto). 
 
 7a. Bridge, with buildings. 
 
 8. Distant hills. 
 
 8a. Do. 
 
 9. Buildings on hill. 
 
 9a. “ Recina ” and “ Macerata.” 
 
 10. Buildings on hill, &c., Loreto. 
 10a. Do. 
 
 5a. Buildings on hill. 
 6. Do. 
 
 6a. 
 
 7. 
 
 Do. 
 
 Do. 
 
[CLXXVIL] 
 
 ANCONA TO ROME. 
 
 521 
 
 Page 
 
 59 
 55 
 • 55 
 
 55 
 55 
 55 
 99 
 55 
 59 
 59 
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 95 
 59 
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 99 
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 5 * 
 
 95 
 
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 99 
 
 95 
 
 11 . 
 
 11a. 
 
 12 
 
 12a. 
 
 13. 
 13a. 
 
 14. 
 14a. 
 
 15. 
 15a. 
 
 16. 
 16a. 
 
 17. 
 17a. 
 
 18. 
 18. 
 
 19. 
 19a. 
 
 20 . 
 20a. 
 21 . 
 21a. 
 22 . 
 22a. 
 
 23. 
 23a. 
 
 24. 
 24a. 
 
 25. 
 25a. 
 
 26. 
 26a. 
 
 27. 
 
 27a. 
 
 28. 
 28a. 
 
 29. 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 34a. 
 
 35. 
 35a. 
 
 36. 
 
 Building, “ Doric , dec." (Chiesa della Casa Santa, 
 Loreto) ; also view of “ Caldarolo." 
 
 Three sketches of distant hills, with aqueduct, &c. 
 Chiesa della Casa Santa, Loreto. 
 
 Two landscapes, with aqueducts (?). 
 
 General view of Loreto. 
 
 | Chiesa della Casa Santa, Loreto. 
 
 Two landscapes, with aqueducts. 
 
 Landscape, wicn distant hills. 
 
 Do. 
 
 Figures at a fountain (?). 
 
 An aqueduct ; also “ after Macerati." 
 
 Two landscapes. 
 
 Two views of a town on a hill. 
 
 Ruins of amphitheatre, &c., at “ Recina." 
 
 View from Recina. 
 
 Three sketches of “ Recina ,” with the river “ Polenza." 
 | Two sketches at “ Macerata." 
 
 “ Porta cle Banditti," &c. 
 
 Macerata. 
 
 | Various sketches at and near “ Macerata." 
 
 Circular tower, &c. 
 
 Buildings on hill. 
 
 “ Belforte." 
 
 Belforte (F). 
 
 Town with distant hills. 
 
 Near Campolorzo, with the Rocca di Varano in distance. 
 Do. do. 
 
 Do. do. 
 
 “ Rocha ” (Rocca di Varano) and “ Gamerino." 
 Buildings, with castle on hill in distance. (? Rocca di 
 Varano.) 
 
 Do. do. 
 
 Do. do. 
 
 “ Serravalle." 
 
 A building. 
 
 | Mt. “ Pennine " in distance. 
 
 Buildings on mountain side. 
 
 Do. 
 
 Distant hills ; four sketches. 
 
 Do. 
 
 “ Parveoli (?).” 
 
 “ Nagatina (?).” 
 
 | Cathedral and buildings at Foligno. 
 
 | Buildings, &c., at “ Foligno." 
 
 Cathedral, &c., at “ Foligno." 
 
 View of “ Trevi ” (about midway between Foligno and 
 Le Vene), “ Busiano ” (?), &c. 
 
522 
 
 TURNER DRAWINGS. [CLXXVII.] 
 
 Page 36a. 
 
 37. j 
 
 \ and "St. Jiacomo." 
 
 37a. ) 
 
 Temple of Clitumnus 
 
 38. j 
 
 f 
 
 38a, 1 
 39. j 
 
 I Spoleto. 
 [ 
 
 39a. 1 
 
 l Do. 
 
 40. j 
 
 r 
 
 40a. | 
 
 I Do. 
 
 41. j 
 
 r 
 
 4la, 1 
 
 l Do. 
 
 42. j 
 42a. 1 
 
 r 
 
 i Do. 
 
 43. 1 
 
 r 
 
 43a. Monte “ Somma. 
 44. Castle on hill. 
 
 4 4a. Various figures ; peasants, tourists, &c. 
 45. Group of buildings. (? Terni.) 
 
 1 Among the hills, near Terni. 
 
 45a. 
 
 46. 
 46a. 
 
 47. 
 47a. 
 
 48. 
 48a. 
 
 49. 
 49a. 
 
 50. 
 50a. 
 
 51. 
 51a. 
 
 52. 
 52 a. 
 
 53. 
 53a. 
 
 54. 
 
 55. 
 55 a. 
 
 56. 
 56a. 
 
 57. 
 57a. 
 
 58. 
 58a. 
 
 59. 
 59a. 
 
 60. 
 60a. 
 61. 
 61a. 
 62. 
 
 63. 
 62a. 
 63a. 
 
 64. 
 
 Do. 
 
 Do. 
 
 “ L. di Piediluco 
 Cascade of Terni. 
 
 1 Cascade of Terni ; also two sketches at Narni, one of 
 J “ Gemetaru " (?). 
 
 1 Narni (?). 
 
 / 
 
 1 Near Narni (?). 
 
 J 
 
 Mountains. 
 
 Do. 
 
 \ Falls, and a view of “ Narni.'" 
 
 J 
 
 | A bridge, roadway, &c. 
 
 Blank. 
 
 | Cascade of Terni. 
 
 Do. 
 
 Do. 
 
 | The “ Velina." 
 
 | “ Narni." 
 
 \ Narni ; two sketches. 
 
 1 
 1 
 J 
 
 Narni, with Bridge of Augustus. 
 
 \ Do. 
 
 J 
 
 Narni. 
 
 View ‘•'•from Gate Narni." 
 
 “ Narni " (leaf torn). 
 
 Narni. 
 
[CLXXVII.] ANCONA TO ROME. 
 
 523 
 
 Page 64a. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
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 99 
 
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 99 
 
 99 
 
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 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 65. 
 65a. 
 
 66 . 
 
 66a. 
 
 67. 
 67a. 
 
 68 . 
 
 68a. 
 
 69. 
 69a. 
 
 70. 
 70a. 
 
 71. 
 71a. 
 
 72. 
 72a. 
 
 73. 
 73a. 
 
 74. 
 74a. 
 
 75. 
 75 a. 
 
 76. 
 76a. 
 
 77. 
 'll a. 
 
 78. 
 78a. 
 
 79. 
 79a. 
 
 80. 
 80a. 
 81. 
 81a. 
 82. 
 82a. 
 
 83. 
 83a. 
 
 84. 
 84a. 
 
 85. 
 
 | Narni. 
 
 \ Narni ; three sketches. 
 
 J 
 
 ( Bridge of Augustus, Narni. 
 
 Mediaeval bridge. 
 
 The two bridges, Narni. 
 
 | A castle (?), and scene among hills. 
 
 Between Narni and Civita Castellana. 
 
 Do. do. 
 
 Ponte Felice. 
 
 Three sketches. 
 
 Four sketches, one of “ Ortricoli." 
 
 Sketches of a distant plain, with winding river (or road). 
 Borghetto and Ponte Felice (P). 
 
 “ Ghiegi ” (?). Probably Borghetto and Ponte Felice. 
 
 | Probably Borghetto ; and another sketch. 
 
 | Borghetto and the Flaminian Way. 
 
 | Civita Castellana. 
 
 Do. ; various sketches. 
 
 Do. 
 
 j Do. 
 
 Do. 
 
 Do. ; bridge over the river Ricano. 
 
 Street, with fountain and buildings. 
 
 Blank. 
 
 Landscape with aqueducts. Probably Nepi. 
 
 Blank. 
 
 ) Ruins. 
 
 ) Town on the road to Rome. 
 
 Road leading to church (?) on hill. 
 
 Blank. 
 
 A cow. 
 
 Blank. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 85a. 1 “ Primer o V. of Roma. Tower cle Cassia." 
 
 86 . / 
 
 86a. Road, with tower. 
 
 87-88. Blank. 
 
 88 a. Architectural details at Foiigno.” 
 
 89. Sketch in a sculpture gallery. 
 
 89a. Landscape. 
 
 90. Blank. 
 
 90a. \ Distant view of Rome, with St. Peter’s. 
 
 91. J 
 
 91a. Two sketches. 
 
 92. Various tombs, &e. 
 
 (91 leaves drawn on.) 
 
524 
 
 TURNER DRAWINGS. [CLXXVIII.] 
 
 1819* (AET. 44). 
 
 CLXXVIII— RIMINI TO ROME SKETCH BOOK. 
 
 Schedule No. 194. 
 
 Sketch book, bound in boards. 
 
 Executors’ endorsement — “No. 194. This book 
 contains 48 leaves, Pencil Sketches, most on both 
 sides. (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, . 
 
 Size ol page, 3| x 
 
 Mr. Ruskin’s endorsement on wrapper — “ 194. 
 Late. Valueless, except one of Genoa. (Distri- 
 bute).” 
 
 There are various sketches and notes on insides of 
 both covers. 
 
 Page 1. “ Villa Madama" (?) and “ St. John Lateran ” (leaf 
 
 partly torn). 
 
 „ la. A church— probably La Trinita dei Monti. 
 
 „ 2. Slight sketch (leaf partly torn). 
 
 „ 3. Diagram (leaf partly torn). 
 
 „ 3a. Interior, church. 
 
 „ 4. Steps of La Trinita dei Monti. 
 
 „ 4a. 1 View of Rome, from Tiber. 
 
 „ 5. J 
 
 „ 5a. I The Island of the Tiber and Quattro Capi Bridge. 
 
 „ 0 . / 
 
 ,, 7. Continuation of previous drawing. 
 
 „ la. On the Banks of the Tiber. 
 
 „ 8. Do. 
 
 „ 8a. Distant palace, &c. 
 
 „ 9. Mountains. 
 
 „ 9a. The Capitol, Rome, &c. ; also “ Lunedi — 30 
 
 Martedi — 
 
 Mercoldi — 40 
 Gloved i — 20 
 Venerdi — — ,” &c. 
 
 „ 10. The Capitol. 
 
 „ 10a. Buildings on hill, and distant mountains. 
 
 „ 11. Do. do. 
 
 „ 11a. Do. 
 
 „ 12. Buildings, with distant mountains. 
 
 „ 13. Do. “ do. 
 
 „ 13a. Do. do. 
 
 „ 14. Do. do. 
 
 „ 15. Do. do. 
 
 „ 15a. Do. do. 
 
 ., 16. Do. do. 
 
 „ 16a. Group of buildings. 
 
 „ 17. Buildings, &c. 
 
[CLXXVIII.] RIMINI TO ROME. 
 
 525 
 
 Page 17 a. An archway ; also “ St. M ” 
 
 „ 18. Buildings. 
 
 „ 18a. Do. &c. 
 
 „ 19. Do. 
 
 „ Via. “ Osimo." 
 
 „ 20. Osimo. 
 
 „ 21. “ Rubicon." 
 
 „ 21a. A street. 
 
 „ 22. Market square, with statute in centre. 
 
 „ 22a. A town. 
 
 „ 28. “ Serravalle" (?). 
 
 „ 23a. “ Pesarci." 
 
 ,, 24. Towers, &c. 
 
 „ 24a. Town on hill. 
 
 „ 25. Blank. 
 
 „ 26. A town. 
 
 „ 27. “ Rubeira ” and “ Bon Molani " (?). 
 
 „ 28. “ Osimo." 
 
 ,, 29. Building on hill. 
 
 „ 30. Blank. 
 
 ,. 31. Interior of u St. Dormno." 
 
 „ 32. Interior of church. 
 
 Town on hill. 
 
 „ 36a “ Bung at a." 
 
 „ 37. Mountains. 
 
 „ 38. Ruins. 
 
 „ 38a. Buildings on hill. 
 
 „ 39. Do. 
 
 ,, 39a. Buildings — u St. Helene" ; also distant mountains. 
 „ 40. Blank (leaf partly torn). 
 
 „ 41. “ Loretto ” do. 
 
 „ 42. Town. 
 
 „ 42a Buildings, &c. 
 
 „ 43. Do. (leaf partly torn). 
 
 „ 43a. Mountains. 
 
 „ 44. “ Recanati " 
 
 „ 44a. Cathedral, &c. 
 
 „ 45. Various buildings. 
 
 „ 45a. Town on hill. 
 
 „ 46. “ Recanati." 
 
 „ 46a. Recumbent female figure. 
 
 „ 47. Church on hill. 
 
 47/7 ( Town in valley — “ Ponte d'Ozzio ” (?). 
 
 ,, 33a. Do. 
 
 „ 34. “ Borgetta " (? Borghetti), &c. 
 „ 34a. Mountains. 
 
 „ 35. Town on hill. 
 
 Mountains. 
 
 ,, 1UU/. I IhWU. 
 
 49. / 
 
 „ 49a. Church — “ St. Lorenzo ” (?). 
 
 48a. 1 Town. 
 
526 
 
 TURNER DRAWINGS. [CLXXVIII.] 
 
 Page 50. Town. 
 
 „ 50a. 1 Town on hill. 
 
 „ 51. / 
 
 „ 51a. 1 Views of town. — “ Rimini." 
 
 „ 52. / 
 
 „ 52 a. | Harbour, with town on hill. (Probably one of the 
 
 „ 53. J sketches referred to by Mr. Raskin as “Genoa” — 
 
 ? Ancona.) 
 
 „ 53a. 1 Do. Do. Do. 
 
 „ 54. / 
 
 „ 54a. Bridge, with town. 
 
 „ 55. “ Narni." 
 
 „ 55 a. Various buildings; also, calculations and notes. 
 
 (52 leaves drawn on.) 
 
 1819 (AET. 44). 
 
 CLXXEX. — TIVOLI AND ROME" SKETCH BOOK. 
 
 Schedule No. 332. 
 
 Sketch book, bound in boards, with brown leather 
 back and one broken clasp. 
 
 Turner’s label on back — “ 6. Tivoli. Raffael's 
 Logi. Castello St. Ange ” ; written in ink on one 
 of covers — “ Tivoli , Raffaelo's Logi , Gastello St. 
 Ange." 
 
 Executor’s endorsement — “ No. 332. Contains 
 89 leaves. Pencil sketches on both sides. 
 
 (Sgd.) C. Turner.” 
 
 Water mark, “ A. Lee. 1813.” 
 
 Size of page, 4f x 7§. 
 
 The leaves were distributed, but numbered. The 
 following leaves were put aside in a parcel en- 
 dorsed, “ 332. Inferior leaves ” : — 
 
 1, 3, 4, 5, 6, 9, 10, 11, 12, 13, 19, 23, 25, 32, 34, 35, 
 36, 37, 38, 39, 40, 41, 45, 55, 61, 62, 67, 69, 71, 72, 77, 
 78, 79, 81, 82, 83, 85, and one unnumbered leaf 
 (38 in all). 
 
 Some slight sketches, and numerals on inside of one of the 
 covers. 
 
 Page 1. Inscription on tomb of the Plautii, near Tivoli, and a 
 MS. note. 
 
 „ la. Ponte Lucano and the tomb of the Plautii, and the 
 Temple of the Sibyl. 
 
 „ 2. Ruins of the Temple of the Sibyl ; also roadway. 
 
 „ 2a. Waterfall (?), with wooden bridge, Tivoli. 
 
 „ 3. Waterfall, Tivoli. 
 
 „ 3a. The Temple of the Sibyl. 
 
 „ 4. Ruins of the Temple of the Sibyl. 
 
[CLXXIX.] 
 
 TIVOLI AND ROME. 
 
 527 
 
 Page 
 
 99 
 
 99 
 
 5? 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9 ) 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 4 a. ) View from Tivoli. 
 
 5. / 
 
 5 a. Road with villas and trees. (Probably the Villa d’Este.) 
 6-9. Blank. 
 
 9 a. 1 Villa d’Este (?). 
 
 10 . / 
 
 10a. 1 Do. 
 
 11 . / 
 
 11a. Gardens of Villa d’Este. 
 
 12. Do. 
 
 12a. \ Do. 
 
 13. } 
 
 13a. Raphael’s Logge, Vatican. 
 
 14. Details of the decorations of the Logge, with descrip- 
 
 tions of colour, &c. 
 
 15. Do. do. 
 
 15a. Plan of part of the ceiling of the Logge. (Raphael’s 
 Bible.) 
 
 16. Details of the decorations of the Logge. No. 12 2d, 
 
 2nd Loan Collection. 
 
 17. Do. do. 
 
 18. Scenes from Raphael’s Bible — sacrifice of Noah, 
 
 building the Ark, Deluge, entrance to Ark, &c. 
 
 18a. 1 Decorations of the Logge. 
 
 19. ) 
 
 20. Sketches of some of the subjects of the ceiling paintings 
 
 on the vaults of the Logge ; among them the story 
 of Abraham. 
 
 21. Details of decorations of the Logge. 
 
 21a. Uetails of the structure of the Logge. 
 
 22. Castle of St. Angelo. No. 122a, 2nd Loan Collection. 
 
 22a. Do. Reverse of. 
 
 23. Street, with castle of St. Angelo. 
 
 24. Two sketches of a bust of Paulus III .,” &c. No. 122c, 
 
 2nd Loan Collection. 
 
 24a. Reverse of do. 
 
 25. Range of snow-capped mountains in distance. 
 
 25a. Design for picture of Raffael and La Fornarina in the 
 Logge. (Of. “ Rome from Vatican,” exhibited R.A., 
 1820.) 
 
 26. Design for picture of Raffael and La Fornarina in the 
 
 Logge. 
 
 26a. Castle of St. Angelo. 
 
 27. Vatican buildings and garden. 
 
 27a. Four views of the tomb of the Plautii. 
 
 28. A view of the tomb of the Plautii and others of distant 
 
 mountains, one on the “ West," the other “ the other 
 side East." 
 
 28 a. Four views of the tomb of the Plautii. 
 
 29. Plautian tomb, with distant hills. 
 
 29a. 1 Tomb of the Plautii and Ponte Lucano. Three 
 
 30. / 
 
 sketches. 
 
 
 30a. 1 
 
 Do. 
 
 do. 
 
 31. / 
 
 31a. 
 
 Do. 
 
 do. 
 
528 
 
 TURNER DRAWINGS. [CLXXIX.] 
 
 Page 32. 
 
 „ 32a. 
 „ 33. 
 
 „ 33a. 
 „ 34. 
 
 „ 34a. 
 „ 35. 
 
 „ 35a. 
 „ 36. 
 
 „ 36a. 
 „ 37. 
 
 „ 37a. 
 „ 38. 
 
 „ 38a. 
 „ 39. 
 
 „ 39a. 
 „ 40. 
 
 „ 40a. 
 „ 41. 
 
 „ 41a. 
 „ 42. 
 
 „ 42a. 
 „ 43. 
 
 43a. 
 
 44. 
 44a. 
 
 45. 
 45a. 
 
 46. 
 
 4 6a. 
 
 47. 
 47a. 
 
 48. 
 48a. 
 
 49. 
 49a. 
 
 50. 
 50a. 
 
 51. 
 51a. 
 
 52. 
 52a. 
 
 53. 
 53a. 
 
 54. 
 54a. 
 
 55. 
 55a. 
 
 56. 
 56a. 
 
 57. 
 57a. 
 
 58. 
 
 Landscape with tomb of the Plautii and Ponte Lucano. 
 
 1 Temple of Minerva Medica and other ruins near the 
 f Porta Maggiore. (? Ruins of Villa Adriana.) 
 
 ( Do. do. 
 
 / 
 
 Do. do. 
 
 Do. do. 
 
 Ruins. 
 
 An avenue of trees leading to a villa. 
 
 Gardens. 
 
 \ Landscape, with distant hills. 
 
 Do. 
 
 ( Landscape, with buildings and trees on side of hill. 
 
 } A hilly landscape, &c. (probably Tivoli). 
 
 1 Do. Grey Castle. Claude also 
 
 J sketch of Plautian Tomb, Tivoli. 
 
 Buildings on a hill. 
 
 Bridge, with buildings on hill. (? Convent of San 
 Cosimato. on the Teverone, about 8 miles above 
 Tivoli.) 
 
 | Town on hill (? Tivoli). 
 
 Figures in a procession. 
 
 Landscape, with aqueduct. 
 
 | Town on hill, with distant mountains. 
 
 Town on hill (? Tivoli). 
 
 Do. 
 
 \ Do. 
 
 Town on hill, with waterfall. 
 
 Blank. 
 
 Town on hill, with waterfall. 
 
 Blank. 
 
 "Waterfall. 
 
 Blank. 
 
 Town on hill. 
 
 Blank. 
 
 Waterfall. 
 
 Town on hill. ' 
 
 The Cascatelle of Tivoli. 
 
 Blank. 
 
 Tivoli. 
 
 Blank. 
 
 Tivoli. 
 
 Reverse of No. 1225, 2nd Loan Collection. 
 
 | Tivoli, No. 4225, 2nd Loan Collection. 
 
 1 Do. 
 
[CLXXIX.] 
 
 TIVOLI AND ROME. 
 
 529 
 
 l’;ige 58a. 
 „ 59. 
 
 „ 59a. 
 „ 60. 
 
 „ 60a. 
 
 „ 61. 
 
 „ 61a. 
 
 „ 62. 
 
 „ 62a. 
 
 „ 63. 
 
 „ 63a. 
 „ 64. 
 
 „ 64a. 
 „ 65. 
 
 „ 65a. 
 „ 66 . 
 
 „ 66a. 
 „ 67. 
 
 ,, 67a. 
 „ 68 . 
 
 „ 68a. 
 
 „ 69. 
 
 „ 69a. 
 „ 70. 
 
 „ 70a. 
 „ 71. 
 
 „ 71a. 
 „ 72. 
 
 „ 72a. 
 „ 73. 
 
 „ 73a. 
 „ 74. 
 
 „ 74a. 
 „ 75. 
 
 „ 75a. 
 >, 76. 
 
 „ 76a. 
 „ 77. 
 
 „ 77a. 
 „ 78. 
 
 „ 78a. 
 „ 79. 
 
 „ 79a. 
 „ 80. 
 
 „ 80a. 
 „ 81. 
 
 „ 81a. 
 
 „ 82. 
 
 „ 82a. 
 „ 83. 
 
 „ 83a. 
 „ 84. 
 
 „ 84a. 
 „ 85. 
 
 Tivoli. 
 
 Blank. 
 
 Tivoli. 
 
 Tomb of the Plautii and Ponte Lncano. 
 
 | Tivoli (?). 
 
 Landscape with building, pieces of sculpture, &c. 
 Sculpture, relievos, &c. 
 
 Antique figures and groups. 
 
 Blank. 
 
 | Buildings on hill, &c. 
 
 Town on hill on banks of river. 
 
 Ruins. 
 
 Ruins on hillside (Tivoli). 
 
 Blank. 
 
 The Great Cascade at Tivoli. 
 
 Blank. 
 
 Great Cascade, Tivoli. 
 
 Blank. 
 
 Bridge, with towers and other buildings.— “ Belongs to 
 the Gate of Tivoli ” (?). 
 
 Blank. 
 
 Road among the mountains ; two sketches. 
 
 Blank. 
 
 I Tivoli. — “ Tempio cle Toux Vopisco ” (probably Tempio 
 J della Tosse, near Villa of Maecenas, Tivoli). 
 
 Tivoli. 
 
 Do. 
 
 Distant hills. 
 
 Blank. 
 
 Tivoli (?). 
 
 Do. 
 
 | Do. 
 
 Do. 
 
 Tomb of Plautii, &c 
 Tivoli. 
 
 Blank. 
 
 Tivoli. 
 
 Blank. 
 
 Temple of the Sibyl, Tivoli. 
 
 Tivoli. 
 
 Do. 
 
 Blank. 
 
 Tivoli. 
 
 Blank. 
 
 Tivoli. 
 
 Distant hills. 
 
 Tivoli (?). 
 
 Landscape. 
 
 Castle on hill. 
 
 Do. 
 
 Aqueduct on the Campagna. 
 
 Blank. 
 
530 
 
 TURNER DRAWINGS. [CLXXIX.] 
 
 Page 85a. 
 „ 86 . 
 
 „ 86a. 
 
 „ 87. 
 
 „ 87a. 
 „ 88 . 
 
 „ 88a. 
 
 ,, 89. 
 
 „ 89a. 
 „ 90. 
 
 „ 90a. 
 „ 91. 
 
 „ 91a. 
 92. 
 
 92a. 
 
 Castle (?) on hill. — “ Chapelle de Madonna ” (?). 
 
 Blank. 
 
 Road near Tivoli. 
 
 Blank. 
 
 | Tivoli (?), and Temple of Sibyl (?). 
 
 | Cascade, Tivoli. 
 
 Castle on hill. 
 
 Blank. 
 
 Landscape (probably on bill, Tivoli). 
 
 Tomb of Plautii, &c. 
 
 Wagon and figure, with three slight landscapes. 
 
 (This leaf was unnumbered.) Town with distant 
 hills. (? Tivoli.) 
 
 Distant mountains. 
 
 (89 leaves drawn on.) 
 
 1819 (AET. 44). 
 
 CL XXX— “ VATICAN FRAGMENTS" SKETCH BOOK. 
 
 Schedule No. 233. 
 
 Sketch book, bound in calf, with one broken 
 clasp. 
 
 Turner’s label on back — “16. Vatican frag- 
 
 ments ” ; also, written in ink on one of the covers, 
 “ Vaticano." 
 
 Executors’ endorsement — “No. 233. 69 leaves — 
 most of them used on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, “ 1816.” 
 
 Size of page, 6p e x 4. 
 
 Mr. Ruskin’s endorsement on wrapper — “ 233. 
 Book of Roman Architectural detail. Very interest- 
 ing.” 
 
 On inside of one cover there are some slight sketches and 
 the following note : — 
 
 “ Pose ami que-dare 
 
 Popso 
 
 Possiamo vedere it Palazzo ” ; 
 on inside of other cover there is written : — 
 
 “ My Locanda 
 
 The Speranzella- 
 
 in Strada Speranzella. 
 
 The Sole in Largo Gastello. 
 
 Kept by Graindorge— English waiter. 
 
 The Cr ocelli 
 
 Corona di JinoP 
 
[CLXXX.] 
 
 VATICAN FRAGMENTS. 
 
 531 
 
 Page 1. Sketches of a sarcophagus, a circular seat, &c. 
 
 „ la. “ Villa of Cicero " ; also a landscape, with the following 
 note : — 
 
 “ Christ by Guercino beautifully color'd (?). 
 
 A Hare by Albert Durer. 
 
 The Moses breaking the tables 
 
 Annunciation. The Angel very elegant , the wing 
 Rd. B. Yellow, the glory yellow Bed grey the V. blue 
 and red , the other M. Angelo ( Silence ) the best as to 
 color , both exquisitely finished. A Head of a female 
 Sculpture ," &c. 
 
 „ 2. Capital of a pillar, two-handled jugs, &c. 
 
 „ 2a. The following written in ink : — 
 
 “ St. Peter's. The part by Bernini good in the 
 arrangement of the columns , but being very large 
 they carry the idea of greatness aivay from tlie 
 facade of the building , which being but one order, tho 
 the .... has in the facia of the pannel a capital 
 to carry an entablature without support , and the 
 Dome , fc." 
 
 „ 3. Slight sketches of Annibale Carracci “ Galatea " in the 
 
 Palazzo Farnese, and other figures : also — 
 
 “ Farnese. Apollo , .... bad 
 
 Galatea. Carracci Annibale, fine. 
 
 Jupiter & Juno. Ganymede, Anchises, Polyplieme 
 playing. 
 
 Small Domenichino." 
 
 „ 3 a. Landscapes, &c. 
 
 „ 4. Fragments of sculpture, &c. 
 
 „ 4 a. A sarcophagus, with figures. 
 
 (Leaf torn.) 
 
 „ 5. Lake of “ Nemi." 
 
 „ 5a. A round tower, a piece of antique sculpture, various 
 
 figures, &c. 
 
 „ 6. Group of ruins. 
 
 „ (3 a. Various relievos ; probably in Vatican. 
 
 „ 7. Do. 
 
 „ 7 a. Do. ; one of an animal among foliage, 
 
 numbered “ 631 ". Another fragment “ 168 ". 
 
 „ 8. Tombs, a row of masks, &c. 
 
 „ 8«. Tomb numbered “ 109", &c. 
 
 „ 9. Vai’ious groups and portions of figures. 
 
 „ 9a. Amorini with wreaths, a vase, &c. 
 
 „ 10. An archway, arabesques, &c. 
 
 „ 10a. A tomb, &c. 
 
 „ 11. Groups from tombs ; one a blacksmith (?), the other 
 
 with various knives or tools used for cutting 
 leather (?). 
 
 „ 11a. A frieze, &c. 
 
 „ 12. Sketches of exhibits numbered “1018" (or 1818) and 
 
 “ 1076." 
 
 „ 12 a. Frieze, &c. 
 
 „ 13. Frieze, with Europa (?) and bull, fishes, sea-horse, &c. 
 
 „ 13a. Two figures. 
 
532 
 
 TURNER DRAWINGS. [CLXXX.] 
 
 Page 
 
 14. 
 14a. 
 
 15. 
 
 „ 15a. 
 „ 1(3. 
 
 „ 16a. 
 
 „ 17- 
 „ 17a. 
 
 „ IS. 
 
 „ 18a. 
 
 95 
 
 55 
 
 55 
 
 59 
 
 51 
 
 1? 
 
 95 
 
 19. 
 19a. 
 
 20 . 
 20a. 
 21 . 
 21a. 
 22 . 
 22a. 
 23. 
 
 55 
 
 95 
 
 55 
 
 J9 
 
 59 
 
 '9 
 
 95 
 
 19 
 
 59 
 
 23a. 
 
 24. 
 24a. 
 
 25. 
 25a. 
 
 26. 
 26a. 
 
 27. 
 27 a. 
 
 28. 
 28a. 
 
 29. 
 
 30. 
 
 59 
 
 95 
 
 55 
 
 59 
 
 55 
 
 59 
 
 99 
 
 55 
 
 99 
 
 55 
 
 99 
 
 99 
 
 15 
 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 34a, 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 95 
 
 59 
 
 yi 
 
 37. 
 
 37 a, 
 
 38. 
 
 A tomb. 
 
 A figure. 
 
 A Sarcofagus. No. “ 12" — “2ycl. 1. high ” — Munificentia 
 Pii Sex. P.M." See Visconti’s “ Mus. Pio Clem.” 
 plate XIII., vol. VI i. 
 
 Exhibit No. “ 891." 
 
 Do. No. u 248" and two capitals. 
 
 Do. No. “47,"&c. 
 
 Do. No. “1077 " &c. 
 
 A pedestal and figure. 
 
 Exhibits Nos. “524, 523" &c. 
 
 A Torso on a pedestal, with inscription — “ Q. Plotio. 
 
 Q. Fil. quir Romano Equopibilo Exorno," &e. 
 
 Capital of a pillar, No. “979," “ Maurelio Poliver" &c. 
 Tomb, &c. 
 
 Exhibit No. “978" &c. 
 
 A box, bowl, &c. 
 
 Part of a capital, &c. 
 
 An urn, “351 ” — “ Ossuarium" — “Prom of a Ship." 
 Figures of Eros and Psyche (?), &c. 
 
 Tablet, with inscription, &c. 
 
 Do. ; also a distant view of 
 
 St. Peter’s. 
 
 Figures, &c. 
 
 Tomb, with inscription. 
 
 Dancing and seated figures. 
 
 Part of an altar (?). 
 
 Lake Nemi (?). 
 
 In the Medici Gardens. 
 
 Five sketches ; one of “ Old Rome." 
 
 Garden, with figures. 
 
 A number of small landscape sketches. 
 
 Do. do. 
 
 \ “ Cicero's Villa ” (at Antium), Lake Nemi (?), &c. 
 
 “ bis Manibus Sacrum ” ; an altar (?) with this inscrip- 
 tion, and a tablet. 
 
 Various figures. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Figures of modern sailors, and an antique relievo. 
 Various figures from the antique. 
 
 Landscape. 
 
 Do. 
 
 Figures from the antique. L’lnverno, Autunno, &c. 
 
 Do. 
 
 | In the Vatican. 
 
 Nos. “ 790" and “615" from the Hall of the Animals, 
 Vatican. 
 
 Lower part of a draped seated figure — No. “ 47 ” ; 
 
 “ Octavi," “ Diadumen ,” &c. 
 
 Group of standing and seated figures — No. “ 52." 
 
 A galley, with soldiers on deck, and a crocodile below — 
 No. “ 260 ” ; also part of a seated figure, No. “ 215," &c. 
 
[CLXXX.] VATICAN FRAGMENTS. 
 
 533 
 
 Page 38a. \ Two sketches of a reclining female figui’e — No. “ 321 ” ; 
 
 „ 39. f also the dancing figures from the Sarcophagus of 
 the Bacchantes, &c. 
 
 „ 39a. Various figures and groups — Nos. “1115” and “ 1119.” 
 
 „ 40. Fight of Faunes and Centaurs. See Visconti, pi. xi., 
 xii., vol. v. 
 
 „ 40a. Various figures and groups — Nos. “921” “ 943 ” and 
 “ 941.” The two latter numbers represent the 
 Labours of Hercules. 
 
 ,, 41. The Labours of Hercules — Nos. “ 938 ” and “ 944” and 
 
 “ Adriano.” 
 
 „ 41a. The Dancing Girl from the Palazzo Colubrano, Naples 
 
 — No. “ 945 ” ; also No. “ 937.” 
 
 „ 42. The Sleeping Nymph — No. “272”; Bacchic Genii — 
 No. “273” : also No. “146,” &c. 
 
 „ 42a. No. “ 142” &c. 
 
 ,, 43. A group and figures. 
 
 ,, 43a. Bacchus in Nasso. Sarcophagus from Villa Nuzzi ; also 
 
 other figures. 
 
 „ 44. No. “ 297” &c. 
 
 „ 44a. No. “809,” and “ Laodamia and Protesilac ” the two 
 centre figures of Sarcophagus. See Visconti, xviii., 
 vol. v. 
 
 „ 45. Various figures and groups — Nos. “ 79, XXI” “ GOG, 
 XXII” and “ 673.” The latter a Nymph and 
 Satyr ; three views. 
 
 „ 45a. Nos. “669” “710,” and “716.” The latter is the 
 
 so-called Danaid. 
 
 ,, 46. Bacchanal, from the Villa Mattei — No. “ 743 ” ; also 
 No. “ 1206,” &c. 
 
 „ 46a. Various figures and groups — “ Porphry,” Perhaps 
 Sarcophagus of Constantia, daughter of Constantine 
 the Great. Now No. 566. 
 
 ,, 47. The Hall of the Greek Cross. 
 
 „ 47a. The Hall of the Greek Cross, looking to the Staircase. 
 
 ,, 48. Various figures, &c., from Nos. “30. 9, ” “310” “1295” 
 
 and “ 1294.” Probably Circus Scenes. 
 
 „ 48a. Faun and Satyr — “1383 ” (Visconti, xlix., vol. i.) ; also 
 
 Nos. “1430” “533 ” “1375,” &c. 
 
 „ 49. Nos. “154,” “137,” &c. 
 
 „ 49a. Vases, figures, &c. 
 
 „ 50. Do. , also two candelabri, one No. “1372.” 
 
 „ 50 a. Candelabra and vases, Nos. “1379,” “1416,” “ 1460,” 
 
 and “ 948.” 
 
 „ 51. Figures, vases, &c. The two rows of figures at the 
 bottom represent Castor and Pollux. See Visconti, 
 xliv., vol. iv. 
 
 „ 51a. Do. , including Nos. “ 1587,” “ 1607,” 
 
 and “ 1612.” 
 
 „ 52. Egyptian figures, including No. “ 1359. ' 
 
 „ 52 a. Figures, &c., including Nos. “29,” “32.” “49.” 
 
 and “ 56 .” — “ Capital Campadola.” 
 
 Do. 
 
 53 . 
 
534 
 
 TURNER DRAWINGS. 
 
 [CLXXX.] 
 
 Page 54. Figures, &c. 
 
 „ 54a. The Wounded Amazon, and other figures. 
 
 „ 55. A winged figure on a pillar — “ Araventorum," a 
 Therme, No. “ 1290," and other figures and groups. 
 „ 55 a. Various figures and groups. 
 
 56. 
 
 Do. 
 
 
 56a. 
 
 Do. 
 
 
 57. 
 
 Do. 
 
 , including the Faun of 
 
 Praxiteles, and Love and Psyche. 
 57a. Various figures and groups. 
 
 „ 58. A vase. 
 
 „ 59-62. Blank. 
 
 „ 63. Figures in a masquerade (?). 
 
 „ 64-67. Blank. 
 
 „ 68. Group of peasants. 
 
 „ 69-70. Blank. 
 
 „ 70a. Architectural detail. Pen and ink. 
 
 „ 71. Do. do. 
 
 „ 72-74. Blank. 
 
 „ 74a. Two landscape sketches ; one of “ Nemi (?).” 
 
 „ 75. Blank. 
 
 „ 75a. Plain, with distant hills. 
 
 „ 76. Ruins. “ Effect of Sirocco (?).” 
 
 „ 76a. Landscape sketches. 
 
 „ 77. Antiques, including Nos. “ 254 ” and “ 72.” 
 
 „ 77a. View of Rome. 
 
 „ 78. A street scene. 
 
 ,, 78 a. Do. , with column and fountain. 
 
 ,, 79. Traveller on a donkey ; also statue in a garden or 
 courtyard. “ 9 c the ounce , Pallaza Corsini (?).” 
 
 „ 79a. Landscape (possibly Lake Nemi), and caricatures. 
 
 (Leaf torn.) 
 
 ,, 80. Landscape. Pen and ink and wash. 
 
 „ 80a. Various sailing vessels. 
 
 „ 81. View of “ Nemi," and various female figures. 
 
 „ 81a. Various figures, also — 
 
 “ Capt. Graham , 12 Pizza Mignanelli," and 
 “ Thomas L , Donaldson, 
 
 46 Via Gregoriana , 
 
 Trinita de' Monti." 
 
 (69 leaves drawn on.) 
 
535 
 
 [CLXXXI.] COMO AND VENICE. 
 
 1819 (AET. 44). 
 
 CLXXXI.— COMO AND VENICE SKETCH BOOK. 
 
 Schedule No. 230. 
 
 Sketch book, bound in mottled boards with dark 
 green leather back and corners. 
 
 Turner’s label on back, “ 67. Como." 
 
 Executor’s endorsement, — “ No. 230. 11 Leaves 
 
 in Color. 1 in pencil. 
 
 (Sgd.) C. Turner.” 
 Water mark, “ J. Whatman, 1816.” 
 
 Size of page, 8$ x Ilf. 
 
 Page 1. On Lake Como. Water colour. 
 
 „ 2. Do. do. 
 
 .. 3, Sunset on dome and towers. Water colour. 
 
 „ 4. Venice. Water colour. 
 
 „ 5. Do. do. 
 
 „ 6. Venice : Punta della Salute. Water colour. 
 
 „ 6a. Boats. Pencil. 
 
 „ 7. Venice; Campanile and Ducal Palace, from the Canal. 
 
 Water colour. 
 
 „ 8. Street scene. Pencil. 
 
 „ 9. Blank. 
 
 „ 10. Commencement of a water colour drawing. 
 
 „ 11. 
 
 Do. 
 
 do. 
 
 „ 12. 
 
 Do. 
 
 do. 
 
 „ 13. 
 
 Do. 
 
 do. 
 
 
 (1 leaf with colour on 
 
 cut out. 
 
 „ 14-44. 
 
 Blank. 
 
 
 (12 leaves drawn on.) 
 
 1819 (AET. 44). 
 
 CLXXXII. — “ ALB A NO, NEMI, ROME,” SKETCH BOOK. 
 
 q chedule No. 301. 
 
 Sketch book, bound in boards with red leather 
 back and one brass clasp, broken. 
 
 The covers have been broken off and the leaves 
 were distributed but numbered. 
 
 Turner’s label on back of book destroyed when the 
 covers were broken off ; written in ink on one of 
 the covers : — “ Albano, Nemi , Roma. Nov. 30 , 1819." 
 
 Executor’s endorsement: — “No. 301. Contains 
 88 Pencil Sketches on both sides. 
 
 (Sgd ) II. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, “ Alnutt, 1818.” 
 
 Size of page, -4§ x 7|. 
 
 On inside of one of the covers there are three slight 
 sketches, also the word “ Gensarno," &c. 
 
 3279 <? 
 
 212 
 
536 
 
 TURNER DRAWINGS. [CLXXXII.] 
 
 99 
 
 99 
 99 
 99 
 99 
 9 9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. Sepulchral remains in the Campagna ; also “ Tombs at 
 Albano." 
 
 la. Three female figures ; also two views, probably of 
 Albano. 
 
 “ Albano." 
 
 2a. Albano. 
 
 3. “Albano." 
 
 3 a. I Lake of Albano. 
 
 4 . / 
 
 5. Lake of Albano, with the “ JRocca di Papa." 
 
 5 a. 1 Lake of Albano. 
 
 6. J 
 
 7 a. 1 Two sketches of Lake of Albano. 
 
 8. J 
 
 8a. Three sketches ; one of “ Lago Albano," and another of 
 the “ Fountain, Grotto Alba." 
 
 9. Five sketches of Lake Albano. 
 
 9a. Buildings on hill-side. 
 
 10. Lake of Albano, with the Pope’s Villa. 
 
 Do. do. 
 
 11a. Lake in distance. 
 
 12. Buildings on hill. 
 
 13. Lake of Albano, with the Pope’s Villa. 
 
 14. “St Palazzi ” (? Convent of Palazzuoio, on Lake of 
 
 Albano). 
 
 14a. \“ Albano." 
 
 15. J 
 
 15a. “ Villa Teverone" on a hill with “ Monte Drag one "in 
 distance ; also the following note : — “ If Tu scutum 
 where is Wilson's Picture taken from ” ; also slight 
 sketch of a castle (?). 
 
 16. “ Marino, near Albano." 
 
 16a. “ G. Gandolfo and two other sketches. 
 
 17. Pope’s villa, Albano, “ Nov r . 9, 1819." 
 
 17a. A castle (?), and three sketches of a ruin. 
 
 18. Pine trees on summit of a hill. — Nov 1 '. 10, 1819." 
 
 18a. Distant hills. 
 
 19. Trees on summit of hill. 
 
 19a. 1 View of mountains. 
 
 20. J 
 
 20a. 1 A villa on hillside: also a view of Lake of Albano (?). 
 
 21. J 
 
 21a. 1 Lake of Albano (?). 
 
 22a. 
 
 23. 
 23a. 
 
 24. 
 21 a. 
 
 Do. 
 
 Do. 
 
 Do. ; two sketches, 
 Do. 
 
537 
 
 [CLXXXII.] ALBANO, NEMI, ROME. 
 
 Page 25 a. 
 
 „ 26. 
 
 „ 26a. 
 
 99 
 
 99 
 
 99 
 
 27. 
 27 a. 
 
 28. 
 28a. 
 
 29. 
 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 
 *> ‘> 
 
 99 
 
 99 
 
 9) 
 
 99 
 
 99 
 
 33a. 
 
 34. 
 34a. 
 
 35. 
 35 a. 
 
 36. 
 36a. 
 
 v 37. 
 
 „ 37a. 
 „ 38. 
 
 ,, 38a. 
 „ 39. 
 
 „ 39a. 
 „ 40. 
 
 99 
 
 99 
 
 40a. 
 
 41. 
 
 41a. 
 
 99 
 
 99 
 
 99 
 
 42. 
 42a 
 
 43. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 43a. 
 
 44. 
 44a. 
 
 45. 
 
 ,. 45a. 
 
 View of the Lake of Albano, with the “ Palazzo 
 Barberini " in the foreground and the “ Rocca di 
 Papa" in distance. — '■‘•Mountain all light, the Town 
 dark." 
 
 Four sketches near Lake of Albano. — “ 11 Nov r . 1819." 
 A towei', with ruins in foreground, lake in distance. 
 
 On part of the distance is written “ Wilson." 
 
 Trees, with “ Tusculum ” in distance. 
 
 1 “ Frascati" with the “ Villa Borgashe." “ L d . Egre- 
 J rnont's Claude (?) ” : also sketch at “ Marine." 
 
 | Frascati, with “ Rome " in distance. Over the plain 
 j in middle distance is written “ Wilson-Brown 
 Campagna." 
 
 Figures and fragments of antique sculpture. 
 
 At L’Ariccia (?). 
 
 ) Do. 
 
 ! 
 
 Do. 
 
 Campo Vaccino, with Temples of Saturn and Vespasian. 
 Arch of Septimus Severus in Forum, with Column of 
 Phocas in foreground. 
 
 Lower part of the Column of Phocas, with inscription. 
 Details of Arch of Severus. 
 
 Do. 
 
 Three female figures. — “ Gensano." 
 
 The Temple of Saturn. 
 
 Ruins. 
 
 Trajan’s Column, with Santa Maria di Loreto (on the 
 left) and del Nome di Maria (on right). 
 
 Fountain, with buildings. 
 
 Temple of the Sun or Vesta. 
 
 Ruined castle (?). 
 
 “ Baths of Caracalla." 
 
 Ponte Sisto (?). 
 
 | View of Rome, looking north, with the Church of 
 / Santa Maria Vallueila near the foreground, the 
 Bridge and Castle of St. Angelo in middle distance, 
 and Monte Mario in distance. 
 
 Rome, with one of the bridges over the Tiber in middle 
 distance. 
 
 Bridge, with a number of ruined monuments on the 
 left bank. (Probably the Ponte S. Bartolommeo.) 
 River with vessels, tower and other buildings on hill in 
 middle distance. (Probably the Island of the Tiber.) 
 Pyramid of Cestius, with the Porta Ostiense. 
 
 Group of buildings. 
 
 Ponte de Quattro Capi, with San Giovanni de’ Fioren- 
 tini and St. Peter’s in distance. 
 
 Pine-tree, &c. 
 
 Various buildings. 
 
 Ruined arches (?). 
 
 An archway (ruined) and basilica ; also details of 
 ornament and relief. 
 
 Pyramid of Cestius. 
 
538 
 
 TURNER DRAWINGS. [CLXXXII.] 
 
 Page 
 
 46. 
 
 4 6«. 
 
 47. 
 
 47a. 
 
 48. 
 48a. 
 
 49. 
 49a. 
 
 50. 
 50a. 
 
 51. 
 
 The Appian Way. 
 
 Ruins on the Appian Way. 
 
 Circus of Romulus Maxentius, Mole of Caeeilia 
 Metella, &c. 
 
 Mole of C:ecilia Metella, &c. 
 
 Do. 
 
 Do. 
 
 Ruins of the aqueducts of Claudius (?). 
 
 Forum, with the Capitol. 
 
 Si Palace of the Gcesars .” 
 
 J Rome, with ruins in foreground. 
 
 „ 51a. Ruins in the Forum. 
 
 „ 52. Campo Vaccino, with Temple of Faustina and San 
 Lorenzo in Miranda in distance, with remains of 
 the Temple of Castor near foreground. 
 
 ,, 52 a. Campo Vaccino ; a slightly different view. 
 
 „ 53. Coliseum, with Arch of Constantine in distance. 
 
 „ 53a. “ St. Geo. de Funte ” (San Giovanni in Fonte), &c. 
 
 „ 54. Remains of Claudian aqueduct (?). 
 
 ,, 54a. Buildings. 
 
 „ 55. Temple of Minerva Medica. 
 
 „ 55a. Do. &c. 
 
 „ 56. Do. 
 
 „ 56a. Facade of the Senatorial Palace on the Capitol. 
 
 „ 57. Interior of the Forum, with the remains of the Temples 
 
 of Saturn and Vespasian, the Arch of Severus and 
 S. Martina. 
 
 „ 57a. 1 Remains of Temple of Saturn, with San Lorenzo, &c., 
 „ 58. j in distance ; also a number of small sketches of the 
 
 Claudian Aqueduct. 
 
 „ 58a. Five slight sketches. 
 
 „ 59. Four do. 
 
 „ 59a. Four do. 
 
 „ 60. Blank. 
 
 „ 60a. Temple of Minerva Medica. 
 
 „ 61. Two sketches of Temple of Minerva Medica. 
 
 „ 61a. Road with pines. 
 
 „ 62. Blank. 
 
 „ 62a. A gateway; three sketches. (? Gate of St. Paul or 
 
 Ostiensis.) 
 
 „ 63. Blank. 
 
 „ 63a. Forum. 
 
 „ 64. Blank. 
 
 „ 64a. Interior of the Pantheon (?). 
 
 „ 65. A gateway with towers. 
 
 „ 65a. 1 The Forum, with remains of Temple of Vespasian 
 
 „ 66. J and Arch of Severus on the left, Temple of Saturn 
 
 on the right, and in centre the Column of Phocas 
 leading to the Arch of Titus. 
 
 „ 66a. Fragments of sculpture. 
 
 „ 67. ^ Do. 
 
 „ 67a. Forum, with remains of the Temple of Castor. 
 
 „ 68. Road, leading to a gateway. 
 
539 
 
 [CLXXXII.] ALBANO, NEMI, ROME. 
 
 Page 68a. Details of bas reliefs, &c. 
 
 „ 69. Ruins. 
 
 „ 69a. Statue of Apollo (?) in a garden. 
 
 „ 70. “ Villa d'Este " ; three sketches. 
 
 „ 70a. Ruins. 
 
 „ 71. Porta San Paolo (?), &c. 
 
 „ 71a. Part of the Claudian aqueduct (?). 
 
 , 72. “ Porta Maggiore four sketches. 
 „ 72a. Part of the Claudian aqueduct, &c. 
 
 „ 73. Do. 
 
 99 
 
 99 
 
 5 ) 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9* 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 73a. The Tiber, with the Quattro Capi Bridge (?), &c. 
 
 74. Blank. 
 
 74a. \ Ruins. 
 
 75. / 
 
 75 a. ) Rome, with St. Peter’s in the distance. 
 
 76. / 
 
 76a. \ The Campagna (?). 
 
 77. J 
 
 78. Ruins. 
 
 78a. On the outskirts of Rome. 
 
 79. “ Rome a view in the outskirts. 
 
 79a. Do. do. 
 
 80. The Pauline fountain. 
 
 80a. Four sketches, one of “ Frascati ," another of “ Monte 
 Dragone ,” and a third of “ Nocino ” (?). 
 
 81. Four sketches. 
 
 81a. “ In the distance (?) of Borghese. Hoad to Villa 
 Falconia ." 
 
 82. Road, approaching L’Ariccia. 
 
 82a. The church of the Assunzione della Vergine, at 
 L’Ariccia, with the palace of the Chigi. 
 
 83. Fountain and gateway at L’Ariccia. 
 
 83a. Road outside L’Ariccia. — “ Wall of Lariccia ” ; three 
 sketches. 
 
 84. “ Gate of L' Ariccia ” and other views of the town. 
 
 85. Blank. 
 
 85 a. The church of the Assunzione della Yergine, palace of 
 the Chigi, and other views at L’Ariceia. 
 
 86. Four sketches at “ L' Ariccia." 
 
 86a. Three sketches of L’Ariccia. — “ These 3 are the same." 
 
 87. Sketches, with “ V Ariccia" in the distance, &c. 
 
 87 a. A decorated column at the parting of the roads, &c. 
 (Probably at Genzano.) 
 
 88. Various sketches of figures, bowls, jugs, &c. — “ Gen- 
 
 sarno ,” also “ Women of Albano and Gensarno white 
 caps ivitli a star behind , some a black ccvp. The Hair 
 is often fastened with Ribbon , on which a white cloth 
 is fixed. The front appears flat and square, the back 
 falls to a point in some , others open work," &c. 
 
 88a. “ The 4 Point of R. at Gensarno." 
 
 (88 leaves drawn on.) 
 
540 
 
 TURNER DRAWINGS. [CLXXXIII.] 
 
 1819 'AET. 44). 
 
 CLXXXIII.—" TIVOLI" SKETCH BOOK. 
 
 Schedule No. 151. 
 
 Sketch book, bound in boards with red leather 
 back and corners, also one brass clasp, broken. 
 
 Turner’s label on back : — "1-3. Tivoli .” 
 
 Mr. Ruskin’s endorsement on wrapper : — “ In- 
 ventory No. 151. 25 taken out. Many very in- 
 
 teresting for distribution still remaining. 
 
 Water mark, “ J. Whatman. 1814.” 
 
 Size of page, 10 x 7}|. 
 
 The remains of the book were lent to the Uni- 
 versity of Oxford in 1878, as “ Extra Piece, No. 5, 
 Tivoli Book.” 
 
 As no record was kept of the original sequence of 
 the pages, it has been found impossible to re- 
 constitute the book. 
 
 The drawings are all on prepared grey paper, in 
 pencil, with the lights wiped out, except when 
 otherwise specified. 
 
 (The first 15 drawings were among the 
 framed drawings lent to Oxford. The titles are 
 Mr. Ruskin’s.) 
 
 ige 1. Tivoli : the City and her Streams. (Oxford, 108-84a.) 
 
 ,, 2. Groves of the Sybil. (Oxford, 1011-845.) 
 
 „ 3. The Falls and Campagna. (Oxford, 110-81«.) 
 
 „ 4. Villa of Maecenas and Campagna. (Oxford, 111-815.) 
 
 ,, 5. Villa of Maecenas. (Oxford, 112-78«.) 
 
 „ 6. Arcades and Waters. (Oxford, 113-785.) 
 
 „ 7. Olives among the spray. (Oxford, 114-82«.) 
 
 „ 8. Olives on the hillside. (Oxford, 115-825.) 
 
 ,. 9. The Grottoes. (Oxford, 116-80a.) 
 
 ,, 10. The Dark Arches. (Oxford, 117-805.) 
 
 „ 11. Villa d’Este. (Oxford 118-83«.) 
 
 ,, 12. Temple and Plain. (The Tempio della Tosse near 
 
 foreground.) (Oxford, 119-835.) 
 
 ,. 13. Temple and shepherds. — " Tempio de Tose ” (Tempio 
 
 della Tosse. (Oxford, 120 -79a.) 
 
 ,. 14. Temple (the Tempio della Tosse) under a Tower. 
 
 (Oxford, 121-795.) 
 
 „ 15. Tivoli — The Falls. (Oxford, 122-77«.) 
 
 ,, 16. Tivoli, with the Villa of Maecenas in middle distance. 
 
 „ 17. Do. do. 
 
 ., 18. Tivoli, with the Temple of the Sybil. 
 
 ,, 19. Tivoli : a waterfall. 
 
 ,. 20, Arches, Tivoli. 
 
 „ 21. Remains of a Bridge (P), Tivoli. 
 
[CLXXXIII.] TIVOLI SKETCH BOOK. 
 
 541 
 
 Page 22. Tivoli. 
 
 „ 23. The Villa of Mfecenas, Tivoli. 
 
 „ 24. Blank. 
 
 „ 24a. Waterfall. Pencil on white side of paper. 
 
 „ 25. Do. do. 
 
 „ 26. Tivoli. 
 
 „ 27. Wooden bridge over a broken stone arch, near the 
 
 Temple of the Sibyl. 
 
 ,, 28. A torrent. 
 
 ,, 2D. A ravine ; Tivoli. 
 
 „ 30. Tivoli, with villa on distant hill. 
 
 ,, 31. Villa of Maecenas, Tivoli. 
 
 „ 32. Tivoli, with Villa of Maecenas and tower of Villa 
 
 d’Este. 
 
 „ 33. Tivoli, with “ Monte Caiillo." 
 
 ,, 34. Waterfalls. 
 
 „ 35. Tivoli in middle distance. 
 
 „ 36. Tivoli. 
 
 „ 37. Ravine, with distant mountains. 
 
 „ 38. Waterfalls. 
 
 „ 3D. Tivoli and its falls. 
 
 „ 40. Villa of Maecenas. 
 
 „ 41. Tivoli from the river. 
 
 „ 41a. Do. , Pencil on white side of paper. 
 
 „ 42. Do. 
 
 ,, 43. Tivoli, with Temple of Sibyl on right. 
 
 „ 44. Do. do. 
 
 „ 44a. View from the Sibyl’s Temple. Pencil on white side 
 
 of paper. 
 
 „ 45. Temple of the Sibyl. 
 
 ,, 45a. Cornices and ornamental details. Pencil on white. 
 
 ,, 46. Temple of the Sibyl. 
 
 „ 46a. Do. Pencil on white. 
 
 „ 47. Do. 
 
 ., 48. The Campagna, with distant mountains. 
 
 „ 49-58. Blank. 
 
 ., 58a. Tivoli. 
 
 „ 59-71. Blank. 
 
 „ 72. Blank ; with the word “ Clasp " written on margin. 
 
 „ 73-77. Blank. 
 
 „ 78. Tivoli ; with the Temple of the Sibyl. 
 
 „ 79. Tivoli, from the Villa Catullus (?).” 
 
 „ SO. Tivoli, with the Temple of the Sibyl. 
 
 „ 81. Blank, but has been used to see how the tint lifts. 
 
 ,, 82. Tivoli. 
 
 (53 leaves drawn on.) 
 
542 
 
 TURNER DRAWINGS. [CLXXXIV.] 
 
 1819 (AET. 44). 
 
 CLXXXIV . — " GANDOLFO TO NAPLES” SKETCH 
 
 BOOK. 
 
 Sketch Book No. 281. 
 
 Sketch book, bound in calf, with one broken clasp 
 Written in ink on outside of one of the covers — 
 “ Gastello Gandolfo to Napoli. Bceia. Puzzoli. 
 Naples ; ” in pencil on inside of cover — “ This hook 
 contains — Gandolfo to Naples. Baice and Puzzolio. 
 Alhctno The label on back was saciificed when the 
 covers were broken off. 
 
 Executor’s endorsement — “No. 281. Contains 90 
 Leaves. Pencil sketches on both sides. 
 
 Water mark, “ W. Turner & Son.” 
 
 Size of page, Iff x 7|. 
 
 The leaves were distributed, but were numbered. 
 In a parcel endorsed by Mr. Ruskin, “281. Cover 
 and inferior leaves,” the following leaves were 
 found — Nos. 6, 9, 10, 11, 15, 16, 17, 18, 20 (one un- 
 numbered), 25, 11, 42, 43, 49, 52, 58, 78, 79, 85, 
 and 88 (21 in all). 
 
 The inside of one of the covers contains a number of small 
 sketches of leaves and plants — “ Myrtle ,” &c. 
 
 Page 1. On the coast near Naples — “ Girl dancing with Can 
 soneta — Fishermen” (probably at Pozzuoli) ; with 
 a view of the Bay of Baise, with Mt. Epomeo in 
 distance. 
 
 „ la. Various ancient sculptured figures, with inscriptions. 
 
 „ 2. Villa near Albano. 
 
 „ 2a. Lake Albano. 
 
 „ 3. Villa on a height near Lake Albano. 
 
 „ 3a. “ Posilipo .” 
 
 „ 4. Trees near margin of a lake. 
 
 „ 4 a. 1 Road along the heights near Lake Albano, leading to 
 
 „ 5. / Castel Gandolfo. 
 
 „ 5 a. 1 Lake Albano. 
 
 „ 6. J 
 
 „ 6a. \ V ilia, with Lake Albano. 
 
 » 7. / 
 
 „ 7a. \ Lake Albano, or Nemi. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
[OLXXXIV.] GANDOLFO TO NAPLES. 543 
 
 Page 11a. 
 „ 12 . 
 
 „ 12a. 
 
 13. 
 
 13a. 
 
 14. 
 14a. 
 
 15. 
 15a. 
 
 16. 
 16a. 
 
 17. 
 17a. 
 
 18. 
 18a. 
 
 19. 
 19a. 
 
 20. 
 20a. 
 205. 
 20c. 
 21 . 
 21a. 
 22 . 
 22a. 
 
 23. 
 23a. 
 
 24. 
 24a. 
 
 25. 
 25 a. 
 
 26. 
 26a. 
 
 27. 
 27a. 
 
 28. 
 28a. 
 
 29. 
 
 29a. 
 
 30. 
 30a. 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33 a. 
 
 34. 
 34a. 
 
 Sketches “ from Nerni to V." (Veletri). 
 
 “ Veletri.' 1 ' 
 
 A road, with part of an obelisk at its side — “ Imp. 
 Caesar divine ruafe." 
 
 Road, with group of houses on the right, apparently on 
 the sea coast, with an island in the distance. 
 
 \ Rocks on sea coast. 
 
 Three sketches. “ Torre de treponti " (Torre Tre Ponti 
 or Treponti, between Cisterna and Terracina). 
 
 Trees and hayricks (?). 
 
 Landscape. 
 
 Road bordered with trees. 
 
 Trees and mountains. 
 
 Road, with distant mountains. 
 
 One-arched bridge, with distant mountains. 
 
 Landscape, with mountains ; probably near Terracina. 
 
 ) Terracina. 
 
 1 
 
 View from the mountains above Terracina. 
 
 Do. do. 
 
 The “ Palace of Theodoric," Terracina. 
 
 View from the Palace of Theodoric, Terracina. 
 
 Castle at Fondi (?). 
 
 Four sketches ; castles, &c. 
 
 Various sketches of a castle, &c. 
 
 Castle on a promontory on the coast. 
 
 | Terracina. 
 
 Castle at “ Fondi " ■ three sketches. 
 
 “ Fondi " ; four sketches at or near Fondi. 
 
 Three sketches of town on a hill ; probably Itri. 
 
 One sketch of Do. do. 
 
 \ Bay of Gaeta. 
 
 Bay, with ruins. 
 
 Tomb of Cicero, with Gaeta across the bay. 
 
 Tomb of Cicero. 
 
 Classical remains, probably at Formia. 
 
 “ Oulf of Gaeta." 
 
 Five sketches ; one of the tomb of Cicero, others of 
 “ Cartieri." 
 
 Six sketches of the aqueducts of Minturnus. 
 
 Several sketches of do. do. 
 
 Ferry over the Garigliano. 
 
 Sessa (?). 
 
 The Campagne Felice and “ Tour de Franconet." 
 
 (Probably Castle of Francolisi.) 
 
 Distant view of Capua. 
 
 “ Capua." 
 
 Capua. 
 
 1 Do. 
 
 Do. 
 
 5? 
 
544 
 
 TURNER DRAWINGS. [CLXXXIV.j 
 
 Page 35. 
 
 ,, 36. 
 
 .. 36a. 
 
 37. 
 
 ,, 37a. 
 „ 38. 
 
 „ 38a. 
 „ 39. 
 
 „ 39a. 
 
 40. 
 
 Capua. 
 
 Blank. 
 
 Four sketches among the mountains. 
 
 Posilipo, with Vesuvius in the distance. 
 
 | In the Gulf of Naples. 
 
 J 
 
 t Mt. Vesuvius. 
 
 J 
 
 Posilipo or Naples. — “ In Concept ione tun vingo lm- 
 macnlata Fuisti." 
 
 Vesuvius. 
 
 „ 40a. 
 
 i In the Gulf of 
 
 405. 
 
 f 
 
 „ 40c. 
 
 | Do. 
 
 41. 
 
 (' 
 
 „ 41a. 
 
 1 Do 
 
 .. 42. 
 
 1 
 
 „ 42a, 
 
 | Do. 
 
 „ 43. 
 
 f 
 
 „ 43a. 
 
 \ Do. 
 
 44. 
 44a. 
 
 45. 
 45a. 
 
 46. 
 46a. 
 
 47. 
 47a. 
 
 48. 
 48a. 
 
 49. 
 49a, 
 
 50. 
 50a, 
 
 51. 
 51a. 
 
 52. 
 
 52 a. 
 
 53. 
 
 53 a. 
 
 54. 
 5-1 a. 
 
 55. 
 55 a. 
 
 56. 
 
 56a. 
 
 57. 
 57a. 
 
 58. 
 58a. 
 585. 
 
 Crest of mountains. 
 Gulf of Naples, &e. 
 I)o. 
 
 Do. 
 
 iR. 
 
 Do. 
 
 In the Gulf of Naples. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. , with Vesuvius. 
 
 Road, with buildings on hill beyond. 
 
 Entrance to the Grotto of Posilipo. 
 
 Do. 
 
 Do. : figures in fore- 
 
 ground, among them a “ Monk carrying wine.'' 
 Figures on a quay. 
 
 1 General view of the Bay and City of Naples. 
 Landscape. 
 
 Do. , with distant view of “ Naples." 
 
 1 Several sketches of the “Bay of Bake" from Poz- 
 ( zuoli. In foreground of one sketch, “ Oxen dg. 
 (dragging) the wine filled casks," and “ Dung ” ; 
 also sketch of the “ Gate of P" (Pozzuoli). 
 
 Vesuvius in distance. 
 
 Circular tower and other buildings. 
 
 Buildings on the quay at Naples. 
 
 Vesuvius from Naples. 
 
 Naples. 
 
 In the Port of Naples. 
 
[CLXXXIV.] GANDOLFO TO NAPLES. 
 
 545 
 
 Page 58 c. Naples. 
 
 „ 59. Do. 
 
 ., 59a. 1 Numerous slight sketches of costumes. &c. ; also a 
 „ 60. / view of the quay of Santa Lucia, Naples. 
 
 „ 60a. I Naples. . 
 
 „ 61. J 
 ,, 61a. At Naples. 
 
 „ 62. Sketches of Castle of “ San Elmo ” and “ S. Antonio dt 
 Capodimonte ” (? the Palazzo Capodimonte). 
 
 „ 62a. View of Naples from a decorated archway. 
 
 „ 63. Walls of a castle (?). (? Castel Capuano.) 
 
 ,, 63a. A renaissance gateway. (? Porta Capuana.) 
 
 „ 64. Sketches of “ Pozzuoli," &c. 
 
 ,, 64a. Naples. 
 
 „ 65. Lighthouse on quay. 
 
 „ 65a. Naples, from St. Elmo. 
 
 „ 66. View from St. Elmo. 
 
 .. 66a. “ St. Bock (?), Naples'' and another sketch. 
 
 „ 67. Four views of Naples. 
 
 „ 67a. Naples, with Castel Capuano (?) near foreground, and 
 
 Vesuvius in distance. 
 
 ,, 68. Missing. 
 
 „ 69. Vesuvius, and other sketches. 
 
 ,, 69a. Island of Ischia in distance. 
 
 „ 70. On the way to Vesuvius (?). 
 
 ,, 70a. Ancient ruins. 
 
 ,, 71. “St. Francesca ” and a view of the Gulf of Pozzuoli. 
 
 ,, 71a. Distant views of the Gulf of Pozzuoli. 
 
 ,, 72. Four distant views of the Gulf of Pozzuoli. 
 
 ,, 72 a. Views of the Gulf of Pozzuoli, from “ near Villa. 
 
 Monte Coelia ” (?). 
 
 „ 73. Lake among mountains, with Vesuvius in distance. 
 
 73 a. \ Lake Avernus, with Monte Barbaro in the distance. 
 
 „ 74. j 
 
 „ 74a. ) Lake Avernus and Monte Barbaro. 
 
 „ 75. J 
 
 ,. 75 a. ( Lake Avernus. with the ruins of the Temple of 
 
 „ 76. j Apollo 
 
 „ 76a. 1 Ruins near the Bay of Baiae. 
 
 „ 77. J 
 
 „ 77a. 1 “ Temple of Mercury ” at Bane. 
 
 „ 78. J 
 
 ,, 78a. I Sketches of the Bay of Baiae. 
 
 „ 79. / 
 
 „ 79a. “ Guma (?) ” 
 
 „ 80. Ruins. 
 
 „ 80a. \ Castle on rock. (? Castle of Baiae.) 
 
 „ 81. / 
 
 „ 81a. 1 Rocks at “ Capua. ,” &c. 
 
 „ 82. / 
 
 ,, 82a. ( Bay of Baiae. (See the oil painting exhibited R.A. 
 
 „ 83. j i823, and now in National Gallery, No. 505.) 
 
 „ 83a. { Bay of Baiae. 
 
 84. f 
 
546 
 
 TURNER DRAWINGS. [CLXXXIV.] 
 
 Page 84a. 
 
 \ Bay of Bai*. 
 
 99 
 
 85. 
 
 i 
 
 99 
 
 85a. 
 
 Do. 
 
 59 
 
 86. 
 
 Do. 
 
 95 
 
 86a. 
 
 I Do. ; various sketches. 
 
 99 
 
 87. 
 
 1 
 
 95 
 
 87 a. 
 
 I Do. do. (Page 88 has been 
 
 55 
 
 88. 
 
 j torn.) 
 
 99 
 
 88a. 
 
 1 Do. 
 
 99 
 
 89. 
 
 1 
 
 99 
 
 89a. 
 
 ) Do. do. , with figures and 
 
 
 90. 
 
 j boats. 
 
 99 
 
 90a. 
 
 Do. , with “ Road to Guma ” in foreground. 
 
 (91 leaves drawn on, with 1 missing.) 
 
 1819 (AET. 44). 
 
 CLXXXV. — “POMPEII , AMALFI, SORRENTO AND HERCU- 
 LANEUM" SKETCH BOOK. 
 
 Schedule No. 278. 
 
 Sketch book, bound in boards, with brown leather 
 back and one broken clasp. 
 
 Turner has written in ink on the outside of one of 
 the covers — “ Pompeii , Amalfi , Sorrento , Hercu- 
 lani his label on the back of the book was 
 destroyed when the covers were broken off. 
 
 Executors’ endorsement — “ No. 278. Contains 
 86 leaves. Pencil sketches, most on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, “ Allnutt, 1818.” 
 
 Size of page, 4 X % x 7 T V 
 
 The leaves were distributed, the following being 
 placed in a parcel endorsed by Mr. Ruskin “ 278. 
 Cover and Inferior Leaves” — Nos. 1-4, 6-19, 21-23, 
 27-29, 31, 40, 42-45, 53, 66, 77-89 (45 in all). 
 
 On the insides of the covers there are rough sketches of the 
 Villa Gallio, also the note “ This Book teas begun at Pompeii 
 and ends at Villa Gallio ,” &c. 
 
 Page 1. Blank. 
 
 „ la. Two small landscapes ; one inscribed — “ Bridge ” and 
 “ Sonotre ” (?). 
 
 ., 2. Peristyle of a house at Pompeii. 
 
 „ 3. Blank. 
 
 „ 3a. Remains of a colonnade. 
 
[CLXXXV.] POMPEII, AMALFI, &c 
 
 547 
 
 Page 4. Ruins at Pompeii. 
 
 55 
 
 4 a. 
 
 
 Do. 
 
 55 
 
 5. 
 
 The street of tombs. 
 
 55 
 
 5 a. 
 
 1 
 
 Do. 
 
 55 
 
 6. 
 
 
 
 55 
 
 6a. 
 
 
 Do. (?). 
 
 55 
 
 7. 
 
 Ruins. 
 
 55 
 
 8. 
 
 
 Do. 
 
 59 
 
 8 a. 
 
 
 Do. 
 
 59 
 
 9. 
 
 
 Do. — “ Datus decurionum decrio," &c. 
 
 55 
 
 9a. 
 
 
 Do. 
 
 95 
 
 10. 
 
 
 Do. 
 
 55 
 
 10a. 
 
 Baker’s Oven and Flour Mills ; also three other sketches. 
 
 55 
 
 11. 
 
 Ruins of a house. 
 
 55 
 
 11a. 
 
 Ruins. 
 
 55 
 
 12. 
 
 Groups of pillars. 
 
 55 
 
 12a. 
 
 Ruins. 
 
 55 
 
 13. 
 
 
 Do. 
 
 55 
 
 14. 
 
 
 Do. 
 
 55 
 
 14a. 
 
 
 Do. 
 
 55 
 
 15. 
 
 
 Do. 
 
 55 
 
 15a. 
 
 
 Do. 
 
 55 
 
 16. 
 
 
 Do. 
 
 55 
 
 16a. 
 
 
 Do. 
 
 55 
 
 IV. 
 
 
 Do. 
 
 ’5 
 
 17a. 
 
 Amphitheatre, Pompeii. 
 
 ,, 
 
 18. 
 
 
 Do. 
 
 95 
 
 18a. 
 
 Road outside Amphitheatre, with Vesuvius in distance. 
 
 55 
 
 19. 
 
 Amphitheatre, with Vesuvius in distance. 
 
 55 
 
 19a. 
 
 Road, with Vesuvius in distance. 
 
 55 
 
 20. 
 
 Ruins, with Vesuvius in distance ; three sketches. 
 
 55 
 
 20a. 
 
 1 
 
 1 Ruins. 
 
 59 
 
 21. 
 
 J 
 
 r 
 
 55 
 
 21a. 
 
 i 
 
 1 Do. 
 
 55 
 
 22. 
 
 J 
 
 r 
 
 55 
 
 22 a. 
 
 
 1 Do. 
 
 55 
 
 23. 
 
 
 f 
 
 55 
 
 23a. 
 
 i 
 
 ! Do. (? at Herculaneum.) 
 
 55 
 
 24. 
 
 
 f . 
 
 59 
 
 24a. 
 
 Ruins. 
 
 55 
 
 25. 
 
 
 Do. 
 
 55 
 
 25a. 
 
 1 
 
 1 Ruins of an amphitheatre. 
 
 55 
 
 26. 
 
 J 
 
 1 
 
 95 
 
 26a. 
 
 Ruins. 
 
 95 
 
 27. 
 
 
 Do. 
 
 55 
 
 27 a. 
 
 Five rough sketches of mountainous scenery. 
 
 55 
 
 28. 
 
 A church with distant mountains. 
 
 55 
 
 28a. 
 
 1 
 
 1 Mountains. 
 
 55 
 
 29. 
 
 J 
 
 r 
 
 55 
 
 29a. 
 
 Various sketches at or near “ Cava." 
 
 55 
 
 30. 
 
 U 
 
 Nocera .” 
 
 55 
 
 30 a. 
 
 The Benedictine Abbey of La Trinita della Cava. 
 
 55 
 
 31. 
 
 View near Salerno. 
 
 55 
 
 32. 
 
 
 Do. 
 
548 
 
 TURNER DRAWINGS. [CLXXXV.] 
 
 Page 32a. Road and aqueduct. 
 
 „ 33. Do. 
 
 „ 33a. Road, &c . — “Smoke and fire from the Glass House." 
 
 „ 34. In the Gulf of Salerno ; also small sketch of distant 
 mountains with note in foreground — “ From (?) the 
 Bridge going to Gaslel a Hare." 
 
 „ 34a. Steps up mountain side. 
 
 ,, 35. Town on Gulf of Salerno. (? Amalfi.) 
 
 ,, 35a. Various sketches. 
 
 „ 36. Salerno, &c. 
 
 „ 36a. Do. 
 
 ,, 37. Four sketches at “ Nocera ” de’ Pagani. 
 
 „ 37a. “ Entrance to Cava," and other sketches. 
 
 „ 38. Gateway, &c. 
 
 ,, 38a. Town on Gulf of Salerno (? Vietri.) 
 
 „ 39. Do. 
 
 „ 39a. Do. 
 
 „ 40. Do. 
 
 „ 41. Castle on rock, above a town. 
 
 ., 42. Blank. 
 
 ., 42a. \ Castle on rock on coast. 
 
 „ 43. J 
 „ 44. Blank. 
 
 „ 45. Gulf of Salerno, near Amalfi. 
 
 „ 45a. “ Gonca ” (Capo di Conca near Amalfi). 
 
 „ 46. Amalfi (?). 
 
 „ 46a. Vessels on shore. 
 
 ,, 47. Do. ; with other small sketches, one 
 
 inscribed “ Belongs to Bay of Na" (probably 
 Naples). 
 
 „ 47a. \ Town on Gulf of Salerno ; also a sketch inscribed 
 „ 48. J “ Aritta. Erilta." 
 
 „ 48a. Castle, Ac., on coast. 
 
 „ 49. Buildings on coast. — “ Veringass ” 
 
 „ 49a. \ On the coast ; several sketches. Written in ink by 
 ,, 50. J Mr. Ruskin (?) on page 49a, “ joins 50 importantly.” 
 
 „ 50 a. ( On the coast. Written in ink on p. 50 a, “ joins 51 
 
 „ 51. J importantly.” 
 
 „ 51a. \ On the coast (probablv Amalfi). 
 
 „ 52. j 
 
 „ 52a. 
 
 Do. 
 
 
 „ 53. 
 
 Do. 
 
 
 „ 53a. 
 
 Do. 
 
 : three sketches. 
 
 „ 54. 
 
 Do. 
 
 
 ,, 54a. 
 
 Do. 
 
 ; three sketches. 
 
 „ 55. 
 
 Amalfi. 
 
 
 „ 55a. 
 
 Do. 
 
 
 „ 56. 
 
 Do. 
 
 
 „ 56a. 
 
 Do. 
 
 
 „ 57. 
 
 Do. 
 
 
 ., 57a. 
 
 “ Amalfi ” Ac. 
 
 
 „ 58. 
 
 Amalfi (?). 
 
 
 „ 58a. 
 
 \ “ Sorrento " 
 
 
 „ 59. J 
 
[CLXXXV.] POMPEII, AMALFI, &c. 
 
 549 
 
 Page 59a. 
 „ 60. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 >5 
 
 55 
 
 60a. 
 
 61. 
 
 61a. 
 
 62. 
 
 62a. 
 
 63. 
 63a. 
 
 64. 
 64a. 
 
 65. 
 65a. 
 
 66 . 
 
 66a. 
 
 67. 
 67a. 
 
 68 . 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 68a. 
 
 69. 
 69a. 
 
 70. 
 70a. 
 
 71. 
 71a. 
 
 72. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 72a. 
 
 73. 
 73a. 
 
 74. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 74a. 
 
 75. 
 75a. 
 
 76. 
 76a. 
 
 77. 
 
 77 a. 
 
 78. 
 
 78 a. 
 
 79. 
 
 80. 
 80a. 
 81. 
 
 8 la. 
 82. 
 82a. 
 
 Castle on coast. 
 
 On the coast at Sorrento. “ Franc ia a Pouva" (?), 
 “ Porta Oaren " (?), &c. 
 
 At Sorrento. 
 
 Do. 
 
 Do. 
 
 On the coast. 
 
 “ Sorrento .” 
 
 Do. 
 
 Views of “ Sorrento." 
 
 Do. 
 
 “ Torre de Seacolo ” (?), &c. 
 
 Near Sorrento. 
 
 Vesuvius, from near Sorrento. 
 
 Vesuvius. 
 
 Statue, &c. 
 
 Bay of Naples, with Vesuvius from Posilipo. 
 
 In Bay of Naples. 
 
 Virgil’s tomb ; four sketches. “ The Grotto toward the 
 Elmo or Tomb ; " “ Qui Cineres Tumuli hcec Ves- 
 tigia Conditusolim ille hie qui cecinit pascua , rura , 
 duces." “ This is the remains of a tomb which con- 
 tained the cinders of him ivho sang the pastorals of 
 the country." 
 
 | Virgil’s tomb. 
 
 “ Going up to Pozzuoli," &c. 
 
 “ Gamalada , Napoli," probably view from the Camaldoli. 
 1 View of “ Lcigo Agnano ,” with “ Baice ” and “ Ischia " 
 j in distance. 
 
 \ A “ Monk," with peasants and sheep on mountain, 
 f with “ Pianura ” in middle distance, and Bay of 
 Pozzuoli in distance. 
 
 Distant view of Bay of Pozzuoli. 
 
 Ruin on coast. 
 
 1 “ Lago Agnano " and “ Grotto del Cane," with view 
 J of the Gulf of Naples, with Vesuvius and “ Capua " 
 in distance. 
 
 Vesuvius from near Camaldoli. 
 
 A lake, with mountains. 
 
 Mountains. 
 
 Bay of Naples, from near Camaldoli. 
 
 Do. do. 
 
 Gateway, with towers, &c. 
 
 Gateway, &c. 
 
 Blank. 
 
 Various sketches. 
 
 Two sketches, one of an archway. 
 
 Blank. 
 
 Ruins at Herculaneum. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 Do. 
 
 do. 
 
 32796 
 
550 
 
 TURNER DRAWINGS. [OLXXXV.] 
 
 Page 
 
 8 ?,. 
 
 83a. 
 
 Blank. 
 Ruins, with 
 think 
 
 an inscription. The following, not, I 
 in Turner’s handwriting — “ Not clear ; hut 
 seems, as other, to Lave been dedicated to a person of 
 consular dignity.” 
 
 Ruins, with an inscription, translated as follows (not in 
 Turner’s handwriting) — “ To Claudius, honorable 
 Consul Emperor the inhabitants of Herculanium 
 
 after his death .” 
 
 “ Corridor " at Herculaneum. 
 
 Do. do. 
 
 Fragments of capitals, &c. 
 
 86-88. Blank. 
 
 89. Small figure of a hoy. 
 
 84. 
 
 84a. 
 
 85. 
 
 85a. 
 
 The following unnumbered loose leaves appears to have once 
 belonged to this book — 
 
 „ 90. Pozzuoli, with Vesuvius in distance. 
 
 „ 90a. Do. do. 
 
 „ 91. View on coast (P). 
 
 „ 91a. Castle among mountains, — “ Artuzzio, Arretutizzo." 
 
 (87 leaves drawn on.) 
 
 1819 (AET. 44). 
 
 CLXXXVI — NAPLES, PAESTUM, AND ROME 
 SKETCH BOOK. 
 
 Schedule No. 245. 
 
 Sketch book, bound in boards, with brown leather 
 back and one brass clasp, broken. 
 
 Turner’s label on back — “ 12. Vesuvius. Na/poli. 
 V. Tomb. 1 R ! to Salerno. Paestum , and Return 
 from Naples to Rome" ; written in ink on outside 
 of one of the covers — “ Vesuvius. Napoli. Virgil's 
 Tomb. 1 Journey to Salerno. Paestum. Returning 
 from Naples to Rome." 
 
 Executor’s endorsement — “No. 245. Containing 
 89 leaves. Pencil sketches most on both sides. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, “ A. Lee, 1813.” 
 
 Size of page, 4 r 7 e x 7pg. 
 
 The leaves were distributed, but were first 
 numbered. The following pages were found in a 
 bundle labelled by Mr. Ruskin “ Spare and inferior 
 leaves”— Nos. 1, 2, 3, 5, 8-15, 17-25, 27, 29-32, 34, 
 43-45,. 50-52, 55, 56, 59, 60, 62, 63, 65—69, 71-74, 
 76-80, 83, 84, 88-90. (58 in all.) 
 
[CLXXXVI.] NAPLES, PAESTDM, AND ROME. 551 
 
 E>age 
 
 1. 
 
 Vessels and boats off the coast. 
 
 
 la. 
 
 Distant mountains, &c. 
 
 99 
 
 2. 
 
 Vessels, a row of funeral masks, &c. 
 
 99 
 
 2a. 
 
 Sailing boats in the Bay of Naples. 
 
 99 
 
 3. 
 
 Group of buildings. 
 
 99 
 
 3a. 
 
 4. 
 4a. 
 
 5. 
 5a. 
 
 1 Naples, from the sea. 
 
 99 
 
 99 
 
 / 
 
 1 Naples, with St. Elmo, from the sea. 
 / 
 
 99 
 
 99 
 
 ( Naples, from the sea. Half of this drawing (on p. 6) 
 
 99 
 
 6. 
 
 / forms one of the “ Four Studies : Naples ” in 1st 
 Loan Collection, No. 124. 
 
 99 
 
 7. 
 
 One of the “ Four Studies ” in 1st Loan Collection, 
 No. 124. 
 
 99 
 
 8. 
 
 Do. do. do. 
 
 99 
 
 8a. 
 
 I Reverse of preceding drawing. 
 
 99 
 
 85. 
 
 j Naples, from the sea. 
 
 99 
 
 8c. 
 
 9. 
 
 J Do. 
 
 99 
 
 9a. 
 
 1 Do. 
 
 99 
 
 10. 
 
 / 
 
 99 
 
 10a. 
 
 | Vesuvius, &c., from the sea. 
 
 99 
 
 11. 
 
 99 
 
 11a. 
 
 j Pozzuoli, from the sea. 
 
 99 
 
 12. 
 
 99 
 
 12a. 
 
 Do. 
 
 99 
 
 13. 
 
 Do. 
 
 99 
 
 13a. 
 
 14. 
 
 | Buildings on the coast. 
 
 99 
 
 14a. 
 
 A town. 
 
 99 
 
 15. 
 
 Distant mountains. 
 
 99 
 
 15a. 
 
 | A town, from the sea, &c. (p. 16 is torn). 
 
 99 
 
 16. 
 
 „ 1 6a. Castle of St. Elmo (?), seen from below. 
 
 „ 17. Vesuvius, from the quay. 
 
 „ 17a. A carriage, peasants, and various small landscape 
 
 sketches. 
 
 „ 18. Sketches of peasants in the fields, with distant hills. 
 
 „ 18a. Sailing boats. 
 
 „ 19. Sailing boats in the bay, with Vesuvius beyond. 
 
 „ 19a. Temple at Paestum. 
 
 „ 195. Paestum. 
 
 „ 19c. 1 Town, with distant hills. 
 
 „ 20. J 
 
 „ 20a. Sailing vessels in harbour. 
 
 „ 21. Vesuvius, from the sea ; also a “ cart." 
 
 „ 21a. Naples, with St. Elmo, from the harbour. 
 
 „ 22. Landscape, with distant mountains. “ Itri ” (?). 
 
 „ 22a. Building on a hill. 
 
 „ 23. The ruined castle of “ Fondi." 
 
 „ 23a. La Cava. 
 
 „ 24. Do. “ Cava." 
 
 „ 24a. Two sketches near Salerno (?). 
 
 32796 
 
 2 N 2 
 
552 
 
 TURNER DRAWINGS. [CLXXXVI.] 
 
 Page 25. 
 
 „ 25 a. 
 „ 25 h. 
 „ 25c. 
 „ 26. 
 
 „ 26a, 
 
 27 
 
 11 ^ 1 • 
 
 „ 27a. 
 „ 28. 
 
 95 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 28. 
 
 29. 
 29a. 
 
 30. 
 30a, 
 
 31. 
 31a. 
 
 32. 
 32a. 
 
 33. 
 33a. 
 
 34. 
 34a. 
 
 35. 
 35a. 
 
 36. 
 36a. 
 
 37. 
 37a. 
 
 38. 
 38a. 
 
 39. 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 11 
 
 1i 
 
 11 
 
 11 
 
 ’ l 
 11 
 11 
 
 39a. 
 
 40. 
 40a. 
 
 41. 
 41a. 
 
 42. 
 42a, 
 
 43. 
 43a. 
 
 44. 
 44a. 
 
 45. 
 45a. 
 
 46. 
 
 11 
 
 95 
 
 46a. 
 
 47. 
 
 11 
 
 48. 
 
 “ V. clella Fontana.'" (pp. 25, 25 b, and 26 are all partly 
 torn.) 
 
 A road, with bridge. — “ The way to clear (?) wall." 
 
 “ Strada della Fontana." 
 
 Church, &c., on hills in distance.” 
 
 Distant town. 
 
 Distant mountains. 
 
 La Cava ; also sketch “ near Albano." 
 
 Five sketches on an inland road. 
 
 A number of small sketches. “ Plain of Pesto" “ Pigs 
 at a fountain (?),” &c. 
 
 Group of peasants. 
 
 Temple at Psestum. 
 
 Do. 
 
 Do. ; also “ Porta della Lavinda (?).” 
 
 Do. 
 
 Do. 
 
 Do. 
 
 “ Treponti." 
 
 Castle on hill. 
 
 Four landscape sketches ; over one is written “ Guyp." 
 Sketches in the “ Bay of Salerno." 
 
 Four sketches ; one inscribed, “ Flight into Egypt." 
 Bridge and mountains ; four sketches. 
 
 “ Pcestum." . 
 
 Near Salerno (?). 
 
 Salerno (?). 
 
 Do. , &c. 
 
 Do. 
 
 Near Salerno. 
 
 “ Salerno ” ; several sketches. 
 
 Bay of Salerno. 
 
 “ Bay of Salerno," “ Vietri ,” “ Molina ” (near La 
 Cava), <tc. 
 
 Yietri (?). 
 
 “ Vietri." 
 
 Molina (?). 
 
 Do. 
 
 Do. 
 
 “ Molina." 
 
 | Ruined columns. 
 
 Do. 
 
 Hill, with buildings. 
 
 “ Gaeta," and other sketches. 
 
 Landscapes, with distant mountains. 
 
 Various figures of peasants ; also a view of “ Vietri." 
 Naples, from Monte Calvario. Exhibited drawings, 
 No. 604a, N.G. 
 
 Vesuvius from Naples. Reverse of do. 
 
 One of the “Four Studies : Naples,” in 1st Loan Col- 
 lection, No. 124. 
 
 Naples, from near Monte Calvario. Exhibited drawings, 
 No. 6045, N.G. 
 
 Do. 
 
 11 
 
 48a. 
 
 do. 
 
 Reverse of do. 
 
[CLXXXVL] NAPLES, PAESTUM, AND ROME. 553 
 
 Page 
 
 49. 
 49a. 
 
 50. 
 50a, 
 
 51. 
 
 Trinita de Monti." 
 Castle of St. Elmo. 
 
 
 mountains, with “ Mt. Coelia" (?) 
 
 52a. 
 
 53. 
 
 54. 
 
 55. 
 55a. 
 
 56. 
 56a. 
 
 57. 
 57a. 
 
 58. 
 
 61. 
 
 61a. 
 
 62. 
 
 62a. 
 
 63. 
 
 Lake among 
 distance. 
 
 51a. Landscape by “ Moonlight." 
 
 52. Landscape from terrace of a town. 
 
 A fountain, &c. 
 
 A town. 
 
 Bi-idge across a ravine. 
 
 Blank. 
 
 “ Mt. Ccelia " (?). 
 
 Distant mountains. 
 
 Town and mountains. 
 
 Town on. hill. 
 
 Studies of peasants’ costumes ; a plain with distant 
 mountains and a rainbow, — “ Bussalon (?) ” ; also 
 two other sketches of castles, &c., on hills — “ St. 
 Genaro Bridge" (? S. Gennaro, at Naples). 
 
 Sketches and descriptions of skies, also a tower, &c. 
 
 58a. Decorated prow of a boat. 
 
 59-60. Blank. 
 
 60a. “ St. Agatha." 
 
 Town on distant hill. 
 
 Road, with ruins ; three sketches. 
 
 Blank. 
 
 | “ Gaeta ” 
 
 63a. Probably Gaeta. 
 
 64. Gulf of Gaeta, with Vesuvius in distance. — Boy with 
 
 the Ball and Ring. Men smoking 
 
 Men loading and fish ing ." 
 
 64 a. Bay of Gaeta. 
 
 65. Town on coast (? Gaeta). 
 
 65a. Road, with gateway. — “ Porta Alis (?)” 
 
 66. The sea from the cliffs. 
 
 66a. } Two sketches ; one (and probably both) of Si. 
 
 67. J Antoine." 
 
 Gla. 1 Bay. 
 
 68 . / 
 
 68a. 1 On the coast. 
 
 69. / 
 
 69a. 1 On the coast ; “ Grotto Bagnioli " in foreground with 
 
 70. ) Ischia (?) in distance. — “ Ghd dancing to the Tabor 
 
 or Tamborine. One plays , two dance face to face. 
 If two women — a lewd dance and great gesticula- 
 tion ; when the men dance with the women a great 
 coyness on his part till she can catch him idle and 
 toss him up or out of time by her hip : Then the 
 laugh is against him by the crowd. Boy with 
 
 Ring and Ball holds out cards or the 
 
 Ball ." — “ Man selling aqua vita by a handcart. 
 Buy drawing it. Painted red and green and 
 ornamented with paper. Boys with dogs' meat or 
 hawking Butchers ivith Tongues and . . . f 
 
554 
 
 TURNER DRAWINGS. [CLXXXVI.] 
 
 Page 70a. Trees on cliff overlooking the sea. 
 
 71. 
 
 Sketches of soldiers’ uniforms. 
 
 
 71a. 
 
 Mountains. — “ Manabe. Mos a , 
 
 Marella (?)” 
 
 72. 
 
 Vessels on the shore. 
 
 72a. 
 
 Hills overlooking the sea. 
 
 
 73. 
 
 A ruined Temple (?) and other sketches. 
 
 73a. 
 
 A sea-port. 
 
 
 74. 
 
 Ruins. 
 
 
 74a. Archway on quay. 
 
 
 75. 
 
 A rainbow. 
 
 
 75a. 
 
 Rocks. 
 
 
 76. 
 
 Ruins. 
 
 
 76a. 
 
 Castle, &c., on rocks by the sea. 
 
 
 77. 
 
 Do. do. 
 
 
 77a. 
 
 Do. do. ; 
 
 with Vesuvius in dis- 
 
 
 tance. “ Vesuvius belongs to the 1." 
 
 78. 
 
 Buildings on quay. 
 
 
 78a. 
 
 On rocks overlooking Bay of Naples. 
 
 79. 
 
 Do. do. 
 
 
 79a. 
 
 Do. do. 
 
 
 80. 
 
 Do. do. 
 
 
 80a. 
 
 Do. do. 
 
 
 81. 
 
 Do. do. 
 
 ; also sketches of 
 
 
 carriages. 
 
 
 „ 8 la. On the coast. “ Boy flying (?) Kite. Some without 
 
 coats. Children drawing each other in (square- 
 shaped diagram) Basket covered with vine leaves." 
 
 „ 82. Roadway on rocks overlooking Bay of Naples. 
 
 82a. 
 
 Do. 
 
 do. 
 
 83. 
 
 Do. 
 
 do. 
 
 83a. 1 
 
 Do. 
 
 do. 
 
 '■ r * J 
 
 „ 84a. Ruins on a villa on the shore. 
 
 „ 85. Rocks overlooking the Bay of Naples. 
 
 ,, 85a. A bay with distant rocks. 
 
 „ 86. “ Castello St. Genaro." 
 
 „ 86a. Various shaped prows and sterns of vessels, &c. 
 
 „ 87. Missing. 
 
 „ 88. “ St. Agatha," “ Gonsano and peasants at “ Capua." 
 
 „ 88a. “ Ischia from St. Antoine " ; also “ Genzano." 
 
 „ 89. Sketches at “ Nocera " (?). 
 
 „ 89a. Study of planets. 
 
 „ 90. “ Near Nocerera" (? Nocera), “ L. Bejana," &c. 
 
 „ 90a. View of Rome (?) ; also a gateway — “ Portalle." 
 
 (89 leaves drawn on, with 1 missing.) 
 
[CLXXXVII.] 
 
 555 
 
 1819 (AET. 44). 
 
 CLXXXVII .— “NAPLES: ROME. 0. STUDIES ” 
 SKETCH BOOK. 
 
 Schedule No. 144. 
 
 Sketch book, bound in boards, with brown leather 
 back and corners ; it once had two brass clasps, now 
 broken. 
 
 Turner’s label on back — “ 15. Naples : Home 
 G. Studies .” 
 
 Water mark, “ J. Whatman, 1814 ” and “ 1816.” 
 
 Size of page, 16 x 10 x ^. 
 
 The book has been broken up and the leaves 
 distributed, some being numbered, others not. The 
 53 numbered leaves have been placed first in the 
 following arrangement. Most of the leaves are 
 white, but a number of leaves (probably at one end 
 of the book) were prepared with washes of grey. 
 
 Written on inside of end cover — 
 
 “ Pall. Gheva. 
 
 Geva. 
 
 Forum Trajans." 
 
 Page 1. 
 
 2 
 
 99 
 
 99 
 
 99 
 
 99 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 8 . 
 
 9. 
 
 10 . 
 
 11 . 
 
 11a, 
 
 72. 
 
 13. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 
 99 
 
 99 
 
 19. 
 
 20 . 
 
 Missing. 
 
 Monte St. Angelo and Capri : Morning. Water colour. 
 Exhibited Drawings, No. 336, N.G. 
 
 Naples, from the sea. Oxford, 106-22. 
 
 Naples. 
 
 Queen Joanna’s Palace, Naples. Oxford, 107-23. 
 
 Monte St. Angelo and Capri. Watercolour. Exhibited 
 Drawings, No. 327, N.G. 
 
 Naples, from Queen Joanna’s Villa. Exhibited Draw- 
 ings, No. 305, N.G. 
 
 Vesuvius, from Naples. 
 
 The Bay of Baias. 
 
 Street leading to St. Elmo, Naples. 
 
 The Grotto of Posilipo. 
 
 Outside Naples. 
 
 Naples, from St. Elmo. 
 
 Naples : the Castle of the Egg. Water colour. Ex- 
 hibited Drawings, No. 334, N.G. 
 
 Naples, with Vesuvius. 3rd Loan Collection, No. 47. 
 
 Bay of Baia3. 3rd Loan Collection, No. 49. 
 
 Missing. 
 
 Bay of Bake, from Posilipo. 
 
 Vesuvius. Pencil, and part coloured. Exhibited 
 Drawings, No. 335, N.G. 
 
 Villas at Posilipo. Exhibited Drawings, No. 301, N.G. 
 
 Capri. Water colour. Exhibited Drawings, No. 819, 
 
 N.G. 
 
556 
 
 TURNER DRAWINGS. [CLXXXVII.] 
 
 Page 21. 
 
 99 
 
 22 . 
 
 99 
 
 99 
 
 99 
 
 99 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 27. 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 34. 
 
 8o. 
 
 „ 36. 
 „ 37. 
 
 38. 
 „ 39. 
 .. 40. 
 
 „ 41. 
 42. 
 
 99 
 
 43. 
 
 „ 44. 
 .. 45. 
 
 „ 46. 
 „ 47. 
 „ 48. 
 „ 49. 
 „ 50. 
 „ 51. 
 „ 52. 
 
 „ 53. 
 
 Capri, from Naples. Water colour. Exhibited Draw- 
 ings, No. 304, N.G. 
 
 Naples, from the south. Exhibited Drawings, No. 333, 
 N.G. 
 
 Naples, from the north. 
 
 Bridge in Naples, with St. Elmo in distance. 
 
 Naples, from the sea. 
 
 Tivoli. 
 
 Tivoli, near the Temple of Vesta. Exhibited Drawings, 
 No. 252, N.G. 
 
 Tivoli : general view from the valley. Water colour. 
 Exhibited Drawings, No. 340, N.G. 
 
 Tivoli, and the Campagna. 
 
 TheTempleof Vesta. Exhibited Drawings, No. 302, N.G. 
 
 Tivoli. 
 
 Tivoli : the town with its cascades and the Campagna. 
 Water colour. Exhibited Drawings, No. 339, N.G, 
 
 Tivoli : general view from the valley. Exhibited 
 Drawings, No. 303, N.G. 
 
 Roman Campagna : Morning. Water colour. Exhibited 
 Drawings, No. 330, N.G. 
 
 Homan Campagna : Tiber from Castel Giubelio. Water 
 colour ; lakes faded through exposure. Exhibited 
 Drawings, No. 813, N.G. 
 
 Aqua Acetosa. 
 
 Teverone. 
 
 The Arno : Ponte Salaco. 
 
 Ponte Nomentano : Rome. 
 
 Bridges in the Campagna. Exhibited Drawings, 
 No. 300, N.G. 
 
 Monte Gennaro : Rome. Water colour. 792, N.G. 
 
 Campagna : snowy Apennines in distance. Water 
 colour. Exhibited Drawings, No. 338, N.G. 
 
 Roman Campagna : Sunset. Water colour. Exhibited 
 Drawings, No. 329, N.G. 
 
 Missing. 
 
 Ponte Molle : Rome. Water colour ; lakes faded 
 through exposure. Exhibited Drawings, No. 814, N.G. 
 
 St. Peter’s and the Vatican, Rome. 
 
 St. Peter’s, and the Vatican in the distance. 
 
 Roman Campagna. 
 
 Do. 
 
 The Tiber, with St. Peter’s in distance. 
 
 The winding river. 3rd Loan Collection, No. 48. 
 
 Interior of a cathedral ; — probably St. Peter’s. Water 
 colour. 
 
 Interior of a cathedral; — probably St. Peter’s. Water 
 colour. 
 
 (End of numbered leaves.) 
 
 (I cannot discover numbers on the following pages, 
 but the pages marked “ missing ” above may be 
 amongst them.) 
 
 View of Rome, with Castle of St. Angelo and St. Peter’s. 
 2nd Loan Collection, No. 47. 
 
 „ 54. 
 
[CLXXXVII.] | NAPLES : ROME. 
 
 55? 
 
 Page 55. Naples. 3rd Loan Collection, No. 48 (16). 
 
 „ 56. Blank. 
 
 „ 57. Blank. 
 
 „ 58. Tivoli : the Cascades. Pencil on grey. Exhibited 
 
 Drawings, No. 254, N.G. 
 
 „ 59. Tivoli, with the Temple of Vesta. Pencil on grey. 
 
 „ 60-69. Blank. 
 
 (54 leaves drawn on.) 
 
 1819 (AET. 44). 
 
 GLXXXVIII. — “ ST, PETER'S” SKETCH BOOK. 
 
 Schedule No. 280. 
 
 Sketch book, bound in boards, with brown leather 
 back and one brass clasp. 
 
 Turner’s label on back — “ Rome. St. Peter's ” ; 
 written in ink on one of the covers, “ Rome. 
 St. Peter's. 14." 
 
 Executors’ endorsement — “ No. 280. Contains 
 90 leaves with Pencil Sketches on both sides. 
 
 (Signed) H. S. Trimmer 
 C. Turner.” 
 
 Water mark — “ Smith & . . . . 18 . .” 
 
 Size of page — 4^ x 7 X 7 ^. 
 
 Mr. Ru skin’s endorsement on wrapper — “ 280. 
 Rome. Dec. 2 nd 1819. Good for showing as it is ” ; 
 also, “ Roman detail Book.” 
 
 On the inside of one of the covers, in ink, in 
 Turner’s handwriting: — “ Dec 1 '. 2. 1819. Roma"; 
 on other cover a plan sketched in ink, with the 
 following descriptions written in various parts : — 
 
 “ Corner, 9 courses of Bricks. 8 Courses. 12 courses 
 from Floor. 4 feet from floor. Chimney. Water 
 Pipe, &c." 
 
 This book was lent to the University of Oxford ; 
 scheduled as “ 4 th extra piece.” 
 
 Page 1. Blank. 
 
 „ l a. Details of frieze, &c. (possibly Giulio Romano’s work in 
 the Villa Lante) ; also — 
 
 „ 1«. \ View from St. Peter’s, showing Villa Lante and Church 
 
 „ 2. J of S. Onofrio, with Castle of S. Angelo beyond. 
 
 „ 2 a. 1 General view of Rome ; mountains in distance. 
 
 „ 3. j Written over distant peaks, “ Snow pink." 
 
 „ 3 a. \ View from Monte Gianicolo (? Monte Mario), showing 
 
 „ 4. J St. Peter’s, St. Angelo, &c. 
 
 „ 4 a. 1 General view of Rome 
 
558 
 
 TURNER DRAWINGS. [CLXXXVIII.] 
 
 Page 
 
 9? 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 5 a. 
 6 . 
 6a. 
 
 7. 
 7a. 
 
 8 . 
 8a. 
 9. 
 9a. 
 
 10 . 
 
 10a. 
 
 11 . 
 
 11a. 
 
 12 . 
 
 12a. 
 
 13. 
 13a. 
 
 14. 
 14a. 
 
 15. 
 15a. 
 
 „ 17a. 
 „ 18 . 
 
 „ 18a. 
 
 19. 
 
 99 
 
 99 
 
 19a, 
 
 20 . 
 
 21 . 
 
 99 
 
 99 
 
 21a. 
 
 22 . 
 
 99 
 
 99 
 
 99 
 
 99 
 
 22 a. 
 
 23. 
 23a. 
 23a. 
 
 24. 
 
 ) Outside Rome. 
 
 | St. Peter’s and the Vatican. 
 
 St. Peter’s. 
 
 Blank. 
 
 | St. Peter’s in mid-distance. 
 
 Tiber in mid-distance, with Ponte Molle (?). 
 
 Do. do. 
 
 Do. do. 
 
 Do. do. 
 
 1 General view of Rome from Monte Mario. (Compare 
 J p. 31, “ Rome : C. Studies ” [clxxxix]). 
 
 St. Peter’s in mid-distance. do. 
 
 Do. do. 
 
 1 Villa Madama, “ Julio Romano." (This villa was 
 / erected by Giulio Romano from Raphael’s designs.) 
 Back of the Temple of Mars Ultor, with the Arco dei 
 Pantani. 
 
 Arco dei Pantani, from the Via di Tor de’ Conti. 
 
 The Colonnacce (remains of the external walls of the 
 Temple of Mars Ultor) ; formerly called remains of 
 Temple of Pallas. 
 
 Details of the entablature of the Colonnacce. 
 
 Portico of the Temple of Faustina, with remains of the 
 Temple of Castor beyond. 
 
 Part of interior of St. Peter’s. 
 
 Details of sculptures on the (1) East Attic, and (2 and 
 ' 3) one of the sides of the arch of Constantine ; also 
 (4) figures of priests looking up. ( See Plates 48 and 
 104 of Strong’s “ Roman Sculpture.”) 
 
 Sculptured panel (the Emperor in triumphal chariot, 
 Victory at his side), from the Arch of Titus. See 
 Plate 34, op. cit. 
 
 Roman soldiers carrying the sacred utensils from the 
 Temple of Jerusalem. Panel from Arch of Titus. 
 See Plate 34, op. cit. 
 
 Figures of peasants, &c. 
 
 Details of the reliefs of the Trajanic frieze on the Arch 
 of Constantine. See Plate 47, op. cit. 
 
 Details of the Trajanic frieze and of the sculptures on 
 side of the Arch of Constantine. See Plates 46, 48, 
 and 104, op. cit. 
 
 Arch of Constantine ; north facade. 
 
 Arch of Constantine, with Colosseum beyond ; also 
 details of sculpture on west Attic, &c., of the Arch 
 of Constantine. See Plate 47, op. cit. 
 
 Temple of Vespasian (reconstructed). 
 
 Remains of the Temple of Castor. 
 
 Details of three Corinthian capitals ; also — 
 
 1 General view of the Forum from the Via Sacra, show- 
 / ing the Capitol, the remains of the Temples of 
 Saturn and Vespasian, the column of Phocas, Arch 
 of Severus, &c. 
 
[CLXXXVIII.] ST. PETER’S SKETCH BOOK. 
 
 559 
 
 Page 24a. \ Steps of the Senatorial Palace on the Capitol. 
 
 ,, 25. J 
 
 „ 26. The Fontana di Trevi. 
 
 „ 26a. View through arches. 
 
 „ 27. Blank. 
 
 „ 27a. \ Fountain in the Piazza della Rotonda, with the portico 
 
 „ 28. j of the Pantheon beyond. 
 
 „ 29. Under the portico of the Pantheon. 
 
 „ 29a. \ St. Peter’s in distance. 
 
 59 
 
 31. 
 
 Island of the Tiber, 
 
 with Ponte Fabricio (Ponte 
 
 
 
 
 Quattro Capi). 
 
 
 55 
 
 32. 
 
 The Tiber, near the Island of the Tiber. 
 
 99 
 
 33. 
 
 Bridge and castle of St. Angelo. 
 
 99 
 
 33 a. 
 
 
 Do. 
 
 do. 
 
 59 
 
 34. 
 
 On the Tiber, bridge ( 
 
 ? St. Angelo) in distance. 
 
 59 
 
 35. 
 
 View, with Ponte Molle (?) in distance. 
 
 99 
 
 36. 
 
 
 Do. 
 
 do. 
 
 95 
 
 36a. 
 
 1 
 
 i Do 
 
 do. 
 
 55 
 
 37. 
 
 J 
 
 r 
 
 
 99 
 
 37a. 
 
 A bend of the Tiber ; 
 
 two sketches. 
 
 95 
 
 37 a. 
 
 1 
 
 | Do. 
 
 do. 
 
 99 
 
 38. 
 
 J 
 
 f 
 
 
 59 
 
 38a. 
 
 Qi \ 
 
 1 
 
 [_ Do. 
 
 do. 
 
 99 
 
 O'. 
 
 39a. 
 
 J 
 
 1 
 
 i Do. 
 
 do. 
 
 „ 40a. Obelisk of Caligula in the Piazza di San Pietro. 
 
 „ 41. “ Scalette .” View over cainpagna from a terrace. 
 
 „ 41a. Gate of St. Paul (or Ostiensis). 
 
 „ 42. Buildings on the Aventine. 
 
 „ 42a. Gate of St. Paul. 
 
 „ 43. Rome from Monte Aventino. 
 
 „ 43a. A church (possibly Santa Sabina), with St. Peter’s in 
 
 distance. 
 
 ,, 44. A church (possibly Santa Sabina), with St. Peter’s in 
 distance. 
 
 ,, 44a. View of St. Peter’s from the Aventine. 
 
 „ 45. Sketches on the Aventine. 
 
 „ 45a. \ View from the Aventine. 
 
 „ 46. J 
 
 „ 46a. ) Santa Sabina and other buildings on the Aventine ; 
 „ 47. / also two antique figures and a head. 
 
 „ 48. Trajan’s Column, in the Forum of Trajan, with door- 
 way of the Ulpian Basilica on the right. 
 
 „ 48a. Group of buildings ; also two views on banks of Tiber. 
 ,, 49. A street in Rome. 
 
 „ 49a. Outside the Colosseum. 
 
 ,, 50. Pediment of the Portico of Octavia. 
 
 „ 50a. Portico of Octavia with figures and sketches of fish. — 
 “ R. Mullet." “ Purple" “ R. Flat Fish , Small 
 Tail." 
 
 „ 51. Sketches of fish. 
 
 „ 51a. Island of the Tiber, with the Quattro Capi Bridge. 
 
560 
 
 TURNER DRAWINGS. [CLXXXVIII.] 
 
 Page 52. 
 
 95 
 
 95 
 
 59 
 
 99 
 
 95 
 
 99 
 
 99 
 
 99 
 
 99 
 
 95 
 
 95 
 
 52a. 
 
 53. 
 53a. 
 
 54. 
 54a. 
 
 55. 
 
 56. 
 56a, 
 
 57. 
 57a. 
 
 58. 
 
 „ 58 a. 
 59 
 
 99 * 
 
 „ 59a. 
 „ 60. 
 
 „ 60a. 
 
 59 
 
 59 
 
 99 
 
 59 
 
 99 
 
 55 
 
 55 
 
 55 
 
 59 
 
 55 
 
 55 
 
 99 
 
 59 
 
 59 
 
 55 
 
 59 
 
 59 
 
 59 
 
 59 
 
 95 
 
 95 
 
 95 
 
 55 
 
 99 
 
 55 
 
 99 
 
 95 
 
 99 
 
 95 
 
 95 
 
 99 
 
 62. 
 
 62a. 
 
 63. 
 63a. 
 
 64. 
 64a. 
 
 65. 
 65a. 
 
 66 . 
 
 66a. 
 
 67. 
 67 a. 
 
 68. 
 68a. 
 
 69. 
 69a. 
 
 70. 
 70a. 
 
 71. 
 71a. 
 
 72. 
 72a. 
 
 73. 
 73a. 
 
 74. 
 74a. 
 
 75. 
 75a. 
 
 76. 
 76a. 
 
 77. 
 77a. 
 
 78. 
 
 Ponte Rotto, with the Cloaca Maxima, Temple of the 
 Sun and Santa Maria in Cosmedin. 
 
 Ponte Rotto. 
 
 On the banks of the Tiber, near the Island of the Tiber. 
 Do. do. 
 
 Do. do. 
 
 Do. do. 
 
 Sailing boat in Tiber. 
 
 Banks of Tiber. 
 
 Do. , with shipping. 
 
 Four sketches of Aventine Mount (?). 
 
 The Aventine ( ?) 
 
 Basilica of Constantine, with Campanile of Santa 
 Maria in Cosmedin in distance. 
 
 Details of ornaments. 
 
 Do. 
 
 | Basilica of Constantine. 
 
 Details of Ornaments. 
 
 Row of trees, with hill beyond (probably gardens of 
 Villa Medici). 
 
 Groups of trees. 
 
 Three sketches of Villa Medici. 
 
 Four sketches in grounds of Villa Medici. 
 
 Villa Medici (?). 
 
 Portico of the Pantheon. 
 
 Interior of the Pantheon. 
 
 Various small sketches ; distant view of St. Peter’s, &c. 
 Villa Medici ; garden front. 
 
 Blank. 
 
 Study of sky. 
 
 Piazza del Quirinale, with Obelisk and Horse Tamers. 
 Piazza of St. Peter’s. 
 
 Details of ornament. 
 
 Fa$ade of a palace (?). 
 
 1 View of Rome, with San Pietro in Vincola (?) in 
 j distance. 
 
 Buildings. 
 
 Blank. 
 
 | Looking over the Forum, with the Capitol, &c., 
 1 beyond. 
 
 Ruins. 
 
 View of Rome. 
 
 | Coliseum, &c. 
 
 | General view of Rome. 
 
 | Do. 
 
 1 Do. 
 
 Do. 
 
[CLXXXVIIL] ST. PETER’S SKETCH BOOK. 
 
 561 
 
 Page 78a. 
 
 Gardens of a villa. 
 Do. 
 
 Do. 
 
 Do. 
 
 „ 81. Blank. 
 
 „ 81a. Gardens. 
 
 „ 82. Banks of the Tiber. 
 
 „ 82a. The Capitol. 
 
 „ 83. Interior of St. Peter’s. See Water Colour at Farnley. 
 „ 83a. Piazza of St. Peter’s. 
 
 „ 84. Do. 
 
 „ 84a. Do. 
 
 „ 85. Do. 
 
 „ 85a. Do. 
 
 „ 86. Do. 
 
 „ 86a. Various sketches. 
 
 „ 87. Gate of St. Paul, &c. 
 
 „ 87a. Ruins of Temple of Minerva Medica ; also — 
 
 „ ~~ The Logge of the Vatican. 
 
 „ 88a. Obelisque in the Piazza di S. Giovanni Laterano. 
 
 „ 89. Buildings and ruins in or near the Forum. 
 
 „ 89a. Group of buildings. 
 
 „ 90. Temple of Venus and Roma. 
 
 „ 90a. San Pietro in Vincoli. 
 
 „ 91. Various small sketches of buildings and ruins. 
 
 „ 91a. The following list of subjects, written in pencil, by 
 
 Turner : — 
 
 “ Trajan's Col. 
 
 Antonine ditto. 
 
 Nero (? Nerva) Forum. 
 Tower of Capitol. 
 
 Porto di Ripetta. 
 
 Fountain of Egeria. 
 Raffael's House. 
 
 Ditto. 
 
 Villa Borghese. 
 
 Golanna* Pine. 
 
 Consulta. 
 
 French Academy. 
 
 St. John Lateran. 
 
 Bath of Titus. 
 
 Forum of Octavia. 
 
 Aqua Acetosa (?) .• ” also — 
 
 “ 90 
 IS 
 
 210 
 
 90 
 
 1110 ." 
 
 * Query, Colonna, a village outside Rome. 
 
 (91 leaves drawn on.) 
 
562 
 
 TURNER DRAWINGS. [CLXXXIX.] 
 
 1819 (AET. 44). 
 
 CLXXXIX.— " ROME : C. STUDIES'’ SKETCH BOOK. 
 
 Page 1. 
 
 5. 
 
 „ <S. 
 
 „ 9. 
 
 „ io. 
 „ 11 . 
 „ 12 . 
 „ 13. 
 
 „ n. 
 
 „ 15. 
 „ 16. 
 „ 17- 
 „ 18. 
 „ 19. 
 
 20 . 
 
 95 
 
 55 
 
 55 
 
 '* 
 
 95 
 
 59 
 
 21 . 
 
 22 . 
 
 23. ’ 
 
 24. 
 
 25. 
 
 26. 
 
 Schedule No. 180. 
 
 Sketch book, bound in boards, with brown leather 
 back and corners, and two brass clasps, now broken. 
 
 Turner’s label on back — u 14. Borne: C. Studies" ; 
 written in ink on one of covers, “ Rome .” 
 
 The leaves are all prepared on one side with a 
 wash of grey ; all the drawings, unless otherwise 
 specified, are in pencil on grey with the lights either 
 wiped or scratched out. Hence Turner’s description 
 of “ C. Studies,” which I take to mean Chiaroscuro 
 Studies. 
 
 Water mark — “ Valleyfield, 1816.” 
 
 Size of page, 14-^ x 9. 
 
 The book was broken up and the leaves distributed 
 without any record being kept of their relative 
 positions. The following sequence is purely 
 fortuitous. 
 
 Rome. Exhibited Drawings, No. 251, N.G. 
 
 General view of Rome. 253, N.G. 
 
 The Tiber and Castle of St. Angelo. Water colour. 
 255, N.G. 
 
 The Colonnade of St. Peter’s. 256, N.G. 
 
 Fountain in front of Afilla Medici. 257, N.G. 
 
 The Portico of St. Peter's. Water colour. 258, N.G. 
 
 St. Peter’s and the Vatican. 259, N.G. 
 
 The Alban Mount. Water colour. 260, N.G. 
 
 The Colosseum. 261, N.G. 
 
 Castle of St. Angelo. 262, N.G. 
 
 Stone pines on Monte Mario. 263, N.G. 
 
 General view of Rome. 264, N.G. 
 
 Interior of the Colosseum. Water colour. 265, N.G. 
 
 Study in Rome. 266, N.G. 
 
 St. Peter’s, from the west. 267, N.G. 
 
 The Tiber and the Apennines. 268, N.G. 
 
 St. Peter’s and the Vatican. 269, N.G. 
 
 Rome. 270, N.G. 
 
 The Colosseum. Pencil and chalk, part in water colour. 
 271, N.G. 
 
 The Colosseum and Basilica of Constantine. Pencil 
 and water colour. 272, N.G. 
 
 St. Peter’s, from the south. Water colour. 273, N.G. 
 
 The Palatine. 274, N.G. 
 
 The Colosseum, with flock of goats. 275, N.G. 
 
 The Tiber. 298, N.G. 
 
 Rome : The Capitol. 299, N.G. 
 
 Villas on the Monte Mario. 326, N.G. 
 
[CLXXXIX.] ROME : C. STUDIES. 
 
 563 
 
 Page 27. Rome and the Apennines. Water colour. 327, N.G. 
 
 „ 28. The Colosseum and Arch of Titus. 328, N.G. 
 
 „ 29. The Colosseum and Arch of Constantine. 331, N.G. 
 
 „ 30. Foreground in Rome. Water colour. 332, N.G. 
 
 ,, 31. View of Rome from Monte Mario. 590, N.G. 
 
 „ 32. The Bridge and Castle of St. Angelo. Pencil, with part 
 
 in water colour. Of. p. 34. 591, N.G. 
 
 „ 33. Rome, from Monte Mario. Pencil and water coluur. 
 592, N.G. 
 
 „ 34. Rome, from the Gardens of the Villa Lanti. Pen and 
 
 ink, with part finished in water colour. 593, N.G. 
 
 „ 35. The Nymphceum of Alexander Severus. Body colour. 
 
 594, N.G. 
 
 „ 36. The Claudian Aqueduct. Water colour (mixed pure 
 
 and body colour). 595, N.G. 
 
 „ 37. The Colosseum. Pencil and mixed pure and body 
 
 colour. 596, N.G. 
 
 „ 38. The Basilica of Constantine. Pen and ink, and mixed 
 
 pure and body colour. 597, N.G. 
 
 „ 39. Church of SS. Giovanni e Paolo. Mixed pure and body 
 colour. 598, N.G. 
 
 „ 40. Arches of Constantine and Titus. Mixed pure and 
 body colour. 599, N.G. 
 
 „ 41. Rome, from the Vatican. Pen and ink and Chinese 
 
 white. 600a N.G. Gf. the oil painting of “ Rome 
 from the Vatican,” exhibited R.A. 1820, and now 
 No. 503, N.G. 
 
 „ 42. Rome, from the Gardens of SS. Giovanni e Paolo. Pen 
 and ink and water colour. 6005, N.G. 
 
 „ 43. Arch of Titus from the Via Sacra, with the Campanile 
 of the Capitol, &c., beyond. Oxford, 103-26. 
 
 „ 43a. The Colosseum, &c. Pencil, on the white side of leaf, 
 with commencement of water colour (shadows on 
 Colosseum). Oxford, 103-26. 
 
 „ 44. Arch of Titus, with Colosseum beyond. 
 
 „ 45. Aqueducts and S. Giovanni in Laterano. Pencil and 
 
 red chalk, on white side of paper. Oxford, 104-25. 
 
 „ 45a. A drawing on other side of p. 45, but stuck down tight 
 on a sheet of cartridge. Oxford, 104-25 (reverse). 
 
 „ 46. The Forum ; with remains of Temple of Castor, 
 
 S. Lorenzo in Miranda, and Temple of Antoninus 
 and Faustina, &c. Water colour. Oxford, 101-28. 
 
 „ 47. The Temple of Peace. Oxford, 102-27. 
 
 „ 48. Rome, from the Vatican. Oxford, 105-24. 
 
 ,, 49. View of Rome, with the Castle of S. Angelo and Church 
 of S. Maria in Vallicella (?). 
 
 „ 50. The Colosseum. 
 
 „ 51. Interior of the Colosseum. 
 
 „ 52. Piazza del Popolo, with the churches of Santa Maria in 
 
 Monte Santo and Santa Maria de’ Miracoli. 
 
 „ 53. Ruins of the Temple of Peace. 
 
 „ 54. Ruins on the Palatine. 
 
 „ 54a. Do. Pencil, on white side of leaf. 
 
 „ 55. Evening on the Campagna. Water colour. 
 
564 
 
 TURNER DRAWINGS. [CLXXXIX.] 
 
 Page 55 a. Rome, from the Esquiline Hill, with “ Arch of Titus ” 
 in mid-distance and St. Peter’s beyond. Pencil, on 
 white side of paper. 
 
 „ 56. Commencement of a water-colour drawing. 
 
 „ 57. Landscape, with river and distant mountains. 
 
 „ 58. The Arch of Constantine, seen from the Colosseum. 
 
 „ 59. Water fowl. 
 
 „ 60. Rome, from Monte Mario, with Ponte Molle in mid- 
 
 distance. 
 
 „ 61-62. Blank. 
 
 „ 62n. A town. Pencil, on white side of leaf. 
 
 (61 leaves drawn on.) 
 
 1819 (AET. 44). 
 
 CXC.— 11 SMALL ROMAN C. STUDIES ” SKETCH BOOK. 
 
 Schedule No. 255. 
 
 Sketch book, bound in boards, with brown leather 
 back and corners and one brass clasp. 
 
 Turner’s label on back : — •“ 9. Roma : C. Studies 
 written in ink on one of covers, “ Roma.” 
 
 Executor’s endorsement : — “ No. 255. 64 sketches 
 
 on tinted paper. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water, mark, “ J. Whatman, 1814.” 
 
 Size of page, 5 X % x 10§-. 
 
 Mr. Ruskin’s endorsement on wrapper, “ No. 255 
 Invent. Small Romans. Twenty-two are taken out, 
 but many left good for distribution. A.B. 274. 
 P.M.”; Mr. Wornum’s note, “ Two out. R.N.W.” 
 The book was lent to the University of Oxford, 
 scheduled as “No. 3, extra pieces.” 
 
 Some of the leaves were distributed, but only 
 a few were numbered ; the following arrangement 
 is therefore fortuitous. The paper is white, one side 
 of each leaf being prepared with a wash of grey ; 
 nearly all the drawings are made on this grey 
 surface, in pencil, with the lights rubbed or wiped 
 out. 
 
 Page 1. The Arch of Titus. Exhibited drawings, No. 607a, N.G. 
 
 Cf. Oil painting of “ Forum Romanum,” exhibited 
 R.A., 1826, and now 504 N.G. 
 
 „ 2. Arch of Titus. 607 b, N.G. (So described by Mr. 
 
 Ruskin ; it looks to me more like the Arch of 
 Constantine.) 
 
[CXC.] 
 
 SMALL ROMAN C. STUDIES. 
 
 565 
 
 Page 
 
 99 
 
 3. 
 
 4. 
 
 59 
 
 95 
 
 55 
 
 9) 
 
 5? 
 
 5. 
 5a. 
 
 6 . 
 
 6a. 
 
 7. 
 
 9? 
 
 95 
 
 9! 
 
 10 . 
 
 95 
 
 55 
 
 99 
 
 59 
 
 95 
 
 55 
 
 99 
 
 99 
 
 99 
 
 55 
 
 95 
 
 55 
 
 55 
 
 55 
 
 55 
 
 55 
 
 99 
 
 55 
 
 55 
 
 59 
 
 99 
 
 95 
 
 99 
 
 59 
 
 11 . 
 
 11a. 
 
 12 . 
 
 12a. 
 
 13. 
 13a. 
 
 14. 
 14a. 
 
 15. 
 15a. 
 
 16. 
 16a. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 21a. 
 22 . 
 22a. 
 
 23. 
 23a. 
 
 24. 
 24a. 
 
 55 
 
 55 
 
 55 
 
 55 
 
 25. 
 25a. 
 
 26. 
 26a. 
 
 „ 27. 
 
 „ 27a. 
 
 55 
 
 55 
 
 99 
 
 55 
 
 99 
 
 99 
 
 99 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 31a. 
 
 32. 
 
 33. 
 
 Campo Yaccino. Sepia and white on grey. 2nd Loan 
 Collection, No. 110a (35). 
 
 Colosseum. Water colour. 2nd Loan collection, No. 
 1105 (36). 
 
 Two drawings of a head, a tomb and a bas-relief. 
 
 I Ruins on the Esquiline Hill, with St. Peter’s in 
 ( distance. 
 
 La Trinita d’ Monti. 
 
 Blank. 
 
 Buildings, with the Colosseum beyond. 
 
 Bridge and Castle of S. Angelo. 
 
 St. Peter’s and the Vatican. Warm tint (body colour) 
 over buildings. 
 
 Blank. 
 
 Arch of Septimus Severus. 
 
 Blank. 
 
 Statue among trees. 
 
 Blank. 
 
 On the Sacra Via. 
 
 Blank. 
 
 In the Colosseum. 
 
 Blank. 
 
 Arch of Constantine and other monuments. 
 
 Temple of Venus et Roma. 
 
 Ruins on the Palatine. 
 
 Do. 
 
 Do. 
 
 Temple of Venus et Roma, with S. Francesca Romana. 
 Ruins on the Palatine. 
 
 Sketch of a frieze (?). 
 
 Ruins, &c., outside Rome. 
 
 Blank. 
 
 Ruined temple. 
 
 Blank. 
 
 Another view of the same ruined temple. 
 
 Blank. 
 
 Baptistery of Constantia (formerly known as the Temple 
 of Bacchus), with St. Agnes extra Muros, on the Via 
 Nomentana. 
 
 Interior of a rotunda (? S. Stefano Rotondo). 
 
 Baptistery of Constantia ; another view. 
 
 Blank. 
 
 Convent of SS. Uiovanni-e-Paolo, with Monte Testaccio 
 in distance. 
 
 Blank. 
 
 View near the Protestant Cemetery, with ruins of 
 Minerva Medica, &c. 
 
 Do. do. do. 
 
 Do. do. do. 
 
 Blank. 
 
 View outside Rome. 
 
 A candelabrum. 
 
 View with buildings on left, river (? road) in centre. 
 Blank. 
 
 2 0 
 
 32796 
 
566 
 
 TURNER DRAWINGS. 
 
 [CXC.] 
 
 Page 33a. View of river, with bridge (? Ponte Molle) on left. 
 
 ,, 34. Blank. 
 
 , 34a. 1 General view of Rome from Montorio. 
 
 , 35. } 
 
 „ 35a. Buildings, with distant mountains. 
 
 „ 3(3. The Vatican. 
 
 ,. 37. Ponte Rotto and the Aventine Mount. 
 
 „ 38. Inside the Colosseum. 
 
 „ 39. Blank. 
 
 „ 39a. Campo Vaccino, with S. Lorenzo in Miranda in fore- 
 ground on the right. 
 
 „ 40. Baptistery of Constantia. 
 
 „ 41. Via Nomentana, with St. Agnes extra Muros and 
 Baptistery of Constantia on the left. 
 
 , 42. Study of leaves, with buildings in distance. 
 
 „ 43. Ruins on the Palatine. 
 
 „ 44. Do. 
 
 „ 45. River outside Rome. 
 
 „ 46. Blank. 
 
 „ 46a. River outside Rome. 
 
 „ 47. Fragment of building on the Palatine. (For another 
 
 view of same fragment, see p. 44.) 
 
 „ 48. Another view of same fragment. 
 
 „ 49. View outside Rome, probably near the Pte. Salario. 
 
 „ 50. Outside Rome. * 
 
 „ 51. Do. 
 
 „ 52. Ponte Molle, with St. Peter’s in distance on the right. 
 
 „ 53. The Tiber near St. Angelo. 
 
 „ 54. Sunrise (? sunset) over the Campagna. Water colour. 
 
 „ 55. Tiber outside Rome. 
 
 „ 56. Claude’s Villa, Rome. 
 
 „ 57. Tiber outside Rome. 
 
 „ 58. Tiber, with St. Peter’s in distance. 
 
 „ 59. Ponte Molle. 
 
 „ 60. Ponte Molle, with Rome in distance. 
 
 „ 61. View from Ponte Molle, with St. Angelo and St. Peter’s 
 
 in distance. 
 
 „ 62. Do. do. do. 
 
 „ 63. St. Peter’s, from near Ponte Molle. 
 
 „ 64. Gardens outside Rome. Water colour. 
 
 „ 65. The Campagna. Water colour. 
 
 ,, 66. Near Rome. 3rd Loan Collection, No. 5. 
 
 „ 67. Ponte Molle, Rome. 
 
 „ 68. The Tiber, with Ponte Molle in mid-distance. 
 
 (64 leaves drawn on.) 
 
[CXCI.] 
 
 567 
 
 1819 (AET. 44). 
 
 CXCI .—“ROME AND FLORENCE ” SKETCH BOOK. 
 
 Schedule No. 299. 
 
 Sketch book, bound in boards, with brown leather 
 back and one brass clasp. 
 
 Turner’s label on back — “ 3 Home. Florence ” ; 
 written in ink on one of the covers, “ Rome and 
 Florence." 
 
 Executor’s endorsement— “ No. 299. 75 leaves of 
 
 pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 Water mark— “. . Ainutt . . 18.” 
 
 Size of page, 4$ x 71. 
 
 Mr. Raskin’s endorsement on wrapper — “ 299. 
 Rome. Contains some fine things, but may be 
 shown as it is.” 
 
 On inside of one cover there is a hasty draft of a letter and 
 two slight sketches ; on other, a copy of an inscription and a 
 slight sketch of mountains. 
 
 Several rough sketches of buildings with distant 
 mountains. 
 
 “ Arezzo ” and “ Castiglione Fiorentino." 
 
 Island of the Tiber, St. Bartholomew, and the Quattro 
 Capi Bridge. 
 
 Another view of ditto. 
 
 Ponte Rotto, with the Temple of the Sun, &c., beyond. 
 Temple of the Sun, with Quattro Capi Bridge beyond. 
 Ruins on banks of Tiber. 
 
 Bend of the Tiber, with Quattro Capi Bridge in mid- 
 distance, and St. Peter’s beyond. 
 
 Distant view of Rome. 
 
 ) View from Monte Testaccio, with the Pyramid of 
 j Cestius and the Porta San Paolo in foreground. 
 
 | View in Campagna, with ruins of Claudian aqueduct. 
 
 | Pyramid of Cestius, &c., with St. Peter’s in distance. 
 
 St. Paul extra Muros. 
 
 Interior of St. Paul extra Muros. 
 
 Roman Campagna. 
 
 Do. 
 
 | View looking “ towards Ostia." 
 
 Group of buildings. 
 
 Column of Marcus Aurelius, in Piazza Colonna. 
 
 1 View looking towards St. Peter’s from a position near 
 J the Gate of St. Paul, 
 
 Page 1. 
 
 „ la. 
 „ 2 . 
 
 „ 3. 
 
 „ 4 . 
 
 „ 4 a. 
 
 „ 5 . 
 
 „ 5 a. 
 
 6 . 
 
 6a. 
 
 7. 
 
 7 a. 
 
 8 . 
 8a. 
 9. 
 9a. 
 
 10 . 
 
 10a. 
 
 11 . 
 
 11a. 
 
 12 . 
 
 12a. 
 
 13. 
 13a. 
 
 14. 
 
 32796 
 
 2 0 2 
 
568 
 
 TURNER DRAWINGS. 
 
 [CXCL) 
 
 Page 14a. P. cli Ripa Grande (?). 
 „ 15. Blank. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 16. Church of Santi Martina e Luca, with the Capitol 
 
 beyond. 
 
 16a. Details of arabesques. 
 
 17. Three views, probably outside Rome. 
 
 17a. General view of Rome (?). 
 
 18. An interior ; possibly of of St. Peter’s. 
 
 18a. View, with distant mountains. 
 
 19. Two views ; one of distant Rome. 
 
 19a. Two views, with distant mountains. 
 
 20. Town, with distant mountains. 
 
 21. Group of trees, with temple. 
 
 21a. Do. 
 
 22. Do. 
 
 22a. Garden with ruins. 
 
 23. Trees, with distant buildings and hills. 
 
 23a. Three rough sketches ; one probably a distant view of 
 St. Peter’s. 
 
 21. Various sketches between Rome and Florence ; one at 
 “ Narni." 
 
 24a. Sketches at “ Terni ,” &c. 
 
 25. “ Spoleto ,” &c. 
 
 25a. “ Le Vene ,” “ Glitumnus ,” &c. 
 
 26. Town on hill — “ Wall of Florence." 
 
 26a. Town on hill. 
 
 27. “ Arezzo." 
 
 21a. View of a town. 
 
 28. Two views, with distant hills. 
 
 28a. Buildings on hill. 
 
 29. Do. — “Ossica" (?) 
 
 29a. A group of buildings. 
 
 30. The valley of the Arno. 
 
 30a. Distant view of Florence. 
 
 31. Two sketches of the valley of the Arno. 
 
 32. Blank. 
 
 32a. 1 Ponte Vecchio, with the Palazzo Pitti and Boboli 
 
 33. j Gardens beyond. 
 
 33a. Fortress (?) on hill, with distant mountains. 
 
 34. Palazzo Vecchio, with the Uffizi and Loggia. 
 
 34a. \ Lake among mountains ; also an antique vase and two 
 
 35. J small figures. 
 
 35a. Frescoes in the Coart of the SS. Annunziata, Florence. 
 
 36. Do. do. 
 
 36a. A building in the Piazza della Signoria. 
 
 37. Palazzo della Signoria. 
 
 38-40. Blank. 
 
 40a. Ponte di Santa Trinita. 
 
 41. Ponte Vecchio. 
 
 42-45. Blank. 
 
 45a. A building. 
 
 46. Interior of the Chiesa di S. Spirito. 
 
 47-50. Blank. 
 
 50a. The Boboli Gardens, 
 
[CXCL] 
 
 ROME AND FLORENCE. 
 
 569 
 
 Page 51. Florence, from t-lie Boboli Gardens. 
 
 „ 51a. \ Do. do. 
 
 „ 52. / 
 
 „ 52 a. Palazzo Pitti. 
 
 „ 53. Florence, from the Boboli Gardens. 
 
 „ 51-57. Blank. 
 
 „ 57a. “ Perugia ." 
 
 „ 58. Do. 
 
 “ Walls of Florence," &c. 
 
 Triumphal arch in the Piazza Cavour ; also a view of 
 city with one-arched bridge in foreground. (Half of 
 page is torn away.). 
 
 “ Florence ,” from Piazza Cavour, with triumphal arch 
 in foreground. 
 
 Copy of a sea-piece by Claude. “ Date 1631 or 81 Roma 
 — he died at 82. Raf. 1512." On different objects 
 written — “ Wonderf ul grey green," “ Warm in 
 light," “ The mast Red — all painted at once with the 
 color," &c. Probably the “ Seashore ” (No. 771) in 
 the Uffizi. 
 
 | General view of Florence. 
 
 \ General view of Florence, from a height. In fore- 
 J ground is written — “ St. Margareta ” (possibly, 
 Santa Margherita a Montici). 
 
 | General view of Florence, from San Miniato. 
 
 1 Do. do. 
 
 58a. 
 
 59. 
 
 59a. 
 
 60 . 
 
 60a. 
 
 61 . 
 
 61a. 
 
 62. 
 
 62a. 
 
 63. 
 
 63a. 
 
 61. 
 
 61a. 
 
 65. 
 
 65a. 
 
 Do. do. 
 
 A church (? San Salvatore al Monte). 
 
 Do. , with the Duomo and Palazzo Vecchio in 
 distance. 
 
 66. Distant view of Florence. 
 
 67-68. Blank. 
 
 68a. Fountain, &c., in the Piazza della Signoria. 
 
 69. Buildings on hill. 
 
 69a. Courtyard of the Palazzo della Signoria ; also 
 69a. 1 A view of Florence, and a sketch of mountains. 
 
 70. f 
 
 71-73. Blank. 
 
 73a. Ponte Vecchio. 
 
 71. “ Fiesole" ; two sketches. 
 
 71a. \ View from Fiesole, with Florence in distance. 
 
 75. ) 
 
 75 a. 
 
 76. 
 
 76a. 
 
 77. 
 
 77a. 
 
 78. 
 
 78a. 
 
 79. 
 
 | Valley of the Arno, with “ Melegnano ” in distance. 
 
 ) Florence from Monte Oliveto. In foreground, “ Villa 
 j Quarde " (? Villa Quarto). 
 
 } Florence, from Villa Palmieri (“ V. Palmeri ”) ; also 
 a smaller sketch of same. 
 
 | Fiesole. 
 
 79a. Four views of Florence, with S. Salvatore al Monte in 
 foreground. 
 
570 
 
 TURNER DRAWINGS. 
 
 [CXCI.] 
 
 Page 80. San Miniato. 
 
 „ 80a. Hills outside Florence. 
 
 „ 81. Three sketches at “ Arezzo." 
 
 „ 81a. Hills, &c. 
 
 „ 82. Column in a piazza and mountainous scene. 
 
 „ 82a. “ Walls of Florence ” ; two sketches. 
 
 „ 83. Ponte Veccliio. 
 
 , 84. Two views of Florence. 
 
 „ 85. Building on hill. 
 
 , 85a. River, with distant hills. 
 
 „ 86. Distant mountains. 
 
 „ 86a. Do. “ Madonna dela Scarpa .” 
 
 „ 87. An inscription. 
 
 „ 88. Blank. 
 
 „ 88a. Four sketches at “ Arezzo." 
 
 „ 89. An inscription. “ M. Aurelius Imp.," &c. 
 
 „ 89a. Convent, &c., among mountains. Mt. “ Somma ” (about 
 3 miles from Spoleto, on way from Rome to Florence). 
 ,, 90. An inscription, “ Triumphalis &c." 
 
 „ 90a. Town on hill ; three sketches. 
 
 „ 91. Columns, buildings, &c. 
 
 „ 91a. Statue of a nude figure lying face downwards ; two 
 
 sketches. 
 
 (79 leaves di'awn on.) 
 
 1819 (AET. 44). 
 
 CXCII .—“RETURN FROM ITALY” SKETCH BOOK. 
 
 Schedule No. 344. 
 
 Small pocket hook, bound in leather, with one 
 clasp, broken. 
 
 Turner’s label on back — “29. Return fr. Italy ” ; 
 also written in ink on one of the covers — “ Return 
 from Italy." 
 
 Executor’s endorsement — “ No. 344. Contains 
 57 leaves in pencil on both sides. 
 
 (Sgd.) C. Turner.” 
 
 Water mark, “ J. Whatman. 1818 ” ; also “ 1814.” 
 
 Size of page, 5 x 3Tf- 
 
 Mr. Ruskin’s mark on wrapper, “ AB. 112. P. O.” 
 (i.e. “34*4. Rubbish”). 
 
 Some of the pages have been prepared with a wash 
 of grey ; the remainder white. 
 
 Inside covers, various rough sketches and manu- 
 script notes. 
 
[CXCXI.] 
 
 RETURN FROM ITALY. 
 
 571 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. Distant mountains. 
 
 la. 1 Lake among mountains ; two sketches. 
 
 2 . / 
 
 2a. Among the mountains — “ Men shovelling away Snoiv 
 for the Carriage — Women and Children hugging (?) 
 — The sky pink — the light and the cast shadows 
 rather warm — Trees are all covered with the snow — 
 The Trees in the distance and wood getting darker ." 
 
 3. Among the mountains ; three sketches. Written over 
 
 a distant peak, “ M. Blanc " (?). 
 
 3a. Road over mountains (two sketches) and a convent on 
 mountain beside a lake. Written underneath his 
 sketch, “ Like Wilson. L d E."* 
 
 4. Small head, with headdress — “ Purple N." 
 
 4 a. Convent or castle on hill ; three sketches. — “ St. 
 Michel " (?), “N. Ambrose " (?). 
 
 5. Blank. 
 
 5 a. Buildings and Campanile (possibly at Milan). 
 
 (Leaf torn out.) 
 
 6. River, with town beyond. 
 
 6a. 1 Bridge over river with houses on each side ; also 
 
 7. j figures and MS. notes. 
 
 7a. A slight sketch. 
 
 8. Blank. 
 
 8 a. \ A church (?) and towers. 
 
 9. J 
 
 9a. Buildings. 
 
 10. An interior of cathedral (?). 
 
 10a. Do. 
 
 11. A tower. 
 
 11a. Building on hill. 
 
 12. Blank. 
 
 12a. Distant town. 
 
 (Leaf torn out.) 
 
 13. Figures, peasants, &c., at “ Turin." — “ Some red strip'd , 
 
 caps small." 
 
 13a. Figures, peasants. — “ Pink ribbon." 
 
 (Leaf torn out.) 
 
 14. Figures, peasants. 
 
 14a. A building. 
 
 15. Figures, peasants, at “ Turin." — '■‘■Brown shawls, white 
 
 caps , striped, Gaiters ." &c. 
 
 15a. “ Milanese (?) Chimneys." 
 
 16. Among the Mountains. — “ Fog rising'' “ Some 
 
 shadows darker than the Blue sky." “ Cloud warm." 
 &c. 
 
 16a. Figures of peasants. “ Lanslebourg. Piedmont." 
 
 17. Various figures ; also a slight view of the glaciers, 
 
 probably at Lanslebourg. Written below the date, 
 “ 24 Jan." 
 
 17 a. Among the mountains: three sketches. 
 
 i.r.. I take it, like a picture by Wilson in Lord EfU'einont’s collection. 
 
572 
 
 TURNER DRAWINGS. 
 
 [CXCII.] 
 
 Page 18. Various figures — “Savoyard,” “ Postillion ,” &c. 
 
 Mountain scene. — “ Snow in shade and shy a higher 
 (lighter ?) shade of Blue,” &c. 
 
 „ 19. Mountain scene. — “ To St. Michel.” 
 
 „ 19 a. Goat harnessed to sleigh ; also, mountain scene. 
 
 „ 19b. Leaf half torn ; on reverse, a slight mountain scene. 
 
 „ 20. “ Lanslebourg ” (?). 
 
 ,, 20a. Glaciers. 
 
 „ 21. “ Mt. Cents, ” also “ Tcrmignon.” 
 
 „ 21. Mountain pass. — “ Warm colour with the shadow of 
 the Sun.” 
 
 „ 22. Two peasants standing, with distant peaks. — “ Snow 
 
 warm yellow now ” (?) — “ Reflected in the Stream ” 
 — “ A very beautiful Dove Color.” 
 
 „ 22a. 1 Figures, with distant mountains . — “ Straw Hat ” — 
 
 „ 23. J “ Aiguebelle.” 
 
 „ 23 a. Figures, &c., at “ Aiguebelle.” 
 
 „ 24. The valley of “ Tarantaise.” 
 
 „ 24a. Town, with glaciers beyond ; with “ Wood wagons ” in 
 foreground (? Aiguebelle or Lanslebourg). 
 
 „ 25. Distant peaks. 
 
 „ 25a. Valley of the “ Isere ” ; with a castle on a rock 
 
 (probably Castle of Miolano). 
 
 „ 26. Do. do. do. 
 
 „ 27. Blank. 
 
 „ 27a. \ Interior of a church. (? Cathedral at Chambery.) 
 
 28. J 
 
 „ 28a. Do. do. 
 
 (Three leaves torn out.) 
 
 „ 29. Vessel, with cliffs beyond (?). 
 
 „ 29a. The Mont Cenis Lake (?). (Possibly Gorge of La 
 Chaille.) 
 
 „ 30. Do. 
 
 „ 30a. Glaciers. 
 
 „ 31 Do. 
 
 „ 31a. Chateaux on the bank of the Guiers. 
 
 „ 32. “ Les Echelles.” 
 
 „ 32 a. The Plain outside Beauvoisin. 
 
 „ 33. Peasants and distant mountains at “ Beauvoisin.” 
 
 „ 33a. Mountains beside the River “ Rhone.” 
 
 „ 34. Distant mountains. 
 
 „ 34a. “ Lyons.” 
 
 „ 35. Mountain range, with “ Mt. Cenis ” (?) in distance. 
 
 ,, 35a. A nude figure. 
 
 „ 36. At Lyons. 
 
 „ 36a. Do. 
 
 „ 37. River, with bridge and town beyond. In foreground 
 
 a boat with figures ; also the note, “ 3 Soldats 
 
 a dead Horses Bloody Ribs.” 
 
 „ 37a. Scenes on river at Lyons . — 8 Horses towing — 2 a 
 breast.” 
 
 (Leaf torn out.) 
 
 „ 38. At Lyons. — “ 11 arches.' 1 
 
[CXCII.] 
 
 RETURN FROM ITALY. 
 
 573 
 
 Page 38a. 
 
 Bend of river. 
 
 99 
 
 39. 
 
 “ Lyons." 
 
 99 
 
 39 a. 
 
 The island “ Barbe." 
 
 99 
 
 40. 
 
 View of Lyons. “ Goisbonne, Roubel , P. . . . , Beiclets." 
 
 99 
 
 40a. 
 
 Views at or near Lyons. 
 
 99 
 
 41. 
 
 “ Tower near Avallon ; " “ People going to Market" &c. 
 
 99 
 
 41a. 
 
 A slight sketch. 
 
 99 
 
 42. 
 
 Distant hills. 
 
 99 
 
 42a. 
 
 Sketches at “ Joigny" &c. 
 
 99 
 
 43. 
 
 A slight sketch. 
 
 99 
 
 43a. 
 
 Buildings (? cathedral or convent) on a hill. 
 
 99 
 
 44. 
 
 Sketches at “ Auxerre." 
 
 9 V 
 
 44a. 
 
 Facade of building. (Probably Santa Maria delle Grazie 
 at Milan). 
 
 A “ Tanner's Cart." 
 
 99 
 
 45. 
 
 99 
 
 45a. 
 
 A building at Milan. 
 
 99 
 
 46. 
 
 Santa Maria delle Grazie, Milan. 
 
 99 
 
 47. 
 
 A row of trees, with river beyond, &c. 
 
 99 
 
 48-52. Blank. 
 
 99 
 
 52 a. 
 
 Buildings at Milan (?). 
 
 99 
 
 53. 
 
 Blank. 
 
 99 
 
 54. 
 
 River, with “ snow" covered peaks in distance. 
 
 99 
 
 55-58. Blank. 
 
 99 
 
 58a. 
 
 Mountainous scene. “ Vapour " in valley, “ Sun ” on 
 higher parts of mountains. 
 
 99 
 
 59. 
 
 Mountainous scene. 
 
 99 
 
 59a. 
 
 Do. 
 
 99 
 
 60. 
 
 Blank. 
 
 99 
 
 60a. 
 
 Public buildings. 
 
 99 
 
 61. 
 
 Blank. 
 
 99 
 
 61a. 
 
 Part of a building. 
 
 99 
 
 62. 
 
 Interior of cathedral (?). 
 
 99 
 
 62a. 
 
 Mountainous scene. 
 
 99 
 
 63. 
 
 “ Milanese Houses" also a seated female figure. 
 “ Rosso " (?). 
 
 99 
 
 63a. 
 
 Castle on hill. 
 
 99 
 
 64. 
 
 Group of boats, &c. 
 
 99 
 
 64a. 
 
 Castle, with square turrets, adjoining a gateway. Also 
 an inscription, among which the following may be 
 distinguished — “ Nicceter . . . monumetu Dicani- 
 tano. MDGLXX VI." 
 
 99 
 
 65. 
 
 Another view of the same castle. “ Castle Giolfo " (?). 
 
 99 
 
 65a. 
 
 Do. do. 
 
 99 
 
 66. 
 
 A turret, &c. 
 
 A face ; also various MS. notes. 
 
 99 
 
 66a. 
 
 (59 leaves drawn on.) 
 
574 
 
 TURNER DRAWINGS. [CXCIII.] 
 
 1819* (AET. 44). 
 
 CXCIII . — “ REMARKS'’ (ITALY) SKETCH BOOK. 
 
 Schedule No. 381. 
 
 Sketch book, bound in brown leather, with one 
 brass clasp. 
 
 Turner’s label on back— “ 27. Remarks." 
 Executor’s endorsement — “No. 381. 19 leaves of 
 
 slight sketches in pencil. 
 
 (Sgd.) Id. S. Trimmer.” 
 Water marks — “ 1811 and 1818.” 
 
 Size of page, 4^ x 3fV- 
 
 Some of the leaves have been prepared on one 
 side with a wash of grey. 
 
 There are slight sketches of figures and boats on inside of 
 both covers ; also — 
 
 “ Frantz . Piazza del Bcmque (?) 
 
 4 National. Florence, &c. ; ” and 
 
 “ Claude 35 ... . 
 
 Beaumont 45 
 Carr 38 
 
 Allen 68 
 
 72." 
 
 Page 1. Two slight figures and a building ; also— 
 
 “ Torlona Pictures 
 the first Room 4 good 
 Cat .... two indefinite 
 Claude , the .... Room 
 good , &c. 
 
 the Gallery Thomasino 
 Borghese V. Verf the 
 S'. G. Canova , <dc.” 
 
 „ la. Various figures, man on horseback, &c. 
 
 (Leaf partly torn away.) 
 
 „ 2. Slight figure, &c. 
 
 „ 2a. Sketches of various figures from pictures. “ Borghese 
 
 P.fi &c. 
 
 „ 3. “ The Aurora of Guido* — the sky rather yellow like . . . . 
 
 Light, on a dark red ground on which he stiks his 
 relievo excepting the orange drapery. The light 
 lilac serves to detach the figure, hut at the same time 
 takes away all aerial quality from the sky which 
 perhaps is too solid. The dark figure with golden 
 Hair and, light blue drapery is beautif ul as to form, 
 color and design. The drapery is the lightest colour 
 in the picture , the greenish robe of the next figure 
 second, the next a lilac robe and light drapery. The 
 Apollo red Lake and comes off whole. : half is tone 
 from the sky, &c." 
 
 In the hall of the Rospigliosi Palace. 
 
[CXCIII.] 
 
 REMARKS— ITALY. 
 
 575 
 
 Page 3 a. Various slight sketches of pictures — “ Barrocheo &c. ; 
 
 “ . . . of the dark cloud above," &c. (Perhaps Cor- 
 reggio’s “ Diana Bathing ”). 
 
 „ 4. Slight sketch of Titian’s “ Sacred and Profane Love.” 
 
 “ Red Sleeve. White Ground, Rue and. Honey try 
 (or tone),” “ Domenico Cheese beautif ul," &c. 
 
 „ 4 a. Chimneys. 
 
 „ 5. Various buildings. Villa Medici, &c. 
 
 „ 5a. Slight sketches of figures. “ Green, Blue, dec." 
 
 fi 6-13. Blank. 
 
 „ 13a. Slight sketch. 
 
 „ 14-79. Blank. 
 
 „ 80. Sketches of two pictures. 
 
 „ 80a. Do. four do. a Molino," “ Doro ” (the 
 
 Dorio Claude of Temple of Apollo, or Marriage of 
 Isaac and Rebecca). 
 
 „ 81. Sketches of three pictures — “ Naples," “ Colonna ,” &c 
 
 „ 82. Distant hills. 
 
 „ 83. Buildings, &c. 
 
 „ 84-85. Blank. 
 
 „ 85 a. Sketch of the “ Jonas." By Lorenzetto, in the Chigi 
 
 Chapel, Santa Maria del Popolo. 
 
 „ 86-88. Blank. 
 
 „ 88a. A doorway. 
 
 „ 89. Details of ornamentation. 
 
 „ 90-93. Blank. 
 
 „ 93a. Group at fountain (? Aqua Acetosa). 
 
 „ 94. Distant buildings ; also — 
 
 “ Chara * Claude. 
 
 “ The Sun in the centre and sky full of clouds, 
 rather spotted, and too strong for the whole. The 
 upper part of the sky Blue, and the water too much 
 so — in parts — two buildings are well color'd, one 
 rather red. and the other grey and brown shadows." 
 
 „ 94a. 1 (Continued from below, p. 96), — “ Distance which is 
 
 „ 95. / not as well as usual, the water indistinct and not 
 
 blue but of the color of the distance ” ; also, sketch 
 of view of a town, with cathedral. 
 
 „ 95a. Sketch at “ Avallon." 
 
 „ 96. “ Barberini (?) Claude" (accompanied by slight 
 
 thumb-nail sketch), “ the composition is like Lake 
 Albano (?), the tone generally more warm than 
 usually his grey pictures are, but yet warm , brilliant 
 and clear. The Tree on the left and center dark, 
 the right tree warm, yellow leaves and brown stem, 
 tho ’ in ligh t yet darker than the sky ; like the French 
 Academy as to effect last, night. The figures in blue 
 yellow kerchiefs and pink petticoat, clear all and. 
 
 Probably a Claude in the Palazzo Sciarra-Colonna. 
 
576 
 
 TURNER DRAWINGS. [CXCIII.] 
 
 keeps the eye to the center — the two next are green 
 and brown, the woman playing upon the Pipe 
 yellow and rather bright , the foreground a few red 
 flowers are painted very sharp, the cattle, deer and 
 goats are rich brown — the sky tame excepting the 
 upper part, a few light clouds which sparkle rather 
 to the injury of the ” (continued above on p. 95). 
 
 J age 96a. Three sketches of church and bridge. 
 
 (Leaf torn out.) 
 
 „ 97. A view. 
 
 „ 97a. Bridge and church. 
 
 „ 98. Road, with houses in mid-distance ; also a church — 
 
 “Mon” (?). 
 
 „ 98a. Group of houses and trees. 
 
 Boquet 
 
 Helmclorff 
 
 Reinhart 
 
 Tidanza 
 
 Voogt 
 
 Verstciphen 
 
 Schonberger 
 
 Rhoclen * 
 
 Veirlin & Louthe (? Locke). 
 
 Ribell 
 
 Catel 
 
 Theoclor 
 
 Bassi 
 
 Chauvin 
 
 Michelon 
 
 Gabielli 
 
 Sorlintz 
 
 Koch 
 
 Kaisermann 
 Ginelin (?) 
 
 „ 99a. A view. 
 
 „ 100. Three views ; one at “ Charenton ,” and a second at 
 
 “ Sens.” 
 
 „ 100 a. Two views. 
 
 „ 101. Three sketches. 
 
 „ 101a. Do. 
 
 „ 102. Two sketches — “ Autrimilia ” (?). 
 
 „ 102a. A view. 
 
 „ 103. A harbour, with shipping ; probably Calais. In pen 
 
 and ink ; also several sketches of figures, &c., in 
 pencil. 
 
 „ 103a. I Four views on coast. 
 
 „ 104. ( 
 
 „ 104a. ( Do. 
 
 „ 105. | 
 
 „ 105a. Harbour, with shipping, &c. 
 
 (28 leaves drawn on.) 
 
[CXCIV.] 
 
 577 
 
 1819 (AET. 44)t. 
 
 CXCIV . — “PA SSA GE OF THE SIMPLON ” SKETCH BOOK. 
 
 Schedule No. 189. 
 
 Sketch book bound in leather, with good tooling. 
 Turner’s label on back — “ 27 . Passage of Simplon .” 
 Executors’ endorsement — “No. 189. This book 
 contains 10 leaves Pencil Sketches on Tinted Paper, 
 some on both sides. 
 
 (Signed) H. S. Trimmer 
 C. Turner.” ; 
 
 also — “ One out. 
 
 R.N.W.” 
 
 The paper is prepared with a grey tint on both 
 sides, except two leaves at beginning and end of 
 book. 
 
 Water mark— “ J. Whatman, 1814.” 
 
 Size of page, 7|| x 4|. 
 
 Mr. Ruskin’s endorsement on wrapper — “ 189. 
 Careless Book. Gondo. Maggiore.” 
 
 There are sketches of mountain scenery on the 
 insides of both covers. 
 
 Page 1. Various mountain views. 
 
 by an Avalanche." 
 
 Dulgan," and “ Fir 
 
 
 la. 
 
 Town, with mountain peaks. 
 
 
 2. 
 
 River, with mountains and ruins, 
 disch, near Baden). 
 
 
 2a. 
 
 Buildings and mountains. 
 
 
 3. 
 
 Mountain peaks. 
 
 •>1 
 
 3 a. 
 
 Valley of the Simplon. 
 
 
 4. 
 
 Mountains. 
 
 
 4 a. 
 
 Do. “ Clouds dark, Mt. 1." 
 
 
 5. 
 
 Valley, with mountains. 
 
 
 5 a. 
 
 Mountains. 
 
 
 6. 
 
 Do. 
 
 
 6a. 
 
 Do. 
 
 
 7. 
 
 “ Road ” with mountains. 
 
 
 la. 
 
 Mountains. 
 
 
 8. 
 
 Do. — “ Cloud Light at the 
 
 
 8a. 
 
 Do. 
 
 
 9. 
 
 Do. 
 
 
 9a. 
 
 Do. 
 
 
 10. 
 
 Do. 
 
 
 10a. 
 
 Do. 
 
 
 11. 
 
 Do. 
 
 Windach" (? Win- 
 
 (?)• 
 
 &c.’ 
 
 t I am puzzled about the date of this. Turner seems to have both gone and 
 returned by the Mt. Cenis route on his visit to Italy in 181'J ; see clxxiii and 
 cxcii. In 1828 he went via Marseilles and returned via Lyons, 
 
578 
 
 TURNER DRAWINGS 
 
 [CXCIV.] 
 
 Page 11a. Town, with mountains. 
 
 „ 12. Mountains. 
 
 „ 12a. Do. 
 
 „ 13. Do. 
 
 „ 13a. Valley, with mountains. 
 
 „ 14. Mountains. 
 
 „ 14a. Do. 
 
 „ 15. Do. 
 
 „ 15a. Do. 
 
 „ 16. Do. 
 
 „ 16a. Do. 
 
 „ 17. Bridge, with mountains. 
 
 „ 17a Mountains. 
 
 „ 18. .Do. 
 
 „ 18a. Do. 
 
 „ 19. Blank. 
 
 „ 20. Valley of the Devedria. 
 
 „ 20a. Mountains. 
 
 „ 21. Blank. 
 
 ,, 22. Bridge, with ‘ Old Road " and “ iV(ew) Road." 
 
 „ 22a. Mountains, with valley. 
 
 „ 23. “ Val Doyno " (Domo d’Ossola). 
 
 ,, 23a. Mountains. 
 
 „ 24. Do. 
 
 „ 24a. Do. 
 
 „ 25. Pass of “ Grondo .” 
 
 „ 25 a. Valley, with mountains 
 „ 26. Do. 
 
 „ 26a, A town. 
 
 „ 27. Mountains, with tower. 
 
 „ 27a, Do. with bridge. 
 
 „ 28. Valley, with river and mountains. 
 
 „ 28a. Mountains. 
 
 „ 29. Do. 
 
 „ 29a. Do. 
 
 „ 30. Blank. 
 
 „ 31. Views of “ Brieg." 
 
 „ 31a. Brieg (?). 
 
 „ 32. Mountains. 
 
 „ 32a. Do. 
 
 „ 33. Brieg (?). 
 
 33a. Valley, with mountains 
 „ 34. “ Vale do Ossola " (Domo d’Ossola). 
 
 „ 35. Blank. 
 
 „ 36. Mountains. 
 
 „ 37. Bridge, with mountains. 
 
 „ 37a. Mountains. 
 
 „ 38. Do. 
 
 „ 38a. Valley, with mountains. 
 
 „ 39. Do. 
 
 „ 39a. Tower, with mountains. 
 
 „ 40. “ Valley from Domo d' Ossola." 
 
 „ 40a. Valley, with mountains. 
 
 „ 41 . Mountains. 
 
579 
 
 [OXOIV.] PASSAGE OF THE SIMPLON. 
 
 Page 41 a. Mountains. 
 
 ,, 42. Valley, with mountains. 
 
 „ 42a. River, with bridge and trees. 
 
 „ 43. View in the “ Sim " (-plon) Pass; also another view of 
 
 river, with bridge. 
 
 „ 43a. Mountains, with ruined castle, &c. 
 
 (39 leaves drawn on 
 
 18101827 * (AET. 35-52). 
 CXCV. — PERSPECTIVE DIAGRAMS. 
 
 It is difficult to determine the date of the delivery of Turner's 
 lectures on Perspective. He was appointed Professor of Per- 
 spective at the Royal Academy in 1807. But the first lecture 
 was probably not delivered before 1810, if then. However, 
 immediately after his appointment he began collecting ma- 
 terial for the lectures, as his sketch books show. 
 
 The manuscripts of these lectures are now in possession of 
 Mr. C. Mallord W. Turner, who has kindly lent them, together 
 with other personal relics of the artist, to the Tate Gallery for 
 exhibition. See also Mr. D. S. MacColl's interesting note on 
 these MSS. in “The Burlington Magazine” for March, 1908. 
 
 1. Diagram, showing' picture-plane, position of spec- 
 
 tator, &c. — “ A. B, Ac” 
 
 19 x 23f. 
 
 Water mark, “ J. Whatman. 1816.” 
 
 2. Diagram showing- picture-plane, &c. — “ A. A, &c.” 
 
 19 x 23f. 
 
 Water mark, “ J. Whatman. 1816.” 
 
 3. Diagram: geometrical and perspective.— 1 “ Fig. l , 
 
 Androvet, 1575, Geom., Persp., Dia., &c.” 
 
 21 x 30. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 4. Perspective diagram.— “ A. B. &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1817.” 
 
 5. Figure. — “ Fig. 1. Kirby.' 1 ' 
 
 22f x 27*. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1818.” 
 
580 
 
 TURNER DRAWINGS. 
 
 [CXCV.] 
 
 6. Two figures.— “ Kirhy. Fig r 2 , Fig. 4, A. B , &c.” 
 
 22| x 27*. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1818.” 
 
 7. Figure. — “ Kirby. Fig r 3. Picture. A. B, k c.” 
 
 22| x 34. 
 
 Water mark, “ J. Whatman. 1816.” 
 
 8. Diagram. — “A. B, &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 9. Diagram, showing square in perspective. — 
 
 “ A. B. &c.” 
 
 21 x 29*. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 10. Diagram. — “Kirby. Fig. 3. A. B, &c.” 
 
 21 x 29*. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 11. Diagram. — “ Picture . A, B, & c.” 
 
 21 x 29*. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 12. Diagram. — “A, B, &c.” 
 
 21 x 29*. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1818.” 
 
 13. Diagram.— “A, B, &c.” 
 
 18* x 23*. 
 
 Water mark, “ J. Whatman. 1816.” 
 
 14. Diagram. — “ Jesuit , A , B, &c.” 
 
 21 x 29*. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 15. Diagram. — “ Pozzo. A, B, &e.” 
 
 21 x 29*. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 16. Diagram.—" A. B. &c.” 
 
 18| x 23|. 
 
 Water mark, “ J. Whatman, 1816,” 
 
[CXCV.l PERSPECTIVE DIAGRAMS. 
 
 581 
 
 17. Diagram. — “A, B, & c.” 
 
 18| x 23|. 
 
 Water mark, “ J. Whatman, 1816.” 
 
 18. Diagram. — “ Highmore, A, B , &c.” 
 
 21 x 29i 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 19. Diagrams. 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 20. Diagram— “ A. B. &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mill, 1823.” 
 
 21. Diagram illustrating the nature of “Lines," 
 
 “ Parallels ," “ Right Lines" “ Angles— Right, Acute , 
 Obtuse ,” also “Square" with “Diagonals" and 
 “ Diameter." 
 
 In corner, “ No. 1.” 
 
 26| x 39|. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 22. “Square" and “Circle." 
 
 26! x 39f. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 23. Various figures. — “ Pentagon , Hexagon, Triangle, 8, 
 
 N°. 1, N°. 2, &c.” 
 
 26 x 39!. 
 
 Water mark, “ J. Whatman, 1794.” 
 
 24. Three squares variously intersected.— “ l, 2 , 3." 
 
 22! x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 25. Two circles with geometrical figures ; also an 
 
 Oval. — also “A, B, &c.” 
 
 22! x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 26. Geometrical figures (Euclid, Book 1, Prop. 1).— 
 
 “ N n 2 ,” also “ 2" and “ 3," and “ A, B, &c.” 
 
 22! x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 2 P 
 
 32796 
 
582 
 
 TURNER DRAWINGS. 
 
 [CXCV.] 
 
 26a. Two triangles .—' 14 1 ” and 
 191 x 27*. 
 
 27. Upright lines of various lengths intersected.— 
 
 “A, B , &c.” 
 
 221 x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 28. Three triangles variously intersected.— 4 3, 4 , 5.” 
 
 22* x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 29. Geometrical figure.— 44 A. B. &c.” 
 
 221 x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 30. Squares within circles, and circles within 
 
 squares.— 4 6. 1, 2 , 3, A. B. &c.” 
 
 221 x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 31. Two figures of an octagon.— 44 Octagon." 
 
 26 x 391. 
 
 Water mark, 44 J. Whatman. 1794.” 
 
 32. Various figures within circles.— 44 Qaindscagon. 
 
 Pentagon. Triangle. Isoseles Triangle , .4. B. &c.,” 
 
 261 x 391. 
 
 Water mxixk, 44 J. Whatman. 1794.” 
 
 33. Two circles, with triangles within them.— 44 4. 
 
 Circles within a Triangle. N° 2. 3 Lastly. A.B.& c.” 
 
 221 x 34. 
 
 Water mark, 4 ' J. Whatman. 1817.” 
 
 34. Triangle within a circle. — 44 Circle within a Triangle. 
 
 3. 4. A. B. &c.” 
 
 221 x 34. 
 
 Water mark, 44 J. Whatman. 1817.” 
 
 35. Figures within a circle.— 44 5. 4. A. B. & c.” 
 
 221 x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
[GXCV.J PERSPECTIVE DIAGRAMS. 
 
 583 
 
 36. Two circles containing- figures.—” A. B. &c.” 
 
 19 x 27. 
 
 Water mark, “ .T. Whatman. Turkey Mills, 1817.” 
 
 37. Circle, with fig-ure : Trigonometry. — U A. B." 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 38. Two figures : Spherical trigonometry - —' u A. B. &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 39. Two fig-ures : Spherical trigonometry. — “A. B." 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 40. Diagram : Spherical trigonometry. — “ 3, 4 , 5, 6, 7, 8, 
 
 A, B, &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 41. Two figures.— “A. B. &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 42. Diagram.—' “A, B, &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 43. Diagram.— “A. B. &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman, Turkey Mills, 1817.” 
 
 44. Diagram.— “A. B. &c.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 45. Diagrams: Euclid, Propositions 13 and 14. — “A.B.& c. 
 
 19 x 27i 
 
 Water mark, “J. Whatman. Turkey Mills, 1817.” 
 
 46. Diagrams.— “ A. B. &c.” 
 
 19 x 27i 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 32796 
 
 2 P 2 
 
584 
 
 TURNER DRAWINGS. 
 
 [CXCV.] 
 
 47. Three circles, with figures within them.— “ 3. 4. 
 
 Coroll.;' also “ H. B." &c. 
 
 22} x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 48. Two diagrams : Euclid, Book XI, Propositions 1 and 2. — 
 
 “ 1. 2. H. B. &c.” 
 
 22^ x 34. 
 
 Water mark, “ J. Whatman. 1817.” 
 
 49. Diagram. 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1817.” 
 
 50. Diagram. 
 
 19 x 23f. 
 
 51. Diagram.—' A. B." &c. 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills, 1817.” 
 
 52. Diagram. — “Kirby. A, B, & c.” 
 
 21} x 29|. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1822.” 
 
 53. Diagram .—' “ N° l." 
 
 21 x 29f. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1823.” 
 
 54. Diagram.— 4 N° 2 ." 
 
 19 x 23£. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 55. The frontispiece to Moxon’s second book.—' “8. 
 
 Moxon. Eye. Horizon ,” and “ Carolus \ Secundus | 
 Dei | Gratia \ Magna ] Brittania Fran \ cia et Hi- 
 bernia | Rex." 
 
 (“ Moxon may be considered the earliest English Author 
 on Perspective." — Extract M.S. Lectures.) 
 
 26 x 39|. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 56. Diagram. — “ S. Wale. 1 st Parallel. 2 nd Parallel." “ 12." 
 
 19 x 23L 
 
 Water mark, “ J. Whatman. 1794.” 
 
[CXCV.] PERSPECTIVE DIAGRAMS. 
 
 585 
 
 57. Various figures. — “Lamatius and Moxon. Antioptica, 
 
 Optica, Gatioptica," “ 13." 
 
 19 x 23*. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 58. Diagram. — “ Moxon. Horizon, Base Line, Section, Ichno- 
 
 graphic Transfers, Visual Point, Orthographic Plane, 
 Orthographic Line, &c.,” “ 14." 
 
 19 x 23*. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 59. Diagram, showing “ Ground and Base Line, Station 
 
 Point. Place of the Spectator, Original Line for 
 Measures of Figures, Horizontal Plane, Vertical and 
 Perpendicular Planes, &c.” — “ D r Brook Taylor." “15." 
 
 26* x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 00. Diagrams.— “27.” 
 
 (“ Taken from Malton who considered it the most perfect 
 in his treatise of Rectilinear perspective." — M.S. Lecture). 
 19 x 23*. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 61. Diagrams. — “ The Eye, Station Point." “18." 
 
 (Also from Malton.) 
 
 26* x 39. 
 
 Water mark — “ J. Whatman. 1808.” 
 
 62. Discs round a column and cube ; also a diagram. 
 
 — “ 19." 
 
 26 x 39. Water colour, &c. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 63. Diagram.—' “ so." 
 
 26 x 39. Water colour, &c. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 64. Diagram.— 1 ;t 21." 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. 1794,” 
 
 65. Diagram. — “Hamilton." “22." 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. 1794.” 
 
586 
 
 TURNER DRAWINGS. 
 
 [CXCV.] 
 
 66. Diagram. — “Hamilton.” “22.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. 1791.” 
 
 67. Diagram : Conic sections. “ Emmerson .” “ 28.” 
 
 19 x 27. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 68. Diagram.— 1 “ 24 ” 
 
 261 x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 69. Diagram.—' “ 25 .” 
 
 26J x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 70. Part of interior of building.—' “ 26 .” 
 
 26 J x 39. Water colour. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 71. Diagram. — '"By Peter James, a priest.” “1505.” “27.” 
 
 (From “the earliest treatise I have met with.”—- M.S. 
 lecture.) 
 
 26J x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 72. Diagram . — “ Androuet. 1576.” “ 28 ” 
 
 261 x 89. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 73. Diagram. — “ Ubaldus. 1600.” “29.” 
 
 26J x 39. 
 
 Water mark, “ J. Whatman. 1808. 
 
 74. Diagram. — “ Marulois, Niceron. 1615.” “ SO.” 
 
 26J x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 75. Diagram. — “ Vrederman Friese. 1619.” “SI.” 
 
 261 x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 76. Diagram. — “ Accolotti. 1643.” “32.” 
 
 26i x 39 . 
 
 Water mark. l> J. Whatman. 1808.” 
 
[CXCV.] PERSPECTIVE DIAGRAMS. 
 
 587 
 
 77. Diagram.— “ Vignola." “ 33” 
 
 264 x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 78. Diagram. — “ Pozzo . i7oo." “34." 
 
 264 X 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 79. Diagram.— “ Wale " “35." 
 
 264 x 39- 
 
 Water mark, “ J. Whatman. 1808.” 
 
 80. Building in perspective.— ‘ 36" 
 
 264 x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 81. Same 'building in perspective. 
 
 22 x 30. Tracing. 
 
 Water mark, “ Hayes & Wise, 1799." 
 
 82. Another view of same building. 
 
 19 x 27. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 83. An early drawing of same building. (Probably 
 
 from Maiton.) 
 
 15f x 21 (right-hand corner torn). Pen and ink and 
 wash. 
 
 84. Diagram. — “ D r B. Taylor." “37." 
 
 264 x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 85. Diagram . — “ Sariggatti, Androuet , Moxon" “38." 
 
 264 x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 88. Diagram. — “ Androuet.” “ 39." 
 
 264 x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 87. Diagram. — “ T. Maiton , Sen r ." “ 40 x .” 
 
 19 x 264- 
 
 Water mark, “ J. Whatman. 1794.” 
 
TURNER DRAWINGS. 
 
 [CXCV.] 
 
 588 
 
 88. Tuscan column, with pedestal and entablature. 
 
 — “ 40 r 
 
 26f x 10. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 89. Diagram.— “ 4i.” 
 
 30f x 39*. 
 
 Water mark, “ J. Whatman. Turkey Mill, Kent, 1808.” 
 
 90. Diagram, showing the column in 89 fully worked 
 
 out in perspective.— “4i.” 
 
 26| x 19. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 91. An early drawing of same column, from which 
 
 previous drawing was traced. 
 
 21* x 14*. Pencil and pen and ink. 
 
 Water mark, “ J. Whatman.” 
 
 92. Diagram, showing entablature of same column 
 
 worked out in perspective. — “42.” 
 
 26* x 39*. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 93. Diagram, showing pedestal of same column 
 
 worked out in perspective.— “ 45.” 
 
 26* x 39*. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 94. Diagram, showing “ Ground Line," “ Base Line," 
 
 “ Vanishing Point," “ Vanishing Lines," &c. — “ J. 
 Malton , Jun r .” “ 16." “ 47" 
 
 26 i x 39^. 
 
 Water mark, “ J. Whatman. Turkey Mill, Kent. 1808.” 
 
 95. Pedestal of the Column of Antoninus Pius.— “45.” 
 
 Inscription — “ Divo Antonino Aug. Pio Antoninus 
 Augustus et Vents Augustus Filii." 
 
 26* x 39*. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 96. Another view of pedestal of Column of Anto- 
 
 ninus Pius.— “49.” 
 
 26* x 39*. Water colour. 
 
 Water mark, “ J. Whatman. Turkey Mill, Kent. 1794.” 
 
[CXCV.] PERSPECTIVE DIAGRAMS. 
 
 589 
 
 97. Part of classical building-.—' “ 50." 
 
 26* x 39*. Water colour. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 98. An early drawing of same building. 
 
 12 x 19. Pencil, pen and ink and wash. 
 
 Water mark, “ Portan & Bridges.” 
 
 99. Same building worked out in perspective.— * 51 .” 
 
 26* x 39*. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 100. Capital of pillar worked out in perspective; also 
 
 a diagram. — “ Androuetf “ M alto n." — u 52.” 
 
 “ Of the back or Pranas of the Temple of Neptune .” — 
 MS. lectures. 
 
 25* x 32*. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 101. Tracing of previous drawing. 
 
 26 x 32*. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 102. Doric columns and entablature.— 1 “ 52.*" 
 
 Water colour. 
 
 Exhibited Drawings, No. 548, N.G. 
 
 103. A Corinthian capital.— “ 55 .” 
 
 26* x 39*. Water colour. 
 
 Water mark, “ J. Whatman. 1801.” 
 
 104. Same capital worked out in perspective.— “ 54.” 
 
 26* x 39*. 
 
 Water mark, “ J. Whatman. 1801.” 
 
 105. Perspective construction of same pillar, different 
 
 view. — “ Kirby , &c.” 
 
 25* x 36*. 
 
 Water mark, “ J. Whatman. 1822.” 
 
 106. Capital, Tuscan entablature worked out in per- 
 
 spective. — “ 55 .” 
 
 25* x 33. 
 
 Water mark, “ J. Ruse. 1800.” 
 
590 
 
 TURNER DRAWINGS. 
 
 [CXCV.] 
 
 107. Tracing’ of guiding lines of previous diagram. 
 
 25| x 32*. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 108. Capital of pillar. ' 
 
 91 x 241. Water colour. 
 
 109. Tuscan entablature; same as 106— “56.” 
 
 25* x 33. Water colour. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 110. An early drawing of details of same cornice. 
 
 214 x 15. Pen and ink and washes of Indian ink. 
 
 Water mark, “ J. Whatman.” 
 
 111. An early drawing of building. 
 
 144 x 214 (somewhat ragged at edges). Pencil and pen 
 and ink. 
 
 Water mark, “ J. Whatman.” 
 
 112. Guiding lines traced from previous drawing. 
 
 22 x 30. 
 
 Water mark, “Hayes & Wise. 1799.” 
 
 113. Larger drawing of same building, with, guiding 
 
 lines. — “ 58." 
 
 (“The Buildings represented form a street upon Poultney 
 Bridge , Bath." They are “ worked by Malton's method .” — 
 MS. Lectures.) 
 
 26! x 39!. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 114. Same building.— 1 “ 59." 
 
 26j x 39!. Water colour. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 115. Three glass balls.— “ 66.” 
 
 25! x 39*. Water colour. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 116. Diagram.— “ 61.” 
 
 26! x 39*. 
 
 Water mark, “ J. Whatman. 1808.” 
 
[CXCV.] PERSPECTIVE DIAGRAMS. 
 
 591 
 
 117. Two diagrams. — “ 62 " 
 
 26} x 39}. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 118. Diagram.— “ 65.” 
 
 26} x 39}. 
 
 Water mark, J. Whatman. 1808.” 
 
 119. Diagram.— “ 64.” 
 
 26} x 39}. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 120. Interior of prison: possibly Newgate.— “65.” 
 
 18| x 27. Water colour. 
 
 121. Interior of prison: same view as preceding 
 
 drawing, showing perspective construction 
 of shadows.— “ 66.” 
 
 14} x 20. Pencil and Indian ink washes. 
 
 122. Two diagrams and water colour drawing, show- 
 
 ing shadows on a stone recess.— “ 67.” “65.” 
 
 26} x 39}. Water colour, &c. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 123. Diagram.— “ 66.” 
 
 26 x 18}. 
 
 124. A ruined amphitheatre.— “ 76.” 
 
 26} x 39}. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 124a. Cupolo of building.—” 7i.” 
 
 26} x 21. Wash. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 125. Capital Of pillar. (Probably from Malton.) — “ 72 " 
 
 26} x 3.9}. Water colour. 
 
 Water mark, “ .J. Whatman. 1808.” 
 
 126. Same capital, showing perspective working. 
 
 — “ 73 " 
 
 26-} x 39}. 
 
 Water mark, “ J. Whatman. 1808.” 
 
592 
 
 TURNER DRAWINGS. 
 
 [CXCV.] 
 
 127. An unfinished version of same diagram. 
 
 2&i x 39*. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 128. Interior of prison 14 75.” 
 
 28 x 20. Water colour. 
 
 Water mark, “ Hayes & Wise.” 
 
 129. Entablature.— “ 7-3.*” 
 
 16 x 25f. Water colour. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 130. Interior, with statues and painted dome.— “ 76.” 
 
 21 x 19. Water colour. 
 
 131. Commencement of diagram. 
 
 25A x 32*. Pencil. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 132. Diagram. 
 
 19* x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1817.” 
 
 133. Diagram: Spherical trigonometry. 
 
 19* x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1817.” 
 
 134. Diagram. 
 
 19* x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1819.” 
 
 135. Drawing of head squared for enlargement.— 
 
 “ A, B, &c.” 
 
 19* x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1817.” 
 
 136. Same head in oblique perspective. — “ A, B, &c.” 
 
 19* x 27. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1817.” 
 
 137. Diagram. — “M, B, &c.” 
 
 28* x 41. 
 
 Water mark. “ J. Whatman. Turkey Mill. 1823.” 
 
[CXCV.] PERSPECTIVE DIAGRAMS. 
 
 593 
 
 138. Diagram.— “ Vanishing line of Side a. b.p. r., &c.” 
 
 27b x 40. 
 
 Water mark, “ J. Whatman. Turkey Mill. 1822.” 
 
 139. Diagram referring: to reflections.—' “ Eye. A,b , &c.” 
 
 21 x 29f. 
 
 Water mark, “ J. Whatman. Turkey Mill. 1823.” 
 
 140. Diagram referring 1 to reflections.—' ■ i Kirby. A,b,& c.” 
 
 21 x 29|. 
 
 Water mark, “ J. Whatman, Turkey Mill. 1823.” 
 
 141. Pinnacles, & c. of the following buildings.— 
 
 “St. Luke. G. of Physicians, St. Magnus , Bow Gh." 
 
 25^ x 32^. Water colour. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 142. Steeples of “ Sarum , C. Oxford ” (Christ Church 
 
 Cathedral) and “Sf. Giles." 
 
 25 x 32|. 
 
 Water mark, “ J. Rase. 1800.” 
 
 143. The Steeple of Salisbury Cathedral. 
 
 25 x 32|. 
 
 Water mark, “ J. Whatman. 1812.” 
 
 144. Porch of Bloomsbury Church, with spire be- 
 
 yond.— 4 6 .” 
 
 27| x 13^. Water colour. 
 
 145. Another view of spire, &c., of same church.— “7.” 
 
 29| x 18^. Water colour. 
 
 146. Various views of square pillars, &c. 
 
 20| x 52^. Water colour. 
 
 Water mark, “ J. Whatman. Turkey Mill, Kent. 1809.” 
 
 3 47. Part of facade, &c., of classical tem.ple. 
 
 25 x 38|. Pencil. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 148. Classical building ; front view. 
 
 27 x 54-£. Water colour. 
 
 Water mark, “ J. Whatman. Turkey Mill, Kent. 1801.” 
 On back, in ink — “ First Lecture." 
 
594 
 
 TURNER DRAWINGS. 
 
 [CXCV.] 
 
 149. Diagram : vaulted arch in perspective.— “A 0 s, &c.” 
 
 30 x %1\. 
 
 Water mark, “ J. Whatman. Turkey Mill. 1822.” 
 
 150. Lower part of Trajan’s Column.— “3.” 
 
 22 x 30. Water colour. 
 
 151. Two views of tlie top of Wren’s Monument, 
 
 London Bridge, seen from below.— “4.” 
 
 26 x 39^. Water colour. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 152. Top of Trajan’s Column.— “4.” 
 
 381 x 25. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 153. Another view of the top of Trajan’s Column. — “5.” 
 
 38 x 25. Water colour. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 154. Commencement of an architectural drawing. 
 
 224 x 28. White chalk on brown paper. 
 
 155. Commencement of an early perspective drawing. 
 
 104 x 15f. Pencil. 
 
 Water mark, “ Budgen. 1794.” 
 
 156. The Pantheon, Oxford Street, squared for en- 
 
 largement. An early drawing. 
 
 121 x 16|. Pencil. 
 
 Written in margin — “ W m Carr's Stafford, thre War- 
 house (?), Wyatt , Carver and Gilder , &c.” 
 
 157. A colonnade. An early drawing, only com- 
 
 menced. 
 
 121 x 15. Pencil. 
 
 Water mark, “ Budgen. 1794.” 
 
 158. A cross, standing on a square, with guiding 
 
 lines. 
 
 15 x 21£. Pencil, pen and ink, and wash. 
 
 159. Tracing from previous drawing. 
 
 17 x 231. 
 
 Water mark, “ Lepard. 1794.” 
 
[CXCV.] PERSPECTIVE DIAGRAMS. 
 
 595 
 
 100. An interior, with. dome. 
 
 19 x 27 (top right-hand corner torn). Pencil and pen 
 and ink. 
 
 161. Tracing of guiding lines. 
 
 21* x 29*. 
 
 Water mark, “ J. Whatman. 1801.” 
 
 162. Diagram. — “ Hamilton's Harmonic Proportions." 
 
 19 x 26*. 
 
 Water mark, “ J. Whatman. 1794.” 
 
 163. Group from Raphael’s “Transfiguration,” inter- 
 
 sected to show pyramidal form of composi- 
 tion— u 10” 
 
 29* x 21*. 
 
 104. Diagram of foreshortened figure. — “ Albert Durer." 
 
 u 2 ” 
 
 24 x 31. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 165. Diagram. — “ A. D." “ s .” 
 
 16* x 26. 
 
 Water mark, “ J. Ruse. 1800.” 
 
 166. Figure, with outstretched arms and legs, en- 
 
 closed within a circle : front view. 
 
 On back, back view of same figure. 
 
 23 x 28. 
 
 Water mark, “ J. Whatman. 1812.” 
 
 167. Crucified figure within a triangle. 
 
 23 x 28. 
 
 Water mark, “ J. Whatman. 1812.” 
 
 168. A supplicating figure. 
 
 23 x 28. 
 
 Water mark, “ J. Whatman. 1812.” 
 
 169. Diagram : ground plan of building.—' “ Stucert. 
 
 26* x 39*. 
 
 Water mark, “ J. Whatman. 1808.” 
 
596 
 
 TURNER DRAWINGS. 
 
 [CXCV.] 
 
 170. Part of classical buildings, with columns. 
 
 U 
 
 (Probably the colonnade of Charlton House.) — 
 
 8 ” 
 2 . 
 
 26| x 39. 
 
 Water mark, “ J. Whatman. 1808.” 
 
 44 O ” 
 
 171. Another version of same subject.— 
 
 23 x 28. Water colour. 
 
 Water mark, “ J. Whatman. 1801.” 
 
 172. “ The Screen of Charlton House in lines."— 
 
 9 . 
 
 25! x 38!. Pen anr ! ink- 
 
 173. The Admiralty screen and building ; front view. 
 
 — “ 10." 
 
 30f x 52. Water colour. 
 
 Water mark, “ J. Whatman. Turkey Mill, Kent. 1808.” 
 
 174. Diagram. 
 
 19 x 23! 
 
 Water mark, “ J. Whatman. 1791.” 
 
 175. A ball, with construction figure. 
 
 19! x 27!. 
 
 Water mark, “ J. Whatman. Turkey Mills. 1817.” 
 
 176. Three glass balls, with reflections. 
 
 25 x 38!. Water colour. 
 
 Water mark, “ James Whatman, Turkey Mill, Kent, 1791.” 
 
 177. Glass balls, partly filled with water. 
 
 17! x 26!- Water colour. 
 
 Exhibited Drawings, No, 608, N.G. 
 
 178. Colour diagram.— ' “ N° 1." 
 
 21! x 29!. Water colour. 
 
 Water mark, “ J. Whatman. Turkey Mill. 1822.” 
 
 179. Colour diagram.—' 14 N° 2 ." 
 
 21! x 29!. Water colour. 
 
 Water mark, “ J. Whatman. Turkey Mill. 1821.” 
 
 (181 drawings.) 
 
[CXCV (a).] 
 
 597 
 
 1810 - 1820 * (AET. 35-45). 
 
 GXGV (a).— MISCELLANEOUS BLACK AND WHITE. 
 
 A. View of Oxford from Foxholme Hill. 
 
 21} x 29}. Pencil. 
 
 Water mark, “ J. Whatman. 1814.” 
 
 B. Landscape, with trees and house. 
 
 4} x 7|. Pencil. 
 
 This drawing, which looks like leaf of a sketch book cut down, 
 has been mounted on back of another drawing. This drawing 
 has also been cut down. The portion of drawing left shows 
 a river flowing through a valley, with distant mountains. 
 The “ Can ” in red ink in margin of mount probably means 
 “ cancel ” ; this is in Mr. Ruskin’s handwriting. 
 
 C. Road leading’ over bridge, with trees and another 
 
 bridg-e beyond. 
 
 5} x 9f\. Pencil. 
 
 Water mark, “Whatman. 1805.” 
 
 Apparently page of a sketch book, but I cannot trace the 
 book. 
 
 D. Piazza in Italian town. 
 
 4} x 7f. Pencil. 
 
 Written in foreground : “ Flowers , Soldiers , Dogs, O.vsen." 
 Probably the leaf missing (No. 87) from the “Naples, 
 Paestum and Rome ” Sketch Book (CLXXXVI). 
 
 5th Loan Collection, No. 35. 
 
 E. Study of nettle, thistles, &c. 
 
 4} x 7}. Pencil. 
 
 Leaf of sketch book. 
 
 3rd Loan Collection, No. 20. 
 
 F. Scene in Italy. 
 
 4} x 7}. Pencil. 
 
 Leaf of sketch book. 
 
 3rd Loan Collection, No. 126a. 
 
 G. Scene in Italy. 
 
 4} x 7}. Pencil. 
 
 Leaf of sketch book. 
 
 3rd Loan Collection, No. 1265. 
 
 H. Details of antiques at Rome. 
 
 4} x 7}. Pencil. 
 
 Leaf of sketch book. 
 
 3rd Loan Collection, No. 126c. 
 
 I. A workshop. 
 
 4} x 7}. Pencil. 
 
 Leaf of sketch book. 
 
 3rd Loan Collection, No. 126(7. 
 
 32796 2 Q 
 
598 
 
 TURNER DRAWINGS. [CXCV (a).] 
 
 J. A row of houses ; also part of man-of-war’s hulk, 
 
 x 8. Pencil. 
 
 On reverse the following, written in ink and pencil : — 
 
 “ Dec ' r . 8. 1813. 87£. 555 Picture and Books 75. 
 
 Deer. 2. 
 
 14. 
 
 231 1010 
 
 10 
 
 
 
 318. 
 
 85 
 
 
 
 
 4 
 
 Lucerne. 
 
 120. 
 
 Picture 75gs. 
 
 89. 
 
 Picture 
 
 75 
 
 Lucerne. 120. 
 
 
 
 
 21 Drawings. 210 
 
 
 
 195 
 
 3 Drawings. 60 
 
 
 
 20 
 
 Tent Lodge. 40 
 
 
 
 215. 
 
 530£. 
 
 
 ■ drawings. 
 
 
 
 
 1815. 
 
 80. 
 
 — 4 
 
 
 
 50. 
 
 2 . 10 Interest upon 87 — 
 
 3 years. 
 
 
 
 ditto on 231 . — 
 
 2 years. 
 
 
 365 
 
 
 
 n ent Lodge. 
 
 40 
 
 2 
 
 
 413 —70.” dec. 
 
 K. A model seated. 
 
 6J x T^g. Pencil. 
 
 L. Two nude studies. 
 
 x 4A- Pencil. 
 
 Reverse, in ink : “ The duty of returning thanks for the 
 
 honourable and marked distinction which his Royal 
 
 the Duke of Sussex has been pleased to confer on the 
 directors of the A.G.B. Institution has fallen into my 
 inadequate hands, but actuated by the same feelings of most 
 profound respect felt most Ac.” 
 
 (12 drawings.) 
 
 1820 * (AET. 45). 
 
 CXC VI. —COLOUR BEGINNINGS AND MISCEL- 
 LANEOUS, 1802-1820 (1). 
 
 These are mostly projects for designs which may 
 or may not have been carried out. Owing to their 
 undeveloped condition it is extremely difficult to be 
 sure of their connexion with the finished works or 
 to say what the artist was aiming at. As a rule 
 these studies are of a highly abstract character, i.e., 
 they deal only with the composition of fundamental 
 colour masses — the ground tones, as it were, of a 
 picture, which in the final result are largely con- 
 cealed under the subsequent embroidery of 
 secondary incidents and motives. 
 
[CXCVI.] 
 
 COLOUR BEGINNINGS. 
 
 599 
 
 These considerations must draw attention to the 
 hypothetical nature of the identifications and 
 chronological suggestions which I have ventured to 
 make, as well as to excuse the absence of definite 
 information. I have tried on the whole to arrange 
 the series in a chronological sequence. But I am 
 sure that the arrangement will require modification. 
 Even the inclusion of some of the studies under the 
 rubric “between 1802-1820” is merely tentative, 
 and it is quite probable that some at least of the 
 studies grouped together as “mostly between 1820- 
 1835 ” might properly have been placed here. The 
 present arrangement must therefore be taken as a 
 merely temporary basis to serve as the point of 
 departure for future scholarship. 
 
 A. Moonlight among ruins. 
 
 About 13 x 19^. Water colour. 
 
 Ruins of church (?), with moon low in sky seen under 
 remains of central tower. 
 
 B. Scarborough. 
 
 About 13| x 11 \. Water colour. 
 
 Probably study for the “ Scarborough,” exhibited R.A. 1811, 
 and now in possession of F. H. Fawkes, Esq., Farnley Hall. 
 
 0. Scarborough. 
 
 261r x 391?. Water colour. 
 
 Unfinished version of the drawing of “ Scarborough, Town 
 and Castle — morning : boys collecting crabs,” exhibited 
 R.A,, 1811, and now in the Farnley Collection. 
 
 D. View across country, with group of trees in fore- 
 
 ground on the right. 
 
 About 15 x 19^. Water colour. 
 
 Water mark, 1810. 
 
 E. Hulks on Tamar : Twilight. 
 
 About 10£ x 13. Water colour. 
 
 Different design and effect from oil picture of this subject 
 in possession of Lord Leconfield, Petworth. 
 
 F. The Mewstone, off Plymouth Harbour. 
 
 About 9£ x 15^. Water colour. 
 
 Water mark, 1810. 
 
 Study for drawing engraved in “Southern Coast ” ; original 
 now in National Gallery, Dublin — Vaughan Bequest. 
 
 G. Eddystone Lighthouse. 
 
 About 13^ x 19J. Water colour, with additions in white 
 chalk. 
 
 Study for drawing engraved in mezzotint, by Lupton, 1821. 
 
 2 Q 2 
 
 3279(5 
 
000 
 
 TURNER DRAWINGS. 
 
 [CXCVI.] 
 
 H. A lighthouse. 
 
 About 10 x 15|. Water colour, with slight additions in 
 white chalk. 
 
 Possibly study for “ Eddystone Lighthouse.” 
 
 I. Landscape, with trees and distant city. 
 
 About 8 x 10£. Water colour, almost in monochrome. 
 Possibly study for an Italian subject. 
 
 J. Landscape, with trees. 
 
 About 7j x 10j. Water colour, monochrome. 
 
 Water mark, 1814. 
 
 K. Wooded landscape. 
 
 About 8 x 10 Water colour, almost in monochrome. 
 
 L. Landscape, with distant mountains. 
 
 About 8 x 10£. Water colour, almost in monochrome. 
 Water mark, 1814. 
 
 (H, I, J and K formed part of bundle AB. 218 P.O.) 
 
 M. Wharfedale, from the Chevin. 
 
 About Ilf x 15. Water colour. 
 
 Study for drawing with this title, once in Mr. Ruskin’s 
 possession. 
 
 Written on the back, in pencil — “ Study for drawing of 
 Farnley, in my psssession. (Sgd.) J. R.” 
 
 N. Wreck of East Indiaman. 
 
 About 12 x 18^. Water colour, with additions in white 
 chalk. 
 
 Water mark, 1816. 
 
 Written on margin, by Turner — “ Beginning for Dear 
 Faivkes of Farnley." 
 
 Study for drawing with this title in possession of F. H. 
 Fawkes, Esq., Farnley. 
 
 O. Scene on moors. 
 
 11 x 15^. Water colour. 
 
 Probably a Yorkshire subject. 
 
 P. Three colour beginnings. 
 
 13 x 17^. Water colour. 
 
 Water mark, 1816. 
 
 Only faint indications of the difference between sky and 
 land. 
 
 Q. Castle in middle distance. 
 
 About 19| x 15J. Water colour. 
 
 Water mark, 1813. 
 
 Possibly an Italian subject ; about 1820. 
 
[CXCVI.] 
 
 COLOUR BEGINNINGS, &c. 
 
 601 
 
 R. The Rainbow. 
 
 13| x 19J. Water colour. 
 
 Water mark, 1816. 
 
 S. A rocky island : Storm. 
 
 About 12 x 19£. Water colour ; some gouache. 
 
 Possibly Capri. 
 
 T. Group of ruined antique building's. 
 
 About 9 x 13. Water colour. 
 
 Water mark, 1811. 
 
 Possibly study for Allason’s “ Antiquities of Pola.” 
 
 U. The Sibyl’s Temple, Tivoli. 
 
 About 19^ x 15J. Water colour. 
 
 Water mark, 1813. 
 
 I know of no finished drawing of this design. 
 
 V. Winding* river (1). 
 
 About 15| x 19. Water colour. 
 
 Water mark, 1814. 
 
 Possibly study for “ Crook of Lune.” 
 
 W. Winding- river (2). 
 
 About 15 x 19. Water colour. 
 
 Water mark, 1814. 
 
 Same subject as previous drawing but different arrangement 
 of colour, also different atmospheric effect. 
 
 X. An Italian scene : Evening-. 
 
 13^ x 16 g. Water colour. 
 
 Y. Lig-hthouse ag-ainst a stormy sky. 
 
 14£ x 23. Water colour. 
 
 Z. Ruins of an amphitheatre. 
 
 16-2 x 25^. Water colour. 
 
 (28 drawings.) 
 
 1820 * (AET. 45.) 
 
 CXCVII.— COLOUR BEGINNINGS, 1802-1820 (2). 
 
 A. Classical Composition. 
 
 265 x 39^. Water colour. 
 
 Water mark, J. Whatman, 1811. 
 
 B. — View from Richmond Hill. 
 
 7 \ x 10£. Water colour. 
 
 Abt. 1815. Lent to V. & A. Museum. 1895-1908. 
 
602 
 
 TURNER DRAWINGS. [CXCVII.] 
 
 C. Study of sky. 
 
 7 x lOf. Water colour. 
 
 About 1816. 
 
 Exhibited Drawings, No. 719, N.G. 
 
 D. Study at sea. 
 
 About !)| x 1 U. Water colour. 
 
 Exhibited Drawings, No. 756, N.G. 
 
 E. Naples. 
 
 lOg- x ll^. Water colour. 
 
 3rd Loan Collection, No. 87. 
 
 F. Storm clouds : Sunset. 
 
 9g x 13£. Water colour. 
 
 Water mark, “ J. Whatman. 1814.” 
 
 G. The rainbow. 
 
 10| x 16^. Water colour. 
 
 H. Richmond. Yorks. 
 
 15j x 19. Water colour. Based on earlier drawing of 
 same subject, XXXVI, v. 
 
 Water mark, “ J. Whatman. 1814.” 
 
 I. Study for “ Crook of Lune.” 
 
 16* x 20f. Water colour. 
 
 Water mark, “ J. Whatman. 1814.” 
 
 Gf. CXLV, 70, sq. 
 
 J. Study for “ Hastings : Deep Sea Fishing-.” 
 
 23 x 28. Water colour. 
 
 Water mark, “ J. Whatman. 1812.” 
 
 K. Another study for “ Hasting-s : Deep Sea Fishing.” 
 
 23 x 28. Water colour. 
 
 Water mark, “ J. Whatman. 1812.” 
 
 L. Plumpton Rocks, near Harrogate (?). 
 
 164 x 20. Water colour. 
 
 M. Studies for a sea-piece, &c. 
 
 13| x 21*. Water colour. 
 
 N. Study for the Whitaker “Richmond, Yorks.” 
 
 154 x 19. Water colour. 
 
 The finished drawing was given by Mr. Ruskin to the 
 Fitzwilliam Museum, Cambridge. 
 
 Water mai’k, “J. Whatman. 1814.”. 
 
[CXCVII.] COLOUR BEGINNINGS. 603 
 
 O. River scene. Study for another Richmondshire subject. 
 
 15£ x 19. Water colour. 
 
 Water mark, “ J. Whatman. 1814.” 
 
 P. Study for drawing* of “ Hilton Castle.” 
 
 11| x 19. Water colour. 
 
 See Surtees’ “ History of the County of Durham ” ; also 
 the pencil sketch on which this drawing is based, “ Raby ” 
 Sketch Book (CLVI), p. 10. 
 
 (16 drawings.) 
 
 182P (AET. 46.) 
 
 CXCVIIL — FOLKESTONE SKETCH BOOK. 
 
 Schedule No. 353. 
 
 Sketch book, bound in boards, with brown leather 
 back, and one clasp broken. 
 
 Turner’s label on back, “ 121 .” 
 
 Executor’s endorsement, “ No. 353. Contains 81 
 leaves in pencil on both sides. 
 
 (Sgd.) C. Turner.” 
 
 Water mark — “ T. Edmonds, 1819.” 
 
 Size of page — 4^ x 7|. 
 
 On the inside of one of the covers, four rough sketches of 
 a town beside a river ; on inside of other cover, part of an 
 interior of a church (?) ; also written in pencil : — 
 
 “ Wageman — Portrait of Mrs. F.' f 
 Written in ink on last leaf of book (No. 91a) the following, 
 not I think in Turner’s handwriting : — 
 
 “ Copy rec' &c. 
 
 Rec d 3 d Apl. 1821 of M r . Isaac Hodgson, by Draft 
 on Messrs. Barclay & Co. dated this day, the sum of 
 £86 •• 15 — being for one years rent of 2 Houses 
 Nos. 7 & 8 New Gravel Lane, Wapping, in Middlesex, 
 and now in his occupation under a Lease dated 
 12 Sep : 1815 from Mess' 8 Marshall and Harpur 
 & which became due to me at Lady day last. 
 
 P d (? sgd.) J. M. W. Turner. 
 
 £36 •• 15 — 
 
 Deduct Church Rate 1 . 
 for the year 1820 J 
 
 35 •• 15 •• rec d ” 
 
 t (Probably Mrs. Fawkes.) I believe Wageman was a portrait painter working 
 in Yorkshire about this time. 
 
604 
 
 TURNER DRAWINGS. [CXCVIII.] 
 
 Page 
 
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 99 
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 99 
 
 1. A church. “St Justs (?) Gh. (? Ox.)” (Part of leaf 
 
 torn.) 
 
 la. Distant view of town. 
 
 2. Town in distance. (Distant view of Oxford.) 
 
 2a. Sunning well ” (?). 
 
 3. Cliffs on coast. Probably near Folkestone or Dover. 
 
 4. Blank. 
 
 4 a. Cliffs. Probably southern coast of Kent. 
 
 5. Road, with town in distance. (? Oxford.) 
 
 5 a. Road over cliffs ; Probably between Folkestone and 
 Dover. 
 
 6a.- 7. Bend of Medway, with Rochester Castle. 
 la. Road, with Rochester Castle and bridge in middle 
 distance. 
 
 8. A lighthouse on cliff. (? South Foreland.) 
 
 8a. ) Bend of Medway, at Rochester. “ Staines' ’ C?) in 
 
 9. j distance. 
 
 9a. A similar view with trees in foreground. 
 
 10. The windmills opposite Rochester. 
 
 10a. Lighthouse on cliff. 
 
 11. Blank. 
 
 12. A church. “ Bel. Georges-Boot (?).” 
 
 13-14. Blank. 
 
 14a. Cliffs near Folkestone. 
 
 15. Lighthouse on cliff. 
 
 16. Blank. 
 
 16a. Sandgate Castle. 
 
 17. Several sketches of “ Sunning well" (?). 
 
 17a. Folkestone Church and Harbour. See Water Colour 
 engraved in “ Southern Coast ” & published 24 Feb- 
 ruary, 1826.) 
 
 18-19. Blank. 
 
 19a. A blasted oak. 
 
 20. Trees, with castle in middle distance. 
 
 20a. The coast near Folkestone. 
 
 21. Cliffs near Folkestone. 
 
 21a. Do. 
 
 22. Blank. 
 
 22a. Cliffs on Kent coast, with houses and distant view of 
 “Deal" (?). 
 
 23. Cliffs. 
 
 23a. \ Rochester or Dover Castle (?). 
 
 24. J 
 
 24a. Folkestone Church and Harbour. See Water Colour 
 engraved in “ Southern Coast also p. 17a. 
 
 25. Coast near Folkestone. 
 
 26-27. Blank. 
 
 27a. Folkestone church. See pp. 24a and 17a. 
 
 28. Folkestone Harbour and Church, from the east. 
 
 28a. Church and other buildings on coast. 
 
 29. On the coast. 
 
 29a. \ Dover or Rochester Castle (?). 
 
 30. / 
 
 30a. Fishing boats, houses, &c., on coast. 
 
[CXCVIII.] FOLKESTONE SKETCH BOOK. 
 
 605 
 
 Page 31. Figures, &c., on coast. 
 
 55 
 
 31a. Scene at Folkestone. 
 
 
 
 M 
 
 32. Line of cliffs. 
 
 
 
 55 
 
 33. Sailing vessels off coast. 
 
 
 
 9? 
 
 33m Cliffs on coast. 
 
 
 
 55 
 
 34. Do. 
 
 
 
 5? 
 
 34a. Do. , at the “ South Foreland " ; 
 
 also 
 
 view 
 
 
 inland. 
 
 
 
 
 35. Rocks. 
 
 
 
 
 35a. Houses on cliff. 
 
 
 
 55 
 
 36. Buildings on cliff. 
 
 
 
 55 
 
 37. Blank. 
 
 
 
 55 
 
 37a. Sandgate Castle, from Folkestone. 
 
 
 
 55 
 
 38. Sandgate (?) ; and Folkestone. 
 
 
 
 55 
 
 38a. Cliff on coast. 
 
 
 
 55 
 
 39. Blank. 
 
 
 
 55 
 
 39a. Sailing vessels. “ Tan Sail." 
 
 
 
 55 
 
 40. Do. 
 
 
 
 55 
 
 40a. Sandgate. 
 
 
 
 55 
 
 41. Do. 
 
 
 
 55 
 
 42-43. Blank. 
 
 
 
 55 
 
 44. Looking along coast from Folkestone towards Dunge- 
 
 
 ness ; Sandgate Castle near foreground. 
 
 
 
 55 
 
 45. Blank. 
 
 
 
 55 
 
 45a. \ Sketches at Dover. 
 
 
 
 55 
 
 46. / 
 
 
 
 55 
 
 46a. Rocky headland. 
 
 
 
 55 
 
 47. Sandgate, looking towards Folkestone. 
 
 
 
 55 
 
 47a. Dover Castle. 
 
 
 
 55 
 
 48. Clouds obscuring the sun. 
 
 
 
 55 
 
 48a. \ Dover Castle. 
 
 
 
 55 
 
 49. / 
 
 
 
 55 
 
 50-52. Blank. 
 
 
 
 55 
 
 52a. Cliffs, near Folkestone. 
 
 
 
 55 
 
 53. Houses and cliffs. 
 
 
 
 55 
 
 54. House, &c., on cliffs. 
 
 55. “ Calshot " Castle and “ Hurst " Castle. 
 
 
 
 55 
 
 
 
 55 
 
 55 a. \ Views of English and French coast, 
 
 from 
 
 the 
 
 55 
 
 56. / Channel — 
 
 
 
 “ Gantifer " (Cap d’Antifer), “Cape Antonio," 
 “ Stromboli " (?), “ Lizard. N.W.," “ N.E." “Fame 
 Head (?),” “Anchor or Mavigassy Bay " (Mevagissy, 
 in Cornwall), “ Praivle and Start ” (Points), 
 “ E.N.E.," “ #.&#. Ushant," “ Start Point" 
 
 “ W.S. W." 
 
 56a. “Stoke Point," “Burr Island," “Bolt Head, E.S.E.," 
 “ Tail (Bolt Tail) iV.V. IK. 4 or 5.” 
 
 57. “ Beachy Head," “ Portland Bill," “ W.N.W.," “ Fame 
 
 Head," “ Bolt Tail,” “ Yealm Fiver," “ Mewstone," 1 
 “Needles Z," “St. Alhans Head," “ Peveril Point," 
 “ Swanage Bay," “ Bolt Hd." “ Praivle Point." 
 
 57 a. Sandgate, with Castle. 
 
 58. Between Sandgate and Hythe. 
 
 58m 1 Rochester, with bend of the Medway. 
 
606 
 
 TURNER DRAWINGS. [CXCVIII.] 
 
 Page 59 a. Martello towers on coast, near Hythe. 
 
 „ 60. Coast, near Hythe. 
 
 „ 60a. Buildings on cliff. 
 
 „ 61. On coast. 
 
 „ 61a. Rocky coast. 
 
 „ 62. Blank. 
 
 „ 62a. Buildings, with hill beyond. 
 
 „ 63. Blank. 
 
 „ 63a. Lighthouse on cliff. (Probably at South Foreland.) 
 
 „ 64. “ St. Margarets " Bay, near Dover. 
 
 „ 64a. St. Mary’s Church, Dover. 
 
 „ 65. Rocks on coast. (Part of leaf torn away.) 
 
 „ 65a. Do. 
 
 „ 66. Do. 
 
 „ 66a. Houses and rocks on coast. 
 
 „ 67. On coast. “ Bug with fishing rod (?).” 
 
 „ 67a. Lighthouse, &c. 
 
 „ 68. Blank. 
 
 „ 68a. At Dover. 
 
 „ 69. Lighthouse. 
 
 Buildings on cliff. 
 
 „ 71. At “ South Foreland." 
 
 „ 71a. 1 Coast, near Dover. 
 
 „ 72. j 
 „ 73. Blank. 
 
 „ 73a. On coast. 
 
 „ 74. Do. 
 
 „ 75. Blank. 
 
 „ 75a. Near Dover. 
 
 „ 76-77. Blank. 
 
 „ 77a. Several views of coast, from the Channel. “ Gontat " (?). 
 „ 78. Blank. 
 
 „ 79. “ South Foreland ,” &c., from the Channel. 
 
 „ 79a. 1 The Medway, at Rochester. 
 
 „ 80. / 
 
 „ 80a. “ Start ” Point," “ N.E.N.," “ Bolt Head," “ HUS’. 1U..’ 
 
 W.N.," “S. Foreland. E.N.E." 
 
 „ 81. The Medway, at Rochester. 
 
 „ 81a. Do. 
 
 „ 82 Folkestone. 
 
 „ 82a. A nobleman’s seat. 
 
 „ 83. Do. 
 
 „ 83a. The Medway, at Rochester. 
 
 „ 84. A seat. 
 
 „ 85-86. Blank. 
 
 86a. A bay, with headland. 
 
 „ 87. Cliffs. 
 
 „ 87 a. Town in mid-distance. (? Oxford.) 
 
 „ 88. Do. do. “ Ox." 
 
 „ 88a. Vessels at sea. 
 
 At “ South Foreland.” 
 
 70 a. 
 
 Do. 
 
 Leaf torn out. 
 
 ,, I U. 
 
 „ 7 8a. Views of French coast, from the Channel. “ Cliff'," 
 
 “ S.E.I.E . ,” “ E.N.E . ,” “ S.S.W." 
 
[CXCVIII.] FOLKESTONE. 607 
 
 Page 89. Blank. 
 
 „ 89a. Vessels at sea. 
 
 „ 90. Various figures. 
 
 „ 90a. “ Gape Le Feme , Huughall ” (?). 
 
 „ 91. Sandgate Castle. 
 
 „ 91a. ( See above.) 
 
 (81 leaves drawn on.) 
 
 Note . — For other sketches connected with continuation of 
 “ Southern Coast ” (and possibly made at the same time as 
 these “ Folkestone ” sketches) see “ Hastings ” and “ Hastings 
 to Margate ” Sketch Books (CXXXIX and CXL). 
 
 1821 * (AET. 46). 
 
 CXCIX.— ' “MEDWAY” SKETCH BOOK. 
 
 Schedule No. 345. 
 
 Page 
 
 99 
 
 99 
 
 99 
 
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 la. 
 
 2 . 
 
 2a. 
 
 3. 
 3a. 
 
 4. 
 4a. 
 
 5. 
 5a. 
 
 6 . 
 
 7. 
 7a. 
 
 8 . 
 8a. 
 9. 
 
 10 . 
 
 11 . 
 
 11a. 
 
 12 . 
 
 12a. 
 
 13. 
 
 Sketch book, bound in boards, with brown leather 
 back and one brass clasp. 
 
 Turner’s label on back — “ 80. Medway." 
 Executor’s endorsement — “ No. 345. Contains 
 61 leaves in pencil. (Sgd.) C. Turner.” 
 
 Water mark, R. Barnard, 1820. 
 
 Size of page, 4^ x 7\. 
 
 Mr. Ruskin’s endorsement on wrapper — “ 345. 
 Book of Studies of Shipping.” 
 
 On inside of covers, several slight views ; also a 
 stern of a ship of the line, &c. 
 
 Towers of a castle in mid-distance, &c. 
 
 Side view of battleships. 
 
 Ships. 
 
 | Vessels, &c., on the Medway. 
 
 | Banks of Medway. 
 
 Groups of ships. 
 
 Do. 
 
 | Do. 
 
 Ship of the line, distant view of Rochester, &c. 
 Commencement of sketch. 
 
 Ships on the Medway. 
 
 Ships. — “15 Lower Declc Port Loops (?).” 
 
 Three views of the stern of a battleship. 
 
 | Hulks on Medway. 
 
 | Vessels on the Medway, with “ Sheer ness ” in distance. 
 
 Vessels, with buildings on river bank. 
 
 Group of vessels. 
 
608 
 
 TURNER DRAWINGS. 
 
 [CXCIX.] 
 
 Page 14. Blank. 
 
 „ 14 a. 1 Ships on Medway, with town beyond. — “Silver (?) 
 
 „ 15. J sky and light in tone." 
 
 „ 16. Ships on Medway. 
 
 „ 16a. 1 Ships, &c., at Castle Upnor. 
 
 „ 17. / 
 
 „ 17a. ) Rochester Castle and Bridge from the river, &c. 
 
 „ 18. J 
 
 „ 18a. 1 Shipping, &c., at Rochester. See Water Colour 
 
 „ 19. J (420 N.G.) engraved in “ River Scenery,” and 
 
 published 1 January, 1824. 
 
 ,, 19a. At Chatham, 
 
 „ 20. At Rochester. 
 
 „ 20 a. Do. 
 
 „ 21. Do. 
 
 „ 21a. 1 At Chatham. 
 
 „ 22. J 
 
 „ 22a. \ Do. 
 
 „ 23. j 
 
 „ 23a. Castle Upnor. 
 
 „ 24. Boats, &c., on the river off Chatham. 
 
 „ 25-27. Blank. 
 
 „ 27a. \ The Medway at Rochester. 
 
 „ 28. J 
 
 „ 29-32. Blank. 
 
 „ 32a. \ Details of ships. 
 
 „ 33. J 
 
 „ 33a. Banks of Medway. 
 
 „ 34. Castle Upnor. — “ Tower (?) Hill." 
 
 „ 34a. Study of “Fore Sail Brace , M. Stay." 
 
 „ 35. Studies of “ Brace" “ Brace. M. Missen ," &c. 
 
 „ 35a. Details of Mast, &c. — “ M. Top G." 
 
 „ 36a. Uniform of Marine, an officer’s cocked hat, a port-hole 
 with mouth of guns protruding, &c. 
 
 „ 37. Blank. 
 
 „ 37a. Uniform of “ Mid" (-shipman), “ Lieut" (-enant) and 
 “ Captain . — “ “ Capt. the same — two epaulettes , but 
 on wh. collar." 
 
 „ 38. Blank. 
 
 „ 38a. Details of sails, &c. — “Clue Gaunts" “ Stub Line," 
 “ Fore Stay," &c. 
 
 „ 39. Blank. 
 
 „ 39a. Details of rigging. 
 
 „ 40. Blank. 
 
 „ 40a. 1 Profile of bows of ship of line. 
 
 „ 41- i 
 
 „ 41a. \ Do. 
 
 „ 42. / 
 
 „ 42a. Details of rigging. 
 
 „ 43. Do. ; also group of vessels. 
 
 „ 43a. Ship of the line. 
 
 „ 44. Do. 
 
 „ 44a. \ Hulks on the Medway. 
 
 „ 45. / 
 
[CXCIX.] MEDWAY SKETCH BOOK. 
 
 609 
 
 Page 45a. A hulk. See Water Colour of “The Medway” (376 N.G.), 
 engraved and published “ River Scenery.” 
 
 „ 46. On the Medway. 
 
 „ 46a. Hulks, &c., on the Medway. 
 
 „ 47. Blank. 
 
 „ 47a. On the river, at Chatham. 
 
 „ 48. Do. 
 
 „ 49-50. Blank. 
 
 „ 51. Wooden hulk. 
 
 „ 51a. \ Scenes on the Medway. 
 
 „ 52. / 
 
 55 
 
 55 
 
 55 
 
 99 
 
 59 
 
 55 
 
 59 
 
 99 
 
 55 
 
 59 
 
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 55 
 
 55 
 
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 55 
 
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 55 
 
 95 
 
 99 
 
 59 
 
 55 
 
 59 
 
 95 
 
 55 
 
 95 
 
 55 
 
 95 
 
 95 
 
 53-54. Blank. (P. 54 partly torn.) 
 
 55. Scenes on the river. 
 
 55 a. \ On banks of river. 
 
 56a. / 
 
 57. Blank. 
 
 57 a. Scene on River. 
 
 58. Blank. 
 
 58a. Scene on river. 
 
 59. Scenes on river off Rochester. 
 
 60-69. Blank. 
 
 70. On banks of Medway. — “ Quarry ” and “ Bayldon ” (?). 
 70a. Bridge, with houses on side of river. 
 
 71-74. Blank. 
 
 75. Vessels, &c., on river. 
 
 75 a. Vessels, &c. 
 
 76. Vessels firing. 
 
 76a. Scenes on river. 
 
 77. Hulks on Medway. 
 
 77a. Ship of line ; three-quarter back view. 
 
 78. Scenes on river. 
 
 78a. Detail of bowsprit. 
 
 79. Details of ships of line. 
 
 79a. \ Group of vessels. 
 
 80. / 
 
 80a. Hulks. 
 
 81. Beginnings of a sketch. (Leaf partly torn.) 
 
 82. Ship of line ; profile. 
 
 83. Details of rigging. 
 
 84-85. Blank. 
 
 85a. Scenes on river. 
 
 86. Do. 
 
 86a. Views of “ Qucensboro ' .” 
 
 87. Blank. 
 
 87 a. \ The Medway at Castle Upnor. 
 
 88 . / 
 
 88a. Boats. 
 
 89. Banks of the Medway. 
 
 89a. Boats on the Medway. 
 
 90. Rochester Castle. 
 
 90a. Scenes on Medway. — Distant river — “ Warm Blue"; 
 Notes on Clouds — “ Gold" “ Wrm. Yellow Clouds ,” 
 
 “ Rain with Colour atony its edge" 
 
 “ Rain in shade." 
 
 (66 leaves drawn on.) 
 
610 
 
 TURNER DRAWINGS. 
 
 [ 00 .] 
 
 1822 (AET. 47). 
 
 CC.— “KING’S VISIT TO SCOTLAND” SKETCH BOOK. 
 
 Schedule No. 158. 
 
 Sketch book, bound in boards, with brown leather 
 back, and one clasp, broken. 
 
 Turner’s label on back — “ 87. Scotland. King's 
 Visit." 
 
 Mr. Ruskin’s endorsement on wrapper — “ 158. 
 Visit to Edinburgh by sea. Coast views there and 
 back. King’s reception, &c. Many interesting out- 
 lines of Edinburgh.” 
 
 Water mark, “A Lee. 1819.” 
 
 Size of page, 4^ x 7^. 
 
 On inside of both covers, a number of slight 
 sketches, also — “ Elnworthy (?), Anderson Build- 
 ings" and lk M rs . Evesham (?) 37 St. James' 
 
 Place. . . ." 
 
 Page 1. Study of clouds. 
 
 „ la. Views of the Suffolk coast from the sea. “ Orford 
 Castle" “ Orford" “ Aldbro'," “ Southwold." 
 
 „ 2. “ Southwold," “ Lowestoft," “ Yarmouth ." Exhibited 
 
 Drawings, No. 438J, N.G. 
 
 „ 2a. “ Yarmouth Roads," “ Cromer," and “ Hapsburg " 
 
 (Happisburgh) ; also sunset. Reverse of 438«f, N.G. 
 
 „ 3. Memoranda of sunrise. Exhibited Drawings, No. 438c, 
 
 N.G. ; engraved in “ Modern Painters,” vol. 5 
 (pt. viii., chap. 4, sec. 7). 
 
 Also, an outline of “ Spurn Point." 
 
 „ 3a. “ Scarborough," u Flamborough Head," u Robin Hood's 
 
 Bay." Reverse of 438c, N.G. 
 
 „ 4. A frigate ; side view. “ White Masts." 
 
 „ 4 a. Five views of “ Holy Island," from the sea. 
 
 „ 5. Fast Castle," the “ Bass " Rock, “ Tantallon." 
 
 „ 5 a. Harbour scene. “ Blue Boat." 
 
 „ 6. Harbour scene ; vessels beflagged. Also details of 
 
 u Royal Curtain." 
 
 „ 6a. Shipping. 
 
 „ 7. Do. 
 
 ,, la. “ Dirlston “ Bass " Rock, and “ May " (?). 
 
 „ 8. Sailing vessels on rocky coast. 
 
 „ 8a. Group of figures. “ . . . . Scotch Porter (?) reading a 
 
 Newspaper." 
 
 „ 9. Blank. 
 
 „ 9a, Distant view of Edinburgh, &c. 
 
 „ 10. Blank. 
 
 „ 10a. Vessels passing a lighthouse on a t'ocky coast. 
 
 „ 11. Edinburgh Castle (?) in distance. 
 
[CO.] 
 
 KING’S VISIT TO SCOTLAND. 
 
 611 
 
 Page 12-22. Blank. 
 
 „ 22a. A slight, sketch. 
 
 „ 23-24. Blank. 
 
 „ 24a. Group of figiires. 
 
 „ 25. Blank. 
 
 „ 25a. A ceremony. “ Duke of A." 
 
 „ 26. Blank. 
 
 „ 26a. Figures seen from above. 
 
 „ 27. Blank. 
 
 „ 27 a. Figures. 
 
 „ 28. Blank. 
 
 „ 28a. Figures. 
 
 „ 29. Do. 
 
 „ 30-31. Blank. 
 
 ,, 32. Interior of a building. 
 
 „ 32a. Architectural details ; interior of St. Giles’. 
 
 „ 33. Do. do. also a view on Calton Hill (?). 
 
 „ 33a. Interior of St. Giles’ Cathedral. 
 
 „ 34. Do. do. 
 
 „ 34a. ) On the Clyde. 
 
 „ 35. } 
 
 „ 35a. 1 Edinburgh from Calton Hill, and other sketches. 
 
 „ 36. J 
 
 „ 36a. Procession, or ceremony, seen from above. On right— 
 
 “ Lothian Highlanders ,” and “ Scots Grays." 
 
 „ 37. Holyrood Palace and Church. 
 
 „ 37 a. 1 View of Edinbiirgh from Corstorphin Hill. 
 
 „ 38. J 
 
 „ 38a. View of Holyrood, &c., from “ Sailors' Platform." 
 
 „ 39. Blank. 
 
 „ 39a. 1 A street, with view of the Forth beyond. 
 
 ,. 40. J 
 
 „ 40a. ) View of Edinburgh, from St. Anthony’s Chapel — 
 
 „ 41. j 17 windows , 8 attics , &c." (probably referring to 
 
 Holyrood) ; also “ Ca?'oline Park," &c. 
 
 „ 41a. \ Various buildings ; also a view of Princess Street. 
 
 „ 42. J 
 
 „ 42a. A building, with flag flying. 
 
 „ 43. Distant hills. 
 
 „ 44. Blank. 
 
 „ 44a. Sketches and descriptions of costumes. 
 
 „ 45. Sketches and descriptions of Highlanders’ bonnets, 
 shields, dirks, &c. 
 
 „ 45a. Groups of mendicants or peasants ; also distant view of 
 Firth of Forth. &c. 
 
 „ 46. Blank. 
 
 „ 46a. \ An interior, with a crowd of figures. 
 
 „ 47. / 
 
 „ 47a. Distant hills. 
 
 ,, 48. Interior, with figures. 
 
 „ 48a. Shipping in Leith Harbour. 
 
 „ 49. Blank. 
 
 „ 49a. Details of ships. 
 
 „ 50. Blank, 
 
612 
 
 TURNER DRAWINGS. 
 
 [CO.] 
 
 Page 50a. Vessels at anchor. 
 
 51. Vessels. 
 
 „ 51a. Shipping in the Forth. 
 
 „ 52. Ruins of Barnbougle Castle, near Queensferry, with 
 
 “ Ben Lomond " in distance. 
 
 99 
 
 99 
 
 99 
 
 99 
 
 ’9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 <>5 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 52a. Groups of shipping. 
 
 53. Shipping on the Forth. — Rex (?) near Barnbougle." 
 
 53 a. \ Port Edgar. 
 
 54. J 
 
 54a. \ Birds’ eye view of the Canongate, Edinburgh, with 
 
 55. J St. Giles’ Cathedral on the right. 
 
 55a. A flag fixed on roof of building. 
 
 56. Group of figures. 
 
 56a. 1 Birds’ eve view of the Canongate. 
 
 57. j 
 
 57 a. Troops drawn up in a square, or courtyard. — A line of 
 cavalry, “ Navy officers" “Clergy" “ Place for 
 Carriages ,” “ Scarlet Platform" &c. 
 
 58. Blank. 
 
 58a. Reception of George IV. — “ Custom House Key. The 
 Authorities in Bin, and White Cowns. Red flags 
 and Gold . . . . &c. 
 
 59. House, &c., at “ Granton ." — “ Admiral's Barge. Green 
 
 White .... and with a red flag. Rowers in 
 white jackets and Blue. The Ship boat with a 
 . . . . only f 
 
 59 a. \ Edinburgh, with Calton Hill, North Bridge, and 
 
 60. J St. Giles’, from one of the ramparts of Holyrood 
 
 Palace. 
 
 60a. \ View of Edinburgh. 
 
 61. J 
 
 61a. 1 Vessels, &c., on the Forth. 
 
 62. J 
 
 62a. 1 View of Edinburgh, from Leith ; also shipping on 
 
 63. j the Forth. 
 
 64. Vessels firing salutes. 
 
 64a. \ The Royal Squadron at anchor. 
 
 65. J 
 
 66. Do. do. 
 
 66a. Scene in harbour. — “ Red Standard," “ Midlothian 
 Corps." 
 
 67. Vessels. 
 
 67a. Shipping. 
 
 68. Do. 
 
 68a. Do. 
 
 69. Do. 
 
 69a. Do. 
 
 70. Do. 
 
 70 a. Do. 
 
 71. Do. 
 
 71a. Do. 
 
 72. Do. — “ Forts black," “ Green oar," “ White 
 
 Bottom," “ Green Wall," &c. 
 
[00.] 
 
 KING’S VISIT TO SCOTLAND. 
 
 613 
 
 Page 72a. Shipping. 
 
 „ 73. Do. 
 
 „ 73a. Do. 
 
 „ 74. Blank. 
 
 „ 75. Shipping. 
 
 „ 75a. \ Do. 
 
 „ 76. j 
 
 „ 76a. Houses, view, &c. 
 
 „ 77. Shipping. 
 
 „ 77a. Views of Edinburgh, &c. 
 
 „ 78. In the Firth of Forth. 
 
 „ 78a. The Bass Rock. 
 
 „ 79. The Bass Rock. See Engraving in Scott’s “ Provincial 
 
 Antiquities,” published May 1, 1826. 
 
 „ 79a. The Bass Roc-k. 
 
 „ 80. Views. 
 
 „ 80a. Rocks on coast. 
 
 „ 81. Do. 
 
 „ 81 a. Do. “ Barracks ” in distance. 
 
 „ 82. Ships sailing past Bamborough Castle. 
 
 „ 82a. Bamborough Castle and coast. 
 
 „ 83. Views of coast line. “ Dunstanborough Castle ,” &c. 
 
 „ 83a. Do. , mouth of “ Tees , “ Whitby ,” &c. 
 
 „ 84. Off “ Scarborough ” and “ Whitby .” See Water Colour 
 
 of Whitby (170 N.G.), engraved by Lupton, and 
 published, in “ Ports of England,” 1 April, 1826. 
 
 „ 84a. Roadway, with sheep. 
 
 „ 85. Landscape, with figures. 
 
 „ 85 a. Landscapes. 
 
 „ 86. View on Yorkshire Coast. — “ Bamboro ' ,” &c. 
 
 „ 86a. Landscapes, with trees. 
 
 „ 87. “ Robin Hood's Bay." “ Whitby" &c. 
 
 „ 87a. Landscape, with bridge. 
 
 „ 88. Three sketches of shipping at sea and three of coast 
 
 line; also sketch of a duck. — " Mnsgrave." Ex- 
 hibited drawings. No. 4386. N.G. 
 
 „ 88a. Sketches of clouds ; also a castle seen through trees. 
 
 Reverse of 4386, N.G. 
 
 „ 89. Landscapes, with trees. 
 
 „ 89a. Landscape, with bay. with castle and rocks in mid- 
 
 distance. 
 
 „ 90. A mill wheel. 
 
 „ 90a. Landscape, with bridge. &c.. in mid-distance. 
 
 „ 91. Studies of sky, at sea. 
 
 „ 91a. Shipping off “ Leith." 
 
 (77 leaves drawn on.) 
 
614 
 
 TURNER DRAWINGS. 
 
 [CCI.] 
 
 1822 (AET. 47). 
 
 CCI— " KING AT EDINBURGH ” SKETCH BOOK. 
 
 Schedule No. 311. 
 
 Sketch book, bound in boards, mottled, with 
 brown leather back and one clasp, broken. 
 
 Turner’s label on back, “ 87. King at Edinb." 
 
 Executors’ endorsement: — “No. 311. Contains 
 G leaves in pencil. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Mr. Ruskin’s endorsement : — “ 311. Of no value.” 
 
 Water mark, “ R. Barnard, 1820.” 
 
 Size of page, 4| x 7|. 
 
 Inside of one cover, a slight sketch of a group of figures, 
 and the words, “ Guinea Collectors." 
 
 Page 1. Shipping scene. Probably arrival of Royal Squadron 
 at Leith. 
 
 „ 2-38. Blank. 
 
 „ 38. Shipping on river. 
 
 „ 39. Blank. 
 
 „ 39a. River scene. 
 
 „ 40. Two groups of figures. 
 
 „ 40a. Boat on river with figure in it. 
 
 „ 41-42. Blank. 
 
 „ 42a. Banks of river. 
 
 „ 43. Blank. 
 
 „ 44. Two Scotch bonnets in pen and ink — “ Tartan ” and 
 “Red"-, also design for a picture of a crowd of 
 figures engaged in some ceremony, and two rows of 
 designs for a series of pictures, subjects unknown ; 
 all in pencil. 
 
 Continued across inside of end cover. 
 
 (6 leaves drawn on.) 
 
[CCII.] 
 
 615 
 
 1822 - 1823 * (AET. 47-48). 
 
 CCII— PORTS OF ENGLAND SKETCH BOOK. 
 
 Schedule No. 149. 
 
 Sketch book, bound in mottled red cover with 
 dark green corners and back ; one brass clasp, 
 broken. 
 
 Turner’s label on back — “ 108 .” 
 
 Water mark — “ J. Whatman, 1815.” 
 
 Size of page — 7 x 10^. 
 
 On inside of one of the covers, two slight groups of figures. 
 
 Page 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 5 ) 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 , 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1. View across country, with river in foreground. Water 
 
 colour. 
 
 2. Sea-piece, with castle on white cliffs in distance. Water 
 
 colour. 
 
 (Two or three pages cut out.) 
 
 3. Sea-piece. Monochrome wash. 
 
 4. Sea-piece. Water colour. 
 
 5. Sea-piece, with sailing boat. Water colour. 
 
 6. Harbour, with vessels. Water colour. 
 
 7. Evening. Water colour. 
 
 8. Sea-piece, with land in distance Water colour. 
 
 9. Sea-piece and stormy sky. Monochrome wash. 
 
 10. Castle on sea coast. Monochrome wash. 
 
 11. Castle on cliff in mid-distance. Water colour. 
 
 12. Castle and other buildings on cliff. Water colour. 
 
 (One leaf cut out.) 
 
 13. Castle on cliff. Water colour. 
 
 14. Dover, from the sea. Colour design for drawing of 
 
 Dover (418, N.G.), engraved by Lupton for “ Ports 
 of England,” and published 1 May, 1827. 
 
 (Two leaves cut out.). 
 
 15. Landscape, with buildings. Water colour. 
 
 16. Sketch of sands, with shipping, &c., seen from cliffs. 
 
 Possibly a view of Hastings. Water colour. 
 
 (One leaf cut out.) 
 
 17. Storm at sea. Water colour. 
 
 18. Yiew of Scarborough. Water colour. Possibly a 
 
 colour design for drawing of this subject (135, N.G.) 
 (engraved) by Lupton for “ Ports of England.” 
 
 (One leaf cut out.) 
 
 19. Group of buildings, &c. Pencil. 
 
 20. Boat taking in sail. Possibly a colour design for 
 
 “Mouth of Humber” (Plate 3, “River Scenery”). 
 
 21. Colour design for a picture. Water colour. 
 
 22. Avenue of trees, with castle in distance. Water colour. 
 
 23. Study of clouds. Water colour. 
 
 24-25. Blank. 
 
 25a. Study for a picture. Pencil. 
 
 26. Blank. 
 
 32796 
 
 2 R 2 
 
616 
 
 TURNER DRAWINGS. 
 
 [CCII.] 
 
 Page 2 6a. Studies for classical compositions. Pencil. 
 
 „ 27. Blank. 
 
 „ 27a. Studies for classical compositions. Pencil. 
 
 ,, 28. Blank. 
 
 „ 28a. Studies for classical compositions. Pencil. 
 
 „ 29. Blank. 
 
 ,, 29a. Studies for classical compositions. Pencil. 
 
 „ 30. Blank. 
 
 „ 30a. Studies for classical compositions. Pencil. 
 
 „ 31. Blank. 
 
 „ 31a. Studies for classical compositions. Pencil. 
 
 (30 leaves drawn on.) 
 
 1822 - 1823 * (AET. 47-48). 
 
 CCIII— MISCELLANEOUS. 
 
 A. Portsmouth harbour. 
 
 61 x 9|. Colour study for water colour of this subject 
 
 (379, N.G), engraved by Lupton for “ Ports of England,” 
 and published i May, 1828. 
 
 Reverse. Colour study for another seaport subject. 
 
 B. Cliffs, from the sea. 
 
 7 jr x 9. Water colour. 
 
 Water mark, “ 1815.” 
 
 C. Folkestone. 
 
 10 x 81. Water colour. 
 
 1st Loan Collection. No. 31. 
 
 D. " Folkestone .” 
 
 4§ x 8J. Pencil. Has been traced with sharp point. 
 
 Written in margin — “ The Cliff too high," “ Cliff. Grass 
 and Dark Colour and Loam," “ Keep these houses less " ; also 
 “Dover, Folkestone, Lulworth, St. Mawes, Black Gang." 
 
 This design differs from that engraved in “ Southern 
 Coast ” ; it resembles somewhat the drawing in the Dublin 
 National Gallery (Vaughan Bequest), No. 2415. 
 
 E. Lowering 1 sail in a squall. 
 
 About x 8. Pencil. 
 
 Possibly a study for “ Mouth of Humber ” (378, N.G.), and 
 Plate 3, ‘‘River Scenery,” published September 1, 1825, 
 Oxford Loan Collection (144«-158), as “ Rosts, various,” 
 
[CCIII.] 
 
 MISCELLANEOUS. 
 
 617 
 
 F. Mainsail against rope. 
 
 About 4| x 8. Pencil. 
 
 Oxford, 1446-153. 
 
 Possibly another study for “ Mouth of Humber.” 
 
 G. Fishing boat lowering mainsail. 
 
 About 4^ x 8. Pencil. 
 
 Possibly another study for “ Mouth of Humber.” 
 
 H. Beats in a squall. 
 
 About 4^ x 8. Pencil. 
 
 Possibly another study for “ Mouth of Humber.” 
 
 I. A storm off the coast. 
 
 About 3§- x 7^. Pencil. 
 
 Oxford Loan Collection, Nos. 143a-154, as “ Sailing boats 
 and ship of line.” 
 
 Possibly a study for “ Sheerness ” (380, N.G.), engraved by 
 Lupton in “ Ports of England.” 
 
 J. George IV. in Scotland. 
 
 About 6| x Ilf. Pencil. 
 
 Harbour scene. Arrival or departure ceremony. 
 
 Drawn on two pieces of paper fastened together with sealing 
 wax. 
 
 K. River scene (1). 
 
 9 x 7§. Monochrome wash. 
 
 Possibly Yorkshire. One of a series all drawn in wash and 
 on paper of same size and quality, with gilt edges on three 
 sides* 
 
 Water mark, — “ C. Wilmot, 1822.” 
 
 L. River scene (2). 
 
 Slight pencil drawing on back. 
 
 M. River scene (3). 
 
 1st Loan Collection, No. 52. 
 
 N. River scene (4). 
 
 Oxford Loan Collection (168-138), described as “Junction 
 of Greta and Tees, Mortham Tower. Sepia.” 
 
 O. River scene (5). 
 
 2nd Loan Collection, No. 53. 
 
 Water mark, — “ C. Wilmot, 1822.” 
 
 (15 drawings.) 
 
618 
 
 TURNER DRAWINGS 
 
 [CCIV.] 
 
 1823 - 1824 * (AET. 48-49). 
 
 CCIV— ‘ 'RIVER" SKETCH BOOK. 
 
 Schedule No. 322. 
 
 Sketch book, bound in mottled boards, with brown 
 leather back and one clasp, broken. 
 
 Turner’s label on back, “ 88 Rive r.” 
 
 Executor’s endorsement, “No. 322. Contains 25 
 leaves in pencil and chalk. 
 
 (Sgd.) C. Turner.” 
 Water mark, — “ R. Barnard, 1820.” 
 
 Size of page, 4§ x 7f. 
 
 Mr. Ruskin’s endorsement on wrapper, “322. 
 Materials for first steamer on Thames. Some fine 
 compositions of slight trees.” (Not in Mr. Ruskin’s 
 handwriting.) 
 
 On inside of both covers, various slight pencil sketches of 
 river scenery, &c. 
 
 Page 1. Five studies of skies. 
 
 „ la Three designs for classical subjects. 
 
 „ 2. Landscape with trees, studies of clouds, &c. 
 
 „ 2a. 1 Landscape, with trees and building with classical 
 
 „ 3. J portico in middle distance. 
 
 „ 4. Study for classical composition. 
 
 „ 5. Barges or (House boats). 
 
 „ 6-7. Blank. 
 
 „ la. Design for classical composition (“ Possibly Dido direct- 
 ing equipment of fleet ”). 
 
 „ 8. Blank. 
 
 „ Sa. Trees by the water-side. 
 
 „ 9. River scene. Monochrome wash. 
 
 „ 9 a. Buildings on bank of river. 
 
 „ 10. Blank. 
 
 „ 11. A bridge. (Perhaps Kew Bridge.) 
 
 „ 12. Blank. 
 
 (Leaf torn out.) 
 
 „ 13-15. Blank. 
 
 (Leaf torn out.) 
 
 „ 16-18. Blank. 
 
 „ 18a. Moonrise. — “ Winsor Moon ” and “ Lead ” (colour of 
 
 sky). 
 
 „ 19-21. Blank. 
 
 „ 22. Groups of figures, &c. 
 
 „ 23-25. Blank. 
 
 „ 25a. River scene, with figures and boats. 
 
 „ 26. Clouds. (Part of leaf torn.) 
 
 „ 26a. Two slight landscapes, and part of a single span of a 
 bridge. 
 
019 
 
 [CCIV.] RIVER SKETCH BOOK. 
 
 Page 27. Three scenes on River. “ Hambledon (?) Lock ” (or 
 Lodge). 
 
 „ 28-29. Blank. 
 
 „ 29 a. Vessels off the Tower. 
 
 „ 30. The Tower of London. 
 
 „ 31. Blank. 
 
 „ 31a. A backwater of the Thames. 
 
 „ 32. Group of trees. 
 
 „ 32a. Windsor Castle, from river. 
 
 „ 33. “ Meadows — storm coming on." 
 
 iver scene, with stormy sky ; also — 
 
 Tower of London, from the River. 
 
 The Tower, from the River ; also various sketches of 
 shipping. 
 
 The Shot Tower, and other sketches on the River. 
 
 33a. R 
 33a. 1 
 34. ] 
 
 34 a. 1 
 35. j 
 
 35a. 
 
 36 
 
 „ 36a. River scenes, and a study of clouds. 
 
 „ 37. Blank. 
 
 ., 38. Figures in a punt, or ferry. 
 
 „ 38a. Landscape, with group of figures leaning against a wall. 
 „ 39. “ Thunder and Lightning ” ; also study for classical 
 composition — “ Larmidon" (?). 
 
 „ 39a. Study of sky. — “ Sky all grey" &c. 
 
 „ 40. Three designs for pictures. Chalk and wash, 
 
 „ 40a. River scene. Chalk. 
 
 „ 41. Blank. 
 
 „ 41a. Three river scenes, and a study of sky. 
 
 (26 leaves drawn on.) 
 
 1823 - 1824 * (AET. 48-49). 
 
 CCV.-OLD LONDON BRIDGE SKETCH BOOK. 
 
 Schedule No. 244. 
 
 Small sketch book, bound in mottled boards, with 
 brown leather back. 
 
 Turner’s label on back — “ 91. London Bridge." 
 Executors’ endorsement — “ No. 244. Containing 
 44 leaves, most in pencil and Indian ink. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark — “ 1821.” 
 
 Size of page, 3f x 6§. 
 
 Mr. Ruskin’s endorsement on wrapper — “ 244. 
 London Bridge. Indian ink skies very interesting.” 
 (Not in Mr. Ruskin’s own handwriting.) 
 
 On inside of both covers, sketches of shipping and skies. 
 
620 
 
 TURNER DRAWINGS. 
 
 [CCV.] 
 
 Page 1. A crowd of figures, some struggling (probably sketch of 
 Haydon’s “ Raising of Lazarus ”) ; also various 
 sketches at “ Wapping — “ Mud Larks," ‘‘ Green 
 Pie" — “ Scotch Wharf." 
 
 „ la. Studies of various plants, &c. — “ Field Sorrel," '••Dock," 
 “ Beggar's Bind," “ Plantain," “ TFRrf Grainsum," 
 &e. 
 
 „ 2. “ Curious effect of Sunset at- Twickenham " ; also study 
 
 of “ Bryonie." 
 
 ,. 2a. Sketch of clouds ; also various arches of bridge. 
 
 ,, 3. Scenes on River ; also Tower of St. Magnus, at London 
 
 Bridge. 
 
 ,, 3a. Scenes and study of sky at Richmond — “ Pagoda," and 
 
 “ Red 'fleecy," ‘■'Dun Brown," &c., clouds. 
 
 „ 4. “ Children digging a Sand-heap." 
 
 „ 4a. Groups of “ Old Ewe and Lamb," and lambs, at 
 
 “ Richmond." 
 
 5. Tree, with broken branch ; also a sky — “ Beautiful." 
 
 „ 5a. [See after p. fi.) 
 
 ., fi. The following Royal Academy Accounts in ink : — 
 
 “ One quarter from L d 1818 to L. day 1819. 
 1819- 
 Salaries. 
 
 Officers 
 
 S K of L ib. to ‘ Sc ' 
 
 School of Paint. 
 
 Proffi— 
 
 Life Vis 1 
 M. Mod — 
 
 Female — 
 
 W. and Beer. 
 
 Incidental Ex. 
 
 120 - 0-0 
 37-10 
 50 
 210 
 
 75-12- 
 
 11-15-6 
 
 16- 8-6 119 -9 -3 1 /, 
 
 1 - 3-6 
 14- 9 -9’ I, 
 
 Housekeeper. 
 Gratuity. 
 Cranmer (?) 
 Sawyer (?) 
 Low el. 
 
 17-10. 
 
 2 - 10 . 21 - 
 13- 
 13 - 
 10 
 
 0-0 
 
 2-6 57-5 
 
 2-6 
 0-0 
 
 . . . Keeper Allowance ... 10-10 — 
 
 Lady D. 
 
 to Mid’. 
 
 Incidental Ex. . . 
 
 . . H. 187 
 
 Keeper. 
 
 40 
 
 
 20 
 
 
 
 S. 
 
 35 
 
 120. 
 
 Vaughan. 
 
 40 - 
 
 14 
 
 I 
 
 25 
 
 
 Allow to Porter - 
 
 7- 
 
 16 
 
 Lib. 
 
 20 
 
 
 
 5- 
 
 5 
 
 Allow. Sec. 
 
 37 - 
 
 10 
 
 
 
 
 
 17- 
 
 10- 
 
 3-10 ) 
 
 
 
 Cr. 
 
 S. 
 
 13- 
 
 13- 
 
 2- 6 
 2-6 
 
 > <5? - <5.” 
 
 
 
 L. 
 
 10 
 
 
 
 
 
[CCV.] 
 
 OLD LONDON BRIDGE. 
 
 621 
 
 Page 5 a. 
 
 “ Midsummer to Michael e . 
 
 40 
 
 School of Painting- 
 
 — 33 — 12 — 
 
 35 
 
 Visitor TAfe. 
 
 49-7 
 
 25 
 
 M. Mod. 
 
 8 — 
 
 20 — 120 
 
 F. M. 
 
 7- 9 
 
 All. 37- 
 
 10 Wine and Beer 
 
 1-2 
 
 
 Incident. Ex. 
 
 18 -10 -37, 
 
 1 
 
 'o Vaughan for paying I J enswns. £6 - 6 - 
 
 Porters C. 
 
 13-2-6 -] 
 
 
 Str. 
 
 13- 2-6 
 
 
 Lowel. 
 
 Brown 
 
 10 - 0-0 { 
 
 6- 7-0 \ S4 ~ 8 ~ 
 
 37, 
 
 Ereebn. LI. 
 Gratuity. 
 
 17 ff 10 \21-\ 
 3 - 10 j 1 J 
 
 
 To Xmas. 19. 
 
 K. 40 
 Sec. 35 
 
 T. 25 
 
 120 
 
 Genl. Assembly 
 Council 
 
 Professor A 60. 
 
 63- (9) 
 58-10 f 
 
 Lib. 20 J 
 
 Allow. 37-10- Painting School 25-4- 
 
 121 - 10 
 
 House H. 
 21 - 0-0 
 P. 13-2-6 
 S 13-2-6 
 L 10-0-0 
 B 10-0-0 
 
 Visitors Attendance Life i 50- 8 
 
 Man Mod — 
 
 \ 90 
 
 F. M. 
 
 95 « 8 « <J 6- 12 
 
 Wine <£’ Beer 
 
 j 2-5 
 
 Incidental 
 
 ( 13-15-8 
 
 67-5 
 
 15 Stra . . . Grat. 
 
 Vaughan 30 
 Exhibn. 41-11-6 
 
 77-11-6 
 
 1823. 
 
 P . . . Ex. of Exhib' 1 as to H 
 
 Committee 56 - 9 - 9 } 
 
 H. 4-19 I 61- 9-7 Council 119 -14 — 
 
 M rs . . . . for Exhibition 11-11 
 Cuff Wine 24-12 — 
 
 Allown. to Porter 9 
 Em.. .. for Refreshments 10 - 0-3 
 
 Total 945-3-5 
 
 116-12-10. 
 
 „ 6«. I OKI London Bridge and wharves, &c., on the South 
 
 „ 7. j wark side. 
 
 la. Old London Bridge. 
 
 8. Do. with cranes, &c. 
 
 99 
 
622 
 
 TURNER DRAWINGS. 
 
 [CCV.] 
 
 Page 8a. St. Magnus, and shipping. 
 
 „ 9. Shipping. 
 
 „ 9a. Shot Tower, church and other buildings on Southwark 
 
 side of London Bridge. 
 
 „ 10. Shipping, &c. 
 
 „ 10a. do. , with St. Paul’s in distance. 
 
 „ 11. Old London Bridge. 
 
 „ 11a. Buildings and churches on Middlesex side of London 
 
 Bridge, showing St. Paul’s, St. Magnus, Monu- 
 ment, &c. 
 
 „ 12. Shipping in the Pool. 
 
 „ 12a. 
 
 Do. 
 
 off the Tower. 
 
 „ 13. 
 
 Do. 
 
 in the Pool. 
 
 „ 13a. 
 
 Do. 
 
 do. 
 
 „ 14. 
 
 Do. 
 
 do. 
 
 „ 14a. 
 
 Do. 
 
 do. 
 
 ,, 15. 
 
 Do. 
 
 do. 
 
 „ 15a. 
 
 Wharves (?). “ Battle B 
 
 16. 
 
 16a. 
 
 17. 
 
 17a. 
 
 18. 
 18a. 
 
 19. 
 19a. 
 
 20 . 
 
 20a. 
 
 21 . 
 
 21a. 
 
 22 . 
 
 22a. 
 
 23. 
 23a. 
 
 24. 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 28a. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 32a, 
 
 33. 
 33 a. 
 
 34. 
 34a. 
 
 35. 
 35a, 
 
 Road, with trees at side, leading to River. 
 
 1 London Bridge, from the Pool, 
 
 / 
 
 with St. 
 distance 
 
 St. Magnus, Monument, &c., in 
 figure , — Blue Jacket .” 
 
 Old London Bridge, from Southwark side 
 
 Paul’s, 
 also a 
 
 Do. 
 
 do. 
 
 The Bridge, with shipping. 
 
 Do. , with Shot Tow r er and St. Saviour’s. 
 
 Do. do. ; also 
 
 shipping. 
 
 Sunset. Monochrome wash. 
 
 Shipping and Bridge. 
 
 Sunset. Monochrome wash. 
 
 Staging, with cranes, &c., at London Bridge. 
 
 Sunset, Monochrome wash. 
 
 Diagrams, with measurements. 
 
 Cart with figures. Monochrome wash. 
 
 Study of clouds. Monochrome wash. 
 
 Sail against stormy sky. Monochrome wash. 
 Landscape, with figures. Monochrome wash. 
 
 Study of sky. Monochrome wash. 
 
 Groups of figures. 
 
 Landscape, with notice board and figures. Monochrome 
 wash. 
 
 Study of clouds. Monochrome wash. 
 
 Sunset (or sunrise). Monochrome wash. 
 
 The Distant Church. Monochrome wash. 
 
 | The arches of Old London Bridge. 
 
 London Bridge, stagings, cranes, &c. 
 
 London Bridge, foreshortened from the Southwark side. 
 | Old London Bridge. 
 
 Do. 
 
[CCV.] 
 
 OLD LONDON BRIDGE. 
 
 623 
 
 Page 36. Shipping. 
 
 „ 36a. 1 Fishing boats off Billingsgate. 
 
 „ 37. / 
 
 „ 37 a. Fishermen and fishing boats. 
 
 „ 38. Lurid sunset. Monochrome wash. 
 
 „ 39. Study of sky. Monochrome wash. 
 
 „ 39a. Scenes up the River. 
 
 „ 40. Up the River. 
 
 „ 40a. Figures in boat, “ Travelling Gypsies ,” &c. 
 
 „ 41. Sailing barges. 
 
 „ 41a. Various riverside incidents. “ Children fishing with 
 Clothes tucked up ,” “ Love instead of fishing — Blue 
 apron," “ Water cart," “ Artillery Yeoman" (?), &c. 
 
 „ 42. Women bathing. — “ Wood Nymphs." 
 
 „ 42 a. Bridge, with shipping. 
 
 „ 43. A sketch. 
 
 „ 43 a. A group of cattle. 
 
 „ 44. Figure of a man stooping ; also sketch of Rubens’s 
 “Chapeau de Bailie” (now No. 852, N.G.), with 
 notes .of colours of various parts, — “ Lake Sleeves," 
 “ Black," “ Grey," “ Yellow Panel," “ Blue Ground 
 and White Sky. No Clouds." 
 
 „ 41a. Boat, with figures, &c. 
 
 (44 leaves drawn on.) 
 
 1823 - 24 * (AET. 48-49). 
 
 CCVI.— LONDON BRIDGE AND PORTSMOUTH 
 SKETCH BOOK. 
 
 Schedule No. 370. 
 
 Small sketch book, bound in mottled boards, with 
 brown leather back and one brass clasp. 
 
 No label on back. 
 
 Executor’s endorsement, — “ No. 370. 34 leaves of 
 slight pencil sketches. 
 
 (Sgd.) H. S. Trimmer.” 
 
 Water mark, — “ 1821.” 
 
 Size of page, 3{ | x 6-/^. 
 
 Mr. Ruskin’s endorsement on wrapper, — “370. 
 Small ships at Gosport. Of interest, but small 
 value.” 
 
 On inside of one cover, slight sketches at “ Chiswick ” ; 
 inside other cover, diagrams with numerals. 
 
 (One leaf torn.) 
 
 Page 1. Shipping off Portsmouth. 
 
 „ la. 
 
 Do. 
 
 
 Do. 
 
 „ 2a. 
 
 Do. 
 
 „ 3. Blank, 
 
TURNER DRAWINGS. 
 
 [CCVI.] 
 
 3 a. In Portsmouth Harbour. 
 
 4. Blank. 
 
 4a. The coast, from the Solent. 
 
 5. Do. 
 
 5 a. Portsmouth Harbour. 
 
 0. Blank. 
 
 6a. Off Portsmouth. Note resemblance of foreground 
 sloop to that in Sheerness water colour (380, N.G.), 
 engraved in “ Ports of England.” 
 
 7. Shipping. 
 
 7 a. Shipping off the coast. 
 
 8. Blank. 
 
 8 a. Portsmouth, from the Solent. 
 
 0. Do. 
 
 9a. Do. 
 
 10. Blank. 
 
 10a. Portsmouth Harbour. 
 
 11. Do. 
 
 11a. Do. 
 
 12. Do. 
 
 12a. An old castle. 
 
 13. Shipping in the Solent. 
 
 13a. ' Do. 
 
 14. Blank. 
 
 14a. Shipping at “ Gosport." 
 
 15. Do. 
 
 15a. Do. 
 
 16. Blank. 
 
 16a. Portsmouth Harbour. 
 
 17. Blank. 
 
 17a. Shipping at Portsmouth. 
 
 18. Blank. 
 
 18a. Shipping off Portsmouth. 
 
 19. Blank. 
 
 19a. I Shipping, with buildings, from the sea — “ Gosport." 
 
 20. f 
 
 21. Blank. (Leaf partly torn.) 
 
 21a. 1 Skipping at London Bridge, with the Shot Tower on 
 
 22. J the right. 
 
 22a. A barge ; also numerous figures. 
 
 23. Scene on River. 
 
 23a. 1 Old London Bridge, with St. Magnus, monument, &c. 
 
 24. } 
 
 24a. Boats on the Thames. Occupants of rowing boat, — 
 " Scotch caps , white jackets." 
 
 25. Boats, &c., near the Bridge. 
 
 25a. City barges. 
 
 (Leaf partly torn.) 
 
 26. Prows of City barges. 
 
 26a. A pageant, with pennants and “ Green Dragon. " 
 
 27. At London Bridge. 
 
 27a. \ River pageant at London Bridge. 
 
 28. / 
 
 28a. River pageant. 
 
 29. Do. ^ 
 
[CCVI.] 
 
 LONDON BRIDGE, &c. 
 
 625 
 
 Page 29 a. River pageant. 
 
 „ 30. Do. 
 
 „ 30a. Do. 
 
 „ 31. Do. 
 
 ,, 31a. Do. 
 
 „ 32. Westminster Bridge. 
 
 „ 32a. Scenes on Thames. 
 
 „ 33. River pageant at Westminster. 
 
 „ 33a. River pageant. 
 
 „ 34. Do. ' 
 
 „ 34a. Do. 
 
 „ 35-36. Blank. 
 
 „ 36a. Diagrams. 
 
 „ 37-39. Blank. 
 
 „ 40. A building. 
 
 „ 41. Blank. 
 
 „ 41a. ) Scene up the River. Possibly at Isleworth or 
 „ 42. ) Twickenham. 
 
 „ 42a. Distant Hills. 
 
 (40 leaves drawn on.) 
 
 1823 - 1824 * (AET. 48-49). 
 
 CC VII. —‘GOSPORT’ SKETCH BOOK: 
 
 Schedule No. 392. 
 
 Small pocket book, bound in brown leather, with 
 no brass clasp. 
 
 No label. 
 
 Executor’s endorsement — “No. 392. Contains 
 72 leaves. Pencil sketches. 
 
 (Sgd.) H. S. Trimmer. 
 
 C. Turner.” 
 
 Water mark, . 
 
 Size of page, 2f x 3|. 
 
 Mr. Ruskin’s endorsement on wrapper — “ 392. 
 Curious little marines, and sketch of boat at Gosport.” 
 On inside of one cover, a slight sketch of fishing boats in 
 harbour. 
 
 Page 
 
 1. 
 
 Blank. 
 
 y> 
 
 la. 
 
 1 Castle in mid-distance ; also boats. Written in 
 
 
 2. 
 
 / margin — “ J. M. W. T. 200 11. Harpur." 
 
 
 2a. 
 
 Figure in boat. 
 
 >> 
 
 3. 
 
 An interior. (Possibly a Banquet at the Mansion 
 House.) 
 
 
 3a. 
 
 Boat sailing. 
 
 
 4. 
 
 Boats at sea. 
 
 
 5. 
 
 Interior of large hall. See also p. 3. 
 
 
 5 a. 
 
 Shipping. 
 
 V 
 
 6. 
 
 Do, 
 
626 
 
 TURNER DRAWINGS. 
 
 [CCVII.] 
 
 Page 6a. Two seated figures. 
 
 „ 7. Group of figures. 
 
 „ 7 a. Shipping off coast. 
 
 „ 8. Shipping. 
 
 „ 9. Design for a figure subject. 
 
 „ 9a. Figures, with masts beyond. 
 
 „ 10. Female figure leaning against wall. 
 
 ,, 10a. Two slight landscapes. “ Gold. Claude-like effect;' 1 ' 1 
 
 also “ Red cart with a Barrow and Man singing.'" 
 
 A mansion (or abbey), &c. 
 
 | Shipping. 
 
 Do. 
 
 Castle on hill (?). 
 
 Shipping. 
 
 Do. 
 
 11 . 
 
 11a. 
 
 12 . 
 
 12a. 
 
 13. 
 
 13a. 
 
 11 . 
 
 11a. 
 
 15. 
 15a. 
 
 16. 
 
 17. 
 17a. 
 
 18. 
 18a. 
 
 19. 
 19a. 
 
 20 . 
 20a. 
 21 . 
 21a, 
 22 . 
 22a, 
 
 23. 
 
 23a, 
 
 21 . 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Vessels under full sail. 
 
 also figures. 
 
 | Figures, with shipping, &c. 
 
 Shipping. 
 
 Cattle in distance. 
 
 | Shipping, clouds, &c. 
 
 A windmill. 
 
 Sailing boats. 
 
 21a. 
 
 Shipping. 
 
 25. 
 
 Do. 
 
 25 a. 
 26. 
 
 | Shipping. 
 
 26a. 
 
 Do. 
 
 27. 
 
 Do. 
 
 27a. 
 
 Do. 
 
 28. 
 
 Do. 
 
 28a. 
 
 Do. 
 
 29. 
 
 Do. 
 
 29a, 
 
 Do. 
 
 30. 
 
 The sea, with 
 
 30a, 
 
 Shipping. 
 
 31. 
 
 Do. 
 
 31a, 
 
 Do. 
 
 32. 
 
 Do. 
 
 32a, 
 
 Do. 
 
 33. A man looking through telescope, a group of figures, &c, 
 33a, ) 
 
 34. 
 
 Shipping. 
 
[CCVIL] GOSPORT SKETCH BOOK. 
 
 627 
 
 Page 34a. 
 „ 35. 
 
 „ 35a. 
 „ 36. 
 
 „ 36a. 
 
 „ 37. 
 
 ,, 37a. 
 „ 38. 
 
 „ 38a. 
 „ 39. 
 
 „ 39a. 
 » 40. 
 
 ., 40a. 
 „ 41. 
 
 „ 41a. 
 » 42. 
 
 „ 42a. 
 „ 43. 
 
 44. 
 
 „ 44a. 
 
 „ 45. 
 
 „ 45a. 
 „ 46. 
 
 „ 46a. 
 „ 47. 
 
 „ 47a. 
 
 „ 48. 
 
 „ 48a. 
 „ 49. 
 
 „ 49a. 
 „ 50. 
 
 „ 50a. 
 „ 51. 
 
 „ 51a. 
 „ 52. 
 
 „ 52a. 
 „ 53. 
 
 ^ 53 a. 
 „ 54. 
 
 „ 54a. 
 „ 55. 
 
 „ 55a. 
 „ 56. 
 
 „ 56a. 
 
 » 57. 
 
 „ 57a. 
 „ 58. 
 
 „ 58a. 
 „ 59. 
 
 „ 59a. 
 .. 60. 
 
 Shipping. 
 
 Sailing boat. 
 
 Figures in boat. 
 
 Shipping, and group of figures with telescopes. 
 
 Two ladies, with bonnets ; cart with two horses ; a boat, 
 and group of three men. 
 
 Boats in a choppy sea. 
 
 A light ship. 
 
 Castle on coast, and sea piece. 
 
 Boats sailing. 
 
 Do. 
 
 Sketch of clouds. “ Mackeral Sky." 
 
 Two female figures ; also vessels. 
 
 Vessels. 
 
 Vessels sailing. 
 
 Shipping. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Blank. 
 
 A “ Newport (?) Barge ” ; also group of children 
 playing on an upturned boat. 
 
 Shipping. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Group of seated figures. 
 
 (Leaf partly torn out.) 
 
 Shipping. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Two boats, with figures. 
 
 Shipping. 
 
 Blank. 
 
 Shipping. 
 
 Do. 
 
 Do. 
 
 Coast, with buildings, from the sea. 
 
 Shipping. 
 
 A boat. 
 
 Shipping off a headland. 
 
 Shipping. 
 
 Do. 
 
 (Leaf torn out.) 
 
 Three groups of figures. 
 
 Shipping. 
 
 Figures. 
 
 A vessel ; also two groups of buildings, with trees 
 Two groups of buildings. 
 
 Coast line, from the sea. 
 
 Coast lines, from the sea. 
 
628 
 
 TURNER DRAWINGS. 
 
 [CCVIL] 
 
 Page 60 a. 
 61. 
 61a. 
 62. 
 62a. 
 
 63. 
 63a. 
 
 64. 
 64a. 
 
 65. 
 65a. 
 
 66 . 
 66a. 
 67. 
 67 a. 
 63. 
 68a. 
 
 69. 
 
 70. 
 70a. 
 
 71. 
 71a, 
 
 72. 
 72 a, 
 
 73. 
 73a. 
 
 74. 
 74a. 
 
 Several views of a castle on the coast. 
 
 Do. do. 
 
 I Views of a town, probably from the sea (? South- 
 J ampton). 
 
 Vessels sailing, off the coast. 
 
 Distant buildings, &c., on coast. 
 
 Do. 
 
 do. 
 
 Shipping. 
 
 Do. 
 
 1 Shipping ; and a view with distant churches, &c. 
 
 Do. 
 
 also two views. 
 
 ( Two views ; also figures and shipping. 
 
 \ Two views. 
 
 Blank. 
 
 Various vessels ; one, the “ Miranda." 
 
 Vessels sailing. 
 
 ) Views on the river at “ Lambeth." 
 
 ) 
 
 Shipping and a group of figures. 
 
 A mansion ; also shipping. 
 
 Vessels. 
 
 Figures. 
 
 Seated female figure : also details of flags. 
 
 (74 leaves drawn on.) 
 

 
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