376 REVIEWS AND PAMPHLETS ON ART

the will: it is no longer a character inherent in himself. The “Ulleswater,” in the England series, is one of those which are in most perfect peace; in the “Cowes,” the silence is only broken by the dash of the boat’s oars, and in the “Alnwick” by a stag drinking; but in at least nine drawings out of ten, either sky, water, or figures are in rapid motion, and the grandest drawings are almost always those which have even violent action in one or other, or in all; e.g. High Force of Tees, Coventry, Llanthony, Salisbury, Llanberis, and such others.¹

41. The colour is, however, a more absolute distinction; and we must return to Mr. Fawkes’s collection in order to see how the change in it was effected. That such a change would take place at one time or other was of course to be securely anticipated, the conventional system of the first period being, as above stated, merely a means of study. But the immediate cause was the journey of the year 1820. As might be guessed from the legend on the drawing above described, “Passage of Mont Cenis, January 15th, 1820,” that drawing represents what happened on the day in question to the painter himself. He passed the Alps then in the winter of 1820; and either in the previous or subsequent summer, but on the same journey, he made a series of sketches on the Rhine, in body colour, now in Mr. Fawkes’s collection.² Every one of those sketches is the almost instantaneous record of an effect of colour or atmosphere, taken strictly from nature, the drawing and the

¹ [For “Ulleswater,” compare Vol. III. p. 490; “Cowes,” ibid., p. 547; “Alnwick,” ibid., p. 235; “High Force” (or, “The Upper Fall of the Tees”), ibid., pp. 486, 491, 553; “Coventry,” ibid., p. 405; “Llanthony,” ibid., pp. 401-402 (and plate there); “Llanberis,” ibid., p. 410, and Modern Painters, vol. v. pt. ix. ch. xi. § 8 n. (and plate 80); and for “Salisbury,” Modern Painters, vol. v. pt. vii. ch. iv. § 19.]

² [On his return from this tour “Turner landed at Hull and came straight to Farnley; where, even before taking off his greatcoat, he produced the drawings in a slovenly roll, from his breast-pocket; and Mr. Fawkes bought the lot (some fifty-three in number) for £500, doubtless to Turner’s delight, for he could not bear that any series of his should be broken. Then saying that Mr. Fawkes should have no expense in mounting them, he stuck them rudely on cardboard with wafers” (Thornbury’s Life of Turner, p. 232, 1877 ed.). Two of the Rhine drawings from the Farnley Hall collection-“Johannisberg” and “Sooneck and Baccharach”-are here given.]

[Version 0.04: March 2008]