238 PRÆTERITA-II

PAGE

first meeting with Joseph Severn and George and Thomas Richmond-His artistic heresies. 37, 38. His sketches in Rome. 39. Miss Tollemache. 40. Description of Joseph Severn.

CHAPTER III

CUMÆ (1840-1841)279

41, 42. Author’s reflections on his character at this time: his tadpole stage. 43. Cameo-portrait of author: his features. 44, 45. His diary quoted-Sestri (Nov. 4, 1840)-Rome (Nov. 28-30, Dec. 30). 46. The author’s unhappiness; yet capacity for the highest pleasures. 47. Mama and Cousin Mary. 48. By La Riccia to Naples: diary there (Jan. 9, 1841): cloud-studies. 50, 51. Impressions of the volcanic regions of Southern Italy: the legends of Avernus and the Sibyl. 52. Author’s sketch at Itri. 53. Illness at Albano-Return to Rome. 53. Easter there-Isaac Taylor’s History of Enthusiasm-Terni: Mr. Farquharson’s death. 54. Author’s capacity for happiness. 55. The rapture of the approach to Venice in days before the railway. 56. Author’s drawings at Venice and Amalfi. 57. Venice in the author’s life-Return by Padua, Milan, Turin, Susa, Mont Cenis-At Lansle-bourg (June 2), author “finds his life again.” 58. Geneva: good resolutions.

CHAPTER IV

FONTAINEBLEAU (1841-1844)299

59. Author consults Dr. Jephson. 60. A “cure” at Leamington. 61. Life and occupations there. 62. Agassiz’ Poissons Fossiles. 63. Author’s drawing of the Château of Amboise. 64. His King of the Golden River written (Sept.). 65. Author’s verses and drawings. 66. His introduction to Turner (June 3, 1840). 68, 69. Stay at Wendlebury with the Rev. W. L. Brown. 70. Reading at Herne Hill for Oxford examinations-Sir Charles Grandison-Drawing lessons from J. D. Harding. 71, 72. Turner’s Swiss drawings of 1842-Author’s disappointment at his father’s not buying the “Splügen.” 73. Author’s study of ivy at Norwood (May 1842), a turning-point in his artistic career. 74. Obtains an honorary Double Fourth in the final examination at Oxford-Review of his character and tastes. 75, 76, 77. Summer tour of 1842-Study of aspens at Fontainebleau: “He hath made everything beautiful in his time.” 78. Chamouni and Geneva: the impulse which led to Modern Painters-Drawings of 1842. 79, 80, 81. Turner’s “Ehrenbreitstein” and “Lucerne”-Removal from Herne Hill to Denmark Hill: a larger house, but not equally a “home”-Author’s model-canal ambition. 82. First volume of Modern Painters written (1842-1843) and published-Turner’s “Slaver” bought (Jan. 1, 1844).

[Version 0.04: March 2008]