| edition | page | line | text | edition | page | line | text |
| 4 | 135 | 6 | them. But his powers did not attain their highest results till towards the year 1840, about which period they did so suddenly, and with a vigour and concentration which rendered his pictures at that time almost incomparable with those which had preceded them. The drawings of Nemi, and Oberwesel in the possession of B.G. Windus, Esq., were among the first evidences of this sudden advance; only the foliage in both of these is inferior; and it is remarkable that in this phase of his art, Turner has drawn little foliage, and that little badly - the great characteristic of the period being power, beauty, and majesty of colour, and abandonment of all littleness and division of thought to a single impression. In the year 1842 | 5 | 138 | 6 | them. In the year 1842 |
| 5 | 135 | 11 | Murano, with | Autograph | 135 | 11 | Murano with |
| 3 | 135 | 14 | characteristic of it | 4 | 135 | 14 | characteristic of the period |
| 3 | 135 | 15 | and its abandonment | 4 | 135 | 15 | and abandonment |
| 4 | 135 | 18 | Switzerland; these, with some produced in the following years, all of Swiss subjects, I consider to be, on the whole, the most characteristic and perfect works he has ever produced. The Academy pictures were far inferior to them; but, among these, examples of the same power were not wanting, more especially in the smaller picture of Venice. The Sun | 5 | 135 | 7 | Switzerland, peculiarly fine in colour; and among the Academy pictures of that period, examples of the same power were not wanting, more especially in the smaller Venetian subjects. The Sun |
| 3 | 135 | 21 | but among these | 4 | 135 | 21 | but, among these, |
| 3 | 135 | 23 | Venice, going to sea; | 4 | 135 | 23 | Venice; |
| 4 | 135 | fn2 | cannot | 5 | 135 | fn-7 | cannot, |
| 4 | 135 | fn-1 | are the picture cleaner and the mounter. | 5 | 135 | fn-1 | are the sun, the picture cleaner, and the mounter. |
| 4 | 135 | 24 | Cemetery | 5 | 135 | -7 | cemetery |
| 4 | 135 | -5 | saw it (and it still remains little ignored), the most | 5 | 136 | 2 | saw it, the most |
| 4 | 135 | -1 | still | 5 | 136 | 5 | still, |
| Complete | 135 | fn3 | exhibition | Library | 249 | fn7 | Exhibition |
| edition | page | line | text | edition | page | line | text |
| 4 | 136 | 5 | sky (not ... heavens), all | 5 | 136 | 10 | sky, not ... heavens; all |
| 4 | 136 | 8 | partially;..universally: he | 5 | 136 | 13 | partially,..universally. He |
| 6 | 136 | 9 | heavens: | 7 | 136 | 12 | heavens; |
| 5 | 136 | 12 | cloudy heavens; | 6 | 136 | 9 | cloudy heavens: |
| 4 | 136 | 13 | Vol.II | 5 | 136 | 18 | vol.ii |
| 6 | 136 | 15 | 180, | 7 | 136 | 18 | 180. |
| Autograph | 136 | 17 | page 180. | Complete | 136 | 17 | page 182, |
| Complete | 136 | 17 | Tintoret's, at page 182, vol.ii., are | Library | 252 | 10 | Tintoret's, in vol.ii. (sec.ii.ch.iii. §28 n. ), are |
| 6 | 137 | -4 | "effect" | 7 | 137 | -4 | ‘effect’ |
| Complete | 137 | -4 | 'effect' | Library | 253 | -4 | "effect" |