Engraved by Goodall after Turner. ( England and Wales. Rawlinson 214. Wilton 790.)
Ruskin 's references to this work can be confusing, for he refers to it in Modern Painters I as 'Upper Fall of Tees', whereas it is in fact the lower of the two falls on the Tees - the other being depicted in Chain Bridge over the River Tees ( Works, 3.424n). He refers to the work again in PreRaphaelitism (1851) as an example of Turner 's depiction of 'violent action' ( Works, 12.376). In Modern Painters IV (1856) he refers to it to illustrate his contention that 'of all foregrounds, one of loose stones is beyond all comparison the most difficult to draw with any approach to realisation' ( Works, 6.374). In The Elements of Drawing (1857), Ruskin recommends careful study of the engraving which he describes as 'peculiarly desirable' ( Works, 15.75). Goodall 's engraving of the plate is praised in Ariadne Florentina (1875) ( Works, 22.385), and in the catalogue to the 1878 exhibition of Turner's works in his own collection Ruskin considers it to mark the reference standard of waterfall drawing ( Works, 13.425).