In 1799, when he was twenty-four, he was made an associate of the Royal Academy, and a full academician in 1802. Hamerton says: "His election is the more remarkable, that he had done nothing whatever to bring it about, except his fair hard work in his profession. He was absolutely incapable of social courtiership in any of its disguises. He gave no dinners, he paid no calls, he did nothing to make the academicians believe that he would be a credit to their order in any social sense. Even after his election, he would not go to thank his electors, in obedience to the established usage. 'If they had not been satisfied with my pictures,' he said to Stothard, 'they would not have elected me. Why, then, should I thank them? Why thank a man for performing a simple duty?' His views on the subject were clearly wrong, for the rules of good manners very frequently require us to thank people for performing simple duties, and the academicians were not under any obligation to elect the young painter so soon; but how completely Turner's conduct in this matter proves that he can only have been elected on his merits!... "His elevation to the full membership was of immense value to him in his career, and he knew this so well that he remained deeply attached to the Academy all his life. He was associate or member of it for a full half-century, and during fifty years was only three times absent from its exhibitions." This year, 1802, he removed to 64 Harley Street, taking his plain old father home to live with him. He took his first tour on the Continent, this year, making studies of Mont Blanc, the Swiss lakes and mountain passes. The exhibitions of 1803 to 1806 contained, among other pictures, "The Vintage at Macon," the celebrated "Calais Pier" in a gale; "The Source of the Arveiron," "Narcissus and Echo," "Edinburgh from Calton Hill;" his famous "Shipwreck," now in the National Gallery; and the magnificent "Goddess of Discord choosing the Apple of Contention in the Garden of Hesperides," also in the National Gallery. In 1807, Turner began, at the suggestion of his friend, Mr. W. F. Wells, the _Liber Studiorum_, issued in dark blue covers, each containing five plates, the whole series of one hundred plates to be divided into historical, landscape, pastoral, mountainous, marine, and architectural. The work was intended as a rival to Claude Lorraine's _Liber Veritatis_. After seventy plates had been published, the project came to an end in 1816, because of disagreement with engravers, and lack of patronage. The principal pictures were "Æsacus and Hesperia," "Jason," "Procris and Cephalus," the "Fifth and Tenth Plagues of Egypt," "Christ and the Woman of Samaria," "Rizpah," "Raglan Castle," the "River Wye," "Solway Moss," "Inverary," the "Yorkshire Coast," "Mer de Glace," the "Lake of Thun," "St. Gothard Pass," the "Alps from Grenoble," "Dunstanborough Castle," and others.