He paints, first of heroic or meditative subjects, the Fifth Plague of Egypt; next, the Tenth Plague of Egypt. His first tribute to the memory of Nelson is the "Battle of the Nile," 1799. I presume an unimportant picture, as his power was not then availably developed. His first classical subject is Narcissus and Echo, in 1805:-- "So melts the youth and languishes away, His beauty withers, and his limbs decay." The year following he summons his whole strength, and paints what we might suppose would be a happier subject, the Garden of the Hesperides. This being the most important picture of the first period, I will analyze it completely. § 4. The fable of the Hesperides had, it seems to me, in the Greek mind two distinct meanings; the first referring to natural phenomena, and the second to moral. The natural meaning of it I believe to have been this:-- The Garden of the Hesperides was supposed to exist in the westernmost part of the Cyrenaica; it was generally the expression for the beauty and luxuriant vegetation of the coast of Africa in that district. The centre of the Cyrenaica "is occupied by a moderately elevated table-land, whose edge runs parallel to the coast, to which it sinks down in a succession of terraces, clothed with verdure, intersected by mountain streams running through ravines filled with the richest vegetation; well watered by frequent rains, exposed to the cool sea breeze from the north, and sheltered by the mass of the mountain from the sands and hot winds of the Sahara."[4] The Greek colony of Cyrene itself was founded ten miles from the sea-shore, "in a spot backed by the mountains on the south, and thus sheltered from the fiery blasts of the desert; while at the height of about 1800 feet an inexhaustible spring bursts forth amidst luxuriant vegetation, and pours its waters down to the Mediterranean through a most beautiful ravine." The nymphs of the west, or Hesperides, are therefore, I believe, as natural types, the representatives of the soft western winds and sunshine, which were in this district most favorable to vegetation. In this sense they are called daughters of Atlas and Hesperis, the western winds being cooled by the snow of Atlas. The dragon, on the contrary, is the representative of the Sahara wind, or Simoom, which blew over the garden from among the hills on the south, and forbade all advance of cultivation beyond their ridge. Whether this was the physical meaning of the tradition in the Greek mind or not, there can be no doubt of its being Turner's first interpretation of it. A glance at the picture may determine this: a clear fountain being made the principal object in the foreground,--a bright and strong torrent in the distance,--while the dragon, wrapped in flame and whirlwind, watches from the top of the cliff.