WORKS IN PUBLIC GALLERIES: National Gallery; V. and A. Museum; British Museum; National Galleries of Ireland and Scotland; Ashmolean and Fitzwilliam Museums; Manchester Whitworth Institute; Bury Art Gallery, etc. etc. BIOGRAPHICAL AND CRITICAL SOURCES: Peter Cunningham’s Memoir, in John Burnet’s “Turner and his Works,” 1852; Alaric Watts’s Memoir, in “Liber Fluviorum,” 1853; Ruskin’s “Modern Painters” and “Preterita”; Thornbury’s “Life, etc.,” 2 vols., 1862; Hamerton’s “Life,” 1879; Monkhouse’s “Turner” (in “Great Artists Series”), 1882; C. F. Bell’s “Exhibited Works of Turner,” 1901; Sir Walter Armstrong’s “Turner,” 1902; Finberg’s “Turner’s Sketches and Drawings,” 1910; etc. etc. REPRODUCTIONS: Armstrong’s “Turner”; Wedmore’s “Turner and Ruskin”; “The Genius of Turner” (THE STUDIO Special Number, 1903); “Hidden Treasures at the National Gallery,” 1905; “The Water-Colours of J. M. W. Turner” (THE STUDIO Spring Number, 1909); “Turner’s Water-Colours at Farnley Hall” (THE STUDIO Special Number, 1912); Walpole Society’s Vols. I., III., and VI.] Turner’s first exhibited water-colour, a _View of the Archbishop’s Palace, Lambeth_ (1790), is a poor imitation of Malton’s least inspired topographical drawings. But he learned quickly. His _Inside of Tintern Abbey_, (1794) shows that before he was twenty he could draw and paint Gothic architecture better than any of the older topographical artists. His pre-eminence as a topographical draughtsman was firmly established by 1797, when he had painted such works as the _Lincoln Cathedral_ (1795), _Llandaff Cathedral_ (1796), _Westminster Abbey: St. Erasmus and Bishop Islip’s Chapel_ (1796), and _Wolverhampton_ (1796). From 1796 to 1804 Turner’s style changed, chiefly under the influence of Richard Wilson’s works, which he studied and copied diligently. These years saw the production of _Norham Castle_ (1798), _Warkworth Castle_ (1799), _Edinburgh, from Calton Hill_ (1804), _The Great Fall of the Reichenbach_ (done in 1804, but not exhibited till 1815), and the wonderful sketches in the Alps, _Blair’s Hut_, _St. Gothard_, etc. (1802). In these energetic and powerful drawings he aims at getting depth and richness of tone and colour.