From 1804 to 1815 his energies were mainly directed to the production of his great sea-paintings, _The Shipwreck_, _Spithead_, etc., his lovely English landscapes like _Abingdon_, _Windsor_, _The Frosty Morning_, and _Crossing the Brook_, and to making the designs in sepia for his “Liber Studiorum” and helping to engrave the plates. His water-colours during these years were not numerous, but they include _Scarborough Town and Castle_ (1811), _The Strid_ (about 1811), _Bolton Abbey from the South_ (about 1812), all three at Farnley Hall, Mr. Morland Agnew’s _Scarborough_ (1810), _Scene on the River Tavey_ (1813)--called by Mr. Ruskin _Pigs in Sunshine_, now in the Ruskin School at Oxford, and the _Malham Cove_ (about 1815), now in the British Museum (Salting Bequest). In these drawings the capacities of water-colour are not forced so much into rivalry with the depth and power of oil painting as in those of the 1797-1804 period. About 1812 or 1813 Turner began making the drawings which were engraved and published in Cooke’s “Picturesque Views of the Southern Coast of England.” Between 1815 and 1840 nearly all his work in [Illustration: PLATE IV. (_In the possession of J. F. Schwann, Esq._) “LAUNCESTON.” BY J. M. W. TURNER, R.A.] water-colour was done to be engraved and published in similar undertakings. Turner’s fame as a water-colour painter rested during his lifetime chiefly on these drawings. Among them are many of the most beautiful works which have ever been produced in this medium. It is a pity, therefore, that they are not more adequately represented in our public galleries. This remark applies particularly to the drawings in transparent colour (like the _Launceston_, for instance, which is here reproduced, Plate IV), for those in body-colour--the “Rivers of France”--are nearly all either in the National Gallery, Ashmolean or Fitzwilliam Museums. But with the exception of _Hornby Castle_ (V. & A. Museum) and most of the originals of the “Rivers” and “Ports of England” series (in the National Gallery), nearly all Turner’s drawings made for the engravers are in private collections. We may perhaps allow ourselves to hope that some time in the future a separate gallery may be founded to do justice to British water-colours, in which such drawings would have to be properly represented. After about 1840 Turner only worked in water-colours for his own pleasure and for that of a small circle of friends and admirers. The drawings made for his own pleasure are now nearly all in the National Gallery, where they have never been properly exhibited and where most of them cannot be seen by the public. These formed part of the Turners which the Trustees wanted to sell about a year ago. The drawings made for his friends and admirers include the _Constance_, _Lucerne_, and others of what have been called “The Epilogue” drawings. The public is able to catch glimpses of these occasionally at loan exhibitions and in auction rooms. JOHN SELL COTMAN