Perhaps the one point especially to be noticed in all his examinations of buildings is the extreme care for accuracy which distinguishes them; measurements are always given, plans generally accompany the descriptions in his journals; he would take any trouble to obtain measurements and details, even if it risked his neck, or threw him into the hands of the police.[5] What was vague seemed to him worthless, and difficulties rather excited than daunted him.[6] In this way the first nine months of his travels passed over--a good preparation, but only a preparation, for professional study. It became a question whether he should return home, or visit Greece in the congenial company of Mr. (afterwards Sir C.) Eastlake, already distinguished as an artist; Mr. Kinnaird, an architect, afterwards editor of the last volume of Stuart’s ‘Athens;’ and Mr. Johnson, afterwards a Professor at Haileybury College. Home ties and considerations of economy drew him back; he consulted his friends at home, and especially his future father-in-law, Mr. Rowsell, and by his sensible advice he determined to disregard difficulties, and give full scope to his tastes and powers. It was a wise resolution; he had left England inexperienced and unknown; he was now recognised as an artist of talent and promise, and was to travel with men of acknowledged ability, generally his superiors in education and knowledge both of books and men. His journals show clearly the effect of his past experience in greater maturity of judgment, greater taste for antiquity, and general growth of mind. Athens and Constantinople were their two main objects. The season was rather advanced, so they hurried on, paying but a hasty visit to Naples[7] and Pompeii, then across Calabria to Bari, while he made the most of his time by sketching incessantly under a great umbrella, and managing to give careful descriptions and rough plans of all that he visited. Thence they crossed to Corfu;[8] and there first the richness and picturesque beauty of the island seem to have captivated him, and stirred up anew the artistic power within. His pencil was never out of his hand, but it was employed almost entirely on the beauties of nature, and his delight in the scenery itself evidently increased with his power of representing it.