About this time, and also in connection with a commission for engraving, he was first attracted to that Yorkshire scenery which was afterwards to have such an important influence on his career. Dr. Whitaker, the Vicar of Whalley, on the borders of Lancashire and Yorkshire, a wealthy and learned antiquary, required some illustrations for his forthcoming “History of the Parish of Whalley,” and Turner was recommended to him, it is said by a Harrogate bookseller, as a young artist of fast-rising reputation. It was during this visit that he made the acquaintance of Mr. Walter Fawkes, the squire of Farnley, near Leeds, at whose hospitable mansion, Farnley Hall, he was shortly to become a frequent and an honoured guest. * * * * * It is time that reference should be made to the _sketches_, which form such an important part of the volume of Turner’s work in water-colour. From the outset of his career, on every journey, he made copious studies--at first mainly in pencil, but sometimes in water-colour and occasionally in crayon or oil--of every paintable spot he visited, keeping usually a separate pocket-book for each tour. The sketches were sometimes rapid, sometimes elaborate. Especially he made notes in colour of skies, clouds, water, and any striking atmospheric effects which he might chance to see. These although often slight, and usually swiftly executed, were nevertheless singularly accurate. In a pocket-book of 1798 I find twenty-five such, with a list describing each:--_Twilight_, _Clear_, _Rain Coming_, _Sunny_, _Crimsoned_, _Showery_, _Gathering after Fog_, and so on. These sketches and studies he continued to make and to store throughout his life, even up to his last journey on the Continent in 1845. By the decision of the Court of Chancery, at the end of a long litigation over his will, they were awarded--nineteen thousand in all--to be the property of the nation, and after many years delay they are now being admirably arranged and catalogued at the National Gallery by Mr. Finberg, who writes on them here. It is needless to say that to the student of Turner’s life work they are of the utmost interest and importance, and often--especially the later ones--of surpassing beauty. The examples which have recently (1908) been placed on view in the National Gallery are mostly of Turner’s earlier periods, but one or two belong to quite the close of his life; some are drawings nearly finished but discarded.