From 1809 to 1820, Turner’s powers were rapidly developing, and he was producing many important oil pictures, some of which--_The Frosty Morning_, _Crossing the Brook_, _Somer Hill_, _Walton Bridges_ and _Raby Castle_--were, perhaps, among the finest of his whole life. He was also busy with drawings for engraving--chiefly for book illustrations, and probably for this reason he seems to have executed comparatively few water-colours for commissions or for sale. One, however, the magnificent _Chryses_ (Mrs. T. Ashton), which he sent to the Royal Academy in 1811, calls for notice. It is a large, impressive work, closely resembling in design the _Glaucus and Scylla_ of the _Liber Studiorum_, but on a broader and nobler scale; the colour-scheme intermediate between that of his early and his middle time. What is so remarkable is its extraordinary _Greek_ feeling. Colour apart, it at once recalls the scenery and the sentiment of the Greek Islands, although Turner never in his life saw them. Many will remember the effect which the drawing produced in the Winter Exhibition of 1887 at Burlington House. Mr. Morland Agnew’s beautiful _Scarborough_, reproduced here (Plate VIII.), also belongs to this period. One of Turner’s earliest series of book illustrations was his “Southern Coast of England,” which he began about 1812 and continued to 1826. He agreed with W. B. Cooke, a fine line-engraver and an enterprising publisher, to supply forty drawings of views along the coast, from the Nore on the east to the Bristol Channel on the west; many other leading water-colour artists of the day--De Wint, Clennell, Prout, and others--being also contributors. Turner was to receive seven and a half guineas apiece for the drawings, which were of small size; but although this price was soon raised to ten, and later to twelve guineas, he became dissatisfied, and broke with Cooke, who, however, judging from the correspondence, appears to have treated him fairly. He had, moreover, given him many other commissions for drawings and had held exhibitions of these, and the engravings from them, at his rooms in Soho Square. The Southern Coast drawings are elaborate, highly finished, and in a rather warmer tone of colour than hitherto. Many are extremely beautiful, but in some there is visible that crowding of lights and foreground figures, which from this time onwards is not unfrequent in Turner’s work. The majority of the drawings are now, alas, so faded as to give but little idea of their pristine beauty. What they all were like originally, may still be seen in the beautiful _Clovelly Bay_ in the National Gallery of Ireland (Vaughan Bequest), and in the _Lulworth Cove_ reproduced here (Plate IX.).