About the same time, Turner made a fine series of drawings, all on a large scale, of the beautiful country which lies inland among the hills, between Hastings and Tunbridge Wells. These were commissions from a well-known and eccentric M.P., “Jack Fuller,” whose country-seat “Rose Hall” (now known as “Brightling Park”) lies in the heart of that neighbourhood. Four were effectively engraved as coloured aquatints, but were never published; the rest were reproduced as Line Engravings in the “Views of Hastings and its Vicinity” (afterwards called “Views in Sussex”), published a few years later. The series remained for a long time unbroken, but it was dispersed at Christie’s last year (1908). All the “Sussex” drawings were of the highest quality, sober in colour and treatment, as befitted the character of the scenery, but the majority have been badly faded by long years of exposure to sunlight. Somewhat similar in character to the “Southern Coast” drawings, but a little later and even more highly finished, is a series which Turner made in 1818-1819 from _camera obscura_ sketches by Hakewill, an architect, to illustrate the latter’s “Picturesque Tour in Italy,” published in 1820. Ruskin, who possessed many of these, ranked them very highly and frequently alludes to them in “Modern Painters” and elsewhere. In the “Notes on his Drawings by J. M. W. Turner, R.A., 1878,” his last important work on art, he describes them (p. 22) as “a series which expresses the mind of Turner in its consummate power, but not yet in its widest range. Ordering to himself still the same limits in method and aim, he reaches under these conditions the summit of excellence, and of all these drawings there is but one criticism possible--they ‘cannot be better done’.” By the kindness of Mr. Morland Agnew, two of the “Hakewill” series, _The Lake of Nemi_ (Plate XI.) and _Turin from the Superga_ (Plate XII.), are reproduced here.