” XIX. Venice: The Salute from S. Giorgio Maggiore. National Gallery, London. ” XX. Venice: Casa Grimani and the Rialto. In the National Gallery, London. ” XXI. Lucerne. In the National Gallery, London. ” XXII. A Swiss Lake. From the Collection of Sir Hickman Bacon, Bart. ” XXIII. Bellinzona: from the South. In the National Gallery, London. ” XXIV. Bellinzona: from the road to Locarno. In the National Gallery, London. ” XXV. Lausanne: from Le Signal. From the Collection of W.G. Rawlinson, Esq. ” XXVI. Lausanne. In the National Gallery, London. ” XXVII. Zurich. In the National Gallery, London. ” XXVIII. The Seelisberg: Moonlight. From the Collection of W.G. Rawlinson, Esq. ” XXIX. Schaffhausen: The Town. From the Collection of Ralph Brocklebank, Esq. ” XXX. Tell’s Chapel, Fluelen. From the Collection of W.G. Rawlinson, Esq. A FOREWORD BY SIR CHARLES HOLROYD, R.E. I am particularly glad to write a foreword to this collection of reproductions of water-colours by J. M. W. Turner, as they are perhaps the best renderings of the beautiful originals that I have yet seen. The more reproductions we can have of the master’s drawings the more will it be possible to study properly his great message, and the more will his genius be recognised. I would like to see everyone of his nineteen thousand water-colour sketches and lead-pencil drawings reproduced, so that we could all hold them in our hands and carry them about with us; for in them there is an unfailing beauty of composition, and a glorious truth of effect and of detail, by which Turner managed to make complete pictures out of even the fewest touches. No one realises Turner’s full genius till he studies these drawings, often made in the very presence of nature. They teach us to look at her with a new and seeing eye. Their absolute truth has hardly yet been fully recognised. I have had the fortune to carry reproductions of these drawings with me in Wharfedale and in Venice, and I have compared them touch for touch with nature. Often and often have I been able to see the meaning of what appears a careless scratch or even an accidental wriggle, only when the actual scene was before me. They are mostly drawn from one exact spot, as may be seen by the crossing of the branches of the trees, although these are now so many years older, and the folding of the hills. It was in the seventies that I first made these comparisons in Wharfedale and I still remember my delight at recognising the gnarled markings on three ash trees a little below Bolton Abbey; the angle of their growth forming a rough letter N was identical although they were mere saplings in Turner’s drawing, and even the broken bank of the river was still the same, all the winter floods of variable Wharfe not having washed away