Up to about 1830, Turner’s finished drawings were mainly in transparent water-colour, but from a quite early period he employed body-colour in his sketches, especially whenever speed was necessary. “Body-colour,” it need hardly be said, is ordinary paint mixed with Chinese white or some other opaque white substance in place of water, and is frequently used on a grey or neutral coloured paper, by which means the work is much more rapid. He had recourse to that method on one memorable occasion. In 1817 he went for a three weeks’ tour in the Rhine district, and during that time produced no less than fifty drawings of fair size, _i.e._, at the rate of about three a day. He first stained the paper a uniform bluish-grey, which, although itself sombre in tone, effectively shows up the body-colour work, and must have effected an immense economy of time as compared with ordinary transparent colour. When he returned to England he took the drawings in a roll straight to Farnley Hall, and Mr. Fawkes, to his delight, bought them at once for £500. For a long time they remained in a portfolio unbroken, one of the treasures of the house, but a few years ago some were dispersed at Christie’s. One of these, _Goarhausen and Katz Castle_, is reproduced here (Plate X.). In 1818 Turner went North to make drawings for “The Provincial Antiquities of Scotland,” an important illustrated work in which Sir Walter Scott, then in the height of his Waverley fame, was keenly interested, and for which he was gratuitously writing the letterpress. Sir Walter wished the illustrations to be given to a fellow Scotsman, the Rev. John Thomson, of Duddingston, an able landscape painter, but the publishers insisted that Turner’s was the name in vogue with the public, and the work was accordingly divided. The drawings, which are all highly finished and of fine quality, are entirely of Lowland scenery, including _Bothwell_, _Crichton_, and _Roslyn_ castles, three or four Edinburgh subjects--one, _Edinburgh from the Calton Hill_, very striking--and the seaside fortresses of _Tantallon_ and _Dunbar_. They were afterwards presented by the publishers to Sir Walter in recognition of his services in ensuring the success of the book, and they remained at Abbotsford until quite recent years. In 1819 Turner paid his first visit to Rome, and remained there some time, going a good deal into English society at the Embassy and elsewhere. He painted a few oil pictures, but not many water-colours; among the most interesting is a fine series of studies in the Campagna, most of which are in the National Gallery. (The “Hakewill” drawings of Rome were probably all finished before he left England.)