Many, however, of the small drawings of this time are superb, including several of those on grey paper. In the “Rivers of France” series, _Jumièges_, _Caudebec_, _Saint Denis_, _Rouen from St. Catherine’s Hill_, and _The Light Towers of the Hêve_ (all in the National Gallery), are masterpieces, as are also many of the illustrations to “Scott’s Poetical and Prose Works.” In Turner’s later years he frequently did not sell his drawings for engravings, but lent them to the publishers, charging usually five to seven guineas apiece. He kept many in his possession up to his death, as he did nearly the whole of his sketches. One day he brought the sixty drawings for the “Rivers of France” to Ruskin, rolled in dirty brown paper, offering them to him for twenty-five guineas apiece. To Ruskin’s grief he could not induce his father to spend the money. In later years he tells us he had to pay £1,000 for the seventeen which he gave to Oxford! A long succession of books were illustrated by Turner between 1830 and 1836, containing in all nearly three hundred and fifty plates, mostly of small size. When it is remembered that he also closely supervised the smallest details in the engraving of each one, and that at the same time he was engaged on a number of oil pictures of the highest importance many of which were finished and exhibited, and others left in various stages of completion (including most of those recently added to the Tate Gallery), it may be doubted if such a volume of work was ever before produced in six years by any painter. With 1838, however, his work for the engravers practically came to an end. He was now a rich man and able to refuse tempting offers for the pictures which he had determined to leave to the nation; as for example his _Old Téméraire_, which a wealthy Midland manufacturer is said to have offered to cover with sovereigns. From 1838 to 1845, when his health began to fail, he spent an increasing time each year on the Continent, and it was during this period that his water-colour art passed into what many regard as its highest, as it was its latest phase. I refer especially to the magnificent _Sketches_ of this time, the large majority of which are in the National Gallery. He revisited Venice, which had cast her enchantment on him in earlier years, and he returned again and again to the Lake of Lucerne, which, after Yorkshire, was probably, up to the last, of all places in the world the dearest to his heart. It would be difficult to say how many times he drew the town, the lake, the mountains, and especially the Righi. There are the _Red Righi_, the _Blue Righi_, the _Dark Righi_, the _Pale Righi_, and a hundred other versions--each different, each a ‘vision of delight.’ He made drawings also in many neighbouring parts of Switzerland, Piedmont, and Savoy.