Possibly it is too soon as yet to predict what will be Turner’s ultimate place in art. Like every really great artist (I use the word in its widest sense) he will be judged, not by his defects or his mistakes--even if they be many and palpable--but by the _heights_ to which he attained, and the mark which he has left for others to follow. For myself, I believe that if his water-colours are allowed to remain unfaded for future generations, they, along with his best oil pictures, will be counted worthy to entitle him to a place amongst the greatest painters of all centuries and all schools. W. G. RAWLINSON. [In common with the Editor of _The Studio_, I desire to acknowledge my deep obligations to the various owners of valuable drawings by Turner, who have kindly allowed them to be reproduced here. There were, however, others which I should like to have seen represented, but as these were not available, the Editor desired to replace them with examples from my own collection. This must explain what will otherwise seem the undue proportion of the latter.--W. G. R.] THE TURNER DRAWINGS IN THE NATIONAL GALLERY, LONDON. BY A. J. FINBERG. The usual way of painting a landscape nowadays is for the artist to take his easel and canvas out into the fields, and to work as far as possible with the scene he is representing before his eyes. The scene, with the artist’s chosen effect, is of course constantly changing, so the artist can work only for a short time each day. The effect itself will probably last for a period varying from a couple of minutes to about half an hour, according to circumstances; but the painter may be usefully employed in getting his work into condition for about an hour before the effect is due, and he may work on for perhaps another hour while the effect is still fresh in his memory. As one sitting of this kind will not enable the artist to carry his work far, it is necessary that he should return day after day to the scene; and if he is determined to paint it entirely on the spot, he must be prepared to devote some months at least to the work. The habit of painting and finishing pictures entirely out of doors was, I believe, introduced by the Pre-Raphaelites during the fifties, but before this, Constable and other artists had worked largely from rather elaborate colour studies made out of doors. Turner did not work at all in this way. All his pictures were painted in the studio, and generally from very slight pencil sketches. So far as I know he never made even a slight colour study from nature for any of his pictures. As the methods of work employed by the great artists are of very great interest, I think it will be worth while to take one of his wellknown works and to trace its evolution somewhat in detail. The beautiful drawing of _Norham Castle_, reproduced here (Plate XIV.), will do very well for this purpose.