The campaign opens with two drawings of, I think, _Wingfield Manor_, then comes a church with a tall spire on a hill which I cannot identify; then we have one drawing of _Rotherham Bridge_ with the chapel on it, then one of _Conisborough Castle_, single views of the exterior and interior of _Doncaster Church_, three different views of the ruins of _Pontefract Church_, and then two neat drawings of the _Chantry on the Bridge at Wakefield_. It is not till he gets to Kirkstall Abbey that the artist seems to pause in his breathless rush to the North. There are no less than nine drawings of this subject, all made from different points of view; one of these leaves containing the sketch of the Crypt--from which Sir John Soane’s impressive water-colour was made--contains just a fragment of colour, and has been for many years among the drawings exhibited on the ground floor of the National Gallery. In this way we can follow Turner to Knaresborough, Ripon, Fountains and Easby Abbeys, Richmond, Barnard Castle, Egglestone Abbey and Durham, and then along the coast to Warkworth, Alnwick, Dunstanborough, Bamborough and Holy Island. Judging from the drawings, I think it probable that Turner spent the best part of a day at Holy Island, but he got to Berwick in time to draw a general view of the town and bridge, and to make a slight sketch with his limited gamut of colours--black, blue, and yellow only--of the evening effect. The next morning he was up in time to see the sun rise from behind the towers of Norham Castle, and to trace a slight and hurried pencil outline of the main features of the scene. There is only this one sketch of the subject, and it does not contain the slightest suggestion of light and shade or of effect. But there were Kelso and Melrose and Dryburgh and Jedburgh Abbeys close by waiting to be drawn, and Turner evidently felt he must hurry on. Having drawn these ruins in his neat and precise way he turned south and struck into Cumberland. In the larger sketch book a drawing inscribed _Keswick_ follows immediately after one of the views of _Melrose Abbey_. Then comes _Cockermouth Castle_, _the Borrowdale_, _Buttermere_, _St. John’s Vale_, _Grasmere_, _Rydal_, _Langdale_, and _Ulleswater with Helvellyn in the distance_. Then follow in rapid succession _Ambleside Mill_, _Windermere_, _Coniston_, _Furness Abbey_, _Lancaster_, and after a single drawing of _Bolton Abbey_ we find ourselves in York, where the Cathedral and the ruins of St. Mary’s Abbey and Bootham Bar must have detained the artist for perhaps two or three days. The tour, however, is not yet at an end, for the Hon. Mr. Lascelles (who became Earl of Harewood in 1820) wants some drawings of Harewood House and of the ruins of Harewood Castle, and Mr. Hewlett wants some subjects to engrave in his forthcoming “Views in the County of Lincoln.” It is, therefore, through Howden, Louth, Boston, Sleaford, and Peterborough that Turner makes his way back to London. He