only way of using our great legacy fully. The original drawings are perishable things, and must not always be in the light; many have faded already, let us reproduce them while we may. The slighter sketches reproduce best, as may be seen in this book. Such drawings as the _Edinburgh from St. Margaret’s Loch_, about 1801 (Plate VI.), for example. Note, too, the splendid sketch of _Barnard Castle_, about 1827 (Plate XVI.); how well it comes, we can almost see the brush-marks draw the forms of the foliage, and the way Turner has used the water; they are perfect in their way. When Turner worked up a drawing it became like a lovely flower with a delicate bloom upon its infinite distances, as in the _Lake of Nemi_, about 1818 (Plate XI.), and the _Crook of the Lune_ (Plate XIII.); they are like a gloxinia or an auricula. This curious beauty of theirs was often obtained, as it appears to me, by alterations in the surface of the paper and by colour left in the grain of the paper after washing out or rubbing down a tone--it alters when the lighting of the drawing is altered, and its changeableness is part of its beauty. I should like to see reproductions of the sketch books, made page by page and bound in similar bindings to the originals, where these exist. Mr. Finberg has lately put some of these books together again--some drawings having been removed from the books for exhibition--for purposes of the very useful inventory of our Turner drawings that he is so carefully making for the Trustees of the National Gallery. The books are much more interesting when seen together. I remember one which Turner had with him in the Lake District and you could trace his itinerary by turning over the pages. He evidently left Keswick in the morning and drew two or three views of Lodore and the end of the Lake of Derwentwater, the hills getting bigger as he comes nearer to them; familiar views of Castle Cragg and the river come next, and to me some most interesting views of that wide-spreading mountain Glaramara, some of them from unfamiliar points of view; but I was able to recognise them because I have stayed for a month at a time in farmhouses on the lower slopes, and I have explored that beautiful mountain’s inmost caves. After this Honister Crag and Buttermere appear in due course. How interesting it would be to have reproductions of such books and follow the track of the master page by page. How we should learn to know him and to see familiar scenes with his eye. We should find that exaggeration was not the character of his landscape drawing, when he was working from nature, but insight into the forms. His effects of extra height can generally be got by sitting low on the ground or even right in a ditch. From his drawings, from those in this book of reproductions, we learn again a forgotten truth. Fine drawing, form, is the essential in our art; great and noble colourist as Turner was, we have had other