We have fixed our attention thus far upon the sketches and drawings made from nature in the National Gallery collection, to the exclusion of the finished water-colours. This may seem all the more inexcusable, as I have preferred to treat these sketches rather with regard to their bearing upon the artist’s finished work--as stages in the development of the complete work of art--than as independent productions which can be accepted entirely for their own sake. But in a short paper like the present it is impossible to do justice to all the sides of such an important collection as the Drawings of the Turner Bequest. Numerically, the finished drawings form only a small fraction of the whole collection--about two hundred out of a total of over 20,000 drawings. Among them are about two-thirds of the “Rivers of France” drawings, and most of the “Ports” and “Rivers of England,” and Rogers’s “Vignettes.” These drawings were engraved during Turner’s lifetime and under his active superintendence; they are, therefore, amongst the best known of his works. The whole of the finished drawings have, moreover, been constantly on exhibition for more than fifty years. There remains, therefore, little either of praise or blame to be said of them that has not already been said many times. While, on the other hand, the studies and sketches are only now on the point of being made accessible to the public. The practically complete series of Turner’s sketches and studies from nature seems to call for comprehensive treatment. Their careful study throws a wholly new and unexpected light upon the fundamental and essential qualities of Turner’s attitude towards nature, and therefore upon the essential character and limitations of his art. Or where the light is not altogether unexpected--as it would not be perhaps in the case of a diligent and methodical student of Turner’s completed works--the sketches amplify and illustrate in an abundant and forcible way what before could only have been surmised. I propose, therefore, to devote the remainder of my limited space to an attempt to indicate as briefly as possible the main features of Turner’s conception of nature, as it is revealed in his sketches, and to point out its importance both for the proper understanding of his finished work and for its bearing upon some adverse criticisms that have been brought against his work.