We notice the same freedom in dealing with the ‘Boscastle’ sketch. The general character only of the rocks on the right is there indicated, but in the engraving the whole mass is recreated from the stores of the artist’s knowledge. In the sketch, too, there is no authority for the solid masonry on the rock to the left, immediately below the gang of men assisting the vessel into harbour. Note also the alteration in the profile of this rock, which slopes less abruptly in the sketch than in the engraving. It is true that these two plates can hardly be ranked as among the finest of the _Southern Coast_ subjects; the ‘Watchet’ is, I think, rather a poor design, and though the ‘Boscastle’ is finer, it can hardly be classed with such consummate achievements as the ‘Plymouth Dock, from Mount Edgecumbe,’ ‘Poole,’ or ‘The Land’s End.’ In these designs the subjective synthesis has a more distinctly emotional setting, but there can be no doubt that the processes of imaginative construction are on exactly the same lines as those we have just indicated. In every case the active motive force is something within the artist’s own soul; it is not given from without. The next important publication with which Turner was connected after the commencement of the _Southern Coast_, was Whitaker’s _History of Richmondshire_, to which he furnished a series of twenty illustrations. This set of drawings, often spoken of as ‘the Yorkshire series,’ has always been regarded with peculiar affection by all lovers of Turner’s water-colour work. The originals are nearly all in private collections (where I hope they will be carefully guarded from the light, as the blues in them are of a fugitive nature), but there are two permanently accessible to the public in the Fitzwilliam Museum, Cambridge--thanks to Mr. Ruskin’s generosity--and a third is in London, in the Victoria and Albert Museum. The Cambridge drawings, the ‘Richmond, Yorks,’ and the ‘Mossdale Fall,’ are already somewhat faded, especially the latter one, but the London drawing, of ‘Hornby Castle,’ thanks to Mr. Vaughan’s wise [Illustration: _PLATE LVII_ HORNBY CASTLE, FROM TATHAM CHURCH PENCIL. ABOUT 1816] [Illustration: _PLATE LVIII_ HORNBY CASTLE, FROM TATHAM CHURCH ENGRAVING PUBLISHED IN WHITAKER’S “RICHMONDSHIRE,” JUNE, 1822] stipulation that it shall always be protected by a curtain when not being looked at, is still in fairly good condition. The engravings from the whole series were published between the years 1819 and 1823, but the sketches on which the drawings were based were all made during a tour in the summer of 1816.