But if the lightening of the colour scheme was simply an inheritance from the Romantic phase of art, what are we to regard as the special contribution of the later manner? A comparison of a few of Turner’s later works with the ‘Ulysses’ will show us at once. The earliest example of Turner’s later and so-called Impressionistic manner with which I am familiar is the ‘Calais Sands, low water--Poissards collecting bait,’ which was exhibited in 1830, and is now in the Bury Art Gallery. Its colour [Illustration: _PLATE LXXI_ BEMERSIDE TOWER PENCIL. ABOUT 1831] [Illustration: _PLATE LXXII_ BEMERSIDE TOWER ENGRAVING PUBLISHED IN SCOTT’S “POETICAL WORKS” (CADELL), 1834] scheme is actually more subdued than the ‘Ulysses,’ but the whole effect is more vaporous and the figures are less distinct. So far as I am able to judge, this is the chief _differentia_ of Turner’s later manner, and of all Impressionistic work on its formal side. As a second characteristic we may add the fact that it deals with a scene of contemporary life, something that Turner had actually seen with his eyes, not something that he had read about and imagined, as in the ‘Ulysses.’ If we examine ‘The Evening Star’ and ‘At Petworth’ (both at the Tate Gallery), the ‘Snowstorm’ of 1842, the late Venetian pictures, and the ‘Rain, Storm, Speed’ of 1844, we find these works are all similarly distinguished by their general vagueness of definition and by the fact that they all represent scenes which had come within the range of the artist’s own experience. Yet it is evident that these two characteristics are not of equal importance. The vagueness of definition was a general characteristic of all Turner’s later work, but a considerable number of these works were purely imaginary compositions, as for example the ‘Agrippina landing with the Ashes of Germanicus’ (1839), ‘The Exile and the rock limpet’ (1842), ‘The Evening of the Deluge’ (1843), ‘Queen Mab’s Cave’ (1846), and the various ‘Whaler’ pictures (1845 and 1846). There is obviously, then, no necessary connection between Turner’s vagueness of execution (his distinctively Impressionist manner) and his choice of subject of which he had been actually an eye-witness.