‘High Force of Tees’ or ‘Fall of Melincourt’? 27 III. THE SUBLIME--1797-1802, 29 Change from pure outline to light and shade, 29 ‘Ewenny Priory,’ 30 Contrast between ‘Ewenny’ (1797) and ‘Llandaff Cathedral’ (1796), 30 Transition from Objectivity to Subjectivity, 31 Growth of taste for the Sublime, 31 There are no sublime objects, but only objects of sublime feeling, 32 Therefore no guidance but from Art, 32 The Wilson tradition, 33 The two currents in Turner’s work at this period-- (_a_) Study of Nature; (_b_) Study of the Wilson tradition, 33 In the 1797 sketches these two currents are kept distinct, 34 The North of England tour (1797) and its record, 34 ‘Studies for Pictures: Copies of Wilson,’ 36 The two currents begin to coalesce, 37 The origin of ‘Jason,’ 38 Scotch tour (1801), 38 Swiss tour (1802), 39 IV. THE SEA PAINTER--1802-1809, 41 Contrast between Marine painting and the Sublime, 41 Turner’s first sea-pieces, 42 The ‘Bridgewater Sea-piece,’ 42 ‘Meeting of the Thames and Medway,’ 46 ‘Our landing at Calais--nearly swampt,’ 48 ‘Fishermen upon a Lee Shore,’ 48 The Dunbar and Guisborough Shore sketch-book, 48 ‘The Shipwreck,’ 49 The mouth of the Thames, 51 ‘Sheerness’ and the ‘Death of Nelson,’ 53 V. ‘SIMPLE NATURE’--1808-1813, 55 The works of this period an important yet generally neglected aspect of Turner’s art, 55 Turner’s classification of ‘Pastoral’ as distinguished from ‘Elegant Pastoral,’ 56 The Arcadian idyll of the mid-eighteenth century, 57 The first ‘Pastoral’ subjects in ‘Liber,’ 57 The ‘Windmill and Lock,’ 57 Events connected with the development of Turner’s deeper and more solemn conception of the poetry of rural life, 58