An attempt to define the mood of pictures like the ‘Frosty Morning,’ 64 The work of art is nothing less than its full significance, 67 Distinction between mood and character, 68 VI. THE ‘LIBER STUDIORUM,’ 72 Object of this chapter, 72 The first ‘Liber’ drawings were made at W. F. Wells’s cottage at Knockholt, Kent, 73 ‘Bridge and Cows,’ 73 Development of the so-called ‘Flint Castle,’ 75 ‘Basle,’ 78 ‘Little Devil’s Bridge, 80 ‘London from Greenwich,’ 80 ‘Kirkstall Crypt,’ 81 Etchings of the so-called ‘Raglan Castle’ and ‘Source of the Arveron,’ 82 Suggestion for the better exhibition of the ‘Liber Studiorum’ drawings, 83 VII. THE SPLENDOUR OF SUCCESS, OR ‘WHAT YOU WILL’--1813-1830, 84 Survey of the ground we have covered, 84 The training of Turner’s sympathies by the Poets, 85 The limits of artistic beauty, 86 The predominantly sensuous bent of Turner’s genius, 86 The parting of the ways, 87 The influence of the Academy and society, 88 Turner’s first visit to Italy, 89 The Naturalistic fallacy, 95 Turner’s work for the engraver, 97 VIII. MENTAL AND PHYSICAL DECAY, AND THE ORIGIN OF IMPRESSIONISM--1830-1845, 116 Mental Characteristics of the 1815-1830 period, 116 Their influence on form and colour, 117 Colour enrichment a general characteristic of Romantic art, 118 What further development is required to give the transition to Impressionism? 118 Turner’s first Impressionistic work, 119 Vagueness as a means of expression, 119 Two ways of painting one’s impressions. Turner’s earlier way contrasted with the modern Impressionistic way, 119 The change after 1830 is it a change in terms of sight or of thought--visual or mental? 120