A small green-covered pocket-book, which still bears Turner’s label, ‘Studies for Pictures: Copies of Wilson,’ gives us a glimpse of the processes by which the sights of nature were converted into works of art. Here we see the subjective impulses of the artist struggling into expression; the artist’s love of gorgeous colour and dramatic effect nourishing itself and forging a material form for its own support. Among the designs in this interesting little book are several marine and coast subjects, a shipwreck, an interior of a forge with men busy casting an anchor, some river scenes, a rainbow standing over a dark city, several church interiors, and some studies of turbulent skies. It is difficult to distinguish Turner’s studies for his own pictures from his copies of Wilson, but one of the drawings is probably a copy of Wilson’s ‘Morning,’ and another, of his ‘Bridge of Augustus at Rimini.’ I have not been able to see either of these original pictures, so as to compare them with Turner’s copy, but a comparison of the copy with the engraving by Joseph Farington, published by Boydell, shows some important discrepancies in the arrangement of the light and shade. The character of these discrepancies leads one to suppose that they were not made intentionally by Turner, but were the result of his attempt to reproduce the general effect of the picture from memory. He may have made a slight pencil sketch of the picture in some gallery, and washed in the general effect afterwards from memory. This is, of course, only a supposition, but it is somewhat strengthened by examination of a larger and more elaborate copy of Wilson’s ‘Landscape with Figures,’ a picture now in the National Gallery (No. 1290). That Turner’s water-colour is intended to be a copy is proved by the endorsement on its back--‘Study from Wilson,’ [Illustration: _PLATE XIII_ STUDY OF FALLEN TREES WATER COLOUR. ABOUT 1798] [Illustration: _PLATE XIV_ CAERNARVON CASTLE. PENCIL. 1799] but when we compare it with the original we find that the various discrepancies in the copy can only be accounted for by supposing that Turner was working to a considerable extent from memory. I admit the evidence is not conclusive, but I do not think we shall be far wrong if we take it that Turner did not at this time make any elaborate copies of Wilson’s pictures, but that he studied them closely and enthusiastically, and relied more upon his memory than his notes. In the sketches made during the following years we find that these two separate operations show a tendency to coalesce. Turner has evidently taken a dislike to his earlier map-making style, and tries hard to see nature like Wilson. His sketches from nature become slighter and more hurried. In his efforts towards breadth he comes very near emptiness, and in his attempts to get away from his neat bit-by-bit style of work he often comes near downright clumsiness and carelessness.