Indian ink, which was then thumbed, dabbed, and coaxed to give the requisite modelling. The sweep of the waves, their vicious choppy spurts and explosions of spray, are given with a directness and simplicity of means that I believe would have excited the admiration of Korin himself. I need not continue to describe all the pages in detail. The point of interest is that Turner tried successively every possible movement in the sinking of a big ship and looked at them from every possible point of view. Then he finally decided that his second sketch was the most suggestive and striking, so he took it up again, and after considerable modification in the details, developed it into the completed work. Between 1805 and 1809 Turner must have spent a good deal of his time sailing up and down the lower reaches and the mouth of the Thames. The contents of several sketch-books prove this. In one there is a view of the Dutch coast with Flushing in the distance, evidently drawn from the sea. But the subjects as a rule are nearer home. In the book labelled ‘River and Margate’ the subjects range from the Fishmarket at Hastings to Cobham and Walton Bridges. These include sketches near London Bridge, at Purfleet, Greenwich, Gravesend, Southend, Herne Bay, and Margate. But these are only treated as backgrounds to the ships and boats. We have pages and pages of wherries and Thames barges bundling along with all sails set past massive ships of the line at anchor, all drawn as swiftly as they seem to move. These are almost too slight for reproduction, but the two animated scenes of men-of-war’s boats victualling, reproduced as Plates XXII. and XXIII., give an excellent idea of the spirit in which Turner worked on these occasions. Looking out to sea we see a number of ships of the line riding at anchor. Round the landing-stages in the foreground are the ships’ boats taking in stores of bread, hay and straw, sheep and fish. The day is fine, but there is evidently a wind blowing; the sea is choppy; there is plenty of spray about, and the pennants stand out taut from the masts of the big ships in the offing. It is all drawn with a few hurried, nervous pencil outlines, nothing is described in detail, yet the whole scene is brought as vividly before us as the most elaborate oil-painting could bring it.