restricted in the liberties he could take. In such cases his field of selection was confined within the possible points of view from which his subject could be regarded. In the two drawings of Whalley Bridge here reproduced (Plates XXVIII. and XXIX.) we see him searching for that aspect of the place which shall fit in or harmonise with the mood which was predominant in his own mind at this time. It is only from the point of view of such a subjective emotional attitude that the first drawing (Plate XXVIII.) could have been rejected in favour of the second (Plate XXIX.). As a representation of the actual place, the first drawing is much more adequate than the second. But it is evidently just this topographical and objective adequacy which constituted the defect of this fine drawing from Turner’s point of view. In the other drawing there is far less to occupy the attention. Here the interest is concentrated on a few simple forms. The mind is, therefore, thrown back on itself, and forced as it were to call up its own resources to amplify and fill out the painter’s forms. And this is the mood of poetic contemplation or meditation expressed in the beautiful picture of this subject which Turner exhibited in 1811, and which is now in Lady Wantage’s collection. The third drawing to which I referred is the study for the picture of ‘London from Greenwich Park,’ now in the National Gallery. There is no trace of the emotional setting of the finished picture in the sketch (Plate XXX.). It is merely a record of the facts. But the artist has already grasped in his own mind the significance of these facts with such clearness that the bare facts even in this memorandum have become eloquent. The full scope of Turner’s work at this period, then, can only be gathered from his completed works. And as I have said, I do not think this aspect of Turner’s genius has so far had full justice done to it. I will therefore make an attempt to indicate in a few words what I regard as the distinctive qualities of this group of works; and to simplify my task I will centre my remarks round two pictures, both in the National Gallery, and therefore easily accessible to every one, viz., ‘A Frosty Morning’ and the ‘Windsor,’ which seem to me to typify the qualities and merits of the whole group.