One of the subjects executed at Knockholt was almost certainly the faded sepia drawing which hangs at present in the National Gallery, under the title of ‘Bridge and Cows’ (No. 504, N. G.); the engraving made from it was published (without a title) as the first ‘Pastoral’ subject in the first part of _Liber_. This drawing is slightly faded, but the fading does not altogether account for its feeble and commonplace look. The design itself is feeble, the draughtsmanship petty, and the character of the figures and trees weak and amiable. These objects are not actually ‘out of drawing’--that is to say, incorrect from a physiological or botanical point of view, but they are sadly lacking in intention. They have a listless air, and seem to take very little interest either in themselves or in each other. They seem, indeed, to be mildly wondering why they are there at all. In a word, it is just the sort of drawing that an artist would make when external circumstances induced him to sit down to ‘do something,’ while no strongly-felt subject-matter within him was urgently demanding expression. This drawing (it is in reverse of the engraving) was traced on to the copper, and the etching was made from it by Turner himself. The etching is practically an accurate copy of the drawing: the objects represented are the same in each, and neither the actions nor positions of any of the figures have been altered. Yet in the etching there is a perceptible briskening-up of everything. It all hangs together better than in the drawing. In some way the whole now seems to have come to life in the artist’s imagination. In the drawing we can see him laboriously bringing the parts together: in the etching he has infused the breath of life into them.