Let us turn now to the ‘Basle’ design. Although this engraving was published in the first part of _Liber_, I am inclined to doubt whether the preliminary drawing was made in the Wells’s cottage. This design is based upon a sketch made at Basle in 1802, and it is hardly likely that Turner would have had this sketch-book with him when he went to spend a few days with his friends in Kent. Moreover, the first sepia drawing is not with the others in the National Gallery. Mr. Rawlinson believes that it passed into the hands of an American collector ‘many years ago’ (_Liber Studiorum_, p. 19). But we have Turner’s etching of the subject, and if we compare this with the drawing made from nature, which certainly formed the ground-work of the subject, we see clearly what a great difference there really is between two processes which modern uncritical thought persistently confounds--between the process of ‘drawing what you see’ and ‘copying nature faithfully,’ and the process of artistic construction and invention. [Illustration: _PLATE XXXVIII_ JUVENILE TRICKS SEPIA. ABOUT 1808] [Illustration: _PLATE XXXIX_ BERRY POMEROY CASTLE GENERALLY KNOWN AS RAGLAN “CASTLE” SEPIA. ABOUT 1813] Generally, with the really creative artists the two processes go on simultaneously or are fused into one, but here for once we find them separated. The pencil drawing was made as a simple record of facts; the etching was made some five or six years later, and it is curious to see what liberties Turner felt it was necessary and justifiable to take with his original record, before his notion of the requirements of a work of art could be satisfied. In the drawing from nature the width of the river seems to dwarf the height of the buildings; in the engraving Turner seems to have felt that the height of the buildings ought to form the keynote of the whole design. First, therefore, the two towers of the Cathedral are carried well up above the house by the bridge, the gable of this building being reduced in size, so that it shall not compete in importance with the Cathedral towers. In the drawing, the buildings recede gradually and gently from the bridge, while in the etching, they are pushed into square step-shaped masses, thus emphasising the idea of weight and height. These impressions are further strengthened by deliberately making the supports of the bridge smaller and more fragile than they were in the drawing; in the engraving the straddling supports of the slender wooden bridge give it an air of weakness which makes the buildings at its side seem all the more firmly set by contrast.