After 1813 it is impossible to ignore this side of Turner’s production. It was just this regrettable side of his work that appealed most strongly to the middle-class public for whom he had now to cater. ‘Dido Building Carthage’ (1815) is a picture exactly to the taste of the admirers of the first instalment of _Childe Harold_, _The Bride of Abydos_, _The Corsair_, and _Lara_. It has the historical remoteness, the vague and empty grandeur, the mysterious dreaminess, the warm, voluptuous atmosphere and intoxicating lyrical movement of the contemporary phase of Romantic poetry. In ‘The Decline of the Carthaginian Empire’ (1817), ‘The Field of Waterloo’ (1818), ‘Richmond Hill, on the Prince Regent’s Birthday’ (1819) and ‘Rome from the Vatican’ (1820), we recognise the contemporary and fellow-worker of Byron, Moore, Southey, Chateaubriand and Lamartine. In 1822 Turner’s only picture at the Royal Academy was entitled ‘What you Will’!--an ominous but significant title. It seems to put into words the ruling motive of this new phase of his art; to show that Turner is fully conscious that he is trimming his barque to catch the breath of popular applause. ‘The Bay of Baiae’ (1823), the two ‘Mortlakes’ (1826-27), ‘Dido directing the Equipment of the Fleet’ (1828) and ‘Ulysses’ (1829) indicate clearly the predominant bent of the artist’s mind towards the grosser pleasures of his art. These works brought and kept Turner prominently before the public eye. They made him the pride and glory of the Royal Academy, and put him on a level of celebrity with Sir Thomas Lawrence. They made him, in short, in Sir Walter Scott’s words, ‘the fashion,’ yet it is these works that Turner’s admirers of the present day regard with only moderate enthusiasm.