It hardly comes within the scope of the present essay to study the drawings in detail which form the originals of Turner’s engraved work, important as these drawings are as examples of the artist’s genius. Each drawing is a perfect work of art in itself, the fact that an engraving was to be made from it counting practically as nothing with the artist. If the subject did not lend itself quite satisfactorily to the engraver’s requirements, Turner introduced various modifications into the engraver’s proofs, but he did not alter the drawings. In this way the original drawings were kept as independent creations. Into them the artist was free to pour all that spontaneous native side of his talent which could find no outlet in his ambitious ‘high art’ productions. As water-colours the originals of the engravings that were issued between 1814 and 1830 are among the most remarkable and consummate achievements of the medium. With hardly an exception they are worked entirely in transparent colour, and for sheer range of invention, variety of effect, and loveliness of colour they have no equals. But their place is among the artist’s completed works, and as our immediate business is with the sketches and studies, we can only touch upon these exquisitely beautiful water-colours incidentally; _i.e._ only in so far as they help us to grasp the significance of the sketches and preliminary drawings which went to their production. It is a curious sign how little conscious Turner was of the nature and limitations of his own capacities, that the plan of the _Southern Coast_ series of engravings, as it first took form in his mind, included a long narrative poem from his own hand describing the history and local peculiarities of the places he proposed to illustrate. It is hardly probable that an individual with less capacity for verbal expression ever sat down to write a long poem. Yet it is easy to see how it was that Turner came to think himself competent to undertake such a task. The stamp of his mind was genuinely poetic. He had, and knew that he had, in a high measure ‘the vision and the faculty divine.’ The inspiration of his best works had been drawn from the poets, from Thomson, Akenside, and Milton. His pictures, so far as it is possible to distinguish content from form, are real poems. And the technical accomplishment of pictorial art had come to him so easily and naturally that it may well have seemed to flow inevitably from the innate strength of his emotions and the vivid hue of his imagination. He probably thought that he had only to take a pen in his hand to find the accomplishment of verse following with the same ease and inevitability.