When Turner wrote to Mr. Holworthy from Farnley Hall, “The season is far spent, the night of winter near at hand, and Barry’s words are always ringing in my ears--‘Get home and light your lamp,’” his mind was evidently full of ideas of pictures he was anxious to carry out. The subject-matter of three important oil paintings--the large view of _Raby Castle_ for the Earl of Darlington, the serenely beautiful evening effect of _The Dort Packet-Boat from Rotterdam becalmed_, which he painted for Mr. Fawkes (and which is shown hanging over the fireplace, in the position it still occupies to-day, in the water-colour of _The Drawing-room at Farnley_, which was reproduced and published in the March number of THE STUDIO), and the imaginative composition of _The Field of Waterloo_, showing the ground “Covered thick with other clay Which her own clay shall cover, heaped and pent Rider and horse, friend, foe, in one red burial blent.” --was seething in his mind and crying out for definite embodiment. These pictures were ready for exhibition at the Royal Academy in May 1818. In June Mr. Fawkes and his wife were in London. Two of Mr. Fawkes’s sons by his first marriage were at Eton, so we find the following entry in Mrs. Fawkes’s diary on the 4th of June: “Went to Eton to see the boat-race. Dined and slept at Salt Hill. Little Turner came with us.” That “little” Turner’s thoughts were not taken up entirely with the boat-race and the social pleasures of the visit is proved by the lovely sepia drawing of _Windsor Castle from Salt Hill_, which was admirably engraved by Charles Turner for the “Liber Studiorum,” though it was never published. Soon after this visit to Eton Turner went to Scotland to make sketches to illustrate “The Provincial Antiquities of Scotland,” for which Sir Walter Scott (then plain Mr. Scott) had agreed to furnish the letterpress. Scott would have preferred the employment of his friend the Rev. John Thomson, of Duddingston, as the illustrator of this work, but Lockhart and the publishers stood out for Turner. Scott finally gave way and wrote that he “supposed he must acquiesce” in the selection of Turner, “because he was all the fashion.” Turner’s subjects were chosen for him and the work proved remarkably successful. Turner’s exquisite water-colours were presented by the publishers to Sir Walter Scott, who had them all framed together (in a very unsuitable way, it must be confessed) and kept them hung in his study at Abbotsford until his death.