The first point of connection between Mr. Fawkes and Turner thus seems to have been the scenery of Switzerland and not that of Yorkshire. In a description I have seen of Farnley Hall and its treasures, written soon after it came into the possession of Mr. Walter Fawkes, the only pictures mentioned are a series of “romantic landscapes in Switzerland and Italy, admirably executed by Warwick and Smith.” The “Warwick and Smith” of this description is probably a misprint for “Warwick Smith,” the name by which John Smith, one of the earlier English water-colour painters, was generally known. This series of Smith’s water-colours is still preserved in one of the lumber rooms at Farnley Hall. The drawings represent generally the same subjects as those which Turner treated. Smith’s drawings are nearly all in monochrome, and, though they are not without merit, they look very dull and old-fashioned when compared with the Turners. It seems to me, therefore, extremely probable that Mr. Fawkes was first attracted to Turner as the rising young artist of his day, who was doing the same kind of work as Warwick Smith had done, but who was doing it with much more imagination, vigour, and artistic skill. If this surmise be correct, Turner made his first appearance at Farnley Hall as the successor and transplanter of Warwick Smith. His artistic function was to replace Smith’s rather dull and laboured transcripts with his own brilliant and imaginative drawings. The earliest of Turner’s works in the Farnley Hall Collection is that of _The Mer de Glace, Chamounix_. This is probably the drawing exhibited at the Royal Academy in 1803, under the title “_Glacier and Source of the Arveron going up to the Mer de Glace, in the Valley of Chamouni_.” Mr. Fawkes may have seen the drawing in the exhibition and bought it there or afterwards in the artist’s studio. In a small pocket-book of Turner, apparently in use about the year 1804, there is a note that Mr. Fawkes had bought three water-colours for fifty guineas each. These are described by the artist as _Great Devil’s Bridge Causeway_, _Upper Fall of Riquenbach_ and _Mt. Blanc from St. Martin_. The first two subjects are still at Farnley, the third is probably the _Mt. Blanc from the Val d’Aosta_ which passed from the Farnley Collection before the present owner came into possession. It was lent by Sir Donald Currie to the exhibition of “Old Masters” at the Royal Academy in 1906.