All these drawings were based on sketches made during Turner’s first tour in Savoy and Switzerland, in 1802. The earliest are dated 1803 and 1804, others were executed four or five years later, and a few may not have been completed till about 1815. They evidently owe a great deal to the inspiration of Richard Wilson and Nicholas Poussin, though we find in them that same large and masculine grip of natural form and structure which we see in pictures like the _Bridgewater Sea-Piece_ and _Calais Pier_. In some of the drawings, indeed--the _Great Fall of the Reichenbach_ and _The Passage of Mount St. Gothard_, for instance--the calm, unhurried elaboration of rock forms gives them a certain cold and prosaic air. Such drawings lack the gloomy majesty and lyrical intensity of feeling of paintings like _The Trossachs_, _Conway Castle_ and _Kilgarran Castle_. For work of this kind a certain vagueness and generalisation of execution are necessary, and Turner was, after 1804, already beginning to feel his way towards a greater clarity and lucidity of expression than Wilson had attempted. The Farnley drawings represent, therefore, what I may call the aftermath of Turner’s early romantic mood. They are conceived under the influence of that taste for the gloomy, mysterious and picturesque fostered by Milton, Young’s “Night Thoughts,” and Walpole’s “Castle of Otranto”; but the fulness of representation and cheerful and varied colour of their execution are not altogether in harmony with their original intention. In these respects the original sketches of _The Pass of St. Gothard_ in the National Gallery (LXXXV, 33, 34, and 35) are more satisfactory to the imagination than the larger and more elaborate drawing in the Farnley Collection. The absence of romantic passion is, however, atoned for by the stateliness and grandeur of the design. The two drawings of this group which make the strongest appeal to my feelings are the moonlit view of The _Lake of Brienz_ and the gloomy and majestic _Glacier and Source of the Arveiron_ which was exhibited at the Royal Academy in 1803. Both these drawings are darker and more Wilsonesque in colour and effect than the others. The starkness and bigness of drawing in the group of pine trees in the foreground of the _Glacier and Source of the Arveiron_ strike the imagination with Miltonic power and certainty. The blues in the _Lake of Brienz_ have slightly faded, but the rich sombre harmony of the drawing is in no way impaired. Another powerful and impressive drawing is the _Lake of Thun_. This differs in some important respects from the design engraved and published in the “Liber Studiorum.”