The white line of the falls is seen on the left in shadow, contrasting with the warm sunlight on the rock in the centre of design. The rainbow on the right is formed by the spray of the falls. In foreground, on left, just below the falls, are a peasant girl and dog (the white dress of the girl and the white dog are dug out with the penknife). An exquisitely delicate drawing, full of subtleties of form and colour.] [Illustration: PLATE XVII. THE WASHBURNE, WITH LEATHLEY CHURCH. CIRCA 1818. SIZE 12” × 16¾". This drawing is executed in body-colour on brown paper. The River Washburne, with water-mill, is seen in the foreground, Leathley Church on the hill in the middle-distance, and the Otley Chevin, with Caley Park, beyond. The steep wooded bank on the right of the river in the middle-distance is the scene of the drawing _The Banks of the Washburne_ (Plate XI). The drawing of _The Valley of the Washburne, and Lindley Bridge_ (Plate XIX) was made from a spot near the mill in the foreground, looking towards the right.] [Illustration: PLATE XVIII. MAYENCE AND KASTEL. DATE 1817. SIZE 8-11/16” × 14⅝". One of the Rhine drawings. The dark cloud in the centre is an instance of Turner’s wonderful technical daring and resource, the effect being obtained by the use of wet, running colour. Turner was at Mayence on 24th and 25th August, 1817.] [Illustration: PLATE XIX. THE VALLEY OF THE WASHBURNE, AND LINDLEY BRIDGE. CIRCA 1818. SIZE 10¾” × 15½". A view of the Washburne looking north towards Stainburn, taken from a spot near the water-mill shown in the foreground of _The Washburne, with Leathley Church_ (Plate XVII). Lindley Hall appears on the eminence to the right. This drawing is now in the possession of Colonel Lionel G. Fawkes.] [Illustration: PLATE XX. THE RIALTO, VENICE. CIRCA 1820. SIZE 11¼” × 16⅜". This drawing is frequently mistaken for the original of the engraving of the same subject published in Hakewill’s “Italy” (Rawlinson’s “Engraved Work of J. M. W. Turner,” p. 80), but the differences between the drawing and the engraving are too marked and extensive for this to be possible. The Hakewill drawing was made before Turner visited Venice, from camera obscura sketches by Hakewill. The Farnley drawing was made immediately after Turner’s return from Italy in 1820, from his own sketches. It is interesting as being Turner’s first Venetian picture.] [Illustration: PLATE XXI. SOONECK, WITH BACHARACH IN THE DISTANCE. DATE 1817. SIZE 8-15/16” × 14½". The slender tower of Sooneck, commanding the entrance to a ravine, stands on the left; beyond it, in shadow, rise the ruins of Fürstenberg. Opposite the Fürstenberg, on the right bank of the Wisper, which fells into the Rhine here, stands the ruined castle of Nollich. The rugged cliff on this side of the Rhine is called the “Devil’s Ladder.”] [Illustration: PLATE XXII. OTLEY, FROM THE CHEVIN. CIRCA 1818. SIZE 11” × 15½".