The water-colours Turner made from the sketches taken during this year are among the sunniest and happiest of his works. The lovely _Hornby Castle from Tatham Church_ (now in the Victoria and Albert Museum), and the _Crook of the Lune_ (in the Rev. W. Macgregor’s collection) are perhaps the finest now existing of this series. But the happiness and pure enjoyment of life that breathe through these drawings must have been due to the artist’s memories and associations, rather than to his actual experiences of the places represented, for the weather seems to have been consistently bad during the whole of this summer and autumn. In the letter to Mr. Holworthy referred to above, Turner wrote that his present trip had been “a most confounded fagg.” Though he was on horseback, he added, “the passage out of Teesdale leaves everything far behind for difficulty--Bogged most compleatly, Horse and its Rider, and nine hours making 11 miles.” And in another part of the same letter, he wrote, “As to weather, there is nothing inviting, it must be confessed. Rain, rain, rain, day after day. Italy deluged, Switzerland a wash-pot, Neufchatel, Berne and Morat Lakes all in _one_--all chance of getting over the Simplon or any of the passes _now_ vanished like the morning mist.” So the writer had evidently nursed some project of going to Italy in the latter part of this year, a project which he was not able to carry out till two years later. The year 1817 saw the addition of a very important series of fifty drawings to Mr. Walter Fawkes’s already large collection. These were the famous Rhine drawings. The date of their execution is given incorrectly in Thornbury, but the newly-discovered evidence of the sketch-books and an entry in Mrs. Fawkes’s diary enable us to correct Thornbury’s inaccuracies. Thornbury says these drawings “were done at the prodigious rate of three a day,” and in support of this statement he adds that Turner was away only for a fortnight, and that “after landing at Hull he came straight to Farnley, where, even before taking off his great-coat, he produced the drawings, in a slovenly roll from his breast pocket; and Mr. Fawkes bought the lot for some £500, doubtless to Turner’s delight, for he could not bear that any series of his should be broken.” But a kind of rough diary of Turner’s movements in the “Itinerary Rhine Tour Sketch-Book” (CLIX, Turner Bequest) says that the artist “left London” on Sunday, 10th August, was “off Margate” on Monday, 11th, and reached Brussels Thursday evening, on the 14th. He spent Saturday, visiting the Field of Waterloo, and, taking the diligence on Sunday, passed through Liège and Aix-la-Chapelle, reaching Cologne on the 18th. On Tuesday he walked to Bonn, and on the following day to Remagen. He was at Coblenz on Thursday and Friday, the 21st and 22nd, at St. Goar on the next two days, and at Mayence on the 25th and 26th. He returned to St. Goar on