have been already given in my pamphlet on
Pre-Raphaelitism; others will be noted in the course of our
investigation of his works; one, merely for the sake of illustration, I
will give here.

Sec. 19. Plate +22+ is an outline of a drawing of the town and castle of
Nottingham, made by Turner for Walker's Itinerant, and engraved in that
work. The engraving (from which this outline was made, as I could not
discover the drawing itself) was published on the 28th of February,
1795, a period at which Turner was still working in a very childish way;
and the whole design of this plate is curiously stiff and commonplace.
Note, especially, the two formal little figures under the sail.

In the year 1833, an engraving of Nottingham, from a drawing by Turner,
was published by Moon, Boys, and Graves, in the England and Wales
series. Turner certainly made none of the drawings for that series long
before they were wanted; and if, therefore, we suppose the drawing to
have been made so much as three years before the publication of the
plate, it will be setting the date of it as far back as is in the
slightest degree probable. We may assume therefore (and the conclusion
is sufficiently established, also, by the style of the execution), that
there was an interval of at least thirty-five years between the making
of those two drawings,--thirty-five years, in the course of which Turner
had become, from an unpractised and feeble draughtsman, the most
accomplished artist of his age, and had entirely changed his methods of
work and his habits of feeling.

Sec. 20. On the page opposite to the etching of the first, I have given an
etching of the last Nottingham. The one will be found to be merely the
amplification and adornment of the other. _Every incident_ is preserved;
even the men employed about the log of wood are there, only now removed
far away (beyond the lock on the right, between it and the town), and so
lost in mist that, though made out by color in the drawing, they cannot
be made clear in the outline etching. The canal bridge and even the
stiff mast are both retained; only another boat is added, and the sail
dropped upon the higher mast is hoisted on the lower one; and the
castle, to get rid of its formality, is moved a little to the left, so
as to hide one side. But, evidently, no new sketch has been made. The
painter has returned affectionately to his boyish impression, and worked
it out with his manly power.

Sec. 21. How far th