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FOOTNOTES:
[1] See Modern Painters, vol. v. p. 342 note.
[2] The Life of Turner, by Walter Thornbury, 1897 edition, p. 27. The drawings referred to are now in the Print Room, British Museum.
[3] Since these lines were written I have been lucky enough to discover its source. It is based on an engraving in Gilpin’s Northern Tour, vol. ii., facing p. 85. Turner has followed the engraving fairly carefully, but has introduced two figures of his own in the foreground.
[4] It was finished in 1790 and consecrated on the 24th June. See Lysons’s Environs of London, vol. ii. p. 237.
[5] These titles are written on the backs of the drawings by the artist himself—an excellent practice which he very soon abandoned.
[6] The fourth architectural subject in the exhibition is described as a view of the ‘Inside of Tintern Abbey.’ If this was the drawing now in the Victoria and Albert Museum, as the evidence seems to indicate, the critic’s preferences seem even more incomprehensible. On the whole this is, I think, a finer work even than the ‘St. Anselm’s Chapel.’
[7] For it appears that there is some doubt about the matter. The Rev. E. S. Dewick possesses another version of this subject, similar in size and design, but very inferior in workmanship. The clumsiness and woodenness of the workmanship have been taken as evidence that the drawing was an earlier one than that at Cardiff. But it may also indicate that it is merely the work of an unskilful copyist.
[8] Cf. Bosanquet’s History of Æsthetic, p. 277; also Kant’s Kritik of Judgment, sections 28 and 29.
[9] Op. cit. (Dr. Bernard’s translation), p. 141.
[10] Op. cit. p. 125.
[11] The conventional eighteenth-century attitude towards these scenes seems well expressed by a description in Paterson’s Road Book. ‘To the south of the Derwentwater,’ the passage runs, ‘is the rocky chasm of Borrowdale, a tremendous pass, at the entrance of which dark caverns yawn terrific as the wildness of a maniac, etc.,’ page 435.
[12] Wordsworth, Prelude, Bk. xii. 118-120.
[14] See Plate XXXVII.
[15] Plate XXXVIII.
[16] Plate XXVII (b).
[18] See, for example, Jeffrey’s account of the Sixth Book of the Excursion, quoted in Professor Raleigh’s Wordsworth, pp. 8 and 9.
[19] It is, of course, possible that the verses were composed by Turner himself.
[21] Bell, Article on ‘Turner and his Engravers,’ in The Genius of Turner (Studio Extra), pp. 142-143.
[22] Turner Catalogue, written in 1881. National Gallery edition, 1899, p. 37.
[23] Ibid.
[24] It is also worth remarking that the value of these drawings from a topographical point of view, i.e. as giving information pure and simple, is probably diminished by the fact that the material they contain is so skilfully selected and arranged.
[25] Modern Painters, vol. i. p. 132.
[26] Ibid. p. 130.
[27] Elements of Drawing, Preface, p. X.
[29] ‘Turner and Mulready.—On the Effect of certain Faults of Vision, etc.’ By R. Liebreich. Macmillan’s Magazine, April 1872.
[30] The Sense of Beauty, by George Santayana. A. & C. Black, 1896, p. 149.
[31] This, I need hardly add, is Mr. Ruskin’s explanation.
[32] Hamerton’s Turner, p. 244.
[33] See, for example, Professor C. J. Holmes’s Notes on the Science of Picture-Making. Introduction.
[34] Two of these studies are reproduced in The Genius of Turner.
[36] The transition is from the singular to the universal judgment. See Dr. Bosanquet’s Logic, vol. i. chap. v.; and Essentials of Logic, p. 64 sq.
[37] The best discussion of these points with which I am acquainted is contained in Dr. Bosanquet’s Knowledge and Reality, pp. 140-155.