Printed by T. and A. Constable, Printers to His Majesty
at the Edinburgh University Press
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.