To this year belongs one of the 'Petworth' Sketch-Books with views of the house and the park where he was to spend so many happy days. At Petworth House and at Farnley Hall he was always welcome, and they are still places of pilgrimage for Turnerians eager to see works which have never left the walls for which they were painted.
Farnley Hall has been called Turner's shrine. Two of the modern rooms are consecrated to him. 'One,' says Sir Walter Armstrong, 'is hung round with drawings; in the other, three great oil-pictures "Dordrecht," "Rembrandt's Daughter," and an unnamed "Sea Piece" decorate the walls, while the tables groan under albums and solander cases fitted with smaller things, and those studies of birds which so moved the soul of Ruskin.'
1809 is also memorable as being the initial year of what Ruskin called his 'Yorkshire period,' which continued with various developments until about 1820. Ruskin, in his beautiful prose, describes the characteristics of the Yorkshire drawings:—
'Of all his drawings, I think those of the Yorkshire series have the most heart in them, the most affectionate, simple, unwearied serious finishings of truth. There is in them little seeking after effect, but a strong love of place; little exhibition of the artist's own powers or peculiarities, but intense appreciation of the smallest local minutiæ.... No alpine cloud could efface, no Italian sunshine outshine the memories of the pleasant days of Rokeby and Bolton; and many a simple promontory dim with southern olive, many a lone cliff that stooped unnoticed over some alien wave, was recorded by him with a love and delicate care that were the shadows of old thoughts and long-lost delights, whose charm yet hung like morning mist above the chanting waves of Wharfe and Greta.'
What was Turner like in appearance and dress about this period? Well, the following description has been preserved:—
'The very moral of a master carpenter, with lobster-red face, twinkling staring grey eyes, white tie, blue coat with brass buttons, crab-shell turned up boots, large fluffy hat and enormous umbrella.'
A somewhat rough and rude description. His manners could be rude and rough, too. A year or two later, Thomson of Duddingston invited him to see his pictures. Turner came, and his companion was eager to hear what the great landscape painter would say about his works. He surveyed them carefully, but the only remark he made was: 'You beat me in frames.'