Turner, William, of Oxford, mountain drawings, i. 305.
Turner, Joseph Mallord William, character of, v. [340], [342], [348]; affection of, for humble scenery, iv. 248, 249; architectural drawing of, i. 109, 199; his notion of “Eris” or “Discord,” v. [308], [309]; admiration of, for Vandevelde, i. 328; boyhood of, v. [288], [297]; chiaroscuro of, i. 134, 143, 148, 281, 366, iv. 40-55; only painter of sun-color, v. [315]; painter of “the Rose and the Cankerworm,” v. [324]; his subjection of color to chiaroscuro, i. 171; color of, i. 134, 151, 157, 160, 166, 169, 171, ii. 202, iii. 236 (note), iv. 40, v. [319] (note); composition of, iv. 27, 303; curvature of, i. 125, iii. 118, iv. 192, 293; tree drawing of, i. 394, v. [38], [65], [69], [72]; drawing of banks by, iv. 293, 297; discovery of scarlet shadow by, v. [316], [317], [319]; drawing of cliffs by, iv. 246; drawing of crests by, iv. 220, 222, 225; drawing of figures by, i. 189; drawing of reflections by, i. 151, 359, 361, 379; drawing of leaves by, v. [38], [99]; drawing of water by, i. 355, 382; exceeding refinement of truth in, i. 411; education of, iii. 309, v. [299] (note); execution of, v. [38]; ruin of his pictures by decay of pigments, i. 136 (note); gradation of, i. 259; superiority of intellect in, i. 29; expression of weight in water by, i. 367, 376; expression of infinite redundance by, iv. 291; aspects, iii. 279, 307; first great landscape painter, iii. 279, v. [325]; form sacrificed to color, ii. 201; head of Pre-Raphaelitism, iv. 61; master of contemplative landscape, v. [194]; work of, in first period, v. [297]; infinity of, i. 239, 282, iv. 287; influence of Yorkshire scenery upon, i. 125, iv. 246, 296, 300, 309; his love of stones and rocks, iii. 314, iv. 24; love of rounded hills, iv. 246; master of the science of aspects, 305; mystery of, i. 198,257, 413, iv. 34, 61, v. [33]; painting of French and Swiss landscape by, i. 129; spirit of pines not entered into by, v. [80], [81]; flowers not often painted by, v. [92]; painting of distant expanses of water by, i. 365; rendering of Italian character by, i. 130; skies of, i. 138, 201, 236, 237; storm-clouds, how regarded by, v. [142]; study of clouds, by, i. 221, 236, 242, 250, 261, v. [118]; study of old masters by, iii. 322; sketches of, v. [183], [184], [333], [334], (note), v. preface, v. vi.; system of tone of, i. 143, 152, 363; treatment of foregrounds by, i. 319, v. [98]; treatment of picturesque by, iv. 7-15; treatment of snow mountains by, iv. 240; memoranda of, v. [185], [187], [335] (note); topography of, iv. 16-33; unity of, i. 320; views of Italy by, i. 132; memory of, iv. 27, 30; ideal conception of, i. 388; endurance of ugliness by, v. [283], [289]; inventive imagination of, dependent on mental vision and truth of impression, iv. 21-24, 308; lessons to be learnt from Liber Studiorum, v. [332], [333]; life of, v. [341]; death of, v. [349].
Pictures referred to— Æsacus and Hesparie, i. 394; Acro-Corinth, i. 221; Alnwick, i. 127, 269; Ancient Italy, i. 131; Apollo and Sibyl, v. [331]; Arona with St. Gothard, i. 262; Assos, i. 201 (note); Avenue of Brienne, i. 178; Babylon, i. 236; Bamborough, i. 375; Bay of Baiæ, i. 132, 324, iii. 311, v. [98], [323]; Bedford, i. 127; Ben Lomond, i. 258; Bethlehem, i. 242; Bingen, i. 268; Blenheim, i. 268; Bolton Abbey, i. 394, iii. 118, iv. 249; Bonneville in Savoy, i. 133; Boy of Egremont, i. 372; Buckfastleigh, i. 267, iv. 14; Building of Carthage, i. 29, 136, 147, 162, 171, iii. 311; Burning of Parliament House, i. 269; Cærlaverock, i. 202 (note), 264; Calais, i. 269; Calder Bridge, i. 183; Caldron Snout Fall, i. 268; Caliglula’s Bridge, i. 131, v. [331]; Canale della Guidecco, i. 362; Carew Castle, i. 268; Carthages, the two, i. 131, v. [337]; Castle Upnor, i. 267, 359; Chain Bridge over the Tees, i. 368, 394; Château de la Belle Gabrielle, i. 394, v. [61]; Château of Prince Albert, i. 357; Cicero’s Villa, i. 131, 136, 146, 147; Cliff from Bolton Abbey, iii. 321; Constance, i. 367; Corinth, i. 267; Coventry, i. 254, 268; Cowes, i. 268, 363, 365; Crossing the Brook, i. 131, 170, 394; Daphne and Leucippus, i. 200, 201 (note), 293, 300, iv. 291, v. [98]; Dartmouth (river scenery), i. 212; Dartmouth Cove (Southern Coast), i. 394; Dazio Grande, i. 372; Departure of Regulus, i. 131; Devenport, with the Dockyards, i. 159 (note), 366; Dragon of the Hesperides, iii. 97, v. [306], [311]; Drawing of the spot where Harold fell, ii. 200; Drawings of the rivers of France, i. 129; Drawings of Swiss Scenery, i. 129; Drawing of the Chain of the Alps of the Superga above Turin, iii. 125; Drawing of Mount Pilate, iv. 227, 298; Dudley, i. 173 (note), 269; Durham, i. 267, 394; Dunbar, i. 376; Dunstaffnage, i. 231, 285; Ely, i. 410; Eton College, i. 127; Faïdo, Pass of, iv. 21, 222; Fall of Carthage, i. 146, 171; Fall of Schaffhausen, v. [167], [325] (note); Flight into Egypt, i. 242; Fire at Sea, v. [189] (note); Folkestone, i. 242, 268; Fort Augustus, i. 305; Fountain of Fallacy, i. 131; Fowey Harbor, i. 267, 376, v. [142] (note); Florence, i. 132; Glencoe, i. 285; Goldau (a recent drawing) i. 264 (note); Goldau, i. 367, iv. 312, v. [337] (note); Golden Bough, iv. 291; Gosport, i. 257; Great Yarmouth, i. 383 (note); Hannibal passing the Alps, i. 130; Hampton Court, i. 178; Hero and Leander, i. 131, 177, 242, 375, 409, v. [188] (note); Holy Isle, iii. 310; Illustration to the Antiquary, i. 264; Inverary, v. [65]; Isola Bella, iii. 125; Ivy Bridge, i. 133, iii. 121; Jason, ii. 171; Juliet and her Nurse, i. 135, 137 (note), 269; Junction of the Greta and Tees, i. 372, iv. 309; Kenilworth, i. 268; Killie-Crankie, i. 371; Kilgarren, i. 127; Kirby Lonsdale Churchyard, i. 267, 394, iv. 14, 315; Lancaster Sands, i. 340; Land’s End, i. 251 (note), 253, 352, 376, 377; Laugharne, i. 376; Llanberis, i. 93, 268, v. [320] (note) (English series); Llanthony Abbey, i. 127, 173 (note), 251, 321, 371; Long Ship’s Lighthouse, i. 253; Lowestoft, i. 267, 352, 383 (note); Lucerne, iv. 227; “Male Bolge”(of the Splugen and St. Gothard), iv. 315; Malvern, i. 268; Marly, i. 80, 399; Mercury and Argus, i. 145, 167, 172 (note), 198, 221, 318, 324, 372, v. [62]; Modern Italy, i. 132, 172 (note), iv. 291; Morecambe Bay, i. 258; Mount Lebanon, i. 293; Murano, view of, i. 138; Napoleon, i. 151, 162, 163, 170, 221, 268, 310, v. [118], [330] (note); Napoleon at St. Helena, iv. 314; Narcissus and Echo, v. [299]; Nemi, i. 268; Nottingham, i. 268, 359, iv. 29; Oakhampton, i. 127, 258, 267, 400; Oberwesel, i. 268, 305; Orford, Suffolk, i. 267; Ostend, i. 380; Palestrina, i. 132; Pas de Calais, i. 339, 380; Penmaen Mawr, i. 323; Picture of the Deluge, i. 346; Pools of Solomon, i. 237, 268, v. [116]; Port Ruysdael, i. 380; Pyramid of Caius Cestius, i. 269; Python, v. [315], [316]; Rape of Proserpine, i. 131; Rheinfels, v. [335] (note); Rhymer’s Glen, i. 371; Richmond (Middlesex), i. 268; Richmond (Yorkshire), i. 261, iv. 14, v. [93]; Rome from the Forum, i. 136, v. [359]; Salisbury, v. [144]; Saltash, i. 268, 359; San Benedetto, looking toward Fusina, i. 362, 138, v. [118]; Scarborough, iii. 121; Shores of Wharfe, iv. 248; Shylock, i. 221, 268; Sketches in National Gallery, v. [182], [183]; Sketches in Switzerland, i. 138; Slave Ship, i. 135, 137 (note), 146, 151, 170, 261, 268, ii. 209, iv. 314, v. [142], [336]; Snowstorm, i. 130, 170, 352, v. [342] (note); St. Gothard, iv. 27, 292, 300; St. Herbert’s Isle, i. 269; St. Michael’s Mount, i. 261, 263; Stonehenge, i. 260, 268, v. [143] (English series); Study (Block of Gniess at Chamouni), iii. 125; Study (Pæstum) v. [145]; Sun of Venice going to Sea, i. 138, 361; Swiss Fribourg, iii. 125; Tantallon Castle, i. 377; Tees (Upper Fall of), i. 319, 323, 367, iv. 309; Tees (Lower Fall of), i. 322, 371; Temptation on the Mountain (Illustration to Milton), ii. 210; Temple of Jupiter, i. 131, iii. 310; Temple of Minerva, v. [145]; Tenth Plague of Egypt, i. 130, v. [295] (note), 299; The Old Téméraire, i. 135, iv. 314, v. [118], [290]; Tivoli, i. 132; Towers of Héve, i. 269; Trafalgar, v. [290]; Trematon Castle, i. 268; Ulleswater, i. 322, 258, iv. 300; Ulysses and Polypheme, iv. 314, v. [336] (note); various vignettes, i. 267; Venices, i. 109, 268, v. [337], [338]; Walhalla, i. 136 (note); Wall Tower of a Swiss Town, iv. 71; Warwick, i. 268, 394; Waterloo, i. 261, 269; Whitby, iii. 310; Wilderness of Engedi, i. 201 (note), 269; Winchelsea (English series), i. 172 (note), 268; Windsor, from Eton, i. 127; Wycliffe, near Rokeby, iv. 309.
Finden’s Bible Series:— Babylon, i. 236; Bethlehem, i. 242; Mount Lebanon, i. 293, v. [145]; Sinai, v. [145]; Pyramids of Egypt, i. 242; Pool of Solomon, i. 237, v. [116]; Fifth Plague of Egypt, i. 130, v. [299].
Illustrations to Campbell:— Hohenlinden, i. 267; Second Vignette, i. 258; The Andes, i. 277; Vignette to the Beech-tree’s Petition, i. 177; Vignette to Last Man, i. 264.
Illustrations to Rogers’ “Italy:”— Amalfi, i. 239; Aosta, i. 277; Battle of Marengo, i. 273, 285; Farewell, i. 285; Lake of Albano, i. 268; Lake of Como, i. 238; Lake of Geneva, i. 238, 267; Lake of Lucerne, i. 263, 367; Perugia, i. 174; Piacenza, i. 268, 296; Pæstum, i. 260, 268; Second Vignette, i. 264, 372; The Great St. Bernard, i. 263; Vignette to St. Maurice, i. 263, 263 (note), v. [127].
Illustrations to Rogers’ “Poems:” Bridge of Sighs, i. 269; Datur Hora Quieti, i. 145, 268, v. [167]; Garden opposite title-page, i. 177; Jacqueline, i. 277, ii. 210; Loch Lomond, i. 365; Rialto, i. 242, 269; Sunset behind Willows, i. 147; Sunrise, i. 212; Sunrise on the Sea, i. 222, 263; the Alps at Daybreak, i. 223, 264, 267, 276; Vignette to Human Life, i. 267; Vignette to Slowly along the Evening Sky, i. 217; Vignette to the Second Part of Jacqueline, ii. 210; Villa of Galileo, i. 132; Voyage of Columbus, i. 242, 267, ii. 201.
Illustrations to Scott:— Armstrong’s Tower, i. 178; Chiefswood Cottage, i. 394; Derwentwater, i. 365; Dryburgh, i. 366; Dunstaffnage, i. 261, 285; Glencoe, i. 285, 293; Loch Archray, i. 285; Loch Coriskin, i. 252, 292, iv. 220; Loch Katrine, i. 298, 365; Melrose, i. 336; Skiddaw, i. 267, 305.
Liber Studiorum:— Æsacus and Hesperie, i. 130, 400 (note), ii. 162; Ben Arthur, i. 126, iv. 308, 309; Blair Athol, i. 394; Cephalus and Procris, i. 394, 400 (note), ii. 160, 207, iii. 317, v. [334]; Chartreuse, i. 127, 394, iii. 317; Chepstow, v. [333]; Domestic subjects of L. S., i. 127; Dunstan borough, v. [333]; Foliage of L. S., i. 128; Garden of Hesperides, iii. 310, v. [310]; Gate of Winchelsea Wall, v. [330]; Raglan, v. [333]; Rape of Europa, v. [334]; Via Mala, v. [336] (note), iv. 259; Isis, v. [171], [172]; Hedging and Ditching, i. 127, 394, v. [333]; Jason, i. 130, ii. 171, 199, iii. 317; Juvenile Tricks, i. 394; Lauffenbourg, i. 128, iii. 327, v. [170]; Little Devil’s Bridge, i. 127, iv. 27; Lianberis, i. 258; Mer de Glace, i. 126, 287, iv. 191; Mill near Grande Chartreuse, iv. 259, v. [333]; Morpeth Tower, v. [333]; Mont St. Gothard, i. 127, 311 (note); Peat Bog, iii. 317, v. [333]; Rivaulx choir, v. [333]; Rizpah, i. 130, iii. 317, iv. 14, v. [295], [334]; Solway Moss, iii. 317; Source of Avernon, iv. 308, v. [80]; Study of the Lock, iv. 7, v. [332]; Young Anglers, v. [333]; Water Mill, v. [333].
Rivers of France, i. 129; Amboise, i. 184, 269; Amboise (the Château), i. 184; Beaugency, i. 184; Blois, i. 183; Blois (Château de), i. 183, 202, 269; Caudebec, i. 269, 302, 366; Château Gaillard, i. 183; Clairmont, i. 269, 303; Confluence of the Seine and Marne, i. 364; Drawings of, i. 130; Havre, i. 224; Honfleur, i. 304; Jumièges, i. 250, 364; La Chaise de Gargantua, i. 364; Loire, i. 363; Mantes, i. 269; Mauves, i. 303; Montjan, i. 269; Orleans, i. 183; Quillebœuf, i. 377, 170; Reitz, near Saumur, v. [164], [165]; Rouen, i. 410, v. [118]; Rouen, from St. Catherine’s Hill, i. 240, 366; St. Denis, i. 264, 269; St. Julien, i. 184, 269; The Lantern of St. Cloud, i. 268; Troyes, i. 269; Tours, i. 184, 269; Vernon, i. 364.