[24] I do not mean that you can approach Turner or Dürer in their strength, that is to say, in their imagination or power of design. But you may approach them, by perseverance, in truth of manner.
[25] The following are the most desirable plates:—
| Grande Chartreuse. | Calais Pier. |
| Æsacus and Hesperie. | Pembury Mill. |
| Cephalus and Procris. | Little Devil's Bridge. |
| Source of Arveron. | River Wye (not Wye and Severn). |
| Ben Arthur. | Holy Island. |
| Watermill. | Clyde. |
| Hindhead Hill. | Lauffenburg. |
| Hedging and Ditching. | Blair Athol. |
| Dumblane Abbey. | Alps from Grenoble. |
| Morpeth. | Raglan. (Subject with quiet brook, trees, and castle on the right.) |
If you cannot get one of these, any of the others will be serviceable, except only the twelve following, which are quite useless:—
| 1. | Scene in Italy, with goats on a walled road, and trees above. |
| 2. | Interior of church. |
| 3. | Scene with bridge, and trees above; figures on left, one playing a pipe. |
| 4. | Scene with figure playing on tambourine. |
| 5. | Scene on Thames with high trees, and a square tower of a church seen through them. |
| 6. | Fifth Plague of Egypt. |
| 7. | Tenth Plague of Egypt. |
| 8. | Rivaulx Abbey. |
| 9. | Wye and Severn. |
| 10. | Scene with castle in center, cows under trees on the left. |
| 11. | Martello Towers. |
| 12. | Calm. |
It is very unlikely that you should meet with one of the original etchings; if you should, it will be a drawing-master in itself alone, for it is not only equivalent to a pen-and-ink drawing by Turner, but to a very careful one; only observe, the Source of Arveron, Raglan, and Dumblane were not etched by Turner; and the etchings of those three are not good for separate study, though it is deeply interesting to see how Turner, apparently provoked at the failure of the beginnings in the Arveron and Raglan, took the plates up himself, and either conquered or brought into use the bad etching by his marvelous engraving. The Dumblane was, however, well etched by Mr. Lupton, and beautifully engraved by him. The finest Turner etching is of an aqueduct with a stork standing in a mountain stream, not in the published series; and next to it, are the unpublished etchings of the Via Mala and Crowhurst. Turner seems to have been so fond of these plates that he kept retouching and finishing them, and never made up his mind to let them go. The Via Mala is certainly, in the state in which Turner left it, the finest of the whole series: its etching is, as I said, the best after that of the aqueduct. [Figure 20], above, is part of another fine unpublished etching, "Windsor, from Salt Hill." Of the published etchings, the finest are the Ben Arthur, Æsacus, Cephalus, and Stone Pines, with the Girl washing at a Cistern; the three latter are the more generally instructive. Hindhead Hill, Isis, Jason, and Morpeth, are also very desirable.
[26] You will find more notice of this point in the account of Harding's tree-drawing, a little farther on.
[27] The impressions vary so much in color that no brown can be specified.
[28] You had better get such a photograph, even though you have a Liber print as well.
[29] See the closing letter in this volume.