His most worthy and beautiful work of these years is to be found not in his oil pictures but in his drawings for Dr. Whitaker’s ‘History of Richmondshire’ (published 1823) and the ‘Rivers of England’ (1824). Both series were engraved in line in a manner worthy of the artist. One of the former, the _Hornby Castle_, a little faded perhaps, but still exquisite in its harmonies of blue and amber, is to be seen at South Kensington. Three more were lately exhibited by Mr. Ruskin--_Heysham Village_, _Egglestone Abbey_, and _Richmond_. Of this series Mr. Ruskin says, “The foliage is rich and marvellous in composition, the effects of mist more varied and true” (than in the _Hakewill_ drawings), “the rock and hill drawing insuperable, the skies exquisite in complex form.” The engravings probably owed much to Turner’s own supervision, and many of them, such as _Egglestone Abbey_, by T. Higham, and _Wycliffe_, by John Pye, Middiman’s _Moss Dale Fall_, and Radcliffe’s _Hornby Castle_, were perfect translations of the originals, showing an advance in the art of engraving as great as that which Turner had made in water-colour drawing. Except in the heightened scale of colour there is little in this series to show the influence of Italy, their temper is that of _Crossing the Brook_, and the foliage and scenery that of England. Nor do we find anything but England in the ‘Rivers.’ Nothing can be more purely English than the exquisite drawing of _Totnes on the Dart_ (of which we give a woodcut). The original is one of the treasures of the National Gallery, and is marvellous for the minuteness of its finish and the breadth and truth of its effect. The tiny group of poplars in the middle distance are painted with such dexterity that the impression of multitudinous leafage is perfectly conveyed, and the stillness of clear smooth water filled with innumerable variegated reflections, the beautiful distance with castle, church, and town, and the group of gulls in the foreground, make a picture of placid beauty in which there is no straining for effect, no mannerism, nothing to remind you of the artist. It is only in the touches of red in the fore of the river (touches unaccounted for by anything in the drawing) that you discern him at last, and find that you are looking not at nature but “a Turner.” If you are inclined to be angry with these touches, cover them with the hand and find out how much of the charm is lost.