One drawing only of this period is reproduced here--_Distant View of Lichfield Cathedral_ (Plate V.). It suffers from the unavoidable reduction in size, but it is characteristic of Turner’s altered style. Unfortunately it has at some time been varnished, probably by the painter himself, as have two others equally important, of the same period--_The Refectory of Fountains Abbey_ and a replica of the _Cader Idris_--both of which are now in America. Gainsborough treated several of his drawings similarly, as did Girtin, Varley, Barrett and others of the early English school, their object being avowedly to rival in water-colour the depth and richness of oil painting. But not unfrequently, as here in the _Lichfield_, the varnish in time disintegrates the colouring matter and produces a curious _granulated_ look, not unlike aquatint. Indeed, the fine _Fountains Abbey_ just alluded to was sold not many years ago at a well-known London auction room, as a coloured aquatint, and fetched only £5.
After Turner’s election in 1799 as an Associate of the Royal Academy, he exhibited fewer water-colours and more oil pictures, although he was continually producing drawings, mostly of large size and on commission. For the next few years his style did not greatly alter, although a steady growth in power and range is visible. Several large views of _Edinburgh_ and its neighbourhood, a series of _Fonthill_ commissioned by Beckford, another of _Chepstow_ executed for the Earl of Harewood, together with the Welsh castles of _Conway_, _Carnarvon_, _St. Donat’s_ and _Pembroke_, are among the most important. The _Stonehenge_ reproduced here (Plate VII.) is probably the work of about 1803-1804.
He made also during this period a few drawings for engraving, but, with the exception of the well-known _Oxford Almanacks_, these were chiefly on a small scale and gave him but little scope; nor was he fortunate in his engravers until in James Basire, the engraver to the University, he met with an artist of higher standing. The University commissioned from Turner ten large drawings for the headings of the _Oxford Almanacks_, all of which he executed between 1798 and 1804. They are preserved in the University Galleries, and are noticeable alike for their architectural draughtsmanship, their admirable composition, and their general breadth of treatment.