he young Turner sought a place of some
shelter under the bushes; made his sketch, took great pains when he got
home to imitate the rain, as he best could; added his child's luxury of
a rainbow; put in the very bush under which he had taken shelter, and
the fisherman, a somewhat ill-jointed and long-legged fisherman, in the
courtly short breeches which were the fashion of the time.

Some thirty years afterwards, with all his powers in their strongest
training, and after the total change in his feelings and principles
which I have endeavored to describe, he undertook the series of "England
and Wales," and in that series introduced the subject of Llanthony
Abbey. And behold, he went back to his boy's sketch, and boy's thought.
He kept the very bushes in their places, but brought the fisherman to
the other side of the river, and put him, in somewhat less courtly
dress, under their shelter, instead of himself. And then he set all his
gained strength and new knowledge at work on the well-remembered shower
of rain, that had fallen thirty years before, to do it better. The
resultant drawing[103] is one of the very noblest of his second period.

Another of the drawings of the England series, Ulleswater, is the
repetition of one in Mr. Fawkes's collection, which, by the method of
its execution, I should conjecture to have been executed about the year
1808, or 1810: at all events, it is a very quiet drawing of the first
period. The lake is quite calm; the western hills in grey shadow, the
eastern massed in light. Helvellyn rising like a mist between them, all
being mirrored in the calm water. Some thin and slightly evanescent cows
are standing in the shallow water in front; a boat floats motionless
about a hundred yards from the shore: the foreground is of broken rocks,
with lovely pieces of copse on the right and left.

This was evidently Turner's record of a quiet evening by the shore of
Ulleswater, but it was a feeble one. He could not at that time render
the sunset colors: he went back to it therefore in the England series,
and painted it again with his new power. The same hills are there, the
same shadows, the same cows,--they had stood in his mind, on the same
spot, for twenty years,--the same boat, the same rocks, only the copse
is cut away--it interfered with the masses of his color: some figures
are introduced bathing, and what was grey, and feeble gold in the first
drawing, becomes purple, and burning rose-color in the