onardo
himself, there will be found a play and power and ease in the outlines,
which no _slow_ effort could ever imitate. And if the Pre-Raphaelites do
not understand how this kind of power, in its highest perfection, may be
united with the most severe rendering of all other orders of truth, and
especially of those with which they themselves have most sympathy, let
them look at the drawings of John Lewis.

223. These then are the principal lessons which we have to learn from
Turner, in his second or central period of labor. There is one more,
however, to be received; and that is a warning; for towards the close of
it, what with doing small conventional vignettes for publishers, making
showy drawings from sketches taken by other people of places he had
never seen, and touching up the bad engravings from his works submitted
to him almost every day,--engravings utterly destitute of animation, and
which had to be raised into a specious brilliancy by scratching them
over with white, spotty lights, he gradually got inured to many
conventionalities, and even falsities; and, having trusted for ten or
twelve years almost entirely to his memory and invention, living, I
believe, mostly in London, and receiving a new sensation only from the
burning of the Houses of Parliament, he painted many pictures between
1830 and 1840 altogether unworthy of him. But he was not thus to close
his career.

224. In the summer either of 1840 or 1841, he undertook another journey
into Switzerland. It was then at least forty years since he had first
seen the Alps; (the source of the Arveron, in Mr. Fawkes's collection,
which could not have been painted till he had seen the thing itself,
bears date 1800,) and the direction of his journey in 1840 marks his
fond memory of that earliest one; for, if we look over the Swiss studies
and drawings executed in his first period, we shall be struck by his
fondness for the pass of the St. Gothard; the most elaborate drawing in
the Farnley collection is one of the Lake of Lucerne from Fluelen; and,
counting the Liber Studiorum subjects, there are, to my knowledge, six
compositions taken at the same period from the pass of St. Gothard, and,
probably, several others are in existence. The valleys of Sallenche and
Chamouni, and Lake of Geneva, are the only other Swiss scenes which seem
to have made very profound impressions on him.

He returned in 1841 to Lucerne; walked up Mont Pilate on foot, crossed
the St. Goth