an. Somewhat later he repaired to Oxford, where he contributed for
several years the drawing to the _University Almanac_. But his genius was
rapidly breaking through all obstacles, and even the repugnance of public
opinion; for before he had completed his 30th year he was on the high road
to fame. As early as 1790 he exhibited his first work, a water-colored
drawing of the entrance to Lambeth, at the exhibition of the Academy, and
in 1793 his first oil painting. In November, 1799, he was elected an
associate, and in February, 1802, he attained the rank of a Royal
Academician. We shall not here attempt to trace the vast series of his
paintings from his earlier productions, such as the "Wreck," in Lord
Yarborough's collection, the "Italian Landscape," in the same gallery, the
_pendant_ to Lord Ellesmere's "Vanderwelde," or Mr. Munro's "Venus and
Adonis," in the Titianesque manner, to the more obscure, original, and, as
some think, unapproachable productions of his later years, such as the
"Rome," the "Venice," the "Golden Bough," the "Temeraire," and the
"Tusculum." But while these great works proceeded rapidly from his
palette, his powers of design were no less actively engaged in the
exquisite water-colored drawings that have formed the basis of the modern
school of "illustration." The "Liber studiorum" had been commenced in
1807, in imitation of Claude's "Liber veritatis," and was etched, if we
are not mistaken, by Turner's own hand. The title-page was engraved and
altered half-a-dozen times, from his singular and even nervous attention
to the most trifling details. But this volume was only the precursor of an
immense series of drawings and sketches, embracing the topography of this
country in the "River Scenery" and the "Southern Coast"--the scenery of the
Alps, of Italy, and great part of Europe--and the ideal creations of our
greatest poets, from Milton to Scott and Rogers, all imbued with the
brilliancy of a genius which seemed to address itself more peculiarly to
the world at large when it adopted the popular form of engraving. These
drawings are now widely diffused in England, and form the basis of several
important collections, such as those of Petworth, of Mr. Windus, Mr.
Fawkes, and Mr. Munro. So great is the value of them that 120 guineas have
not unfrequently been paid for a small sketch in water-colors; and a
sketch-book, containing chalk-drawings of one of Turner's river tours on
the continent, has lately fet