No. 458. Portrait of himself, when young, evening dress. Bust, life-size. Engraved by W. Holl, for the "Turner Gallery." On canvas, 2 ft. 5 in. h. by 1 ft. 11 in. w. Painted about 1802. TURNER COLLECTION.* No. 459. MOONLIGHT, A STUDY AT MILLBANK. A view of the Thames, looking east. A little west of the spot from which this view was taken is situated, near Cremorne pier, the cottage in which Turner died. On wood, 11 in. h. by 15 in. w. Exhibited at the Royal Academy in 1797. TURNER COLLECTION. No. 460. BUTTERMERE LAKE, WITH PART OF CROMACK WATER, CUMBERLAND, A SHOWER. "Till, in the western sky, the downward Sun Looks out, effulgent The rapid radiance instantaneous strikes Th' illumin'd mountain and in a yellow mist, Bestriding Earth, the grand ethereal bow Shoots up immense; and every hue unfolds." Mountainous landscape with rainbow. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. Exhibited at the Royal Academy in 1798. TURNER COLLECTION. No. 461. MORNING ON THE CONISTON FELLS, LancaSHIRE. "Ye mists and exhalations that now rise Milton, Paradise Lost, B. v. Hilly landscape, with mountain torrent. On canvas, 3 ft. 11 in. h. by 2 ft. 11 in. w. Exhibited at the Royal Academy in 1798. TURNER COLLECTION. No. 462. LANDSCAPE, WITH CATTLE IN WATER. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. TURNER COLLECTION. * The Turner pictures were removed from South Kensington to Trafalgar Square in October 1861. No. 463. ENEAS WITH THE SIBYL. LAKE AVERNUS. The Cumman Sibyl was said to have accompanied Æneas to the lower world. Æneas was desirous of consulting his father Anchises, this he could only do with impunity when in possession of the golden bough from the tree sacred to Proserpine. The cave or grotto of the Sibyl is in a subterranean passage, near Cuma and the lake Avernus, and close to the shores of the bay of Baiæ; it is still shown to travellers. See No. 505. "Go, search the grove, and raise your longing eyes If your descent approving fates allow, Your hand with ease will crop the willing bough." On canvas, 2 ft. 6 in. h. by 3 ft. 3 in. w. No. 464. RIZPAH WATCHING THE BODIES OF HER SONS. "And Rizpah the daughter of Aiah took sackcloth, and spread it for her upon the rock, from the beginning of harvest until water dropped upon them out of heaven, and suffered neither the birds of the air to rest on them by day, nor the beasts of the field by night."—2 Samuel, xxi. 10. Engraved, with some alterations, in the Liber Studiorum. canvas, 3 ft. h. by 4 ft. w. TURNER COLLECTION. On No. 465. MOUNTAIN SCENE, WITH A CASTLE on a Hill, in the middle ground: a man angling in a stream, in the foreground. On canvas, 1 ft. 5 in. h. by 1 ft. 8 in. w. Painted about 1800. TURNER COLLECTION. No. 466. VIEW IN WALES, mountain scene, with castle; evening. On canvas, 1 ft. 10 in. h. by 2 ft. 4 in. w. Painted about 1800. No. 467. SAND BANK, WITH GIPSIES. A SKETCH. To the right, two cows, on a bank; to the left, two men seated by the side of a fire. On canvas, 2 ft. h. by 2 ft. 9 in. w. Painted in 1809. No. 468. VIEW ON CLAPHAM COMMON, A study of trees; in the foreground men angling. On canvas, 1 ft. h. by 1 ft. 5 in. w. Painted about 1802. TURNER COLLECTION. No. 469. SEA PIECE, a vessel stranded near a jetty; boats in the foreground: squally weather. On wood, 11 in. h. by 7 in. w. TURNER COLLECTION. No. 470. THE TENTH PLAGUE OF EGYPT. "And it came to pass, that at midnight the Lord smote all the first-born in the land of Egypt. "And Pharaoh rose, he and all the Egyptians; and there was a great cry in Egypt; for there was not a house where there was not one dead." Engraved for the Liber Studiorum. by 7 ft. 9 in. w. Exodus xii. 29-30. On canvas. 4 ft. 9 in. h. Exhibited at the Royal Academy, in 1802. TURNER COLLECTION. No. 471. JASON IN SEARCH OF THE GOLDEN FLEECE. The serpent, the guardian of the object of his search, has been drugged to sleep by the charms of Medea, and the moment represented is when Jason stealthily passes by the terrible monster, of which only a single gigantic coil is visible from among the rocks and shattered trees about his cavern. Engraved for the Liber Studiorum. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. Exhibited at the Royal Academy, in 1802. TURNER COLLECTION. No. 472. CALAIS PIER. FRENCH FISHERMEN PREPARING FOR SEA. THE ENGLISH PACKET ARRIVING. A dark and stormy sky, and a strong breeze blowing. The principal object is the eastern jetty of the harbour, on which are people cleaning fish, and many other figures, among whom is conspicuous a woman disputing with an old fisherman in the boat below, who is shaking his only half-filled bottle of brandy at her, by way of remonstrance. The English packet is the cutter with the dark sails, which has just entered the harbour. Engraved by Thomas Lupton (unpublished); and by J. Cousen, for the "Turner Gallery." On canvas, 5 ft. 7 in. h. by 7 ft. 10 in. w. Exhibited at the Royal Academy, in 1803. TURNER COL LECTION. No. 473. THE HOLY FAMILY. The Virgin and Child, with Joseph, reposing in the open air, On canvas, 3 ft. 5 in. h. by 4 ft. 8 in. w. Exhibited at the Royal Academy, in 1803. TURNER COL LECTION. No. 474. THE DESTRUCTION OF SODOM. Lot and his family leaving the city. "Then the Lord rained upon Sodom and upon Gomorrah brimstone and fire. "And He overthrew those cities, and all the plain, and all the inhabitants of the cities, and that which grew upon the ground. "But his wife looked back from behind him, and she became a pillar of salt."-Genesis xix. 24-26. Lot and his daughters are seen to the right leaving the burning city; his wife as a pillar of salt is behind them. On canvas, 4 ft. 9 in. h. by 7 ft. 9 in. w. Painted about 1805. TURNER COLLECTION. No. 475. VIEW OF A TOWN. A sketch. TURNER COLLECTION. No. 476. THE SHIPWRECK. FISHING BOATS ENDEAVOURING TO RESCUE THE CREW. The huge wreck is seen labouring in the distance, still crowded with human beings; in the foreground, and near the wreck, are several fishing boats, with their hardy crews, tossed on the raging sea, boldly striving to approach the disabled ship. One boat, that in the centre of the picture, from the women and others on board, appears to have already rescued some of the passengers and crew from the wreck. On Engraved by Charles Turner, A.R.A.; by J. Burnet; by T. Fielding; and by W. Miller for the "Turner Gallery." canvas, 5 ft. 7 in. h. by 7 ft. 11 in. w. This picture was painted in 1805, but was never exhibited. It was originally purchased by Sir John Fleming Leicester, afterwards Lord De Tabley, and was subsequently exchanged by him for the "Sun rising in a Mist," also now forming part of the National Gallery.* TURNER COLLECTION. No. 477. THE GODDESS OF DISCORD CHOOSING THE APPLE OF CONTENTION IN THE GARDEN OF THE HESPERIDES. "All amidst the gardens fair Of Hesperus, and his daughters three, Milton's Comus. The three daughters of Hesperus, Aegle, Hespere, and Erytheïs, dwelt in this western garden, and had charge of the tree of the golden apples, the gift of Earth to Juno on her wedding day; the Hesperides and the garden were protected by the dragon, Ladon.† The goddess of Discord, not having been invited to the marriage feast of Peleus and Thetis, threw one of these apples into the midst of the assembled gods, to be taken up by the most beautiful. It was claimed by Juno, Minerva, and by Venus, and Jupiter * No. 479, in the collection at Trafalgar Square. |