Once in our walk from Exeter Cathedral to the river you paused and asked what kind of a man was this amalgam of poet-artist and suspicious tradesman. And I, who had been so long studying his works, and dipping into the lives of him by Thornbury, Hamerton, Cosmo Monkhouse, Sir Walter Armstrong, Mr. W. L. Wyllie, and others, tried to give an impression of the man Turner—a blur of his sayings, letters, habits, and the comments of his biographers. Some of them have bewailed that his was not a pattern life, such as would edify a Y.M.C.A. audience. Nature produces such useful lives by the hundred thousand: she makes but one Turner. The Church had blessed neither his union with Mrs. Danby, nor with Mrs. Booth, and, in his later days, he preferred rum and water with sea-faring men in Wapping or Rotherhithe to dreary dinner-parties in dreary houses in the West End of London, which does not seem to me strange. We must take him as he was and be grateful. It was Nature's whim to link this great artist-soul to the starved soul of a petty tradesman. As an artist he is with the immortals: as a man he was true son of the covetous, kindly barber of Maiden Lane, Strand, keen on halfpennies, a driver of hard bargains. The father haggled with his customers, the son with engravers and picture buyers. Secretive, suspicious, ambitious, sometimes mean, yet capable of great kindnesses and sacrifices, was this little hook-nosed man in an ill-cut brown coat, and enormous frilled shirt, with feet and hands notably small. Kind? Yes. Did he not in the Academy of 1826 cover his glowing picture of "Cologne—The Arrival of a Packet Boat—Evening" with a wash of lamp-black, because it "killed" two portraits by Sir Thomas Lawrence hanging alongside. "Poor Lawrence was so unhappy," said Turner. "The lamp-black will all wash off after the Exhibition." But Turner's moods were capricious. Like all blessed or cursed with the artistic temperament, the mood of the moment usually governed his actions. Six years after the lamp-black incident he had a grey picture hanging beside Constable's "Opening of Waterloo Bridge," and Turner (you may imagine the fury in his bright eyes) watched his brother artist heightening with vermilion and lake the decorations and flags of his City barges. Presently, when Constable had gone away, Turner put a round daub of red lead upon his grey picture, which he afterwards shaped into a buoy. Constable said when he returned, "Turner has been here and fired a gun." Turner liked a joke, and if it was sometimes at the expense of another, that was but the way of his class.

From first to last he loved but one thing with heart and soul—his art. His affection for his father, and for Mr. Fawkes of Farnley Hall, were but interludes in his passion to interpret Nature, to make her conform to his visions, and to excel his predecessors and contemporaries. Certainly, in his way, he loved his "old dad," who lived with him until his death, looking after the picture gallery of unsold works in Queen Anne Street, and helping in the preparation of his canvases. Of his father he was wont to chuckle, "Dad taught me nothing except to save halfpence." The death of the old man was a great blow.

The love affair which Thornbury relates amounts to nothing—no human thing ever really interfered with his art. His schooling at Brentford and Margate was infinitesimal—but for a landscape and sea painter, what education could have been better than the river and the boats at Brentford and the sea and ships at Margate. He remained illiterate to the end. When he wrote a description of St. Michael's Mount for the publication called "Coast Scenery," Coombes complained that "Mr. T——'s account is the most extraordinary composition I have ever read; in parts it is absolutely unintelligible." As Professor of Perspective at the Royal Academy he was unable to express his ideas, but, says Thornbury, "he took great pains to prepare the most learned diagrams."

Throughout his life he extended and amended that amazing poem called "Fallacies of Hope," portions of which he tagged to his pictures in the Royal Academy Catalogue. It is doggerel with occasional glints of the beauty, pomp, and wonder of the world that showered when he used his rightful methods of self-expression—eye and hand. The romance of the ancient world of myth and architecture tingled in this secretive, slovenly, Jewy man; but when he essayed to learn Greek, in the happy days at Sandycombe, the attempt had to be abandoned. The slow brain could not master the verbs.

Ambition was strong within him. No toil was too long or too severe. He travelled England and Europe, sketched everything, stored the forms of buildings and effects of light and colour; and could recall what he had garnered at an instant's notice. In painting he pitted himself against the dead, against his contemporaries, against twenty miles of country, against the very glory of the sun, wrestling with each in turn, and chuckling as they succumbed.

He saved his money and in later years hoarded his pictures. He refused to pass potential purchasers to his studio, but Gillott, the pen-maker, bearded the lion in Queen Anne Street, pushed past Mrs. Danby, joked with the old man when he growled, "Don't want to sell!" and carried off in his cab some five thousand pounds worth of pictures.

Turner re-bought his canvases when they came up for sale at Christie's, worked without cessation, practised all manner of petty economies, and finally left his pictures to the nation and his fortune of one hundred and forty thousand pounds to found a home for "decayed male artists of English parents and of lawful issue, with an instruction for a Turner medal at the Royal Academy, and a monument to himself in St. Paul's Cathedral."

The will with its four codicils was a bewildering document. For years it was wrangled over in the courts, and in the end a compromise was effected. The fortune went to the next of kin, the pictures and drawings to the nation, and twenty thousand pounds to the Royal Academy. Ruskin summed up the compromise thus: "The nation buried, with threefold honour, Turner's body in St. Paul's, his pictures at Charing Cross, and his purposes in Chancery."

If Turner, as he eyes the landscape of the Elysian Fields, retains aught of earth-life frailty, he must look angrily down upon the Turner section of the National Gallery, upon the rooms beneath, reached by a winding staircase, where some of his water-colours are crowded, upon the sunlight canvases at the Tate Gallery; and at certain provincial exhibitions whither some of his works have overflowed from the National Gallery. For he stated explicitly in his will that the pictures should be kept together in a room or rooms to be added to the National Gallery, to be called Turner's Gallery, and to be built within ten years of his demise.

I still hope that the Turner Gallery may be built. Perhaps the hope will become a reality. What a sight Turner's pictures chronologically arranged would be, from the dim experimental pieces and the "Moonlight: A Study at Millbank," to those four works, splendid failures, now at the Tate Gallery, that he painted the year before he died, when the mind of the old man, having flamed from the embers to express the opalescent loveliness of Venice, the grey tumult of the sea in the Whaling series, the glory of the sun flashed in stains of luminous colour upon white canvases, harked back, in the shadow of death, to the old legends he had always loved, and painted them as of yore, but now blurred and tumbling, mighty ruins rising from blue lakes by great rivers and arching pines, with an impossible Æneas relating his story to an unrealised Dido, or being admonished by a Noah's-Ark Mercury. The imagination remains gorgeous if chaotic; at seventy-five he still reaches towards the unattainable, still seeks in visions a way of escape from the materialism and stupidity of the world.

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What a triumph to see the range of oil pictures with the water-colours stepping daintily through the stages of his development to those latter dreams of the Rhine and Swiss lakes, fairy scenes that live, as by a miracle, on pieces of mere paper; also the proofs of the "Liber," with Mr. Frank Short's interpretations of the drawings that were never engraved, bringing the number up to a round hundred; also the tall books, one cold, beautiful steel engraving on a page, such as "ChÂteau Gaillard" in the volume called "Turner's Annual Tour, 1834," a view which charms the eyes dulled by grey London and makes the feet impatient to be off to Richard Coeur-de-Lion's castle on the bend of the Seine. The portraits, sketches and caricatures, too, of Turner of Maiden Lane, Hand's Court, Hammersmith, Twickenham, Queen Anne and Harley Streets, Chelsea, and of all the world—they should hang near his life-work.

You will see him, when the good time of the Turner Gallery comes, as a pretty youth, painted by himself, no doubt a flattering likeness, which hangs in the National Gallery. It is a bust portrait, full-face, with large estimating eyes, somewhat amazed, a heavy nose, and a dropping under-lip. An attractive boy; but you must remember that Turner the idealist painted it, and that he had worked for a time in the studio of Sir Joshua Reynolds.

Nearer to the Turner that one visualises is the sturdy middle-aged man seated under a tree, cross-legged, pencil in hand, in the painting by Charles Turner. The brickdust face is clean-shaven, the nose unmistakably Semitic; the hair is long, and the whiskers straggle to the collar. A drawing rests upon his knee; he looks forth with an eye like a sword, considering how he shall change the landscape. The sketch by Maclise is a delight. Turner sits on a stool up in the clouds, painting; the tail of his coat flaps over towards the earth, his boot is crooked into the support of the easel, and beneath him rises the sun with the word "Turner" blazoned amid the rays. But the best of the series, because it has that touch of caricature which often approaches nearer to life than a reasoned drawing, is the portrait by William Parrott made on Varnishing Day at the Royal Academy in 1846, when he was seventy-one. Turner is painting furiously upon his picture. The frame stands on the floor. The top is but an inch shorter than the battered beaver hat crushed over upon his big head. His Mrs. Gamp umbrella leans against a chair. His fellow-Academicians stare at his picture and at his colour-box, puzzled. "How does he do it?" they whisper.

In those days the members of the Academy were allowed four varnishing days. In his latter years Turner would send his pictures merely laid in with white and grey and complete them on the varnishing days. There was brown sherry at luncheon, and Wilkie Collins describes the old man as "sitting on the top of a flight of steps, or a box, like a shabby Bacchus nodding at his picture." But he could paint a "Rain, Steam, and Speed" and "The Sun of Venice going to Sea" in spite of the brown sherry, and his lonely bachelor life.

But brown sherry or no brown sherry, to his dying day he never lost interest in the love of his life, light. At seventy years of age, when he is described as stooping, looking down and muttering to himself, he would pump Brewster as to all he knew on the subject of light. Those were the days of the infancy of photography, and Mr. Mayall, who was experimenting with daguerreotypes, tells how the old man, whose eyes were then weak and bloodshot, would sit in his studio day after day asking questions. He pretended that he was a Master in Chancery.

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