[2] Mr. Cyrus Redding met him there in 1812, and Sir Charles Eastlake then or after then. There is no engraved drawing by him from Devonshire till the Southern Coast, which began in 1814, or picture, till the Crossing of the Brook, exhibited in 1815.
[3] Mr. Thornbury treats this as an absurd tradition, but it is supported by an account given by Dr. Shaw of an interview between him and the artist, and printed by Mr. T. pp. 318, 319. “May I ask you if you are the Mr. Turner who visited at Shelford Manor, in the county of Nottingham, in your youth?” “I am,” he answered. On being further questioned as to whether his mother’s name was Marshall, he grew very angry, and accused his visitor of taking “an unwarrantable liberty,” but was pacified by an apology, and invited Dr. Shaw to give him “the favour of a visit” whenever he came to town.
[7] Dr. Thomas Monro, of Bushey and Adelphi Terrace, physician of Bridewell and Bethlehem Hospitals, a well-known lover of art and patron of Edridge, Girtin, Turner, W. Hunt, and other young artists. He erected monuments at Bushey Church to Edridge and Hearne.
[8] This gentleman is described by Mr. Thornbury as Mr. Harraway, a fishmonger in Broadway.
[16] Down to 1851 the Exhibition, in common parlance, always meant the Exhibition of the Royal Academy.
[17] His first exhibited oil picture, according to Mr. S. Redgrave. See “Dictionary of Artists of the English School.”
[18] According to most accounts his first exhibited oil picture.
[19] See Whitaker’s “Parish of Whalley,” vol. ii. p. 183.
[20] See also Willis’s “Current Notes” for Jan. 1852.
[21] In a letter from Andrew Caldwell to Bishop Percy, dated 14th June, 1802, printed by Nicholls in his “Illustrations of the Literary History of the Eighteenth Century,” vol. viii. p. 43, Turner is spoken of as beating “Loutherbourg and every other artist all to nothing.” “A painter of my acquaintance, and a good judge, declares his pencil is magic; that it is worth every landscape-painter’s while to make a pilgrimage to see and study his works. Loutherbourg, he used to think of so highly, appears now mediocre.”
[22] The names of these pictures are given as printed in the Catalogue.
[24] See saying of Turner’s reported by Mr. Halstead, and printed in note in Mr. Rawlinson’s “Turner’s Liber Studiorum, Macmillan and Co., 1878,” from which excellent work most of the above information is derived.
[25] Not issued till the 10th part, or over five years from the publication of the first.
[27] The only picture exhibited at the Academy by this artist. It was called A Landscape, with Hannibal in his March over the Alps, showing to his Army the Fertile Plains of Italy. As its year of exhibition was 1776, it would be interesting to learn where Turner saw this picture. Where is it now? Our information on the subject is derived from Redgrave’s “Century of Painters.”
[29] He became Professor of Perspective to the Royal Academy in this year.
[30] Turner seems to have paid a visit to the Continent in 1804, as Mr. Thornbury refers to some powerful water-colour Swiss scenes of 1804 at Farnley, p. 240.
[31] There is no record of a visit by Turner to the Isle of Man.
[32] Wordsworth’s “Elegiac Stanzas,” suggested by a picture of ‘Peele Castle in a storm,’ painted by Sir George Beaumont.
[33] “Past Celebrities,” by Cyrus Redding, vol. i.
[44] In his first will he only leaves two pictures to the Nation, the Sun Rising through Mist and the Carthage, and on condition that they were to be hung side by side with the great Claudes.
[48] Mr. Harpur, the grandson of the sister of his mother, one of his executors.
[49] We are informed by Mr. J. Beavington Atkinson, to whom we are indebted for other interesting facts in connection with Turner, that he was not ungrateful to his early friends, the Narraways of Bristol, but supplied them from time to time with sums of money, and that at his death there was a sum owing by one of the family who wished to repay it, but was informed by the executors that Turner had left no record of any such debt.
