This beautiful drawing is a third recurrence by Turner to his earliest impression of Portsmouth, given in the Southern Coast series. The buildings introduced differ only by a slight turn of the spectator towards the right; the buoy is in the same spot; the man-of-war's boat nearly so; the sloop exactly so, but on a different tack; and the man-of-war, which is far off to the left at anchor in the Southern Coast view, is here nearer, and getting up her anchor.

The idea had previously passed through one phase of greater change, in his drawing of "Gosport" for the England, in which, while the sky of the Southern Coast view was almost cloud for cloud retained, the interest of the distant ships of the line had been divided with a collier brig and a fast-sailing boat. In the present view he returns to his early thought, dwelling, however, now with chief insistence on the ship of the line, which is certainly the most majestic of all that he has introduced in his drawings.

It is also a very curious instance of that habit of Turner's before referred to (p. {ref}27), of never painting a ship quite in good order. On showing this plate the other day to a naval officer, he complained of it, first that "the jib[U] would not be wanted with the wind blowing out of harbor," and, secondly, that "a man-of-war would never have her foretop-gallant sail set, and her main and mizzen top-gallants furled:—all the men would be on the yards at once."

I believe this criticism to be perfectly just, though it has happened to me, very singularly, whenever I have had the opportunity of making complete inquiry into any technical matter of this kind, respecting which some professional person had blamed Turner, that I have always found, in the end, Turner was right, and the professional critic wrong, owing to some want of allowance for possible accidents, and for necessary modes of pictorial representation. Still, this cannot be the case in every instance; and supposing my sailor informant to be perfectly right in the present one, the disorderliness of the way in which this ship is represented as setting her sails, gives us farther proof of the imperative instinct in the artist's mind, refusing to contemplate a ship, even in her proudest moments, but as in some way over-mastered by the strengths of chance and storm.

The wave on the left hand beneath the buoy, presents a most interesting example of the way in which Turner used to spoil his work by retouching. All his truly fine drawings are either done quickly, or at all events straight forward, without alteration: he never, as far as I have examined his works hitherto, altered but to destroy. When he saw a plate look somewhat dead or heavy, as, compared with the drawing, it was almost sure at first to do, he used to scratch out little lights all over it, and make it "sparkling"; a process in which the engravers almost unanimously delighted,[V] and over the impossibility of which they now mourn, declaring it to be hopeless to engrave after Turner, since he cannot now scratch their plates for them. It is quite true that these small lights were always placed beautifully; and though the plate, after its "touching," generally looked as if ingeniously salted out of her dredging-box by an artistical cook, the salting was done with a spirit which no one else can now imitate. But the original power of the work was forever destroyed. If the reader will look carefully beneath the white touches on the left in this sea, he will discern dimly the form of a round nodding hollow breaker. This in the early state of the plate is a gaunt, dark, angry wave, rising at the shoal indicated by the buoy;—Mr. Lupton has fac-similed with so singular skill the scratches of the penknife by which Turner afterwards disguised this breaker, and spoiled his picture, that the plate in its present state is almost as interesting as the touched proof itself; interesting, however, only as a warning to all artists never to lose hold of their first conception. They may tire even of what is exquisitely right, as they work it out, and their only safety is in the self-denial of calm completion.