The engraved work of JMWTurner, . r. Thisapplies also to Nos. 130, 131, 132, and 133 of the same Series. P. 118, England and Wales. In the Fourth State, instead of Same lettering, read Similar lettering, hut the down-strolces ofthe italic letters in title slightly thicJcened. This applies throughoutthe Series. Pp. 169, 170, The so-called Holloways Continuation of Eng-land and Wales. My surmise (p. 170) that this series of eightplates and vignettes had really no connection with Turners * Eng-land and Wales, but were intended by him for some projectedwork to illustrate the East Coast of Eng
The engraved work of JMWTurner, . r. Thisapplies also to Nos. 130, 131, 132, and 133 of the same Series. P. 118, England and Wales. In the Fourth State, instead of Same lettering, read Similar lettering, hut the down-strolces ofthe italic letters in title slightly thicJcened. This applies throughoutthe Series. Pp. 169, 170, The so-called Holloways Continuation of Eng-land and Wales. My surmise (p. 170) that this series of eightplates and vignettes had really no connection with Turners * Eng-land and Wales, but were intended by him for some projectedwork to illustrate the East Coast of England, proves to be Finberg, in cataloguing the Turner Drawings in the NationalGallery, has discovered a note in the painters handwriting on themargin of Sketch CCLXXX, No. 110, 4 vig, [vignettes] for theEast Coast. ^ In the Eevised List in Vol. II (p. 196), the Serieswill accordingly be found under its proper title. ^ Finberg, Inventory of Turners Drawings in the National Gallery,vol. i, p. 43. 2 Id., p. 54. 3 jg^^ p_ g9Y_. THE ENGRAVED WORK OF J. M. W. TURNER, INTRODUCTION. Turner is largely known to the world through his engrav-ings; much of his most important work was done for theengraver, and under his influence the translation of land-scape into black-and-white was carried to a higher pointthan it had ever before reached. Probably no painterbefore him so well understood the methods, the capa-bilities, and the limitations of engraving; certainly noneever devoted an equal amount of time and care to thereproduction of his works. From his boyhood to his latest years Turner was con- Turnersnected with this branch of art. At nine years old his draw- connectionings, exposed in the shop window of his father the barber, within Maiden Lane, attracted the attention of the customers ^^^^i^*(among whom was the painter Stothard), and it was de-cided that the boy should be brought up as an first training probably was in the workshop of JohnEaphael Smith, the g
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