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This drawing, now very faint, shows isolated roofs and chimneys towards the top right and a rough horizon line to their left. The buildings towards the bottom correspond with those in a pencil sketch of La Haye Sainte farmhouse from the north among those made on Turner’s 1817 visit to the 1815 battlefield of Waterloo (now in Belgium), the decisive victory of the Napoleonic Wars, in the Waterloo and Rhine sketchbook (Tate D12739; Turner Bequest CLX 20a). Another faint ink drawing of La Haye Sainte appears on folio 2 recto (D12126). It is unclear whether Turner made these two ink drawings at the site, or (perhaps more likely as he almost exclusively used pencil when travelling) reprised the compositions here from the Waterloo and Rhine drawings.
There is further Waterloo-related material in the present sketchbook: see folios 59 recto, 66 recto, 67 recto and verso, 78 verso (D12204, D12215, D12217, D12218, D12239; CLIV a 58, 65, 66, 66a, 77a). The immediate outcomes of Turner’s battlefield tour were the watercolour The Field of Waterloo of about 1817 (Fitzwilliam Museum, Cambridge)1 and the large oil painting of the same name exhibited in 1818 (Tate N00500),2 both showing the aftermath with their foregrounds strewn with the dead. The Waterloo and Rhine sketch with which the present page may be compared informed the background of the watercolour version, which is listed in Turner’s notes on folio 59 recto (D12204; CLIV a 58).
The ink is now a very pale brown, having presumably faded considerably. The central portion of the right-hand edge has been reinforced with a thin paper patch to make good the irregular loss evident from the verso (D12125). This was apparently caused by rubbing against the clasp of the original cover (see the Introduction to the sketchbook), similarly affecting the leaves as far as folio 6 (the recto of which is D12132), although these subsequent pages have not been repaired. A diagonal crease at the top right corner and short tears to the top edge beside it have been reinforced.