Turner's use of pen and ink in these two drawings is characteristic of his Belgian scenes as a whole, but their muted twilight colouring is close to that in several of those showing the Mosel including no.48 depicting Trier and no.52 of Bernkastel. In no.94 Turner achieves a balance between the Meuse and the very much smaller Sambre by putting the more important river into shadow and bathing the right-hand side of his scene in golden light. In no.93, however, neither river is visible, their confluence occurring just beyond the left-hand edge of the drawing, but the tiny stream in the foreground suggests their unseen presence.
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