Turner seems to have been particularly receptive to the effect of sunlit masonry glimpsed between other structures, bringing out his watercolours to record its intensity. Compare his study at Tynemouth in the contemporary North of England sketchbook (Tate D00939; Turner Bequest XXXIV 33). Other drawings made at Fountains are on folio 10 recto (D01010; Turner Bequest XXXV 7) in this book and, in North of England, Tate D01000 (Turner Bequest XXXIV 89).
The page is slightly discoloured from exposure when on display, apart from the edges formerly protected by a mount.
Blank; inscribed by John Ruskin in red ink ‘722’; stamped in brown ink with Turner Bequest monogram.