This sketch of Loch Katrine with the mountain of Ben Venue formed the basis of Turner’s watercolour of Loch Katrine circa 1832 (British Museum),1 which was engraved to illustrate volume 8 of Sir Walter Scott’s Poetical Works, The Lady of the Lake in 1834.
The view is from the lower slopes of Ben A’an on the north shore of the loch at its east end. It looks south-west across the loch to Ben Venue with Ellen’s Island (or Eilean Molach) at the right of the sketch. The slopes of the north bank are shown in the foreground, and the east end of the loch is seen at the left inscribed ‘Br’, presumably meaning brown as this is the colour it appears in the watercolour. Sketches on folios 45 verso and 46 verso (D26525, D26527) depict views from the same spot and were probably also referred to for details of certain parts of the sketch such as Ben Venue and the island. There are also similar views on folios 35–36 verso (D26504–D26507).
A number of subjects in the Trossachs had been suggested by Scott and his publisher Robert Cadell for the frontispiece and vignette illustrations of The Lady of the Lake, including Ben Venue (see folio 46 verso). It is not clear whether Turner knew when he made this sketch that Loch Katrine was to be the frontispiece. It had been proposed on 1 August, but Turner seems to have expressed reservations about the subjects as, following his meeting with Scott and Cadell, it was on 6 August considered tentative.2 Turner and Cadell discussed illustrations for The Lady of the Lake on 14 September,3 and on 17 September the subjects proposed for the vignette illustration were Loch Achray, the Trossachs or Ben Venue, with ‘Island Lake’ for the frontispiece. Finley has suggested that ‘Inch Cailloch’ (also written Inchcailloch) was the island in question,4 but another possibility should also be considered: Ellen’s Island which appears in Turner’s sketch and watercolour of Loch Katrine. A sketch on folio 28 verso (D26491) may be of Inchcailloch, but the identification is tentative, and even if it is, the sketch is slight and uninspiring as the source for an illustration. Ellen’s Island is particularly significant to Scott’s Lady of the Lake, as it is the location for much of the drama, especially Canto II: The Island (Lady of the Lake, 1810). The island is quite clear in the current sketch and another on folio 46 verso pays particular attention to it. In Turner’s watercolour it is made prominent by appearing dark against the pale water.
Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, p.429 no.1084.
Gerald Finley, Landscapes of Memory: Turner as Illustrator to Scott, London 1980, p.242.
Finley 1980, p.136.
Alistair J. Durie, Scotland for the Holidays: A History of Tourism in Scotland, 1780 – 1939, East Luton, Scotland 2003, pp.45–6.
John Gage, Collected Correspondence of J.M.W. Turner with an Early Diary and a Memoir by George Jones, Oxford 1980, pp.46–7 letter 38 note 47.
David Wallace-Hadrill and Janet Carolan proposed this itinerary based on research into steamboat routes and timetables, ‘Turner Round the Clyde and In Islay – 1831’, [circa 1991], Tate catalogue files.
Ibid. folios 3–5.
All these identifications were made by either A.J. Finberg or David Wallace-Hadrill and Janet Carolan: Finberg 1909, II, pp.868–71; Wallace-Hadrill and Carolan, ‘Turner Round the Clyde and In Islay – 1831’.
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