In his note inside the front cover of the sketchbook (D07755), on to which this drawing extends slightly to the left, John Ruskin described the subject as ‘the sketch of Crowhurst: Liber S.’, thus identifying it as the first idea for the unpublished plate of Crowhurst intended for the Liber Studiorum. Turner’s finished drawing for the print is Tate D08172; Vaughan Bequest CXVIII R. However, Finberg’s entry continued: ‘The resemblance ... is very general and vague. I am inclined to doubt whether there is any connexion between the two.’ In fact the origin of Crowhurst is in the Views in Sussex sketchbook (Tate D10327; Turner Bequest CXXXVIII 8) and the present view is more probably in Petworth Park, looking towards the lake, Finberg’s ‘winding river’; the trees may be those on Lawn Hill. Ian Warrell, in unpublished notes,1 observes the similarity to the sweep of country and water seen through trees in Turner’s vignette The Beech Tree’s Petition (watercolour in the National Gallery of Scotland, Edinburgh)2 for Thomas Campbell’s Poetical Works (1837). This subject was set in Petworth’s park. See also folios 2 (D07758) and 85 verso (D07847) for related scenery and verse.