ABSTRACT
Concluding my investigation of picturesque and romantic attitudes to the environment in the eighteenth and early nineteenth centuries, this chapter concentrates on the latter era, when meteorology became a science and the arts increasingly eulogised the weather, which was considered to be as exceptional as the imagination. Focusing on the paintings, buildings and opinions of J.M.W. Turner, I compare his reaction to the hybridised weather of industrial London to that of Soane. Although they were friends for many years, and lived close to each other, their imagination drew them to contrasting conclusions and designs.
