is signalled by the transition of mood at the end of Byron's following stanza 97; and the peaceful beginning of stanza 98 accompanies the succeeding Eglogue (Eclogue). After this sequence drawn from three contiguous stanzas, the final piece, Les cloches de Genève (Geneva bells), returns to the Lac Leman sequence of stanzas in the poem and provides another dissonance. The two lines quoted from stanza 72 fit the serene tone of the music, but only by ignoring the rejection of "human cities" two lines later. In the case of both Berlioz's and Liszt's pieces, their association with Childe’s Harold’s Pilgrimage is an indication of how they are to be interpreted, in that all three works are subjective and autobiographical. The music, however, is independent of the text. Painting J. M. W. Turner was an admirer of Byron's poetry and made scenes from the Pilgrimage the subject of several paintings. Turner was among those commissioned to provide drawings to be engraved for William Finden's landscape illustrations to Byron (1832), which also included views from the poem. One of Turner's earlier paintings was of the carnage on The Field of Waterloo (1818), which was accompanied by Byron's descriptive lines from Canto III, stanza 28. For this, the poet had visited the battlefield in 1815 and Turner in 1817. Then in 1832 he exhibited a painting referencing Byron's poem in its title, Childe Harold’s Pilgrimage – Italy (1832), accompanied by lines reflecting on the passing of imperial might from Canto IV, stanza 26. Turner's Ehrenbreitstein (1835) was still another landscape carrying an epigraph, this time from the subject's appearance in Canto III, stanzas 61–3. It had captured the painter's imagination on his first visit there in 1817 and he had made studies of the place many times since then. Though the painter might first have been drawn to the spot on account of Byron's poem, what he made of it came from close personal acquaintance over the intervening years. The American Thomas Cole also went to Byron for the subject of one painting, though it was to Manfred in this case and is typically an imaginative reinterpretation. So too was his series of paintings The Course of Empire (1833-6), in reference to which he quoted the lines on the rise of cultures through civilisation to barbarism, from the Pilgrimage's Canto IV, stanza 108. Cole's The Fountain of Egeria'' (painted at about the same