Midway in his career, Turner was working on three large canvases depicting northern continental ports—Dieppe and Cologne, in The Frick Collection, and the Dutch harbor of Dordrecht, a painting now at the Yale Center for British Art. The artist worked from sketches he had made on site in earlier years, detailing the structures along the right side of the paintings, many of which still stand today. Long before the advent of steamships and railroads, Dieppe—rendered here by Turner around 1826—had been one of the key French ports for goods coming and going from England. However, Turner did not choose to focus on these two sites in order to document the history of shipping, but rather to try to capture the glorious light that each day transformed the harbor in the early morning. He painted the sun twice in Dieppe, as a ball of white fire in the sky, and as a slightly muted reflection in the water below. As usual, Turner's critics were baffled by his daring, though one sensitively admitted that "amidst all this glitter and gaud of colors, it is impossible to shut our eyes to the wonderful skill, and to the lightness and brilliancy which he has effected."