INTRODUCTION lxxxvii

the stream of Glen-Finlas,” in Ruskin Notes on that exhibition (No. 45 R. (a); it is also referred to in Præterita (iii. ch. i. § 10).

Next come the original illustrations in Lectures on Architecture and Painting. Of these, seven (including the frontispiece by Millais to that volume) are here printed as separate Plates (II., III., IV., VII., VIII., IX., X.); the others are included in the text. Five additional illustrations to the Lectures have been introduced. Plate V. is from a drawing by Ruskin of the main street of Münster in Germany, which well illustrates what he says in § 18 (p. 36) of the picturesque effect of gables and cornices in street architecture. The drawing, which is in pen and wash (17½ x 12), is at Brantwood.

Plate VI. is from a drawing by Ruskin of the church of Courmayeur, and illustrates his passage (§ 20, p. 41) about “the grey mountain churches” on the southern slopes of the Alps. The drawing, which is in water-colour (14½ x 8), is in the possession of Sir John Simon, K. C.B. It was made in 1849.

Plate XI. is from a drawing of an Italian window which may have been intended to illustrate these Lectures, and was perhaps exhibited at them. It is at Brantwood, and is an example of a kind of window described in the Lectures (p. 76 n.).

Plate XII. is reproduced from a very large drawing at Brantwood, which also seems to have been exhibited at the Lectures. It is a typical example of various characteristics in the landscape of the Italian painters and more especially of Leonardo da Vinci (see below, p. 112).

Plate XIII. is reproduced from two large drawings, now at Brantwood, which Ruskin similarly made to illustrate the Lectures; it compares the treatment of trees by Turner and Claude respectively (see below, p. 127 n.).

The next two Plates illustrate passages in the Review of Lord Lindsay. No. XIV. is from a drawing by Ruskin of the south door of the Duomo at Verona. The drawing was reproduced in Verona and other Lectures (1894), Plate iv. No. XV. is from a later drawing of Lucca; it is in water-colour (19 x 13), and is at Brantwood.

In addition to the above-mentioned Plates and woodcuts, which either were prepared by Ruskin or are from drawings by him, five other Plates are included which give reproductions of works generally or specifically alluded to in the volume. Under the first head come Plates XVI. and XVII., which are photogravures of drawings by J. F. Lewis (see below, p. 363) which were in Ruskin’s collection, and are now in the possession of Mr. and Mrs. Arthur Severn at Herne Hill.

[Version 0.04: March 2008]