lxiv INTRODUCTION

Architectural Review (see Vol. XXI. p. lii. n.). The others had also been placed at the disposal of the editor of that Review, and will presently appear in it. Ruskin has not in all cases dated them correctly; “Oct. ‘77” (B), “Nov. ’77” (D), and “Dec. ’77” (B, upper subject) should all have been “’76.”

Plate E is a plan of the Arena Chapel, and Plates I.-XXXVIII. are reductions from the Arundel Society’s woodcuts (see above, p. xlvii.). The next five Plates (XXXIX.-XLIII.) are additional illustrations of Giotto’s frescoes in the same chapel.

It has been found impossible to give, on the scale of this page, any reproduction in colour of the Arundel Society’s chromo-lithograph of the Cavalli monuments. Plate XLIV. is, therefore, a photogravure from it.

The Guide to the Academy at Venice is now illustrated by eleven plates. Eight of these (XLV., XLVII.-LIII.) are of pictures by Carpaccio, and have been mentioned in a preceding section of this Introduction. Plate XLVI. is of Gentile Bellini’s picture of a Procession in St. Mark’s Place. The picture is described in the Guide, and again in St. Mark’s Rest (see references on p. 146). Plate LIV. is of Tintoret’s “Madonna and the Faithful,” the picture with which Ruskin bids us close our inspection of the Gallery. Had Watts this picture in mind when he painted his “Dedicated to all the Churches” (described in Vol. XIV. p. 266)? Plate LV. is of Paul Veronese’s “Supper in the House of Simon”; the reduction in scale is here very great, but the plate will serve as a note of the picture, which the reader may find useful in perusing the account of the painter’s examination by the Inquisition (p. 187).

The illustrations in St. Mark’s Rest include ten more plates from pictures by Carpaccio (LX.-LXIX.). These, again, have all been referred to already. The other four plates illustrate works of art to which Ruskin calls special attention in the text. Plate LVI. is a woodcut (by Mr. H. S. Uhlrich) from the bas-relief of St. George on the front of St. Mark’s (§ 45). Plate LVII. is a photogravure from a later St. George, which was at Venice when Ruskin wrote (§ 48), but is now in the South Kensington Museum. Plate LVIII. is a photogravure from a drawing by Ruskin of a portion of the central archivolt of St. Mark’s (§ 99); while Plate LIX. is a photogravure from Mr. Fairfax Murray’s study of some mosaics already mentioned (p. xl.).

The engraving printed on p. 230 is from Ruskin’s copy of the dog in Carpaccio’s picture of “St. Jerome in his Study”; the engraving was made for Ruskin by Mr. Stodart.

E. T. C.

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