INTRODUCTION xlvii

Mr. Wedderburn undertook for him the preparation of a new edition, uniform with the small issue of his other works. On this scale it was impossible to give the Arundel Society’s woodcuts, and “process blocks” from photographs of the frescoes were substituted. In the present volume the original woodcuts have been reduced by photozincography. The woodcuts are no longer accessible, while anybody who is interested in the chapel can now easily obtain good photographs or cheap reproductions of them. Again, it was the woodcuts which Ruskin had before him, and to them he makes particular allusion; he says, too, that the character of Giotto’s painting “is better expressed by bold wood-engravings” (p. 36, and compare pp. 39-40). Moreover, the frescoes have been retouched since 1853, and these woodcuts are historical documents (subject to the human equation of draughtsmen and engraver) of the earlier state of the works depicted. One or two errors in the woodcuts have now been corrected (see pp. 91, 106 nn.). If the reader will compare a set of the original woodcuts with the present plates, he will, I think, agree that while the reduction has sacrificed no intelligibility in detail, it has given the representations of Giotto’s work a more pleasing appearance. The new edition of 1900 contained some additional plates, and also some further notes from Lord Lindsay. These additions, designed to make the book more complete as a guide to the chapel, are included in the present volume. Full bibliographical details will be found below (p. 7).

A few sheets of Ruskin’s manuscript, describing the frescoes at Padua, are in Mr. Allen’s possession; these seem to have belonged to an earlier draft, for the descriptions are not the same as were printed in the text. One of the sheets, containing remarks on the fresco of “Christ entering Jerusalem,” is here given in facsimile (p. 90).

“THE CAVALLI MONUMENTS, VERONA”

The essay which comes next in this volume was also written for the Arundel Society. One of the most interesting of the Society’s undertakings was its series of records of Italian tombs. This work began in 1867 by the commissioning of Professor Gnauth of Stuttgart to make drawings of various Italian tombs. The works to be included in the series were (1 and 2), the monuments of the Doge Morosini and the Doge Vendramin in SS. Giovanni e Paolo; (3) the tombs of Can Grande and the Castelbarco tomb at Verona; (4) the Turriani monument in the Church of S. Fermo Maggiore, Verona; and (6 and 7) monuments of the Pellegrini and Cavalli families in S. Anastasia, Verona. The publication last mentioned was a chromo-lithograph of the Cavalli

[Version 0.04: March 2008]