become of more interest to him, not only as indicating my earliest assumption of the office of censor to the Royal Academy! but as marking very notably the honest and frank tone of criticism itself in that day. The anonymous character of the author of Modern Painters was, by the time those Addenda were published, entirely waived to the general body of artists: but, whatever I chose to say of them, Prout, Stanfield, and Turner used to dine with my father on my birthday; the two first were always at home to me, and I had a happy little talk with Stanfield one day when he was at work on his last picture. Charles Robert Leslie, Mulready, and David Roberts used to come sometimes on the birthday also, and it was certainly not the Academy Notes of after years, but the Pre-Raphaelite schism, and most of all Turner's death, which broke my relations with the Royal Academy. I hope they may in future be kinder; its President' has just lent me two lovely drawings for the Oxford schools, and, I think, feels with me as to all the main principles of Art education. 66 1 [Frederic, Lord Leighton. For the two drawings-one of them the famous Study of a Lemon Tree "-see Art of England, § 76.] APPENDIX I. THE MSS. OF "MODERN PAINTERS," VOL. II. WITH I. IMPRESSIONS OF BEAUTY: AT "THE FOUNTAIN OF THE BREVENT," CHAMOUNI 2. SENSUAL BEAUTY DEFINED 3. "NATURAL ASSOCIATION OF IDEAS IN COLOURS 4. ASSOCIATION AND BEAUTY: AN ARGUMENT FROM THE CAMPAGNA AND THE LAKE OF BRIENZ 5. SUBLIMITY 6. OF THE SUPERNATURAL AS AN ELEMENT IN THE SUB LIME 7. THE MORBID LOVE OF HORROR 8. THE FEELING OF AWE IN RELATION TO INDIVIDUAL CHARACTER 9. THE NOBLE CAPACITY OF TERROR IO. "SUPPLEMENTARY NOTES ON TERROR ARISING FROM WEAKNESS OF HEALTH" II. HISTORIC ART II. AN ADDITIONAL CHAPTER, BEING "NOTES ON A PAINTER'S PROFESSION AS ENDING IRRELIGIOUSLY" III. LETTERS ILLUSTRATIVE OF "MODERN PAINTERS," I. TO THE REV. W. L. BROWN (DEC. 20, 1843) ON COLE- 2. To JOSEPH SEVERN (SEPT. 21, 1845) ON THE PROSPECTS IV. MINOR "VARIE LECTIONES" I THE MSS. OF "MODERN PAINTERS," VOL. II., WITH ADDITIONAL PASSAGES THERE are two sets of MSS. of this volume, or connected with it:-(I.) the Allen (now Morgan MS.: see Vol. III. p. 682). This consists of various notes and materials for the book. (II.) The Hilliard MS., given by Ruskin to the late Mrs. Hilliard, and now in the possession of Mr. Frederick Hilliard, her son. This is the MS. followed, with alterations made in revision, in the printed text. (III.) Some notes, belonging to the same set as some of (I.) above, are included in the Brantwood MSS. (I.) The Allen MSS. include the first draft of a considerable portion of the volume, differing very largely from the text. These MSS. are loose sheets, roughly stitched together; the order is not consecutive, and the intended arrangement is not always easy to make out. Ruskin seems to have written pieces at different times for different portions of his intended volume. The whole of this portion of the MSS. appears to belong to 1843-1844, when, as we have seen (above, pp. xx.-xxi.), he was already at work on the volume. The scheme of the book is not the same as he ultimately adopted; though the leading idea was clearly seized from the first, and the style is easier and more flowing than that which he afterwards adopted, in imitation of Hooker, for this volume. Among these sheets is the following first plan for the volume : Sec. I. General. Ch. 1. Introductory. 2. Observations on Typical, Functional, and Sensual Beauty. 3. Attack on Association. 4. Attack on Custom. 5. Attack on Fitness. 6. Of Functional Beauty. Sec. II. Typical Beauty. Ch. 1. Infinity. 2. Unity. 3. Repose. |