The illustrations introduced in this edition have for the most part not before been published, and are, with one exception, from drawings by the author. They fall into three classes, according as they are (a) drawings of places described in the volume, (b) studies belonging to the date of the book, or (c) copies by the author of works of art referred to by Ruskin.

It will be seen that he was much and painfully impressed by the destruction, called restoration, of ancient buildings during his Continental tour of 1845. Several of the drawings here given are of buildings which were then, or have since, suffered in that way.

To the destruction of the little church of Sta. Maria della Spina at Pisa (No. 4) reference will be found at p. 136, below. Ruskin's drawing (13 × 19), in pencil and white, was made in November 1840. It is at Brantwood.

To the scraping of the "Interior Court of the Ducal Palace" (No. 2) he refers in a letter to his father in 1845, cited at p. 41, below. He there refers to "the part I drew": see also p. 343, below. The drawing in question (pencil and sepia), here reproduced, was made in 1841. It is in the Ruskin Drawing School at Oxford (Reference Series, No. 64).

Three other architectural sketches belong to the year 1845. The "Exterior of the Ducal Palace" (No. 9) is in the Reference Series (No. 67). "The traceries," says Ruskin, in the Catalogue of the Reference Series, "are drawn to scale with care, and cannot be photographed from this point, as the view is taken from the water.”

The "study of the marble inlaying on the front of Casa Loredan, Venice" (No. 8) is from a water-colour drawing of the same year, also in the Ruskin School at Oxford (Rudimentary Series, No. 22).

The "San Michele, Lucca" (No. 1), also sketched in 1845, shows a lateral view of the façade of the destroyed church as it appeared in that year. Another view is given in Vol. III. (Plate 1), where the building is described (p. 206 n.). The present drawing is No. 85 in the Educational Series of the Ruskin Drawing School.

As a sample of Ruskin's studies of landscape at this period, the "Stone Pine at Sestri" is given (No. 12). To this he refers in the Epilogue to the present volume (§ 4, p. 346, below). In a letter to his father (April 30, 1845), he says:

"I have been working all day like a horse, and have got a most valuable study of stone pine; rock to sit on, under the shade of an ilex, no wind, air all that's right."

The drawing is No. 22 in the Educational Series at Oxford.

The "Study of the Sea-Horse of Venice (actual size)" is of later date. It is here introduced (No. 5), because it is referred to in the text (see p. 154 n.). The original drawing by Ruskin, in pencil, is No. 43 in the Rudimentary Series at Oxford. The engraving here given was made some thirty years ago by Mr. George Allen, from the drawing by Ruskin, for publication in an intended "Oxford Art School Series."

The last group of illustrations consists of Ruskin's copies of, or studies from, works referred to in Modern Painters. To the drawings which he made in the Campo Santo at Pisa in 1845 he refers in the Epilogue to this volume (§ 8, p. 350, below, and see p. xxx., above). Most of the drawings there mentioned have not been found among Ruskin's collections; but one, "Abraham Parting from the Angels," is at Oxford1 and is here reproduced (No. 10); it is of the greater interest from Ruskin's description of this portion of Benozzo Gozzoli's fresco in a letter to his father (see above, p. xxx., and cf. p. 316, below).

The other illustrations are from Ruskin's sketches from Tintoret's "Adoration of the Magi" (in the Scuola di San Rocco, Venice); these sketches are referred to in Præterita, ii. ch. vii. § 144. The picture is described in Stones of Venice, vol. iii. (Venetian Index, s. "Rocco, Scuola di San," No. 2), and referred to in Modern Painters, vol. iii. ch. vii. §§ 2, 3. The studies are here introduced as the only examples now available of Ruskin's work upon Tintoret in 1845 which bore so much fruit in the present volume. The drawings are at Herne Hill. No. 6, a sketch of the whole composition, is from a drawing in colour (28 x 40); No. 7, a study of the figures of the King and Attendants, is from a drawing in pencil and brush (13 × 20). No. 11, a study of the cherubs, is from a drawing in pencil (14 × 21).

The frontispiece is again, as in Vol. II., from a drawing of Chamouni, where, as will be seen, this second volume of Modern Painters had its birth (Appendix i., p. 363). The drawing is described in the Epilogue (§ 4, p. 345, below), and is here reproduced by kind permission of its owner, Lady Simon.

The facsimile of Ruskin's manuscript here given (between pp. 364–365) is from the Allen (now Pierpont Morgan) MS., described in Appendix i. (p. 361). The passage has not before been published.

E. T. C.

1 Placed by Ruskin in his latest re-arrangement in the Educational Series, but not numbered or noticed in the printed catalogues.

Bibliographical Note.-Editions of the whole of Modern Painters, and selections from the various volumes, have already been enumerated in the Bibliographical Note to volume i. of the work. Here enumeration is made only of the separate editions of volume ii.

First Edition (1846).-The title-page was as follows:

Modern Painters. | Volume II. | Containing | Part III. | Sections 1 and 2. | Of the Imaginative and Theoretic Faculties | By a Graduate of Oxford (Quotation from Wordsworth, as in vol. i.) | London | Smith, Elder & Co., 65 Cornhill. | 1846.

Imperial 8vo, pp. xvi. +217. For the increase of the size of the page, see above, p. xi. On p. v. was the Dedication (here on p. ix.); on pp. vii.-viii. the Advertisement (here p. xi.); Contents, pp. ix.-xvi.; Text, pp. 1-215; Addenda, pp. 216-217 (see here, pp. 36-37, 69-70, 121, 341–342). On the reverse of p. 217 there was the following list of Errata :—

Issued on April 24, 1846, in green ornamental cloth boards, uniform with the third ed. of volume i. (see Vol. III. of this ed., p. lvii.). Price, 10s. 6d.

Second Edition (1848).—Title-page identical with first edition, except that the date is altered, and the words "Second Edition" are added below the quotation: pp. xvi. +220. The text occupies pp. 1-213, and the Addenda pp. 215-220. These Addenda were new notes (see, here, pp. 333-341). Issued on January 1, 1849, in the same coloured boards and at the same price as the first edition. The text was considerably revised throughout (see, e.g., pp. 52, 57, 61, 132, 137, 147, 149, 150, 190, 208, 215, 302, 307).

Third Edition (1851).-The alterations of the title-page are (1) "By John Ruskin, Author of "The Stones of Venice," "The Seven Lamps of Architecture," | etc., etc.," instead of "By a Graduate of Oxford"; (2) "Third Edition, revised by the author," instead of "Second Edition"; (3) new date. Issued in October 1851 in the same style and at the same price as the previous editions. The text was again revised throughout, but the alterations were not very important.

1 [In the text the first two lines had been quoted as one line.]

Fourth Edition (1856).—Issued February 15; except for the number of the edition, and the date on the title-page, this was a reprint of the third edition. Price and binding as before.

Fifth Edition (1869).—Again a reprint of the third, except for the abovementioned alterations and the substitution of the publisher's new address, "15 Waterloo Place." Price and binding as before.

Re-arranged Edition in two volumes (1883).-For the circumstances of this re-issue, see above, p. xlviii. The title-page was as follows:

Modern Painters. | Volume II. | "Of Ideas of Beauty," | and | “Of the Imaginative Faculty." | By John Ruskin, LL.D., | Honorary Student of Christ Church, Oxford; Honorary Fellow of | Corpus Christi College, Oxford; and Slade Professor, | of Fine Art, Oxford. | (Quotation from Wordsworth.) | Re-arranged in two volumes, and revised | By the Author. | Vol. I. (Vol. II.) | George Allen, | Sunnyside, Orpington, Kent | 1883 [All rights reserved].

Of this edition, vol. i. contained pp. xx. +360; vol. ii., pp. v.+248. Issued in April 1883, crown 8vo, in violet cloth boards, with white-paper black label, 10s. the two volumes. Two thousand copies were printed.

The first of these volumes contains a new preface (here, pp. 3–9), and Part III. Section I. of the one-volume edition, re-arranged with various additional notes; the second contains a long Introductory Note (here, pp. 219-222); Part III. Section II. of the one-volume edition, re-arranged with various additional notes; the Addenda; and an Epilogue (here, pp. 343–357). All the new matter of the two-volume edition was included in vol. ii, of the "Complete Edition" (1888), the new notes being given at the end; in this edition they are given below the text. The arrangement of sections and chapters was changed in the 1883 edition, as will be seen by comparing the Synopsis of Contents as reprinted below (pp. 11-21) with the following divisions in the 1883 edition :

(Vol. I. Contents :-)

PART II.1

Of Ideas of Beauty.

SECTION I.

Of the Theoretic Faculty.

(Chs. 1-4 of the one-vol. edition.)

SECTION II.

Of Typical Beauty.

(Chs. 1-7, being chs. 5-11 of the one-vol. ed.)

SECTION III.

Of Vital Beauty.

(Chs. 1-4, being chs. 12-15 of the one-vol. ed.)

1 This was a mistake for Part III., there having already been a Part II. in the first volume of the Work.