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DESCRIPTIVE CATALOGUE 
 
 OF THE 
 
 LIBRARY AND PRINT ROO 
 
 M 
 
 THE RUSKIN MUSEUM 
 
 SHEFFIELD. 
 
 WITH NOTES AND EXTRACTS FROM THE WORKS 
 OF PROFESSOR RUSKIN. 
 
 ST ISSUE. 
 
 GEORGE ALLEN : 
 Sunnyside, Orpington, Kent; 
 lND 8 - Bell Court, Temple Bar, London. 
 1890 
 
 PRICE ONE SHILLING. 
 
CATALOGUE OF 
 
 BOOKS AND PRINTS 
 
 IN 
 
 THE RUSKIN MUSEUM 
 
PRINTED BY LOXLEY BROTHERS, 
 FARGATE, SHEFFIELD. 
 
A 
 
 DESCRIPTIVE CATALOGUE 
 
 OF THE 
 
 LIBRARY AND PRINT ROOM 
 
 OF 
 
 THE RUSKIN MUSEUM, 
 
 Visitors from a distance will find ready means of access to 
 the Museum, either by train to Heeley Station (Midland Railway), 
 from which it is about five or ten minutes walk, or by omnibus 
 and tram running every few minutes from the centre of the town 
 (Fitzalan Square or Moorhead), to the terminus at the same point. 
 
 GEORGE ALLEN: 
 
 Sunnyside, Orpington, Kent 
 
 and 8, Bell Court, Temple Bar, London. 
 
 1890 
 
 [entered at stationers' hall.J 
 
A 
 
 DESCRIPTIVE CATALOGUE 
 
 OF THE 
 
 LIBRARY AND PRINT ROOM 
 
 OF 
 
 THE RUSKIN MUSEUM, 
 
 SHEFFIELD, W *" W". 
 
 WITH NOTES AND EXTRACTS FROM THE WORKS 
 OF PROFESSOR RUSKIN. 
 
 [FIRST ISSUE.] 
 
 GEORGE ALLEN: 
 
 Sunnyside, Orpington, Kent 
 
 and 8, Bell Court, Temple Bar, London. 
 
 1890 
 
 [ENTERED AT STATIONERS' HALL.] 
 
r 
 

 PREFATORY NOTE. 
 
 The collections comprised in the Ruskin Museum are the 
 property of the Guild of St. George, which have been placed 
 under the custody of the Corporation of Sheffield, by whom the 
 Museum will be maintained for the term of twenty years, the 
 Trustees of the Guild being associated with the Corporation in 
 its control and management. 
 
 The removal of the " St. George's Museum," as it was 
 formerly known, from Walkley to its present situation in 
 Meersbrook Park, took place in the spring of the present year ; 
 the opening ceremony under its new auspices being performed 
 by the Earl of Carlisle on the fifteenth of April. 
 
 It was Professor Ruskin's hope long ago to treat of the 
 contents of the different departments of the Museum in full 
 descriptive catalogues, but his multifarious works then in hand 
 rendered the task impossible. His continuous ill-health has, 
 unfortunately, kept the matter in abeyance, and has prevented 
 him even from superintending the preparation of this first in- 
 stalment. In its compilation, however, I have endeavoured to 
 present it in a form such as I hope he might approve, using all 
 available means of embellishing it, both by minute study of the 
 works themselves in connection with their individual history, 
 and by research in relation to his writings respecting them. As 
 
VI 
 
 numerous sections of Mr. Ruskin's volumes contain full or dis- 
 cursive commentaries on the " things written " which may here 
 be consulted, I have avoided quoting lengthy extracts from his 
 works, preferring rather to refer the reader to the text in the 
 books themselves ; such brief passages as I have included, being 
 chiefly indicative of the subjective analysis to be found in the 
 volumes from which they are taken. 
 
 In the arrangement of the catalogue, I have entirely 
 dispensed with the more usual alphabetical method, and have 
 adopted instead a classified order of the various subjects included, 
 as tabulated on pages xi and xn. My motive in making this 
 departure from the ordinary rule has been that it may be generally 
 recognised that, whereas collections of books on widely different 
 subjects, are usually catalogued otherwise, — either the unwieldy 
 bulk of material which has to be dealt with, or some other purpose, 
 as of trade, rendering the alphabetical method a more expedient, 
 if not the only practical resource, — the present circumstances are 
 otherwise, and of an exceptional character. The main object in 
 the present case is the representation of the Museum Library, 
 as a chief exponent of, and in direct relation to Mr. Ruskin's special 
 teaching. It is thus to be understood that the collection is 
 purposely limited, being restricted to such works as are com- 
 mended by Mr. Ruskin for their choiceness of quality, primarily 
 in relation to the subjects that are dealt with, but equally with 
 regard to the manner in which they are presented, and the 
 perfection with which they are illustrated. The order of classifi- 
 cation which I have devised will, I hope, effectually serve the 
 purpose of assisting intending readers in the choice of works and 
 authors unknown to them on account of rarity, or for other reasons, 
 
VII 
 
 and I have endeavoured, by means of descriptive accounts of each 
 work, to provide a catalogue of a " King's treasury " which shall 
 be of higher interest than a bare list of titles, and record of names. 
 An alphabetical Index of the names of the Authors at the end of 
 the catalogue, will afford to those who are already acquainted 
 with them, a ready means of reference to their works. 
 
 The majority of the works included in the present catalogue 
 are gifts which Mr. Ruskin has carefully chosen, and lavishly 
 bestowed upon the St. George's Guild, as affording examples of 
 rare works of genius which are specially worthy of attention as 
 objects of study, or in other respects of particular value to students. 
 The regard for rare quality, instead of mere accumulation, 
 constituting, as already mentioned, a distinct feature of this, as 
 well as of the other departments of the Museum, it is further 
 intended that only such works as legitimately come within the 
 scope of Mr. Ruskin's system of general culture, and which serve 
 to illustrate his teaching, shall at any time be admitted into the 
 collection as proper to the institution. This distinctive principle 
 it is necessary to specify, since numerous friends, unaware 
 evidently of the particular character of the Museum, have kindly 
 forwarded presents, which are not of the nature desired, and 
 which therefore, are not included in this catalogue. 
 
 The famous Eyton collection of Ornithological illustrations 
 (see page 18), it has been impossible to epitomise at present, and 
 the existing Manuscript catalogue is of little, if any, service ; but 
 I purpose revising the entire collection, and compiling a new 
 and complete index to the plates, which will render this series of 
 between six and seven thousand beautiful representations of 
 birds from all parts of the world, — including over three hundred 
 
VIII 
 
 drawings which have never been engraved, — of more practical 
 interest, and of especial value to naturalists. 
 
 It may perhaps be thought that this descriptive account 
 of the collection of books and engravings belonging to this 
 Museum is out of all proportion to its extent, but the scope and 
 importance of the works will be found at once of the greatest 
 interest to all who know how to admire what is beautiful, and 
 revere what is great. 
 
 William White. 
 The Ruskin Museum. 
 
 October, 1890. 
 
REGULATIONS FOR THE USE OF THE 
 LIBRARY AND PRINT ROOM. 
 
 The times of opening the Museum are, on Monday and 
 Saturday from 10 a.m. to 9 p m. ; on Tuesday, Wednesday, and 
 Thursday, from 10 a.m. to sunset ; and on Sunday from 2 to 5 
 p.m. The Library, however, is not open on Sundays, and on 
 other days is open from 10 a.m. until 6 o'clock p.m., except on 
 the days in the winter months when the Museum closes earlier, 
 at dusk. 
 
 The Museum is closed on Fridays, and on Christmas Day, 
 and at such other times as may be ordered by the Committee. 
 Visitors from a distance are granted admission when practicable, 
 on these days, upon sending in their names to the Curator. 
 
 Visitors to the Library are required to fill up a form stating 
 the volume or engraving they wish to inspect, with a reference 
 to the page in the Catalogue, and the name and address of the 
 applicant. 
 
 Every applicant is understood to have become acquainted 
 with the regulations of the Museum. 
 
 In the interests of all it is requested that no talking be 
 carried on, so that quiet may be strictly preserved in the Library. 
 
 Students and others are granted the use of only one 
 volume or portfolio at a time, except by special permission. They 
 are requested to exercise great care in handling the volume, and 
 
in turning over the pages ; to remove their gloves before handling 
 any book or engraved work, and to abstain from touching in any 
 manner whatever the surface of any print or drawing. 
 
 Writing, or making any marks whatever in any volume, or 
 upon any print or drawing is strictly prohibited. No writing fluid 
 of any kind is permitted to be used in the room ; nor may any 
 note-book, or piece of paper be placed upon any book, or other 
 work for any purpose. 
 
 Tracing from prints and drawings is not allowed, unless 
 granted under special circumstances, and conducted under the 
 direct supervision of the Curator ; and the comparison of prints 
 and drawings not the property of the Guild, can only be made 
 under his superintendence. 
 
 No volume, print, or drawing belonging to the Library is 
 allowed to be removed from the room, and each article must be 
 returned to the Curator or his assistant when done with, before 
 any other work can be supplied. 
 
XI 
 
 TABLE OF CONTENTS. 
 
 PAGE. 
 
 A. Manuscripts, Black-letter, and Medieval Books 
 
 I. Ancient Egyptian MSS . . . i 
 
 II. Illuminated Missals and other Manuscripts . . 2 
 
 III. Early Printed Bibles 7 
 
 IV. Works appertaining to Mediaeval Art and History 7 
 
 V. Choice Bindings 9 
 
 B. Works of Travel 
 
 I. Early Voyages of Discovery 9 
 
 II. Ancient Atlases 13 
 
 C. Natural History Works 
 
 I. Mineralogy 13 
 
 II. Botany 13 
 
 III. Zoology (A) Animals in General 15 
 
 (B) Birds 18 
 
 „ (C) Reptiles 26 
 
 „ (D) Fishes 26 
 
 ,, (E) Insects 27 
 
 D. The Fine Arts 
 
 I. Works relating to the Arts of Ancient Greece 
 
 and Rome 
 
 (A) Sculpture 28 
 
 (B) Coins and Gems 30 
 
 II. The Plastic Arts 33 
 
 III. Metal Work 34 
 
 IV. Early Drawings, and Engravings 
 
 (A) The Early Italian and German Masters . 34 
 
 (B) Recent English Engravings (Turner ) . . 37 
 
 (C) Recent English Drawings 46 
 
 (D) Black and White Drawings 48 
 
XII 
 
 E. Classical Literature 
 
 I. Grecian (English Translations) 49 
 
 II. French .• . . 51 
 
 III. English 
 
 (a) The Fourteenth Century 52 
 
 (b) The Sixteenth and Seventeenth Centuries . 52 
 
 (c) The Eighteenth Century 54 
 
 (d) The Nineteenth Century 56 
 
 The Works of John Ruskin 58 
 
 F. British History 81 
 
 G. General Literature 
 
 I. Works appertaining to the History of Art . . 86 
 
 II. Biographical Works 88 
 
 III. Miscellaneous Works go 
 
 Index 93 
 
 Errata. 
 
 Page 6. Line 5, delete " th " after the numerals. 
 
 ,, 36. Insert " See " before the word " paragraphs," in the 
 
 line preceding " Works of Albrecht Diirer." 
 ,, 36. For " Melencholia " on the last line, and also on the 
 
 15th from the bottom, read " Melencolia." 
 ,, 69. For " facination," line 10, read "fascination. 
 
 Note. — An asterisk (*) marked against various works 
 in the catalogue denotes that, being unique or of special rarity 
 and value, they can be seen only under the direct superintendence 
 of the Curator. 
 
a. JHatmstripts, Hack %ttttv arib 
 JHriiiajbal locks. 
 
 I. Ancient (Bgtjrrttatt JHJ$J$. 
 
 * ©be |Japnrua of Jlni ; or §ook of tlje gcao. A fac-simile 
 reproduction of the original Funereal Hieroglyphs in the 
 British Museum. Published 1890. and presented by the 
 Trustees. 
 
 This rare example of early Egyptian Manuscript work, which is 
 one of the most beautiful and interesting of its kind that is known, was 
 secured for the British Museum in 1888, by Mr E. A. W. Budge. It 
 consists of a series of 37 chapters, each on a separate sheet of papyrus, 
 drawn in colours after the manner peculiar to this primitive period of 
 art, and expresses by symbolism the religious cultus of ancient Egypt 
 in a striking manner. 
 
 The person whose name the work bears (Ani) was a Royal Scribe, 
 who bore the office of " Scribe of the Sacred Revenue of all the Gods of 
 Thebes." The papyrus is considered to be the work of several writers, 
 and was probably executed at different times, towards the end of the 
 Fourteenth Century B.C. The various rites and ceremonies here 
 displayed exemplify the profoundness of the philosophy of the highly 
 civilised Egyptian race of thirty-three centuries ago. 
 
 II. Illuminate JHtssals an& otlj^r JHamtsrripts. 
 
 In an exhortation to his monks in the year i486, the 
 then Abbot of Spanheim (John of Trittenheimer, or Trithe- 
 mius) addressed them thus : — " I have diminished your 
 labours out of the monastery, lest by working badly you 
 should only add to your sins ; and have enjoined on you the 
 manual labour of writing and binding books. These, and 
 similar occupations you may carry on with tranquillity of 
 mind and body, within the enclosure of the monastery. 
 I wish that you may diligently perform even these works of 
 your hands for the love of God, lest you eat the bread of 
 
idleness. There is, in my opinion, no manual labour more 
 becoming a monk than the writing of ecclesiastical books, 
 and preparing what is needful for others who write them ; 
 for this holy labour will generally admit of being interupted 
 by prayer, and of watching for the food of the soul no less 
 than of the body." — Maitland's " The Dark Ages.'" 
 
 * f etttortanj of ilje TOrtmttlr (Kcnturg, .circa, ^.g. 1160. f ution- 
 arium ^erutttutnt usum tiiaccaeoa August an a* rontinena 
 cpxstalns ct (Bbanneliaa. 136 folio leaves, on vellum : the 
 initial letters richly ornamented in pure gold and other 
 colours, and having the first line of the Epistle or Gospel of 
 the day written in letters of silver. 
 
 The " Lectionary " was a portion of the sacred service which was 
 never printed for actual use. In fact, being embodied in the Missal and 
 the Breviary, it dropped out of the cycle of separate books before the 
 discovery of printing. Therefore such editions as there are, are the 
 work of scholars who made collections of the various old liturgies and 
 printed them for critical purposes. The first edition of the Roman 
 Lectionary is contained in J. Pamelii Liturgia Latinorum, two quarto 
 volumes, published in 1571, and reprinted in 1610 (in two quarto vols.) 
 as Missale S.S. Patrum Latinorum. But the Lectionarum which may 
 perhaps be best compared with this early MS. is the old revision of the 
 Comes (St. Jerome's Lectionary), which is attributed to Alcium, or at 
 least was made in the time of Charlemagne, and printed in the works of 
 Cardinal Thomasius in 8 volumes 4to, 1747-68, at Rome. 
 
 This excellent and copious collection of lessons, was most 
 probably executed in France in the Twelfth century. The writing is 
 of great accuracy and beauty, consisting of handsome lower-case Roman 
 Majuscules, on very good and substantial vellum ; with rubric titles of 
 the Holy-days throughout the year, with the proper Lessons appointed 
 for them. The entire volume contains 136 leaves, and it has been 
 preserved with more than ordinary care ; but the strong cover in which 
 it has been placed, is of the embossed German leather of the Fifteenth 
 or even the Sixteenth century, and not the original binding, as was 
 stated in the auction sale catalogue. The stamped ornamentation on 
 the front side includes a frame composed of the name " Maria" on a 
 scroll, repeated twenty-six times. 
 
 The collection comprises in all 250 separate Lessons, which 
 commence on page 57 with " Invigilia Natalis Domini" — the Scriptural 
 reference has been recently added in pencil on the margin throughout 
 the volume— and end with those proper to the Dedication of a 
 
Church and an altar ; in which series are 24 Sundays after 
 Pentecost, and five Sundays in Advent. There are, however, two 
 distinct collections of Lessons contained in this book, which are 
 separated by a small space of blank leaves, and made readily accessible 
 by a vellum loop attached to the edge of the leaf commencing the 
 Second division. The first of these series extends to folio 55 b, and the 
 second to the end of the book, folio 127 b. In the first division will be 
 found such Lessons as were appointed to be read on festivals from the 
 Old Testament, interspersed with those from the Gospels and Epistles, 
 placed in their annual order from Christmas-Eve to All-Saints'-Day 
 (Lessons i. — cxxxi.), but the second part (Lessons cxxxii. — ccl.) consists of 
 readings taken from the New Testament only, arranged in the same order. 
 In addition to the series of Scriptures for the Sundays and Holidays of 
 the ecclesiastical year, this volume contains a few special Lessons proper 
 to be read on the Anniversaries of Apostles and Martyrs, of a Confessor- 
 Bishop, and at the Dedication of a Church or an altar. But between 
 the separate parts are two leaves, on one page of which (folio 56 b) is 
 written in a good careful hand, a very curious list of certain other days 
 of religious observance on which scripture lessons were to be read, 
 though not previously noticed in the book. 
 
 The large number of Illuminations in this volume may be best 
 expressed by stating that every separate Lesson is commenced by a large 
 and well-painted Initial-letter, almost all of which are remarkably 
 lustrous with colours, gold, and a white metal in nearly all places remaining 
 unchanged, whence it has been supposed to be some preparation of tin. 
 These letters are in general richly and gravely drawn and painted, in 
 the French-Saxon style of twisted capitals : but some few of them 
 contain human figures, and a still smaller number are composed of 
 grotesque animals. Extending out of each initial is a long narrow line 
 or panel, containing the commencing words of the Lesson, written in 
 small Gothic capitals, in white or yellow metal, on a dark ground. 
 At the beginning of the Lesson for the Feast of the Seven Brothers, 
 Martyrs (folio 26a, July 10th), is a rich panel of gold and colours, 
 enclosing the first three lines of the text painted in Gothic capitals of 
 gold and azure, and there are also thirty other pages in the manuscript 
 in which the writing is placed under arches, or within a kind of frame- 
 work with columns, all elaborately covered over with Saxon interlacings 
 and ornaments, generally executed in bright white metal on dark grounds. 
 In these illuminations the gold is always rich and substantial, though not 
 materially raised; the azure, the green, and the white, all excellent ; the 
 red, deep and rich ; and the few remaining colours inferior. The supply 
 of the first writing fluid seems to have failed towards the close of the 
 volume, the text of the last sixteen pages having changed to a pale brown, 
 though apparently executed by the original scribe. 
 
This interesting manuscript was purchased at the sale of the 
 Manuscript Library of S. W. Singer, Esq., Aug. 3rd. 1858. A Latin line 
 in the hand-writing of the Fifteenth century inscribed on the recto of 
 the first leaf states that the book belonged to the Monastery of 
 Ottenburen, an Abbey of Benedictines in Swabia, in the Diocese of 
 Augsburg, Bavaria, on the left bank of the river Guntz, two leagues from 
 Memmingen. It formed originally one of the magnificent set of 
 liturgical volumes illuminated within this large monastic institution after 
 the fire which took place there in 1152, when the Abbot Isengrim 
 enlarged and enriched the library. This Lectionary and a Graduale (of 
 the same origin and an exact counterpart in grandeur of decoration and 
 caligraphy of this MS.) which was once in the collection of M. Didot, 
 are probably the only extant relics of Isengrim's grand library. This 
 work itself has passed through the famous collections of Mr. Singer and 
 Sir W. Tite, and was purchased by Mr. Ruskin in the year 1880. 
 
 * j^crmoncs ct ^omiliflJ ; ©ofccar in ittembrauis. A Visi-gothic 
 
 manuscript of the Xth. or the Xlth. century, containing 280 
 leaves, (measuring i8-| by 13^ inches), the parchment being 
 mostly stout, but varying somewhat in substance. The pages 
 where formerly torn or imperfect, have been carefully 
 repaired in early times. 
 
 This primitive MS., which is executed in uncial characters, having 
 the initial letters elaborately interlaced, in some cases on a large scale, 
 in the Irish style, is one of the much-prized collections of transcripts 
 of the works of Origen, Popes Gregory and Leo, SS. Augustine, 
 Hieronimus, Ambrose, and Maximus, Venerable Bede and others. 
 
 * fJiblm j$arm (Ko&es iHJs. in iHcmbronts. 
 
 A Large Manuscript Bible (folio) of the XHIth Century 
 (on vellum). 
 
 A most beautiful and perfect specimen cf English Thirteenth 
 Century illumination. Presented by Mr. Ruskin. 
 
 The work of this Manuscript, consisting of 400 folios, is peculiarly 
 interesting in several respects, but the precise date of its execution is un- 
 known ; Mr. Ruskin considers, however, that the architecture in the 
 letter " P " at opening 180, is suggestive of the eajly part of the Thirteenth 
 Century. At the end of the volume are some loose manuscript notes in 
 criticism of the work by Mr. Ruskin, for the guidance of those desirous 
 of pursuing its study in minute detail. 
 
 The filigree initial letters at the commencement of the chapters are 
 alternately in blue and red, in reverse relation ; but in the case of the 
 Psalms this principle is extended to every sentence, only in plain capitals. 
 The illuminated initial letters, which head the prologues are frequently 
 
very beautiful in design, and the large subjects to each book are in several 
 cases unusual. The initial " I " to Genesis (folio $a) includes the acts of 
 creation irregularly arranged, and imperfectly ; and it is remarked by 
 Mr. Ruskin that " the New Testament begins with Abraham asleep in his 
 tent : the generation of Christ being seen in dreams above him." In the 
 colouration the rare use of brown is specially noticeable, and the range of 
 colours is extensive, including orange-red, blue, green, red-brown, light- 
 brown, white, yellow, purple, and crimson, besides burnished gold. 
 
 A remarkable characteristic of the volumes is the insertion of the 
 Burial service at the end of the Psalms, occupying folios 180a to 183a. 
 The first letter " P " has for its subject the offering of the Mass, and two 
 other subjects occur in this ritual portion. In the musical notation, which 
 is written on four line staves, it is to be noticed that some of the notes 
 are placed one above the other for the sake of abbreviation in connection 
 with the words to which they are to be intoned. The Book of Proverbs 
 follows immediately after the Burial Service, the introduction of which 
 is perhaps a unique occurence in MSS. Bibles. 
 
 * Small MS. Bible of the XHIth. Century (on vellum). The 
 words " Aux Capucin de Mante" are written on the margin 
 of several pages of the volume. 
 
 This Bible was presented by Mr. Ruskin (see " Fors Clavigera," 
 vol. vi. p. 297), and it is the text of this XHIth. Century copy which is 
 generally alluded to in Fors. 
 
 The initial letters to each chapter are alternately of scarlet and 
 lapis-lazuli blue, the scroll ornamentation being of the contrasted 
 colour, and the letters of the book-headings to the pages are similarly 
 alternated. The illuminated letter at the commencement of each book 
 has the subject painted in burnished gold and various other colours, and 
 Mr. Ruskin notes on the first fly leaf amongst other items of interest in 
 the work, the "most rare use of yellow in the last prologue to Genesis 
 and its letter I" — "/» priucipio," — which occupies the centre of the 
 fourth page from top to bottom, and includes in circlets the seven acts 
 of creation. 
 
 £tx5sal of trjc QDritrtcently or ^fourteenth (Kenturn (on vellum). 
 
 A grand specimen of the art of illumination, believed to be French ; 
 in old calf (red) binding, with five brass bosses upon each side of the 
 cover. As the Kalendar includes the names of some German saints, it 
 was probably executed near the borderland of Germany. It is in a 
 remarkably fine state of preservation, and contains 471 leaves of manu- 
 script, the first six being occupied by the Kalendar. The decoration of 
 the initial letters, some of which include subjects, is very rich and choice ; 
 at opening 155, there are two full page illuminations, on the right hand 
 
God the Father, and on the left Christ the Son, crucified, with attendant 
 saints. The whole of the music of the sequences, written in the old 
 notation form on four line staves, is included in this fine manuscript. 
 
 * Ifnmilies of ^3 opes (Brcgory tbe |itntb, antr jlrstus tbe Jfourib. 
 gcmtalcs $.$. (Grenorii IXth. ct &esti IVth. (Kobe* iltcnt- 
 branamis. With a marginal commentary. 
 
 A highly ornate Italian illuminated MS. of the XlVth. Century, 
 of great technical finish, but showing the change into a debased style of 
 ornamentation, consisting of 291 leaves, measuring 19 inches by n§ 
 inches, and six slips inserted. The work is executed upon vellum of 
 the finest quality, the elaborately drawn decorations being rich in 
 gold and finely harmonized colours on every page; and the whole 
 is in a remarkable state of preservation. The highly ornamented 
 scroll-work of the initial letters includes many grotesque representa- 
 tions of human figures, some as monks, others in armour, and 
 numerous caricatures of animals and birds. A large proportion of 
 the chief initials contain busts on a gold ground, which are apparently 
 portraits, and it is noticeable that the colour of the human hair is 
 mostly a rich reddish brown. The volume is divided into five books, 
 but without any break in the continuity, and at the beginning of each 
 book a ceremonial subject in arched panels is painted at the head of 
 the minutely illuminated title. 
 
 * £tissal .Album of l^aog giatta be Crow. An elaborately 
 illuminated XVIth. Century French work. 
 , "Horse Beati Maria? Virginis," (or "Book of Hours,") consisting 
 
 of 178 leaves of fine vellum, containing 20 full page miniatures, besides 
 numerous illuminated borders at one side of the pages. The subjects 
 of the miniatures, which are all finely drawn and richly coloured, include, 
 besides portraits, the Virgin (seated on a throne covered by a cloth of gold, 
 and holding a lily in her left hand) and Child, with two playing Angels 
 (in the scroll-work a fox piping to a cock) ; St. John on Patmos, (two 
 apes and two goldfinches in the scroll-work) ; the apparition of Christ to 
 St. Gregory at the Elevation of the Host, with all the sacred symbols 
 above the Altar ; the Adoring Virgin ; the Visitation ; the Crucifixion ; 
 Pentecost ; the Three Persons of the Trinity (in white robes) adored 
 by Angels (in scarlet colour) ; the burial procession (with a cathedral in 
 the distance resembling Amiens) ; the Death of the Virgin, with a vision 
 of God the Father holding the Infant Son ; the Coronation of the Virgin ; 
 Actaeon turned into a stag by Diana at the bath ; David and Goliath (with 
 two basilisks, a peacock, and two goldfinches in the scroll-work) ; and 
 Job, with two of his " friends " and his wife. 
 
This choice little pocket volume was made for Lady Diana de 
 Croy, of the house of Lorraine, who was a French Cousin to Mary Queen 
 of Scots, whose autograph amongst many others on the margins of the 
 pages it bears. The dates of the autograph inscriptions range from 1572 
 to 1590, and many notable French dignitaries, chiefly amongst which 
 those of the Berlaymont, Damant. Gaste, de Lalanne, de Lallaing, de 
 Ligne, de Lorrainne, de Mansfel, de la March, Mastaing, de Meleun, de 
 Monte Doglio, de Montmorency, Renesse, du Rhem, and de Staneles 
 families, are conspicuous. An excellent historical account of this 
 interesting Prayer Book, and the personages connected with it, by Mr. 
 Gershom Collingwood, appeared in the "Art Journal" for Nov. 1882, 
 PP- 337-9- 
 
 HI. (Eartn. f vintth $ibl*s. 
 
 fjlack ftEtter ©erman fBibk at tlje j^istecntb Ccuhxru. gie (Sant^e 
 flibel. Cbristoffel JFrosrboucr, £urtr.b, 1540. Large Folio, 
 measuring 14J x 9^ inches ; with woodcut illustrations after 
 Hans Holbein and others. 
 
 Baskerville Bible: Cambridge, 1763. 
 
 This large sized (Double Elephant Folio, 20 X 13 inches) and beauti- 
 fully printed edition of the Holy Scriptures, includes the Apocryphal 
 Books, and a feature of the edition is that each book commences on a 
 fresh page. At the end of the volume is a chronological index to the 
 entire contents. 
 
 IV. tSEorks appertaining to JJUoiajbal Jlrt anti History. 
 
 Pal^ographia Sacra Pictoria : being a series of illustrations of 
 the Ancient Versions of the Bible, copied from Illuminated 
 Manuscripts executed between the Fourth and Sixteenth 
 Centuries. By Prof. J. O. Westwood, F.L.S. With 50 
 coloured plates: royal quarto. 1843-5. 
 
 This handsomely illustrated volume contains a more complete 
 representation of the decorative art of Biblical Manuscript scribes than any 
 hitherto published. The plates are printed in gold, silver, and various 
 colours, and were produced under the direction of Mr. Owen Jones. 
 
 The Dark Ages: a series of essays to illustrate the state of 
 Religion and Literature in the Ninth, Tenth, Eleventh, and 
 Twelfth Centuries. By Rev. S. R. Maitland, F.R.S., &c, 
 2nd edition, 1845. 
 
A work in which much light is thrown upon the obscure history 
 of numerous saints of the period dealt with, and of especial interest in 
 connection with early manuscripts and monastic life and literature 
 generally. 
 
 The Handbook of Mediaeval Alphabets and Devices. By 
 Henry Shaw, F.S.A. 1853. 
 
 A series of 36 plates of initial letters and other illuminations. 
 
 * %\}t |T erjcttu of Smtrtt Otrsuln ana tlje tTirrjin ^Harttirs of Cologne. 
 The Text printed within engraved borders of scenes in the 
 life of St. Ursula. 1869. 
 
 The legend is told in eight chapters, following which is a reprint in 
 Black-letter of the metrical version, written towards the close of the 
 Fifteenth century, by Edmund Hatfield, a monk of Rochester. It was 
 dedicated to the most Illustrious Lady Margaret, the mother of King 
 Henry the Seventh, and was one of the earliest works which issued from 
 the press of Wykyn de Wordes. At the end is an appendix on ' Hans 
 Memling, and the Flemish School of Art.' 
 
 For Mr. Ruskin's estimate of the legend, and the pictorial 
 creations of Carpaccio in illustration of the life of this mythical 
 Princess, see ' Fors Clavigera,' Letters 20 (July, 1872), pp. n — 17, and 71 
 (Oct., 1876), pp. 339—356; and ' On the Old Road,' Vol II.. pp. 380 et seq. ; 
 and ' St. Mark's Rest . The Shrine of the Slaves,' pp. 42—46. 
 
 " The primary form in which the legend shows itself is a Nature 
 myth, in which Ursula is the Bud of flowers, enclosed in its rough or 
 hairy calyx, and her husband, ^Ether — the air of spring. She opens 
 into lovely life with 'eleven' thousand other flowers — their fading is 
 their sudden martyrdom." (Letter 71, p. 341.) " The one great meaning 
 of the legend is the victory of her faith over all fears of death. It is 
 the laying down of all the joy, of all the hope — nay, of all the Love 
 of this life, in the eager apprehension of the rejoicing and the love 
 of Eternity. What truth there was in such faith I dare not say that 
 I know ; but what manner of human souls it made, you may for 
 yourselves see " : following which is an account of the paintings by 
 Carpaccio expressive of the character. (Quoted from 'An Oxford 
 Lecture' included in volume ii. of 'On the Old Road,' p. 380.) "The 
 northern form of the legend, localized at Cologne, is neither so lovely 
 nor so ancient" as "the stories concerning her which were current 
 through Italy in the times of Carpaccio." ('Fors,' loc. cit.,/>. 350.) 
 
 Catalogue of Additions to the Manuscripts in the British 
 Museum, in the years 1882-1887. Compiled by the Keepers 
 and Assistants of the Department. 1889. 
 
Presented by the Trustees of the British Museum. 
 
 The additions to the National collection during these six years 
 included Greek and Ancient Latin MSS. (Liturgical, Biblical, Historical, 
 Philosophical and Poetical), and other Illuminated Works ; State Papers ; 
 Miscellaneous Writings and Correspondence, on matters appertaining to 
 biography, music, the drama, history, and general literature. 
 
 " The total number of manuscripts acquired during this period 
 is 1,526 ; of charters, 5,994 ; of detached seals, 2,428 ; and of papyri, 4, 
 counting many fragments under a single number." — Preface. 
 
 The Philosophy of Ornament. Eight Lectures on the History 
 of Decorative Art. By W. G. Collingwood, M.A. 1883. 
 
 V. (Eljotce HinMnga. 
 
 * A Fine English Specimen of the Art of Bookbinding, in 
 red morocco, richly tooled, by Mr. J. T. Cobden Sanderson, 
 covering a copy of " Unto this Last." 
 
 A copy of the same work was bound in precisely the same style by 
 this accomplished amateur binder for his daughter, included in the inscrip- 
 tion of which he wrote : " being one of the noblest books I know, I covered 
 it with such glory as I could of roses and of stars, and set your name 
 in the midst, and gave it you, hoping that you would all your life long 
 love it, and all your life long live in obedience to its precepts." 
 The volume was presented to Mr. Ruskin by Mr. Sanderson in 1886. 
 
 B. WORKS OF TRAVEL. 
 
 I. Early Voyages of Discovery. 
 
 Hakluyt's Collection of the Early Voyages, Travels and 
 Discoveries of the English Nation. Five volumes. 
 Imperial 4to., 1809-12. Edited by G. Woodfall. A reprint 
 of the original work, the interesting title page of which, as 
 here reproduced, reads as follows : — 
 
 " The Principal Navigations, Voyages, Traffiques, 
 and Discoveries of the English Nation, made by sea or 
 overland to the remote and farthest distant quarters of the 
 earth, at any time within the compasse of these 1600 yeres : 
 divided into three severall volumes . . . The first volume 
 
10 
 
 containeth the worthy discoveries, &c., of the English toward 
 the north and north-east by sea, as of Lapland [&c.] . . . 
 together with many notable monuments and testimonies of 
 the Ancient Forren trades, and of the warrelike and other 
 shipping of this realme of England in former ages, where- 
 unto is annexed a briefe commentary of the true state of 
 Island [i.e. Iceland], and of the northren seas and lands 
 situate that way : as also the memorable defeat of the 
 Spanish huge Armada, Anno 1588. The second volume 
 comprehendeth the principall navigations [&c] to the south 
 and south-east parts of the' world, as well within as without 
 the streight of Gibraltar .... By Richard Hakluyt, 
 Preacher, and sometime student of Christ-church in Oxford. 
 Imprinted at London by George Bishop, Ralph Newberie, 
 and Robert Barker. Anno 1599." Both volumes were of 
 this date. " The third volume and last volume " includes 
 "the North-west, West, and South-west parts of the world," 
 otherwise spoken of as " the newfound World of America." 
 Two further volumes were added under this issue uniformly 
 with the above, particulars of which are given below : 
 
 Vol. I. Voyages to the N. and N.E. ; being a reproduction 
 of the 2nd edition of the original work, as published 
 in 1599. 1809. 
 
 Vol. II, Voyages to the S. and S.E. ; first published in 
 1599- 1810. 
 
 Vol. III. Voyages to the N.W., W., and S.W. ; first 
 published in 1600. 1810. 
 
 Vol. IV. Contains no explanation of its first publication. 
 It includes miscellaneous papers, observations, notes, and 
 discourses respecting voyages made between the years 
 J 53 2_ 97- A " Supplement to Hakluyt's Collection of 
 Voyages," with separate title pages, dated 1601, suggests 
 the original date of the preceding part of the volume. It 
 is the first of a series of supplements, bearing different 
 dates upon their title-pages; but the numbering of the 
 pages is consecutive throughout the volume. These 
 additions are briefly as follows : — "The Discoveries of the 
 
II 
 
 . World, from their First Originall [in a second title — 
 "according to the course of times from the Flood"] unto 
 
 THE YEERE OF OUR LORD I555. BRIEFLY WRITTEN IN THE 
 PORTUGALL TONGUE BY ANTONIE GaLVANO. CORRECTED, 
 QUOTED, AND NOW PUBLISHED IN ENGLISH BY RlCHARD 
 
 Hakluyt. Anno 1601." {pp. 393-450.) " The Worldes 
 Hydrographical Discription," setting forth the discovery 
 of the universal navigability of the seas; but chiefly con- 
 cerned with an argument in objection to a North-east 
 passage to China, and in favour of the future discovery of 
 a North-west passage. By J. Davis. 1595. {pp. 451-68.) 
 "Voyage d'Outremer et retour de Jerusalem en France, 
 par la voie de Terre, pendant le cours des Annees, 1432 
 et 1433, par Bertrandon de la Brocquiere : ouvrage extrait 
 d'un manuscrit de la Bibliotheque Nationale . . . et publie 
 par le citoyen Le grand D'Aussy." Throughout in French; 
 undated (pp. 469-546). "The Navigation and Voyages of 
 Lewes Vertomannus, gentelman of the Citie of Rome, 
 to the Regions of ... . Egypte (pp. 551-64), Arabia {pp. 
 565-71), Persia {pp- 572-80), East India {pp. 580-9), India 
 {PP- 589-610), Ethiopia {pp. 610-12), .... in the yeere of 
 our Lorde 1503. Translated out of Latine into Englyshe, 
 by Richarde Eden, 1576." {pp. 547-612). 181 1. 
 
 Vol. V. Supplement. This volume includes an exact reprint 
 of the four articles by Galvano, Davis, De la Brocquiere, 
 and Vertomannus, contained in Vol. IV, as described 
 above (the only difference being that the paging is altered 
 so as to commence afresh), and some further treatises 
 relating to discoveries made between the years 1516-1632 
 are appended. The anonymous editor describes the 
 selection as being additional to Hakluyt's compilation. It 
 was published in 1812. 
 
 Only 250 copies of this edition printed on royal paper, and 75 
 on Imperial paper, were issued. The practice is adopted in this edition 
 of -giving English translations of the Latin text wherever quoted. The 
 third and fourth volume contain marginal notes, in pencil or in ink, by 
 Mr. Ruskin. 
 
 Pinkerton's Voyages. A General Collection of the Best and 
 
most interesting Voyages and Travels in all parts of the 
 World ; many of which are now first translated into English. 
 Digested on a new plan ; by John Pinkerton. In seventeen 
 volumes, containing numerousfull page illustrations. 1808-14. 
 
 Vol 
 
 I. 
 II. 
 
 Europe. 
 
 Asia. 
 
 The Arctic Regions. 1808. 
 
 The British Islands. England, Wales, 
 
 &c, 1808. 
 The British Islands. Scotland and 
 
 Ireland, 1809. 
 France, 1809. 
 The Sicilies, Spain and Switzerland, 
 
 1809. 
 Germany, Denmark, Sweden, and 
 
 Russia, 1809. 
 Tartary, China and Japan, 181 1. 
 ,, India, 1811. 
 
 ,, Persia, Siam, Tonquin and Cochin 
 
 China, 181 1. 
 ,, Arabia, The Levant, Syria, Palestine 
 
 and Asia Minor, 181 1. 
 ,, The Malay Archipelago, and Aus- 
 
 tralasia, 1812. 
 America, (North) ; The Upper Parts, 1812. 
 ,, ,, Virginia; Canada, &c, 1812. 
 
 ,, (South) Peru, Chili and Brazil, 1813. 
 
 Africa. Abysinnia, Egypt, Barbary and 
 Morocco, 1814. 
 ,,' Cape of Good Hope, Congo, Guinea, 
 
 Ethiopia and Madagascar, 1814. 
 Supplement. Containing a full catalogue of 
 Geographical Works, and a complete Index to the 16 
 volumes, 1814. 
 
 This interesting series of volumes includes jn a collected form a 
 complete record of the important voyages of discovery carried on by 
 Marco Polo, Mungo Park, Captain Cook, amongst other well-known 
 travellers of early times up to the date of the publication. 
 
 „ HI. 
 
 „ iv. 
 „ v. 
 
 „ VI. 
 
 „ VII. 
 „VIII. 
 „ IX. 
 
 „ x. 
 
 „ XL 
 
 „ XII. 
 „ XIII. 
 „ XIV. 
 
 „ xv. 
 
 „ XVI. 
 „ XVII. 
 
13 
 II. Ancient Atlases. 
 
 CLAUDII PTOLOMiEI VIRI ALEXANDRINI MaTHEMATICE DISCIPLINE 
 
 Philosophi doctissimi Geographie opus novissimatraduc- 
 tione e Grecorum archetypis castigatissime pressum : 
 ceteris ante lucubratorum multo prestantius. At the 
 end of the dedicatory matter, the date is given as follows : 
 " Datu Argentine sub Annu Dhi MDXIII March XV;'' while 
 the address to the reader (following the index of place-names) 
 closes thus : " Anno Christi Opt. Max. MDXIII. March 
 XII. Pressus hie Ptolemcus Argentine vigilantissima casti- 
 gatione industriaque Joannis Schotti urbis indigene. Reg- 
 nante Maximiliano Caesare Semper Augusto." 
 
 A rare antique work of great historical value, and the primitive 
 maps, showing the configuration of the countries as then conjectured, 
 quaint as they appear in our day, exhibit the degree of geographical 
 knowledge which had been acquired more than 350 years ago, in a 
 highly instructive manner. Various German Prints of the 16th Century 
 — including Maps, Coats of Arms, and a genealogical tree of an ancient 
 baronial family (of Wurtemburg) dating from 930-1609 — are inserted in 
 different parts of the volume. 
 
 C. NATURAL HISTORY. 
 
 I. Mineralogy. 
 
 The Mineral Kingdom. By Dr. J. G. Kurr, with 22 coloured 
 plates. English edition. 1859. 
 
 II. Botany. 
 
 Flora Londiniensis, or Plates and Descriptions of such 
 Plants as grow [grew] wild in the environs of London 
 [a hundred years ago] , with their places of growth and 
 times of Flowering. By William Curtis and W. J. 
 Hooker. In five Royal folio volumes ; 1777-1828. 
 
 This standard work is now considered as comprehending the 
 
British flora unrestrictedly (see under Vol. IV.), and, notwithstanding its 
 date, can still boast of being unrivalled for its accuracy and general excel- 
 lence ; and continues to be recognized as the most complete and best of 
 English Floras. The publication price of the work in parts was £87 4s. 
 It contains altogether 650 plates of the plants with their flowers, of the 
 full natural size, and with magnified dissections in illustration of their 
 fructification, all of which are admirably engraved and coloured by hand. 
 Those contained in the three first volumes were executed by Kilburn, 
 F. Sansom, James Sowerby, and Sydenham T. Edwards ; and those in 
 the later volumes by W. C. Edwards, J. Swan (after R. K. Greville), &c. 
 The particulars of the production of the work, covering a term of no 
 less than fifty years, areas follows : 
 
 Vol. I. By William Curtis. "London : printed and sold by the 
 author, at his Botanic garden, Lambeth Marsh, and B. 
 White and Son, Booksellers, in Fleet street, 1777." 
 
 Vol. II. By the same, 1798. 
 
 Vol. III. ,, also dated 1798. As several of the plates 
 
 bear the publication date 1791, it is evident that both this 
 volume and the second were many years under preparation. 
 
 Vol. IV. By William Jackson Hooker. Upon the work being 
 continued by Sir Wm. Hooker, the title was extended to 
 " the plants indigenous to Great Britain, illustrated by 
 figures of the natural size." Printed for Geo. Graves, 
 Peckham, by R. and A. Taylor, 1821. 
 
 Vol. V. By the same, and similarly published, 1828. 
 
 The English Flora. By Sir J. E. Smith, M.D., F.R.S,, &c, 
 and Sir William J. Hooker, LL.D., &c. Six 8vo. volumes, 
 1828-1836. 
 
 The first four volumes constituting Sir J. E. Smith's work, and of 
 which this is the second edition, were published in 1828-9. The two 
 additional volumes are a continuation of the work, carried on uniformly 
 with it by Dr. Hooker, to include Class 24, the Cryptogamia, forming also 
 Vol. II. of the author's own *' British Flora." Vol. V. comprising Part 
 I, includes the mosses, hepaticae, lichens, characeae, and algae, and was 
 published in 1833. Vol. VI. which contains Part II, the fungi, is by the 
 Rev. M. J. Berkeley, and completed the work in 1836. 
 
 Cryptogamic Plants (Mosses, lichens, and fungi). Descriptio 
 et Adumbratio Microscopico-Analytica Muscorum Frond- 
 osorum. By Prof. Joanne Hedwig, M.D., &c. Four volumes 
 bound in two. Leipsic, 1787-97. 
 
15 
 
 The history of this lovely order of miniature plants is beautifully 
 displayed by the author, who devoted many years to the production 
 of the series of 160 plates (40 in each volume) which are finely 
 engraved from his own drawings, by J. C. Nabholz, G. G. Endner, 
 Frolob, and others, and coloured by hand. The lour volumes were 
 completed in the years 1787, 1789, 1791, and 1797 respectively. The 
 text is in Latin throughout. 
 
 III. Zoology. 
 
 (A.J ANIMALS IN GENERAL. 
 
 Le Regne Animal, distribute d'apres son organisation pour 
 servir de base a l'histoire naturelle des animaux, et d'intro- 
 duction a l'anatomie comparee. By Baron Cuvier, assisted 
 by MM. Audoin, Blanchard, Deshayes, D'Orbigny, Doyere, 
 Duges, Duvernoy, Laurillard, Milne-Edwards, Roulin, and 
 Valenciennes. In eight volumes (unnumbered and undated). 
 Text only, incomplete, wanting the plates (694), and also the 
 sections containing the Birds. 
 
 [Vol.1.] Introduction. Division I. Vertebrata, in 4 classes, 
 Quadrupeds, Birds, Reptiles, and Fishes. Class 1. Mammals; 
 comprising the Bimana (man), the Quadrumana (apes), the 
 Carnivora (cats, jackals, dogs, seals, &c), the Marsupiala 
 (kangaroos, oppossums, &c), the Rodentia (rats, beavers, 
 squirrels, &c), the Edentata (anteater, armadillo, &c), the 
 Pachydermata (horse, rhinoceros, hyrax, &c), the Rumin- 
 antia (ox, sheep, girafie, camel, &c), and the Cetacea 
 (whales, dugong, &c). By Milne-Edwards, Laurillard and 
 Roulin. [Class 2, Birds. This volume is not included in 
 the set.] 
 
 [Vol. II.] Class 3. Reptiles; comprising the Chelonia (turtles, 
 tortoises, &c), the Sauria (lizards, crocodiles, &c), the 
 Ophidia (cobra, viper, slow-worm, &c), and the Batrachia 
 (toads, frogs, salamanders, &c). By Prof. Durvenoy. 
 
 [Vol. III.] Class 4. Fishes; comprising the Acanthopterygii 
 (perches, mackerel, &c), the Malacopterygii abdominales 
 (carp, pike, salmon, &c), sub-branchiales (cod, soles, turbot, 
 &c), and apodes (eels, &c), the Lophobranchii (sea- 
 
ib 
 
 horses, &c.i, the Plectognathi (globe-fish, &c), the Chondro- 
 pterygii (sharks, sturgeons, rays, &c.) By A. Valenciennes. 
 [Vol. IV.] Division II. Mollusca ; comprising 6 Classes, — 
 the Cephalopoda (nautilus, argonaut, sepia, &c), the 
 Pteropoda (hyalaea, &c), the Gasteropoda (snails, slugs, 
 cowries, &c), the Acephala (oysters, pectens, and other 
 bivalves), the Brachiopoda (terrebratula, &c. ), the Cirrhipoda 
 [properly Crustaceans] (barnacles, &c). By Prof. G. P. 
 Deshayes. 
 [Vol. V.] Division III. Articulata; comprising the 4 Classes, 
 Annelida, Crustacea, Arachnida, and Insecta. Class 1. 
 Annelida, which comprises the Tubicola (serpula, &c), the 
 Dorsibranchia (nereis, &c), and the Abranchia (earth- 
 worm, &c). By Prof. Milne Edwards. Class 2. Arachnida, 
 in 2 sections, the Pulmonaria (spiders, tarantula, and 
 •scorpions), and the Trachearia (mites, &c). By Profs. Ant. 
 Duges and Milne Edwards. 
 
 The general classification, which is now entirely superseded, is 
 obscure in this edition, and, indeed, in some points irreconcilable, while 
 the absence of the dates of publication of the different parts is to be 
 regretted. The two parts included in this volume have been bound 
 together wrongly. The general division of the Articulata, or jointed 
 animals, is here considered as comprising four classes, namely, the 
 Annelida, the Crustacea, the Arachnida, and the Insecta ; while in 
 another volume [VI. as below] the division is treated of with the 
 exclusion of the Annelida, under the subdivision Articulata Condylopes. 
 This is somewhat confusing, but it will be seen that the Arachnida, here 
 bound in as Class 2, should follow the Crustacea (Class 1 of the sub- 
 division) instead of appearing to be Class 2 of the division in its larger 
 sense. 
 
 [Vol. VI.] Division III. Articulata Condylopes, comprising 
 the 3 classes, Crustacea, Arachnida, and the Insecta. Class 
 1. Crustacea; Order 1 : Malacostraca, including the Deca- 
 poda (crabs, lobsters, &c), the Stomapoda (shrimps, &c), the 
 Amphipoda (river prawns, &c), the Laemodipoda and the 
 Isopoda (woodlice, &c.) Order 2 : Entomostraca, including 
 the Branchiopoda (daphnia, &c), the Pcecilopoda (limulus, 
 &c), and the Trilobita (trilobites — fossil). By Prof. Milne 
 Edwards. 
 
17 
 
 [Vol VII.] Class 3. Insecta ; comprising the twelve orders — 
 Myriapoda (centipedes, &c), Thysanurnura (skiptail, &c), 
 Anopleura (lice), Aptera (fleas, &c), Coleoptera (beetles), 
 Orthoptera (locusts, earwigs, &c), Hemiptera (bugs), Neu- 
 roptera (dragon-flies, &c), Hymenoptera (bees, wasps, &c), 
 Lepidoptera (butterflies and moths), Rhipiptera (stylops, 
 xenos, &c), and Diptera (blue bottle, flies, gnats, &c.) By 
 Audouin, Blanchard, Doyere, and Milne-Edwards. 
 
 [Vol. VIII.] Class 4. Zoophytes; comprising the five 
 Sub-classes — Echinodermata (sea-star, encrinus, sea-cucum- 
 ber, &c.),Entozoa (tubularia, tapeworms, &c), Polyps (corals, 
 sponges, sea anemones, &c), Acalepha (medusa, &c), Infu- 
 soria (volvox, monads, &c.) By Prof. Milne Edwards. 
 
 Zoologia Typica : or Figures of new and rare Mammals and 
 Birds, described in the Proceedings or exhibited in the 
 collections of the Zoological Society of London, by Louis 
 Fraser. London, 1849. The Text only. The complete 
 work included 70 plates (28 of mammals and 42 of birds). 
 The work was published by the author, and only 250 copies were 
 printed. 
 
 Water Colour Drawings from Nature of Invertebrate 
 Animals. By Edward Donovan. Bound in Four quarto 
 volumes. 
 
 A collection of Original Drawings from Nature, executed about 
 a hundred years ago, for the purposes of publication, which for the 
 accuracy of delineation of the most minute details, and for the charming 
 artistic effect of the objects grouped on the pages, may accurately be 
 described as forming the finest collection of suchdrawings that is known. 
 The beautiful natural objects represented in the series include Animalcule, 
 Insects, Shells, and many other forms of life. There are 78 plates in all, 
 of which the following is an epitome : — 
 
 Vol. 1. Infusoria (4), Medusae and Anemones (2), Echinids and 
 Asterids (3), Fossil Encrinite (1), Tape-worm, &c. (1), Barnacles (2), 
 Centipedes, Spiders, Scorpions, and Crustacea (6). 
 
 Vol. II. Entomological : Aptera (1), Hemiptera (6), Orthoptera (4), 
 Diptera (4), and Lepidoptera (4). 
 
 Vol. HI. Entomological: Neuroptera (3), Coleoptera (11), and 
 Anatomical (4). 
 
 Vol. IV. Vermes and Mollusca (2), Shells of Mollusca (18), Sepias 
 (1), and Snakes (1). 
 B 
 
i8 
 
 The Fauna of North Africa. Atlas zu der Reise im Nord- 
 lichen Afrika. By Eduard Ruppell. 
 
 In five sections, separately paged, bound together in one volume. 
 Text (German) only. Frankfurt am Main, 1826-8. 
 
 The Mammalia, 1826; Birds, 1826; Reptiles, 1827; Fishes, 1828; 
 Marine Zoology, 1828. 
 
 Centurie Zoologique, ou choix d'animaux rares, nouveaux ou 
 imparfaitment connus. By R. P. Lesson, 1830. Text only. 
 
 Illustrations de Zoologie, ou re^ueil de figures d'animaux 
 peintes d'apres nature. By R. P. Lesson, Paris, 1831. 
 The 60 plates are not included in this copy of the work. 
 
 Etudes Zoologiques. By Isidore Geoffroy Saint Hilaire. 
 Paris, 1832. Text only. 
 
 (B.J BIRDS. 
 
 * The Eyton Collection of Illustrations of Birds of all 
 
 Orders, comprised in thirty-eight large Folio Volumes. 
 The vast number of hand-coloured plates included in this 
 famous collection are derived from the well-known Ornith- 
 ological Works of Audubon, Gould, Lesson, Temminck, 
 Viellot, Desmarest, and other equally choice productions, 
 the volumes of the text of which are included in this library, 
 as given below, forming an altogether unique series of inesti- 
 mable value. A manuscript catalogue of the collection is 
 contained in twenty 8vo. volumes. 
 
 * History of British Birds ; the figures engraved on wood, 
 
 by Thomas Bewick. First edition of the two volumes. 
 Vol. I. containing the history and description of Land birds, 
 
 " and somewhat more." — J.R. Newcastle, 1797. 
 
 Vol. II. containing the history and description of Water birds. 
 
 1804. 
 
 With an autograph annotation throughout by Mr. Ruskin. 
 
 * Another Copy of Bewick's Birds. The Two volumes bound 
 
 together. Newcastle, 1809. 
 
 With an autograph index to the principal tail-pieces, by Mr. 
 Ruskin, and a portrait of the engraver (dated 1829) inserted. 
 
19 
 
 * Histoire Naturelle Des Oiseaux Dores, ou a reflets 
 metalliques. By J. B. Audebert and L. P. Vieillot. Two 
 volumes, Royal Folio, large paper. Paris, 1802. 
 
 One of the few copies with the titles to the plates printed in gold. 
 The work, which was published at 60 guineas, is divided as follows : — 
 
 Vol. I. Des Colibris, Oiseaux-Mouches, Jacamars et Promerops. 
 79 plates. (A few plates to the Jacamars are missing.) 
 
 Vol. II. Des Grimpereaux et des Oiseaux de Paradis. 104 plates. 
 
 Histoire Naturelle des Tangaras, des Manakin, et des 
 Todiers. By Anselime Gaetar Desmarest. Paris, 1805. 
 Text only. The work included 72 plates. 
 
 Histoire Naturelle des plus beaux Oiseaux Chanteurs de 
 la Zone Torride. By L. P. Vieillot. Paris, 1805. Text 
 only. 
 
 f Histoire Naturelle des Oiseaux de Paradis, des Rolliers, 
 des Toucans, et des Barbus. By Francois Levaillant. 
 Two volumes. Paris, 1806. 
 
 The 113 plates illustrating the work were engraved by Peree and 
 Gremilliet, and printed in colours by Langlois and Roussett, after draw- 
 ings from nature by Barraband. 
 
 Many of the plates are duplicated, printed in black, facing the 
 coloured illustrations ; all of which are choice examples of the printer's art. 
 
 A Natural History of the Birds of New South Wales. 
 By J. W. Lewin ; London, 1822 ; with 26 coloured plates. 
 
 Eighteen of the illustrations are missing from this copy, and only 
 eight remain. 
 
 1 La Galerie des Oiseaux. By L. P. Vieillot and P. Oudart. 
 Two volumes. Paris, 1825. With lithographic plates, en- 
 graved by C. Motte, and coloured by hand. 
 
 Vol. I. originally contained 222 plates but now only 69 remain intact, 
 the majority having been taken out for the Eyton collection. 
 
 Vol. II. originally contained 103 plates, of which 82 have been 
 removed. There is also an appendix of plates to this volume in two series, 
 the first consisting of 25 plates, illustrating the development of the beak 
 and head feathers of 246 typical species of birds ; and the second, consisting 
 of eight plates, representing the diverse adaptive forms of the feet of 
 70 species. 
 
20 
 
 Illustrations of Ornithology. By Sir William Jardine, and 
 Prideaux J. Selby. Four volumes bound in two. Edinburgh 
 [1826 to 1842] . Text only. 
 
 Humming Birds. — HistoireNaturelle des Oiseaux-Mouches. 
 By R. P. Lesson. Paris, 1829. Supplement to the same — 
 Histoire Naturelle des Colibris. Paris [circa 1830] . 
 Les Trochilidees, ou les Colibris et les Oiseaux- 
 Mouches, suivis d'un Index General, by the same ; edited by 
 A. Bertrand. Paris, 1831. Index General et Synoptique 
 des Oiseaux du Genre TROCHiLUS,by the same. Paris, 1832. 
 The four series bound together in one volume ; text only. 
 
 The Birds of North America ; constituting Part II. of the 
 " Fauna Boreali- Americana, or the Zoology of the Northern 
 Parts of British America," being the results of the Franklin 
 Expedition. By Wm. Swainson, F.R.S., and Dr. John 
 Richardson, F.R.S. 1831. 
 
 The collection of birds— comprising 267 species — here described, 
 was formed during the two expeditions carried on from 1820 to 1822 and 
 1826 to 1827. The introduction containsan important contribution on the 
 subject of Migration and Geographical Distribution, including eleven 
 tables of the comparative distribution of the birds described in the work. 
 
 A Century of Birds from the Himalayan Mountains. By 
 John Gould, F.R.S. , &c. Imperial Folio, 1831. Text to the 
 80 plates only. 
 
 * The Birds of Europe. By John Gould, F.R.S., &c. Five 
 
 volumes bound in two; Imperial Folio. 1832-1837. The 
 
 work is divided into the classes usually recognised as follows : — 
 
 Vol. I. Raptores ; II. and III. Insessores ; IV. Rasores and 
 
 Grallatores ; V. Natatores. 
 
 This, the first avi-fauna of Europe which ever reached completion, 
 was commenced in 1832, the final part (22) being issued in 1837. To 
 ensure the perfect representation of every bird, the indefatigable artist, 
 — who drew each specimen from nature himself — visited nearly all the 
 collections of birds on the continent, examining the specimens before 
 figuring them, and including no species whose origin could not be certified. 
 The total number of well-defined species thus figured amounts to 463, 
 
21 
 
 and it is interesting to note, from the preface of the work, that of this 
 number no less than 310 are British birds ; 170 of them being permanent 
 residents, while 85 are migrants from the South, and 45 from the North. 
 The greater number of the 440 plates included in the work were drawn 
 on stone by Mrs. Gould, the remainder being lithographed by Mr. 
 Edward Lear, and the colouration by hand was executed under the 
 superintendence of Mr. Bayfield. Only 280 copies of the work were 
 printed. It was the intention of the author to add supplements from 
 time to time, as further species became known, but this purpose was not 
 completed. 
 
 The Zoology of the Voyage of H.M.S. Beagle (1832 to 1836). 
 Part III. Birds ; described by John Gould, F.L.S. ; with 
 a notice of their habits and ranges, by Charles Darwin, 
 F.R.S., &c. ; and with Anatomical Index by T. C. Eyton, 
 F.L.S. ; 1841. 
 
 The volume contains the text only, but the work included 50 plates 
 which were lithographed by Mrs. Gould from her husband's drawings. 
 
 A Monograph of the Ramphastid^e, or Family of Toucans. 
 by John Gould. Imperial Folio, 1834. The Text to the 23 
 plates; bound in with the "Century of Birds." 
 Supplement to the first edition of the same. Parts 1 and 2 
 (unbound), 1855. 
 
 A Monograph of the Trogonid,e, or Family of Trogons. 
 By John Gould, F.R.S. Imperial Folio, 1835-1838. The text 
 only, which is bound up in the first volume of the Birds of 
 Australia. 
 
 The subject of this second monograph by the author comprises a 
 family of birds which, for the metallic lustre and general resplendence 
 of plumage, vie with even the Humming-birds. Thirty-four species are 
 here fully described ; the 36 plates illustrating the volume which are 
 included in the Eyton collection are the lithographic work of Mrs. 
 Gould, coloured by Mr. Bayfield, from the author's own drawings. 
 The work was issued in four parts, dating from 1835 to 1838. 
 
 The Birds of Australia. By John Gould, F.R.S., &c. 
 Seven volumes (bound in four) ; Imperial Folio, 1837-1848 ; 
 and a Supplement (unbound), 1869. : together, eight volumes. 
 The publication of this series was commenced in 1837, on tne 
 completion of the " Birds of Europe," the first part being dated August 
 of that year. In the month of May 1838, Mr. Gould proceeded to 
 
22 
 
 Australia, for the purpose of investigating the habits of birds in their 
 natural conditions, where he remained for two years. Every facility 
 that it was possible for the British Government to afford to him on this 
 enterprise, was most liberally supplied throughout this period, including 
 the use of the War Ships then employed on the Australian coast. The 
 enthusiastic naturalist, after thoroughly exploring Tasmania, and the 
 Islands in Bass's Straits, South Australia, and New South Wales, (into 
 the interior of which he penetrated a distance of nearly 400 miles from 
 the coast), despatched his assistant, Mr. Gilbert, to the Western and 
 Northern parts of the Continent, who occupied two years in forming 
 collections in those regions, and returned to England with such valuable 
 results, that Mr. Gould induced him to return there in the following 
 spring. After again traversing the Swan River district, however, and 
 reaching Sydney, Mr. Gilbert joined Dr. Leichardt's overland expedition 
 to the interior from Moreton Bay, and his life was sacrificed at the hands 
 of savage natives, who made an attack upon the party. 
 
 In addition to his own labours, the talented author was assisted by 
 various other collectors belonging to H.M.S.S. "Beagle," "Britomart," 
 " Fly," " Pelorus," " Erebus," and "Terror," which were under cruises 
 in Australian waters during the years of publication of this series. Ten 
 years being thus devoted to the collection of materials for the work, 
 upwards of 1,800 . specimens, comprising nearly 600 species were 
 obtained, besides the eggs of more than 300 species. Mr. Gould offered 
 to the nation the whole of this splendid collection, which he had acquired 
 at the expense of £2,000, and, as he sorrowfully added, " the cost of three 
 valuable lives," t on the terms of 25 copies of his work being subscribed 
 for, or otherwise for the sum of /ijooo. This generous offer was, however, 
 refused by the British Government, to the regret of all naturalists and 
 supporters of the enterprise, and the collection was promptly purchased 
 to be sent to an amateur collector in America. 
 
 As the work proceeded, it was found that the birds of New 
 Zealand belonged to so distinct a fauna, that they were omitted, only 
 one or two being included. Following the introduction, which, with the 
 text of the whole work, indeed, glows with interest, is a highly instructive 
 table of geographical range of each species of bird dealt with. 
 
 The first part was issued in August, 1837, and the last (number 36.) 
 in 1848, a supplement, consisting of five more parts, including 78 more 
 species, being added twenty-one years later, namely in 1S69. The work 
 was dedicated by permission of Her Majesty, to the Queen, and was sub- 
 scribed for, as were the rest of the author's publications, by most of the 
 Rulers and Princes throughout Europe. The plates, which number 
 altogether no less than 600, were engraved by Mr. Richter in conjunction 
 
 t Two of his assistants were killed by natives, and a third by a gun explosion. 
 
23 
 
 with the author, — who acknowledges the assistance also of Mr. Edwin 
 C. Prince, as employed previously by him — and these are included in the 
 Eyton collection. In connection with a manuscript copy of the list of 
 subscribers included in a duplicate of Parts i and 2 in this library, it 
 is noted— "The drawings on stone made for this work were destroyed 
 after 350 impressions had been taken." 
 
 Nouveau recueil de Planches Coloriees d'Oiseaux. By 
 C. J. Temminck and Baron Meiffren Langier de Chartrouse. 
 Five volumes bound in 14, large folio ; Paris, Strasbourg, 
 and Amsterdam, 1838. Text only. 
 
 The 600 plates which accompanied this work were executed from 
 drawings made by MM. Huet and Pretre, artists, retained by the Natural 
 History Museum, Paris, under the Egyptian Commission. The work was 
 issued in 102 parts, the date of the dedication being April, 1822, and of the 
 title page 1838, although in a postcript to the work, dated August, 1836, 
 its commencement is referred back to the year 1820, and the publication, 
 is stated to have occupied a term of 16 years. 
 
 Illustrations of Indian Ornithology. By T. C. Jerdon. 
 Two numbers (" to be completed in four numbers") 8vo. ; Madras : 
 No. 1, 1843 ; No. 2, March, 1845. Text only. 
 
 The Genera of Birds. By Geo. Robt. Gray. In Three volumes, 
 1844 to 1849. 
 
 This meritorious work comprises an account of the chief characters, 
 habits, and distribution of the different tribes of birds ; with an Index of 
 the chief species, and lithographic plates delineating the head, beak, feet 
 and wing-feathers of typical species, by D. W. Mitchell, engraved by 
 "Wolf, Richter, &c. 
 
 The Birds of North-East Africa. Systematische Uebersicht 
 der Vogel Nord-ost-Afrika's. By Dr. Eduard Ruppell. 
 Frankfurt, 1845. 
 
 The 50 plates to the work are wanting in this copy. 
 
 Esquisses Ornithologiques; descriptions et figures, d'oiseaux - 
 
 nouveaux ou peu connus. By Viscount Bernard du Bus. 
 
 Three parts, (unbound) 1845 to 1847. Text only. 
 
 ' ' ' 
 
 Iconographie Ornithologique ou Nouveau recueil general 
 
 de planches peintes d'oiseaux. Premiere partie. By 
 
 O. des Murs. Imperial quarto; Paris, 1845 to 1849. 
 
 Text only. 
 
2 4 
 
 * Monograph of the Trochilid,e, or Family of Humming 
 
 Birds. By John Gould, F.R.S., &c. In Five Imperial Folio 
 volumes, 1849-1861. 
 
 " A family," as described by the author " unequalled for the 
 gorgeous and ever-changing brdliancy of their hues, the variety of their 
 form, the singularity of their habits, and the extent of their territorial 
 distribution." 
 
 In this magnificent work, upon which the author bestowed " twelve 
 years of incessant labour, and not less than twenty years of interesting 
 study," 400 different species of birds are fully described. The 360 plates 
 contained in these volumes are from drawings on stone which were after- 
 wards coloured by hand, and in their production the author was assisted 
 by Mr. H. C. Richter and other artists. The work was issued in 25 parts 
 at three guineas each. The habits of each species of bird, and its environ- 
 ment are portrayed with the greatest perfection in every respect, and in 
 most cases the flowers and plants included in the representation are named 
 in the text, having received as careful attention as the birds themselves. 
 The author's entire collection consisting of about 300 species and 2000 
 specimens, mounted by his own hand, was exhibited in Regent's Park in 
 1851, proving one of the attractions of that memorable year in London, 
 and was afterwards removed to a gallery he built specially for it. The 
 majority of the specimens from which the drawings were made were pur- 
 chased by the nation on the artist's decease, for the apparently large, yet 
 inadequate sum of ^3,000, and are now in the collection of the British 
 Museum, while numerous other specimens are in the possession of Mr. 
 . Joshua Clarke, of Saffron Walden, Essex. 
 
 Fauna Japonica ; Aves. By Von Siebold, Temminck, and 
 Schlegel. Quarto. Lugduni, Batavorum, 1850. 
 Text only ; the complete work includes 89 plates. 
 
 * The Birds of Great Britain. By John Gould, F.R.S., &c. 
 
 In Five Imperial Folio volumes. 1862-1873. 
 
 In the production of this grand work, the author was assisted, as in 
 most of his publications, by Mr. Prince and also by the artists formerly 
 employed by him, Messrs. Wolf, Richter,and IJart, the beautiful colouring 
 being the hand-work of the last named. The vastness of the under- 
 taking of such a work as this may be realised when it is remembered that 
 750 copies of the 367 plates comprised in this series of volumes were 
 executed. As many as 347 species are here most charmingly displayed 
 under their natural conditions, with the skill and fidelity which usually 
 characterise the author's drawings ; and in very many cases the young 
 birds are depicted as well as both sexes of the adult birds, while twenty 
 plates are devoted to the illustration of the remarkable seasonal variation 
 
25 
 
 of the plumage of some of our resident species. The introductory treatise 
 is highly entertaining and instructive, including as it does an account of 
 the migratory habits of birds of different kinds, which annually visit the 
 British Islands [pp. iii-ix), and some striking evidence on the point of the 
 wanton slaughter of beautiful species, for the satisfaction of the selfish 
 pride of women, and the cruel sport of men (pp. x-xii). 
 
 The first part of this series was issued in August, 1862, and the last 
 (Part 25) in December 1873, the work having thus taken 12 years to 
 complete. 
 
 * British Game Birds and Wild Fowl. By Beverley R. 
 
 Morris, B.A., M.D. Quarto. London, 1864. 
 
 With 60 hand-coloured plates, and a descriptive account of 69 
 varieties of birds. 
 
 * The Kingfishers. A Monograph of the ALCEDiNiDiE, or 
 
 Family* of Kingfishers. By R. Bowdler Sharpe. 1868 
 
 to 1871. 
 
 This volume contains 120 choice hand-coloured plates by J. G. 
 Keulemans, and the introductory part of the work includes a complete 
 epitomeofthe geographical range of every species (numbering one hundred 
 and twenty-five) of this brilliantly plumaged, and widely distributed class 
 of Birds. 
 
 British Museum Catalogues of Birds. In Two Series. 
 Hand-list of Genera and Species of Birds. By G. R. 
 Gray, F.R.S., &c. In Three volumes. London, 1869 to 1871, 
 as follows : — 
 
 Part I. Accipitres, Fissirostres, Tenuirostres, and Denti- 
 rostres; 1869. 
 
 Part II. Conirostres, Scansores, Columbse, and Gallinse ; 1870. 
 Part III. Struthiones, Grallae ; and Anseres; with Indices of 
 Generic and Specific Names; 1871. 
 
 Catalogue of the Birds in the British Museum. Second 
 Series, in Five volumes, with 74 coloured plates by J. G. 
 Keulemans. London, 1874-81. Volumes I. to IV. are by 
 R. Bowdler Sharpe, and Volume V. by Henry Seebohm ; the 
 work being divided as follows : — 
 
 Vol. I. The Accipitres, or Diurnal Birds of Prey — VulturidaB 
 and Falconidae, or Vultures and Falcons; with 14 plates. 
 1874. 
 
26 
 
 Vol. II. The Striges, or Noctural Birds of Prey — Bubonidae 
 and Strigidae, — or Owls; with 14 plates. 1875. 
 Vol. III. The Passeriformes, or Perching Birds (extending 
 to the two subsequent volumes), ColiomorphaB, containing 
 the families Corvidaa, Paradiseidas, Oriolidre, Dicruridae, and 
 Prionopidae, — or Crows, Birds of Paradise, Orioles, &c; 
 with 14 plates. 1877. 
 
 Vol. IV. The Passeriformes, or Perching Birds — Cichlo- 
 morphae : Part I, containing the families Campophagidae 
 and Muscicapidaa, — or Shrikes and Flycatchers; with 14 
 plates. 1879. 
 
 Vol. V. Passeriformes — Cichlomorphae : Part II, contain- 
 ing the family Turdidag. — or Warblers and Thrushes ; with 
 18 plates. London, 1881. 
 
 The Bird. By Jules Michelet, London, 1874. 
 With 210 wood-cuts by Giacomelli. 
 
 (C.) REPTILES. 
 
 * The Reptiles of British India. By Albert C. L. G. Giinther, 
 
 M.A., M.D., F.R.S., &c. Folio; 1864. 
 
 This work, which was published by the Ray Society, contains 26 
 lithographic plates by G.H.Ford, of the typical snakes, lizards, crocodiles, 
 frogs, tortoises and turtles of India. 
 
 * The Thanatophidia, or Venomous Snakes of India. By 
 
 Sir J. Fayrer. Quarto, second edition, revised and enlarged, 
 1874. 
 
 The work is illustrated by 31 chromo-litho plates, by M. and N. 
 Hanhart, from drawings from nature by native students at the Govern- 
 ment School of Art, Calcutta, as follows: — Annoda Prosad Bagchee (15 
 plates), Hurrish Chunder Khan (10), Behary lall Das (2) Nilyanunda 
 Dey (3), anon (1). 
 
 (D.J FISHES. 
 
 * The Fresh-Water Fishes of Great Britain, drawn and 
 
 described by Mrs. T. E. Bowdich. With 45 plates, 1828. 
 
 This volume consists of a series of original water-colour drawings 
 beautifully executed from nature, each one being signed by the artist, 
 and no pains were spared by her to secure the representation of the true 
 
2 7 
 
 colours of each fish when alive, in its proper element. Although the 
 work was schemed in 1828, as dated on the title page, the water-mark of 
 the paper (Whatman's) of the plates, and of the text bears witness to 
 the amount of time devoted to its elaboration, extending over at least 
 11 years. The various dates upon the paper — 1827, 1828, 1830, 1831, 
 1832, 1833, 1835, 1836, and 1837 — show approximately the periods of 
 issue to the subscribers to the work. 
 
 (E.J INSECTS. 
 
 * Insects of Surinam. Dissertation sur la Generation et les 
 
 Transformations des Insectes de Surinam aussi des crapaux, 
 
 lezards, serpens, aragnees, &c. By Marie Sibille Merian ; 
 
 with 72 large plates ; the text duplicated, in Latin and 
 
 French ; folio. The Hague, 1726. 
 
 The faithfulness and skill with which the objects included in this 
 early treatise are represented, are of such unusual quality as to have 
 rendered the work a classic. The illustrations are engraved from original 
 drawings made from nature by Madame Merian, and represent the 
 various insects and reptiles of the country in their different stages of 
 metamorphosis, together with their environment, and the enemies which 
 prey upon them. A special feature of the woik is that it not only 
 includes a portrayal of the insects with the special plants upon which 
 they live, but the natural conditions which affect them, both in regard 
 to their form and marking, are delineated in an altogether novel and 
 striking manner, evidencing the close and careful attention with which 
 their habits were observed by the author. It is also remarkable for its 
 including the first account of the curious mode of development of the 
 Surinam toad. 
 
 * Insects of Europe. Histoire des Insectes de l'Europe et des 
 
 Plantes des fleurs et des fruits dont ils se nourrissent. By- 
 Marie Sibille Merian, with 93 plates. Amsterdam, 1730. 
 
 A scarce work, similar in character to the foregoing, representing 
 insects in all their stages, as caterpillars (larvae) and pupae, as well as 
 in their winged state, together with the parasites which attack them, and 
 the plants on which they feed. 
 
 * Exotic Butterflies. By William C. Hewitson. Two volumes, 
 
 quarto. 1856-1861. 
 
 These volumes, (the first two of the series of five volumes) each 
 contain 60 plates of butterflies, selected chiefly from his own collection 
 and that of Mr. W. Wilson Saunders, drawn by the author, and coloured 
 by hand. 
 
28 
 
 D. THE FINE ARTS. 
 
 I. Works relating to the Arts of Ancient 
 Greece and Rome. 
 
 (A.J SCULPTURE. 
 
 Illustrated Catalogues of Greek and Roman Sculpture 
 contained in the British Museum. Eleven Volumes (or 
 " Parts,") comprising 368 plates, with details of the 
 dimensions and origin of each specimen. The contents of 
 each separate volume are as follows : — 
 
 Vol. I. Ancient Marbles. — Statues, Busts, Urns, Friezes, 
 &c, chiefly from the Townley Collection. Descriptive text 
 with 16 plates from drawings made by W. Alexander, and 
 engraved by H. Moses, G. Cooke, C. Picart, C. Heath, 
 Armstrong, Thomson, and Bromley. 1812. 
 
 Vol. II. Ancient Marbles and Bronzes. — Bas-Reliefs, 
 Statues, Busts, Patera?, and Scrolls. Descriptive text with 
 46 plates after W. Alexander ; engraved by H. Moses, C. 
 Picart, J. T. Wedgwood, J. Woolnoth, H. Cook, G. Cooke, 
 J. C. Bromley, W. Bromley, Skelton, Worthington, Scriven, 
 Angus, Scott, Cheesman, Burnett, Thomson, Rivers, 
 Armstrong, and Holl. 1815. 
 
 Vol. III. Marbles and Bronzes. — Statues, Busts, &c. De- 
 scriptive text with 15 plates after W. Alexander ; engraved 
 by H. Moses, J. Woolnoth, W. Bromley, G. Corbould, 
 W. Sharp, A. Smith, C. Picart, J. T. Wedgwood, Freeman, 
 Worthington, and Kellaway. 1818. 
 
 Vol. IV. Marble Bas-Reliefs, from the Greek temple of Apollo 
 Epicurius, Phigalia (Arcadia). — Descriptive text with 28 
 plates after H. Corbould ; engraved by T. Landseer, J. 
 Landseer, W. Finden, E. Finden, G. Cooke, C. Heath, 
 J. Mitchell, G. Corbould, J. Romney, W. Skelton, P. Audinet, 
 Engleheart, Wedgwood, and Bennett. 1820. 
 
 Vol. V. Sepulchral Monuments (Roman). — Descriptive text 
 with five plates after H. Corbould, engraved by H. Moses. 
 
2 9 
 
 1826. (The proper number of plates to this volume is 11). 
 
 Vol. VI. Pediments of the Parthenon (Athens). — Descrip- 
 tive text with 24 plates after C. R. Cockerell, and H. Cor- 
 bould ; engraved by H. Moses, J. Horsburgh, W. Finden, 
 E. Finden, J. Romney, W. Bromley (A.R.A.), G. Corbould, 
 C. Heath, G. Cooke, Engleheart, Freebairn, Portbury, 
 Mitchell, Wedgwood, Pollard, and Newton. 1830. 
 
 Vol. VI I. The Elgin Collection of Marbles from the Par- 
 thenon. — Metopes. Descriptive text with 19 plates after H. 
 Corbould; engraved by H. Moses, G. Cooke, G. Corbould, 
 W. Bromley, R. Newton, Geo. Doo, C. Heath, J. H. Watt, 
 E. Portbury, Freebairn, and Duncan. 1835. 
 
 Vol. VIII. The Parthenon Frieze. — Fragmentary Groups. 
 Descriptive text with 56 plates, after H. Corbould; engraved 
 by Henry Moses, J. H. Watt, W. H. Watt, H. Le Keux, 
 W. D. Taylor, W. Bromley, R. Newton, George Doo, G. 
 Corbould, C. Heath, W. Finden, T. S. Engleheart, T. F. 
 Ransom, A. W. Warren, Gibbon, Freebairn, Greatbatch, 
 Rolls, and Davenport. 1839. 
 
 Vol. IX. — The Elgin Marbles — Grecian, but not from the 
 Parthenon. Statues, friezes, sarcophagi, and other sepul- 
 chral appurtenances, &c. Descriptive text with 43 plates 
 after H. Corbould; engraved by H. Moses, W. H. Watt, 
 W. D. Taylor, G. T. Doo, R. Newton, W. Bromley, F. 
 Bacon, W. Chevelier, and Freebairn. 1841. 
 
 Vol. X. The Townley Collection. — Busts, heads, statues, 
 groups, altars, &c. Descriptive text with 58 plates, after 
 H. Corbould ; engraved by H. Moses, J. T. Wedgwood, 
 G. Corbould, R. Newton, W. Bromley, W. H. Simmons, 
 R. Duncan, E. Scriven, W. Taylor, J. Thomson, W. H. 
 Watt, F. Bacon, H. Le Keux, Danfurth, and Free- 
 bairn. 1845. 
 Vol. XI. The Townley Collection. — Busts, heads, torsos, 
 statues, bas-reliefs, &c. Descriptive text with 52 plates, after 
 H. Corbould; engraved by J. T. Wedgwood, E. Scriven, W. 
 Taylor, J. Thomson, G. Corbould, Geo. Doo, A. Heath, 
 F. Heath, W. H. Simmons, F. Engleheart, Bromley, Bacon, 
 
3° 
 
 Artlett, Shenton, Outrim, Holl, Roden, E. Smith, and 
 Edwards. 1861. (The plates are all dated 1856.) 
 
 In these volumes are displayed most graphically the wealth of 
 our country's possessions in grand examples of Grecian sculpture. The 
 illustrations which accompany the interesting descriptions in the text 
 are, moreover, of the highest quality of engraved art of its kind ever 
 produced in this or any other country. 
 
 As is well remarked in the preface to one of the volumes (dated 
 1839), these engravings by various artists, "are executed in a style 
 which does honour to the state and progress of the Arts in this country ; 
 and it would be invidious to select any as objects of praise when all 
 have in their productions evinced so high a degree of feeling and skill." 
 
 (B.J COINS AND GEMS. 
 
 Illustrated Catalogues of Ancient Coins, Gems, 
 and Medals, contained in the collection of the British 
 Museum. In all Fourteen volumes, with fac-simile plates of 
 all the known types. Edited by Reginald Stuart Poole, LL.D., 
 and published by the Trustees. 
 
 "A Cabinet of Medals," wrote Addison, in whose day the term 
 Medals included Coins, " is a body of history. In fact it was a kind of 
 printing before the art was introduced." 
 
 This series of beautifully illustrated volumes, comprises an outline 
 history of the domination of the Dynasties, Kings, and Emperors of 
 Greece, Rome, Egypt, Asia Minor, and Early Britain, covering a period 
 of nearly 2000 years, with the emblems significant of each reign. 
 
 " The chief value of Greek coins lies in their being original 
 
 works of art, not copies and in their recording the successive 
 
 phases and local varieties of Greek art, in which respect no other class 
 of monuments [such as] sculptures, bronzes, terra-cottas, fictile vases, or 
 gems, can compete with them. From the seventh century before the 
 Christian era downwards, and from the farthest east to the extreme west 
 of the ancient civilised world, gold and silver coins are still extant, in 
 many cases as uninjured as when they first left the dies. The devices or 
 types which they bear, if not by leading artists, certainly faithfully 
 represent the style of the sculpture, and even of the painting, of the periods 
 to which they belong. Thus in no other branch of Greek monuments 
 can the student so readily and so thoroughly trace the growth, the 
 maturity, and the decay of the plastic art as on coins chronologically 
 arranged. For the study of mythology they present the local conception 
 of the gods and heroes worshipped in the Greek world, with their 
 
3i 
 
 attributes and symbols. The historian will find a gallery of portraits 
 of sovereigns almost complete, from Alexander to Augustus, as well as 
 evidences of the history, and of the political revolutions of innumerable 
 autonomous states and cities, in these all but imperishable records. 
 The student of palaeography will find on coins examples of various 
 ancient alphabets, such as Lycian and Cyprian, Phoenician, Greek, 
 Latin, Iberian, &c, in various stages of development. . . . For practical 
 purposes the medallist and art workman will find this series the mcst 
 profitable as well as the safest guide. The artist will not fail to 
 perceive the suggestive value of designs, which, on however small a 
 scale, are essentially large in treatment." — From the preface by the Editor. 
 
 [I.] Engraved Gems. Greek, Gr^co-Roman, and Roman. 
 
 By A. H. Smith, and A. S. Murray; with 10 Autotype plates. 
 
 1888. 
 
 The glorious art of sculpture in ancient Greece may perhaps be 
 said to be epitomised in miniature in the exquisite work of the engravers 
 of Gems, which so far as can be now judged, appears to have been 
 produced during that period of the highest degree of excellence 
 attained by the ancient sculptors, which immediately preceded the 
 irrevocable degradation of the art to its final decline at the hands of 
 servile imitators. 
 
 At what period the art of gem-cutting originated is now unknown, 
 but it is recognised to have attained its full state of development previous 
 to the invention of coinage, which directly owed its birth to this method 
 of portraiture, which took place it is believed at no earlier a period than 
 the 7th Century B.C., and it is supposed that the production of these 
 gems continued until the beginning of the 6th Century, and perhaps 
 occasionally in later times until even the 4th Century B.C., before 
 falling into complete decay at about that period. 
 
 The various mineral substances employed in the art included rock- 
 crystal, amethyst, steatite, gypsum, limestone, obsidian, porphyry, 
 serpentine, lapis-lazuli, slate, haematite, sapphirine, cornelian, chalcedony, 
 agate (banded, black, burnt, &c), onyx (banded and plain), sardonynx (of 
 various forms and colours), jasper (red, yellow, grey, brown, black, and 
 green), jacinth, chrysolite, beryl, topaz, emerald, and garnet; besides 
 which, paste in imitation of different stones, porcelain, and glass were 
 produced for the purpose, while shells, coral, and ostrich eggs were also 
 occasionally used for intaglio work, or otherwise engraved upon in relief, 
 as cameos for rings, &c. 
 
 [II.] Coins of the Ancients. A Synopsis of the principal gold 
 and silver coins of Ancient Greece, Rome, and Asia Minor 
 (from B.C. 700 to A.D. 1), contained in the British Museum. 
 
32 
 
 By Barclay V. Head, D.C.L., Ph.D., (Assistant Keeper of 
 Coins) ; with 70 autotype plates. Second edition, 1881. 
 
 This volume is the " first attempt to supply a general 
 
 chronological view of the coinage of the Ancients." (Author's Preface). 
 The treatment is divided into seven periods, illustrating completely the 
 development of the art of numismatic engraving, from early Archaic 
 times, 700 years before Christ, to its late decline at the end of the 
 Roman era. 
 
 [III.] Greek Coins. Gold, Silver, Iron, and Bronze. Central 
 
 Greece — Locris, Phocis, Boetia, and Euboea. From B.C. 
 
 790 to A.D. 192. By Barclay V. Head ; with 24 autotype 
 
 plates. 1884. 
 [IV.] Greek Coins. Thessaly, Illyria, &c. Of various dates 
 
 according to the different dominions, ranging from B.C. 734 
 
 to A.D. 138, as follows : Thessaly (B.C. 480-46), Illyria (4th. 
 
 Century to B.C. 168), Epirus (B.C. 340-31), Corcyra (B.C. 
 
 734 to A.D. 128), Acarnania (4th Century to B.C. 168), and 
 
 Aetolia (B.C. 279-168). By Percy Gardner, M.A., F.S.A.; 
 
 with 32 autotype plates. 1883. 
 [V.] Greek Coins. Attica, Megaris, and ^Fgina. From the 
 
 7th Century B.C., to Imperial Roman times (circa A.D. 217). 
 
 By Barclay V. Head ; with 26 autotype plates. 1888. 
 [VI.] Greek Coins. Corinth, and her Colonies. From B.C. 
 
 650-146, and under Imperial rule, B.C. 46 to A.D. 68. By 
 
 Barclay V. Head ; with 39 autotype plates. 1889. 
 [VII.] Greek Coins. The Tauric Chersonese, Sarmatia, 
 
 Dacia, Moesia, Thrace, &c. Covering various periods, ranging 
 
 from before B.C. 500 to the first century B.C. Thrace and the 
 
 Islands. By Barclay V. Head ; the rest of the volume by 
 
 Percy Gardner, M.A. Illustrated by numerous woodcuts 
 
 in the text. 1877. 
 [VIII.] Greek Coins. Peloponnesus (excluding Corinth). 
 
 From B.C. 500-31. By Percy Gardner, Litt. D.; with 37 
 
 autotype plates. 1887. 
 [IX.] Greek Coins. Crete and the iEgean Islands. Ffom B.C. 
 
 500 to B.C. 27, and the Roman occupation. By Warwick 
 
 Wroth; with 28 autotype plates. 1886. 
 [X.] Greek Coins. Macedonia, &c. From the fifth to the 
 
33 
 
 first century B.C. By Barclay V. Head ; with a map, and 
 woodcuts throughout the text. 1879. 
 
 [XL] Greek Coins : Pontus, Paphlagonia, Bithynia, and the 
 Kingdom of Bosporus. From B.C. 480 to A.D. 342. By 
 Warwick Wroth; with 39 autotype plates. 1889. 
 
 [XII.] Greek Coins. The Ptolemaic Kings of Egypt. From 
 the reign of Ptolemy (Soter), B.C. 323, to the death of 
 Cleopatra VII, and Ptolemy XVI., B.C. 30. By the Editor ; 
 with 32 autotype plates. 1883. 
 
 [XIII.] Greek Coins. The Seleucid Kings of Syria. Dating 
 from B.C. 312-65. By Percy Gardner, M.A.; with 28 autotype 
 plates. 1878. 
 
 [XIV.] Roman Medallions. Coins and Medals of the Roman 
 Empire, A.D. 69-416. By Herbert A. Grueber ; with 66 auto- 
 type plates, by direct photography, or from drawings by Mary 
 Godsall. 1874. 
 
 This beautifully illustrated series of volumes was presented by the 
 Trustees of the British Museum. 
 
 The Life of the Greeks and Romans ; described from Antique 
 Monuments. By E. Guhl, and W. Koner, translated from 
 the 3rd German edition, by F. Hueffer. With 543 wood-cut 
 
 illustrations. [1883.] 
 
 II. The Plastic Arts. 
 
 A History of Pottery and Porcelain ; Mediaeval and Modern. 
 By Joseph Marryat. With coloured plates, pottery-marks, 
 and other illustrations. Second edition, 1857. 
 
 * HlSTOIRE ARTISTIQUE, INDUSTRIELLE, ET COMMERCIALE DE LA 
 
 Porcelaine. By Albert Jacquemart, and Edmond le Blant. 
 With 28 beautifully etched plates, by Jules Jacquemart. 
 Paris, 1862. 
 
 * Catalogue of the Collection of Glass formed by Felix 
 
 Slade, F.S.A. ; with Notes on the History of Glass 
 
 I Making. By Alexander Nesbitt, F.S.A. ; with an Appendix 
 of the Slade bequests to the British Museum, comprising 
 
34 
 
 valuable objects of Antique and Oriental art, MSS., etchings, 
 &c, Copiously illustrated, some of the plates produced in 
 colours. Printed for private distribution, London : 1871. 
 
 III. Metal Work. 
 
 Orfevrerie et ouvrages en Metal du Moyen-age. By T. 
 H. King, of Bruges. Published in Paris, Brussels, and Leip- 
 sic ; 1855. 
 
 A series of engraved plates of ornamental design, as applied to 
 Ecclesiastical Altar vessels, &c. 
 
 IV. Early Drawings, and Engravings. 
 
 (A .J THE EA RL Y ITALIA N AND GERM A N MA STERS. 
 
 Introduction to a Catalogue of the Early Italian Prints 
 in the British Museum. By Richard Fisher, 1886. 
 
 The Collection of Engravings by the masters of the early Italian 
 Schools preserved in the Department of Prints and Drawings in the 
 British Museum is altogether unrivalled both in the range and in the 
 quality of the examples by the chief masters which are included in it. 
 This descriptive history of the origin and development of the art, as 
 practised in Italy during the XVth. and early part of the XVIth. centuries, 
 was published by order of the Trustees, and presented by them to this 
 museum. 
 
 Reproductions of Drawings by the Old Masters in the 
 British Museum. 
 
 [I .] A Portfolio series of photographic reproductions of pen and 
 crayon drawings, by the Masters of different schools dating 
 between the years 1400- 1 641. Part I. : 1888. 
 
 The twenty-five plates included in the series contain 28 subjects : 
 four being by Bellini; onebyTura; one by Gozzoli ; two by L. Da Vinci ; 
 nine by Michael Angelo ; two by T. Viti ; four by Raphael ; one by 
 F. Mazzuoli ; three by Diirer ; and one by Van Dyck. 
 
 [II.] German Prints of the XVth. Century. A Portfolio series 
 of thirty-two plates, executed about 1460- 1503. Part III, 
 1884. 
 
35 
 
 [III.] Early Italian Prints: six plates of the Florentine school 
 of the XVth. Century, and fourteen of the North Italian 
 schools of the XVth. and the beginning of the XVIth. Century. 
 New Series. Part I., 1886. 
 
 Numbers 1 to 6 furnish examples of the work of the earliest 
 Florentine school of engraving, executed during the latter half of the 
 Fifteenth Century, between the years 1460 to 1485, the productions of 
 which are traditionally attributed to the joint labours of Sandro Botticelli, 
 and Baccio Baldini, the goldsmith ; while some of the work bears evidence 
 of the influence of Fra Fillippo Lippi, from whose school the former 
 artist sprang. The second series includes work produced in other schools 
 of North Italy, such as the Venetian, Paduan, and the Bolognese from 
 about 1431 to 1557. 
 
 [IV.] Early German and Flemish Prints : comprising a series of 
 twenty-two examples from these schools during the second 
 half of the XVth. Century. New Series. Part II., 1889. 
 
 [V.] German, Dutch, and Italian Prints of later date. This 
 series includes five examples of the work of Albrecht Durer, 
 seven by Lucas van Leyden, and six by Marcantonio 
 Raimondi. New Series. Part III., 1890. 
 
 The above five portfolios were presented by the Trustees of the 
 British Museum. 
 
 Holbein's Dance of Death. The original edition, with his 
 wood-block illustrations, forty-two in number; choicely bound 
 in morocco, (with a skull in gilt on the sides). The precise 
 title and particulars of the publication of this work of genius 
 are as follows : — "Les Simulachres & Historiees Faces 
 de la Mort, autant elegammet pourtraictes, que artificielle- 
 ment imaginees. A Lyon : Soubz l'escu de Coloigne. 
 M.D. XXXVIII," and at the end is the imprint " Excudebant 
 Lugduni Melchior et Gaspar Trechsel Fratres. 1538." 
 
 A very rare perfect copy of this mysterious work, which is usually 
 attributed, though doubtfully, to Hans Holbein ; identical with that in 
 the British Museum Library. 
 
 Professor Ruskin alludes many times in his works to the intellectual 
 force and power of Hans Holbein's drawings. 
 
 " The work of Holbein is true and thorough ; accomplished, in the 
 highest and most literal sense, with a calm entireness of unaffected reso- 
 lution, which sacrifices nothing, forgets nothing, and fears nothing." 
 
36 
 
 (' Sir Joshua and Holbein,' in the ' Cornhill Magazine,' March, i860; reprinted 
 in l 0n the old Road,' vol. 1, p. 230). 
 
 For a fuller treatise of his work in relation to or in contrast with 
 that of Diirer and other artists of kindred sentiments, the reader is re- 
 ferred to 'Ariadne Florentina,' from which the following passages are 
 quoted. " Holbein is at the head of the painter-reformers and his Dance 
 of Death is the most energetic and telling of all the forms given, in this 
 epoch, to the Rationalist spirit of reform, preaching the new Gospel of 
 Death, — " It is no majter whether you are a priest or a layman, what you 
 believe, or what you do : here is your end." .... The teaching of 
 Holbein is therefore always melancholy, — for the most part purely 
 rational ; and entirely furious in its indignation against all who, either 
 by actual injustice in this life, or by what he holds to be false promise of 
 another, destroy the good, or the energy, of the few days which man has 
 to live. Against the rich, the luxurious, the Pharisee, the false lawyer, 
 the priest, and the unjust judge, Holbein uses his fiercest mockery ; but 
 he is never himself unjust; never caricatures or equivocates; gives the 
 facts as he knows them, with explanatory symbols, few and clear." 
 (paragraphs 85 and 86, et seq., and especially paragraphs 167 to 177). 
 
 * Works of Albrecht Durer. 
 
 LARGER COPPER PLATES — ORIGINAL ETCHINGS. 
 
 i. The Knight and Death (1513). 
 
 2. Melencholia (1514). 
 
 3. Portrait of Erasmus of Rotterdam (1526). 
 
 SMALLER COPPER PLATES — ORIGINAL ETCHINGS. 
 
 i. St. George, on foot (undated). 
 
 2. St. George, on horseback. (1508). 
 
 3. Christ before Pilate (1512). 
 
 4. Christ before Caiaphas (1512). 
 
 5. Apollo and Diana (undated). 
 
 6. St. George, on foot (duplicate). 
 
 For Mr. Ruskin's estimate of these and other of Diirer's works see 
 'Modem Painters,' (vol. Hi, pp. 98-103 ; vol. iv, p. 48; vol. v, pp. 236-245 
 and 318); also 'Stones of Venice' vol. Hi, pp. 45-6; ' Ariadne Florentina,'' 
 (paragraphs 169-177.) The first plate of the larger series, known generally 
 as 'The Knight and Death,' exemplifies Fortitude (see ' Modern Painters,' 
 vol. v. p. 243). ' Melencholia ' is the history of the sorrowful toil of the 
 
 
37 
 
 earth, as 'The Knight and Death' is of its sorrowful patience under 
 temptation." (Ibid. p. 243-4; see also 'Stones of Venice,' vol. Hi, p. 145;) 
 'Ariadne Florentina,' paragraphs 37, 125, 133, 169-179, 247-250, and 252). 
 An important article on Albrecht Diirer, by Mr. Albert Fleming, with 
 twenty-three well-produced reductions of some of his chief works, 
 appeared in 'The English Illustrated Magazine,' for May, 1890. 
 
 RANDZEICHNUNGEN, AUS DEM GEBETBUCHE DES KAISERS MAXI- 
 MILIAN i. The Prayer-book of the Emperor Maximilian I ; 
 with an introduction by Franz Xaver Stoger. 
 
 A German reprint of the forty-five Illuminated plates drawn by 
 Diirer, — all of which bear the date 1515 in the work with his monogram, 
 in his usual manner, — which was produced by Georg Franz, Munich, in 
 1850. A facsimile of the large portrait of Diirer, etched by himself in 
 the year 1500, faces the title-page. 
 
 For Mr. Ruskin's allusions to these strange grotesque drawings 
 the student is referred to his -Oxford Lectures on Art,' (chap, v, paragraph 
 144); 'Fiction fair and foul,' reprinted from ' The Nineteenth Century 
 Magazine" in ' On the Old Road ' (vol. ii, paragraph 14) ; and to ' Modern 
 Painters,' for remarks on his distinctive work, more generally. A full and 
 critical description of the work, by Mr. W. G. Collingwood, whose manu- 
 script explanations of the allegorical designs are written on the opposite 
 page of each subject, at Mr. Ruskin's request, formed a series of articles 
 contributed to 'The Ruskin Reading Guild Journal,' for March (pp. 65-69), 
 April (//. 97-101), May (pp. 132-136), July (pp. 194-197), and August 
 (pp. 241-245), 1889. 
 
 (B.) RECENT ENGLISH ENGRAVINGS. 
 
 * Engravings by, or from Drawings by J. M. W. Turner. 
 
 THE 'LIBER STUDIORUM.' 
 
 This Book of Studies was mainly created under the 
 stimulus of the great 17th Century landscapist, Claude, — the 
 greatest landscape painter the world had produced — whose 
 work Turner so highly regarded that his highest aspiration 
 and last request was that two of his favourite pictures, which 
 he had refused to part with, might receive the honour of being 
 
38 
 
 hung next to two of Claude's famous works in the National 
 Gallery. Even in Turner's time the great French painter's 
 work was still unsurpassed. This is strikingly evident from 
 the fact that more than one hundred years after his death, 
 the sepia sketches, which it was his habit to make of all his 
 finished pictures, — for the purpose of identification and 
 the prevention of subsequent fraudulence in the sale of his 
 works, and which he entailed to his descendants in the form 
 of six books, under the title ' Libri de Verita,' — were most 
 carefully reproduced in fac-simile, by the aquatint method of 
 engraving. The first series of the published • Liber Veritatis' 
 had appeared thirty years before Turner began his • Liber 
 Studiorum,' and the third volume had just been issued. 
 " But," as Mr. Rawlinson remarks in his analytical and 
 critical catalogue of the Turner series, "the Liber Studiorum 
 was intended by Turner from the first to be a series, — not of 
 sketches, but of fully-finished pictures ; and these pictures 
 were to illustrate his whole range of powers, and to embrace 
 every sort of subject of which he considered himself master. 
 Designed therefore with this distinct aim, the ground-work 
 of nearly every plate (and in several cases the whole plate) 
 the work of his own hand, and each after-stage entrusted to 
 the best engravers of his day, over whom he kept strictest 
 supervision, it is not to be wondered at that ' Liber Veritatis' 
 was utterly distanced, and that * Liber Studiorum ' came 
 forth a truly monumental work, taking rank with the highest 
 productions of Turner's genius, and exhibiting intimately his 
 strength, as indeed also' his weakness, during a period of his 
 life in which a large part of his strongest and soberest, though 
 not his most imaginative work was done." — Turner's ' Liber 
 Studiorum' : a Description and a Catalogue, by W. G. Rawlinson 
 1878. (Introducticn, p. Hi). 
 
 The drawings for the work, more than half of which 
 are now in the National Gallery, were made variously in 
 sepia, bistre, and umber, some being of one tone throughout, 
 and others of all three colours combined ; but in relation to 
 the plates themselves, the drawings are to be looked upon 
 
39 
 
 merely as first sketches. In this respect they are therefore 
 a complete reversal of the method of production in the case 
 of the Claude series. The main features of the subject were 
 then etched upon copper plates, generally by Turner himself, 
 and afterwards engraved in the style called mezzotint. An 
 account of the process may be found in the Rev. Stopford 
 A. Brooke's preface to his " Notes on Turner's 'Liber Studi- 
 ovum' " (p. xiv.), and in Mr. P. G. Hamerton's " Etching and 
 Etchers" [p. 81). 
 
 The extremely wide scope of the subjects dealt with 
 exemplify the breadth of the imaginative power of the great 
 artist, and while most of the landscapes included in the series 
 are views of places visited by him, the poetical faculty of 
 his mind always rendered such scenes much more than mere 
 photographic transcripts. And for the same reason it is 
 noticeable, that in reproducing his own pictures and drawings 
 he frequently used great licence in recomposing and amending 
 the subject, though the main features which were indelibly 
 stamped upon his mind, are ever faithfully produced. The 
 work was commenced in 1807, when Turner was 32 years 
 of age, and carried on at irregular intervals for twelve years. 
 It was the author's original intention to form a series of one 
 hundred plates, but only seventy-one were fully published, 
 although about twenty other subjects were designed, and 
 some few of them carried to a state of completion ready for 
 publication. 
 
 Although a dozen only of these much prized plates are 
 now in the museum collection so much might be written 
 respecting them, that a description of them must be altogether 
 deferred for the present. The subjects as yet included are as 
 follows: — 
 
 * Three Etchings, all by Turner himself. 
 Junction of the Severn and the Wye. 181 i. 
 The Tenth Plague of Egypt. 1816. 
 
 iEsACUS AND HESPERIE. l8ig. 
 
4 o 
 
 * Seven Complete Mezzotint Impressions. 
 Pembury Mill, Kent. 1808. Third state ; by Chas. Turner. 
 Falls of the Clyde. 1809. First state ; by Chas. Turner. 
 The same. Second state of the plate. 
 Hindhead Hill. 1811. Fourth, and perhaps the finest state ; 
 
 by R. Dunkarton. 
 The Hindoo Worshipper. 1811. The Second state; by R. 
 
 Dunkarton. 
 Raglan Castle. 1816. First state of the plate, engraved by 
 
 J. M. W. Turner himself. 
 Solway Moss. 1816. First state; by T. Lupton. 
 
 The Etching of all these plates is the work of Turner. 
 * Two Finished Plates of the Unpublished Series. 
 The Stork and Aqueduct. Etched by Turner ; the mezzotint 
 is thought to be the work of H. Dawe. 
 
 The etching of this delightful composition is especially recom- 
 mended for study by Mr. Ruskin as being the foremost of the entire 
 series. The impression is a poor one, however, being a modern one, and 
 very few were taken originally. 
 An Episode in the Deluge. Engraved in pure mezzotint by 
 Turner. 
 
 A good impression, printed in a warm brown colour ; most of the 
 recent impressions were printed in black. 
 
 Various Works devoted to 'The Liber.' 
 This fascinating series of engravings has afforded the 
 material for many special treatises which are attractive both 
 to the numerous collectors whose eager enthusiasm has ren- 
 dered many of the plates very rare and obtainable only at 
 fancy prices, f and to artists whose appreciative study of the 
 compositions is ever increasing. Chief among these instruc- 
 tive works are the following : — 
 Catalogue of the Plates of Turner's Liber Studiorum. 
 With an Introduction and notes : and Heliotype Facsimiles 
 of three of the Etchings. Cambridge (University Press) : 
 
 1874. 
 
 The text of this volume consists almost entirely of extracts from 
 Mr. Ruskin's critical remarks on some of the subjects. 
 
 t A single impression of one of the plates, " Ben Arthur," realised 
 as much as 200 guineas, at the Bale sale, at Christie's, in 1881. 
 
4i 
 
 Notes on the Liber Studiorum of J. M. W. Turner, R.A. 
 By the Rev. Stopford A. Brooke, M.A. With five reduced 
 Autotype illustrations, and one mezzotint Engraving by 
 Frank Short. 1885. 
 
 A Selection from the Liber Studiorum of J. M. W. Turner, 
 R.A. A Drawing-book for Art Students, suggested by the 
 writings of Mr. Ruskin, with a historical introduction by 
 Frederick Wedmore, practical notes by Frank Short, 
 and extracts from the writings of the Rev. Stopford A. 
 Brooke, M.A., and others. With a Prefatory note by the 
 Editor, John Ward, F.S.A. Published under the sanction 
 of the Lords of the Committee of Council on Education. 
 In Four parts, contained in a Portfolio. 1890. 
 
 The contents of the several parts, with their illus- 
 trations are as follows : — 
 
 Part I : containing a Facsimile mezzotint plate of • The Little 
 Devil's Bridge,' engraved by Frank Short; a portrait of 
 Turner ; four full-sized, and four reduced reproductions of the 
 etchings, and ten small reproductions of the finished en- 
 gravings, with descriptive text to each. 
 Part II : containing a mezzotint plate of 'The Falls of the 
 Clyde,' by Frank Short ; five full-sized, and eight reduced 
 facsimiles of the etchings, or parts of them ; and eight small 
 reproductions of the finished plate. 
 
 Part III : containinga Facsimile Engravingof ' St. Catherine's 
 Hill,' by Frank Short ; eight full size, and one reduced 
 copies of the etchings ; and nine small reproductions of the 
 mezzotinted plates. 
 
 Part IV : containing a Facsimile mezzotint of 'The Isis,' by 
 Frank Short ; seven full sized, and nine reduced copies of the 
 etchings, or parts of them ; and nine small representations 
 of the finished plates. 
 
 Presented by Mr. Frank Short. 
 
 LINE ENGRAVINGS AFTER TURNER. 
 . " The excellence of a beautiful engraving is primarily 
 in the use of these resources, [as previously detailed], to 
 
4 2 
 
 exhibit the qualities of the original picture, with delight to 
 the eye in the method of translation ; and the language of 
 engraving, when once you begin to understand it, is, in these 
 respects, so fertile, so ingenious, so ineffably subtle and severe 
 in its grammar, that you may quite easily make it the subject 
 of your life's investigation, as you would the scholarship of a 
 lovely literature." — ' Ariadne Flcrentina.' (pp. 105-6.) 
 
 (a.) The "Rivers of France" Series. 
 
 * Liber Fluviorum : A series of sixty-three views on the 
 Seine and the Loire. 1832-1834. 
 
 These engravings were the result of the artist's 
 " Annual tours " on those picturesque rivers in the years 
 1831-1833, as published in book form in each subsequent year. 
 
 The original drawings, executed in the artist's own 
 method, in body-colour on grey paper, are in the Turner 
 Water-Colour Room at the National Gallery. 
 
 These Line engravings are of the utmost excellence, 
 being the work of the finest engravers in this method of 
 the art, and whose skill but for the special training received 
 under Turner's close direction, would doubtless have never 
 attained to such a degree of perfection as is here displayed. 
 The names of the thirteen Engravers employed on the work, 
 together with the number of plates due to each, are as 
 follows: — J. B. Allen, four; J. C. Armytage, three; Robert 
 Brandard, fourteen ; J. Cousen, five (two vignettes) ; S. 
 Fisher, two ; Thos. Higham, three ; Thos. Jeavons, three ; 
 William Miller, seven (one vignette) ; W. Radclyffe, four ; J. 
 Smith, one ; W. R. Smith, one ; Robt. Wallis, six ; J. T. 
 Willmore, ten. 
 
 The remark quoted above, especially when these exquisite ' trans- 
 lations ' of the original drawings are considered in connection with Mr. 
 Ruskin's exposition of them, applies very forcibly to this series. Refer- 
 ence notes to Mr. Ruskin's comments in ' Modern Painters ' and else- 
 where, will be found accompanying the plates themselves. 
 
 This set is in the choicest possible condition, being a large paper 
 copy of the engraver's proof impressions, taken on Indian paper before 
 the lettering, and has never been bound ; very rare in this state. 
 
43 
 (b.) Vignette Illustrations to Rogers's Poems. 
 
 * A Set of the Thirty-Three Plates, Folio Size. Engraver's 
 Proofs before Letters. 1834. 
 
 These lovely compositions were painted by Turner during his very 
 best period, at the desire of his friend, the Poet-Banker ; and upon their 
 publication it was considered generally that the illustrations far exceeded 
 the poems which inspired them, in the beauty of imaginative representa- 
 tion, and the purity of poetical sentiment which fills them. It was these 
 gems of the engraver's art which first led Mr. Ruskin, upon a copy of the 
 volume being presented to him immediately on its publication, when he 
 was in his fifteenth year, to urge the claims of Turner upon the attention 
 of the public. (See 'Praterita,' chap. x,p. 31 ) 
 
 All the original water colour drawings, which are mostly about 
 ■ double the size of the engravings, are in the Turner Room at the National 
 Gallery. 
 
 The following are the subjects included in the series : — 
 
 The Pleasures of Memory. 
 
 1. Frontispiece — The Fountain in the garden. 
 
 2. Twilight's soft dews steal o'er the village green. 
 
 3. The Gipsy's faggot. 
 
 4. The native village. 
 
 " The adventurous boy that asks his little share, 
 And hies from home with many a gossip's prayer, 
 Turns on the neighbouring hill, once more to see 
 The dear abode of peace and privacy." 
 
 5. Greenwich Hospital. 
 
 6. Derwent Water, with the Falls of Lodore. 
 
 7. St. Herbert's Isle. 
 
 The Voyage of Columbus. 
 
 8. Columbus and his son receiving alms at the gate ol the 
 
 Convent of La Rabida. 
 
 9. The Embarkation. 
 
 10. The Vision of the spectral procession. 
 
 1 1. The Vision of land, — Midnight. 
 
 12. The landing, — Morning. 
 
 " Slowly, bare headed, thro' the surf we bore 
 The sacred cross, and kneeling, kissed the shore." . . . (et seq.) 
 
 13. The Vision of the prophesying angel 
 
 14. Cortes and Pizarro in the Convent Chapel (La Rabida) 
 
44 
 
 Jacqueline. 
 
 15. The Falls of Valombre. 
 
 16. Jacqueline's Cottage, Garonnelle. 
 
 17. St. Pierre and Jacqueline at St. Julienne's Well. 
 
 Human Life. 
 
 18. Llewellyn's Hall. 
 
 19. Tonaro's brow. 
 
 " The shepherd on Tonaro's misty brow, 
 And the swart seaman, sailing far below, 
 Not undelighted watch the morning ray 
 Purpling the orient — till it breaks away, 
 And burns and blazes into glorious day." 
 
 20. Newcastle (with St. Nicholas' Church). 
 
 " A wake — the booths whitening the village green, 
 Where Punch and Scaramouch aloft are seen ; 
 Sign beyond sign in close array unfurled, 
 Picturing at large the wonders of the world." 
 
 21. The Tower of London — Hampden at the Water-gate. 
 
 22. St. Anne's Hill. 
 
 23. A Simoom — the Caravan overwhelmed by a sand-storm. 
 
 24. The Rialto, Venice 
 
 Short Psabns. 
 
 25. The Alps at daybreak. 
 
 26. Captivity — the moated castle. 
 
 27. The old Oak — May-day. 
 
 28. The old Oak — The dockyard. 
 
 29. The Boy of Egremond — at the Strid. 
 
 30. Bolton Abbey — Wharfedale. 
 
 31. Loch Lomond. 
 
 32. The trellis arbour — St. Anne's Hill. 
 
 33. Datur hora quieti. An isolated " poem " by the artist, which 
 
 has no actual relation to any of the poetry of Rogers. 
 
 The majority of these exquisite engravings are the work of Edward 
 Goodall, twenty-six of them being from his hand. Of the remainder, 
 four — Numbers 1, 18, 24, and 31 — are by William Miller; two — Nos. 19 
 and 30 — by Robert Wallis ; and one — Number 7 — by H. Le Keux. The 
 work was first published in 1834, but several later editions were issued, 
 the impressions of the plates of which are generally inferior, and early 
 copies in a fine condition are scarce on account of damage to the 
 publishers' stock during a fire. 
 
45 
 (c.) The "England and Wales" Series. 
 
 Picturesque Views in England and Wales. From Drawings 
 by J. M. W. Turner, R.A. Engraved under the super- 
 intendence of Charles Heath. With descriptive and historic 
 illustrations, by H. E. Lloyd. In Two volumes. Colombier 
 folio. 1838. 
 
 This grand series of marvellous engravings was produced during 
 the zenith of the school of engravers, which owed its existence mainly to 
 the master whose works are here reproduced with such powerful effect. 
 The volumes each contain forty-eight engravings, the work of 19 engravers, 
 who seem to have vied with each other in the perfection of their produc- 
 tions. The names of those employed on the work are Edward Goodall, 
 Robert Brandard, C. Westwood, W. Tombleson, and J. Henshall; Robert 
 Wallis, W. R. Smith, J. C. Varrall, William Miller, J. T. Willmore, 
 Thos. Jeavons, W. Radclyffe, James B. Allen, Jas. H. Kernot, and J. 
 Horsburgh ; Wm. J. Cooke, Thos. Higham, S. Fisher, and James 
 Redaway. The first five named contributed plates to the first volume 
 only, and the last four to the second volume only, while the central ten 
 were retained throughout the period of the production of the work. 
 The publication which was issued periodically in parts, was commenced 
 in the year 1828, and on account of the slow rate at which such work can 
 be produced, and the extreme care with which each plate was elaborated, 
 ten years elapsed before its completion. 
 
 It is unnecesssary to refer more than generally here to Mr. Ruskin's 
 eloquent analyses of these masterpieces of art, as contained, especially 
 in '• Modern Painters," and such treatises as he has devoted entirely to 
 Turner ; but for the assistance of students, pencil references to particular 
 passages of his writings will shortly accompany each plate of the work. 
 
 This copy is in the choicest possible state, every engraving in the 
 set being an early proof impression on India paper, before any lettering 
 was added to the plates. As a point of interest to some, it may be noted 
 that certain of the impressions in this state have the engraver's date-mark 
 upon them in etched writing, as follows: — Vol. I. Lancaster Sands, and 
 Knaresborough, 1828; Louth, and Dunstanborough, 1829; Devenport, 
 Cowes, Trematon, St. Mawes, Gosport, and Pembroke Castle, 1830 ; 
 Ludlow, 1831. Vol. II., Margate, 1831 ; Chatham, and Kenilworth, 1832 ; 
 and Worcester, 1835. Inserted in the volumes are also copies of the rare 
 unfinished vignettes in the etching state, which were intended for the title- 
 pages to the volumes ; and four etchings, with one completed engraving, 
 of some additional subjects, all of them executed by J. B. Allen. 
 
4 6 
 (a*.) Other Turner Engravings and Drawings. 
 
 Chepstow. By J. Walker. From • The Itinerant.' 1794. 
 
 Rome, from Monte Mario. By S. Middiman. From Hake- 
 will's " Picturesque Tour in Italy," 1819. 
 
 Turin, from the Superga Porch. By C. Heath. From the 
 same series. 
 
 Mont Blanc. By Davies. 1828. India proof. 
 
 Falls of the Rhine — Schaffhausen. By J. B. Allen. From 
 ' The Keepsake.' 1833. Fine India proof. 
 
 Buckfastleigh Abbey. By R. Wallis. Proof before letters. 
 
 Stirling. By W. Miller. From the "Scott" series. (Prose 
 Works, vol. 23), 1836. India proof before the lettering. 
 
 Engraving from a Pencil Outline Sketch, by Turner. From 
 " The Laws of Fesole," (Plate VII). 
 
 A Lithograph of the Portrait of J. M. W. Turner by George 
 Dance (taken in the year 1800); engraved 1827. 
 
 (C.J RECENT ENGLISH DRA WINGS. 
 
 ORIGINAL PENCIL SKETCHES BY JOHN LEECH, 
 (a.) The Comic Grammars — Two Series. 
 
 The Comic Latin Grammar. A new and facetious introduction 
 to the Latin Tongue. With numerous illustrations. Second 
 edition. 1840. 
 
 There are 56 woodcuts, and 9 full plate etchings, the first of the 
 latter being a portrait of the author signed as Paul Prendergast, but also 
 in the etcher's writing acknowledged to be " Painted and engraved by 
 John Leech, R.C.A. 
 
 The Latin Grammar. An Album containing drawings of twenty- 
 seven of the above subjects. 
 
 The Comic English Grammar. A new and facetious introduc- 
 tion to the English Tongue. By the author of the Comic 
 
47 
 
 Latin Grammar, embellished with upwards of Fifty charac- 
 teristic illustrations by J. Leech. 1840. 
 
 From the list of illustrations it appears, however, that there are 
 only 49, including the etched frontispiece, but there is a slight tail-piece 
 at the end, which is not mentioned, making 50 in all. 
 
 The English Grammar. An Album containing drawings of 
 twenty-eight of the above subjects. 
 
 The series of pencil sketches contained in the above two albums are 
 the first rough outlines of the drawings afterwards made on the blocks 
 to be engraved. 
 
 * (b.) Original Sketches for "Punch," Etc 
 
 1. Mrs. Gamp taking the little 'Party' she looks after 
 
 BACK TO SCHOOL. (Vol. XXui, l8$2, p. IQg). 
 
 "'The Morning Herald' was a strong supporter of 
 Mr. Disraeli." — Preface to the volume. 
 
 2. Punch on his Canvass (on the decease of Sir Matthew Wood, 
 
 M.P. for the City of London). (Vol. v, 1843, p. 149). 
 
 3. The Irish Cinderella and her haughty sisters, Britannia 
 
 and Caledonia. {Vol. x, 1846,^. 181). 
 
 4. The Royal Rising Generation. (Vol. xix, 1850,^.65). 
 
 5. St. James turning St. Giles out of his Parks. Dedicated 
 
 to the Commissioners of Woods and Forests. (Vol. xix, 
 1850, p. 167). 
 
 6. The Amazon (Br-gh-m) Attacking Chancery Abuse. (Vol. 
 
 xxi, 1851, p. 7). 'The Amazon' by the German sculptor 
 Kiss, was one of the most admired works of art in the 
 Exhibition of 185 1. 
 
 7. The Rising Generation. (Vol. xii, 1847,^. 47). Sir Robert 
 
 Peel and Mr. Disraeli. 
 
 8. Mr. Briggs — Fishing. ('Life and Character,'' — first series, 
 
 A 35)- 
 
 9. Mr. Briggs — The Bruisers. (' Life and Character,' — second 
 
 series, p. 24). 
 10. The Mayoralty, — the coming in ('Life and Character,'' — third 
 series, p. 74). 
 
48 
 n-22. Twelve Mounts of other Drawings for "Punch." 
 
 23-33. Eleven Other Drawings by Leech (various). 
 
 " The kind and vivid genius of John Leech, capable in its bright- 
 ness of finding pretty jest in everything, but capable in its tenderness 
 also of rejoicing in the beauty of everthing, softened and illumined with 
 its loving wit the entire scope of English social scene." — • The Art of 
 England? {Lecture V, The Fireside, p. 178). 
 
 
 (D.) BLACK AND WHITE DRAWINGS. 
 
 Original Pen and Ink Drawings. Four drawings, by Miss 
 Francesca Alexander. Reproduced in " The Roadsongs of 
 Tuscany," (Edited by Professor Ruskin). 1885. The sub- 
 jects are as follows: — 
 
 1. The Vision of the Madonna to the Rich Man. 
 
 2. Music to the same, with initial and group of wild 
 
 flowers. 
 
 3. The Colonel's Leave. (Illustrating^. 229). 
 
 4. The Jessamine Window. (Illustrating/. 149). 
 
 " Never before have I seen such penmanship In faithful 
 
 expression of human feeling there has nothing yet, that I know of, been 
 done like them — since the masters, commonly so called, of Art, seldom 
 aim at expression at all, and those who seek it give momentary states of 
 it : while the expression is here of eternal thought — the amazement, the 
 sorrow, the judgment, in the Madonna's eyes, are all of eternity." — 
 J. Ruskin. 
 
 The Two Shields (see p. 20), and Four other plates to illustrate 
 the same work, being Plates I. — IV. 
 
 Peacock's Feather, after Professor Ruskin. Plate V. (p. 87). 
 
 Black Sheep's Trotters, after Professor Ruskin. Plate VI. of 
 the same. (p. 88). 
 
 Landscape Outline, after Turner. Plate VII. (seepp. 127-140). 
 
 Pink (Clarissa). Pen outline with advanced shade. A Fac- 
 simile Engraving of Professor Ruskin 's Drawing, being Plate 
 VIII. of " The Laws of Fesole." [p. 200). 
 
49 
 
 E. CLASSICAL LITERATURE. 
 
 I. Greek — English Translations of Homer. 
 
 The greatness of Homer is constantly set forth and 
 analysed by Professor Ruskin in his writings, and there is 
 scarcely a volume in which he does not refer to him as a 
 leading light. In 'Modern Painters' especially Mr. Ruskin 
 has analysed the characteristic temper and imaginative 
 powers of the Greek mind, in powerful contrast with the 
 literary and artistic faculties of perception in later times; t 
 and "Homer is eminently the Greek of Greeks." t His 
 influence, moreover is universal. " It does not matter how 
 little, or how much, any of us have read either of Homer or 
 Shakespeare ; everything around us, in substance or in 
 thought, has been moulded by them. All Greek gentlemen 
 were educated under Homer. All Roman gentlemen, by 
 Greek literature. All Italian, and French, and English 
 gentlemen, by Roman literature, and by its principles." 
 
 The Crowne of all Homer's Workes — Batrachomyomachia, 
 or the battaile of frogs and mlse | his hymns and 
 Epigrams. Translated according to y e originall, by 
 George Chapman. London, Printed by John Bill, his 
 Majesties Printer. 
 
 " After this not onely Prince of Poets, but Philosopher's, 
 had written his two great Poems, of Iliads and Odysses ; 
 which were worthily call'd the Sunneand Moone of the Earth ; 
 finding no compensation, he writ, in contempt of Men this 
 ridiculous Poem of Vermin, giving them Nobility of Birth, 
 valorous elocution, not inferior to his Heroes. At which the 
 Gods themselves put in amaze, call'd counsailes about their 
 assistance of either Armie, After which sleight 
 
 t See 'Modern Painters,' Vol. ii,p. 160; Vol. Hi, pp. 14, and 175-195 ; 
 
 Vol. iv.pp. 214-217. J lb. Vol. Hi. p. 193. 
 D 
 
5° 
 
 and onely recreative touch, hee betooke him seriously to the 
 honor of the Gods, in Hymns resounding all their peculiar 
 Titles, Jurisdiction, and Dignities . . . " — Translator' s Preface. 
 The Hymns to the Gods occupy the greater part of the 
 volume ; the deities addressed are Apollo, " Heaven's far- 
 darter, the faire King of daies " ; Hermes, " the sonne of 
 Jove and Maia " ; Venus, " the Reverend rich-crownd, and 
 Faire Queene " ; Bacchus (or Dionysius), " noble Semele's 
 son"; Mars, "Father of Victory"; Diana, "Queene of 
 Archerie"; Pallas (Minerva), " Patroness of Citties, that 
 makes warres terrible Dinne"; Juno, "the farr-fam'd wife 
 of great Saturnius"; Ceres, " the rich hayr'd . . Proserpina 
 her Daughter"; the Mother of the Gods, " Mother of All, 
 both Gods and Men"; Hercules, " Lyon-hearted, Force- 
 fullest of all the Broode of Men " ; ^Esculapius, " that cur'd 
 all Sicknesse " ; Castor and Pollux, " the bravest horsemen 
 under Heaven" ; Mercury, "thegenerall Messenger"; Pan, 
 " Goate-footed, two-horn'd, amorous of noise " ; Vulcan, " who 
 with the skie-eyd Pallas, first did give men rules of 
 buildings"; Phoebus, " the sweete voic't singer" ; Neptune, 
 "the fruitles Oceans King"; Jove, " the greatest and the 
 best of all these Powrs that are with Dietie blest " ; Vesta, 
 " that Oversees King Phoebus hallowd house " ; the Earth, 
 " Mother of all " ; the Sun, " who never-wearied gives both 
 mortalls light and all th' immortalls; " and the Moon, " Joves 
 Daughter." 
 
 A perfect copy of the rare original edition, published about 1616, 
 without any date being accorded to it. 
 
 Homer's Complete Works. The whole works of Homer, Prince 
 of Poetts in his Iliads and Odysses. Translated according 
 to the Greeke by George Chapman. " Imprinted at London 
 by Richard Field for Nathaniell Butter." The date of 
 publication, 1616, is included in an inscription encircling a 
 portrait of the translator. The volume is composed of three 
 parts with separate pagination, and title-pages, bound 
 together in one volume. The first part comprises the Iliads; 
 the second the Odysses ; and the third the Battle of the 
 
5i 
 
 Frogs and Mice, and the Hymns and Epigrams, — the last 
 part being a second copy of the above rare edition. 
 
 " Men like Homer and Shakespeare, of so unrecognised personality, 
 that it disappears in future ages, and becomes ghostly, like the tradition 
 of a lost heathen god . . . What," enquires Mr. Ruskin, deeply 
 pondering over the mystery of life, " do these two men, centres of 
 mortal intelligence, deliver to us of conviction respecting what it most 
 behoves us that intelligence to grasp ? What is their hope ? . . What lies 
 next their own hearts, and dictates their undying words ? Have they 
 any peace to promise to our unrest — and redemption to our misery ? , . . 
 think if there is any sadder image of human fate than the great Homeric 
 story. The main features in the character of Achilles are its intense 
 desire of justice, and its tenderness of affection. And in that bitter 
 song of the Iliad, this man, though aided continually by the wisest of 
 the gods, and burning with the desire of justice in his heart, becomes 
 yet, through ill-governed passion, the most unjust of men : and, full of 
 the deepest tenderness in his heart, becomes yet, through ill-governed 
 passion, the most cruel of men. Intense alike in love and in friend- 
 ship, he loses first his mistress, and then his friend ; for the sake 
 of the one, he surrenders to death the arms of his own land ; for the 
 sake of the other, he surrenders all. Will a man lay down his life for 
 his friend ? Yea — even for his dead friend, this Achilles, though" goddess- 
 born, and goddess-taught, gives up his kingdom, his country, and his 
 life, — casts alike the innocent and guilty, with himself, into one gulf of 
 slaughter, and dies at last by the hand of the basest of his adversaries. 
 Is not this a mystery of life ?" — ' Sesame and Lilies,' (paragraphs 113-114). 
 
 For the various other analyses of Homer by Mr. Ruskin, in 
 addition to ' Modem Painters,' already mentioned, the reader is referred 
 to the indices of ' Fors Clavigera,' and ' The Stones of Venice.'' 
 
 II. French. 
 
 The Complete Works of Marmontel ; in Seventeen volumes, 
 comprising his Dramas, Novels, Essays, and Poems : in the 
 original. Paris, 1787. With a portrait of the author, and 
 numerous copper-plate illustrations to the novels. 
 
 Jean Francois Marmontel, the great French litterateur, whose 
 ' Contes Moraux ' and ' Belisaire ' have attained a high position also 
 in British classic literature, was born in 1723, and lived till 1799. 
 
 Marmontel was "a peasant's son, who made his way into Parisian 
 society by gentleness, wit, and a dainty and candid literary power. He 
 became one of the humblest, yet honestest placed scholars at the court of 
 
52 
 
 Louis XV., and wrote pretty yet wise sentimental stories in finished 
 French." — ' Fots,' (Letter xiv,p. u, February, 1872), following which is a 
 translation of his story of his early days, and Mr. Ruskin's estimate of 
 his style of writing. 
 
 Marmontel is one Mr. Ruskin's favourite authors, whose writings 
 he recommends as strongly as the best novels of Scott. Of the persons 
 in past history with whom he has most sympathy, Mr. Ruskin names f 
 Marmontel as being in his " constant natural temper, and thoughts of 
 things and of people," his chief influence. 
 
 Presented by Mr. E. A. Petherick. 
 
 III. English. 
 
 (a.) The XIVth. Century. 
 
 * The Poetical Works of Chaucer, born 1328, died 1400. 
 
 be TEtorkes of (Seffraw Cbaiurr, nEtoln printeo, nritb flyircrs 
 toorkss tobirbe tocrc ncber in print before. Smprinieo at 
 !?onoon, bn Jticbaro IIeIc, otrjcllnngc in ftombaroc j^trete, 
 nere nnto tbc J^torkEs iHarket, at tbc j^ganE of tbc (Brjle. 
 
 A choice and quite perfect copy of the complete edition, in 
 black letter. 1550. 
 
 (6.) The XVIth. and XVIIth. Centuries. 
 
 The Life and Works of Francis Bacon — Baron of Verulam, 
 Viscount of St. Albans, Lord High Chancellor of 
 England, 1560-1626. Two Sets ; together 24 volumes. 
 first set. 
 * This edition, consisting of Ten volumes, as below, was pub- 
 lished in 1803. 
 Vol. I. Life; Of the Advancement of Learning, in two 
 books ; Sylva Sylvarum, or a Natural History in 
 Ten Centuries (Centuries 1 to 8). 
 ,, II. Sylva Sylvarum (Centuries 9 and 10); New Atlantis; 
 
 Essays, Apophthegms, &c. 
 „ III. Political Writings. 
 ,, IV. Legal Writings. 
 
 f ' Sesame and Lilies,' ( end of the preface, p. xxviii.) 
 
53 
 
 Vol. V. Historical Writings, and Letters. 
 ,, VI. Letters and Speeches. 
 ,, VII. Latin text of the ' Auctoris Vita,' by Gul. Rawley 
 
 ( J 558); and ' De Augmentis Scientiarum.' 
 ,, VIII. Latin text of the ' Novum Organum,' and other 
 
 Philosophical Works. 
 ,, IX. Latin text of the Philosophical Works, and Life of 
 
 Henry VII. 
 ,, X. Latin text of the Civil and Moral Works, Essays 
 
 (including the ' Novum Atlantis ' ), Dialogues, 
 
 and Letters. 
 
 SECOND SET. 
 
 This series, consisting of Fourteen volumes, edited by James 
 Spedding, M.A., Robert L. Ellis, M.A., and Douglas D. 
 Heath, was published between the years 1862 and 1876. 
 The contents of each volume are as follows : — 
 
 Vol. I. Philosophical Works: Volume 1. The Life, by Dr. 
 Rawley, in English. The original Latin text of 
 'Novum Organum,' and 'De Augmentis Scien- 
 tiarum.' With a general preface to the philoso- 
 phical works, and separate prefaces in English 
 to the two named. 1875. 
 
 „ II. Philosophical Works: Vol. 2. Latin text of the 
 Essays; and Natural History (the 10 centuries) 
 in English. 1876. 
 
 „ III. Philosophical Works : Vol. 3. The New Atlantis, 
 Essays on the Interpretation of Nature, and the 
 Advancement of Learning ' De Augmentis, &c, 
 (Books I — II) in English ; and other Essays 
 (in Latin). 1876. 
 
 „ IV. Translations of Philosophical Works: Vol 1. 
 'Novum Organum ' and 'De Augmentis ' (Books 
 II.— VI.), in English. 1875. 
 
 ,, V. Translations: Vol. 2. ' De Augmentis' (Books 
 VII — IX), and other treatises. 1870. 
 
 ,, VI. Literary and Professional Works: Vol. 1. Histori- 
 cal, Civil, and Moral Essays. 1870. 
 
54 
 
 Vol. VII. Literary, and Professional Works : Vol. 2. Apoph- 
 thegms, Religious and Legal Writings. 1872. 
 ,, VIII. Life, Letters, and Speeches: Vol. 1 (1560-95). 1862. 
 „ IX. „ „ „ „ 2(1595-1601). „ 
 
 „ X. ,, „ ,, „ 3(1601-1607). 1868. 
 
 „ XL „ „ „ „ 4(1607-1613). „ 
 
 „ XII. ,, „ „ „ 5(1613-1616). 1869. 
 
 „ XIII. „ „ „ „ 6(1616-1618)1872. 
 
 , XIV. „ „ „ „ 7(i6i9-i626).i&74. 
 
 The Works of Joseph Addison, (b. 1672, d. 1719). 
 
 The Spectator. In Eight volumes, complete, with a full index 
 in the last volume ; in the original old calf binding. 1775. 
 The first number of this magazine of the author's entire writing, 
 was published on March 1st, 1710, and it was continued by him until 
 Dec. 20th, 1714. (No. 635). 
 
 (c.) The XVIIIth. Century. 
 
 The Works of Alexander Pope ; in Ten volumes ; full bound, 
 sprinkled calf. 1824. 
 Vol. I. Life of the Author (1688- 1744), by William Roscoe. 
 
 II. Early Poems, Translations, Pastorals, &c. 
 
 III. Windsor Forest, Rape of the Lock, Epistles and 
 Miscellanies. 
 
 IV. The Dunciad. 
 
 V. The Essay on Man, Universal Prayer, and Moral 
 Essays. 
 
 VI. Satires, Epistles, &c. 
 , VII. Prose Writings, consisting of the Memoirs of Mar- 
 
 timus Scriblerus, preface to Shakespeare and 
 Homer, and other collected writings. 
 , VIII. — X. Correspondence. 
 
 This copy contains several marks by Mr. Ruskin, whose estimate 
 of the author is that he was "the most rational and keen-sighted of 
 old English men of the world," (See 'Time and Tide,' paragraph, 158). 
 and of whom he has elsewhere written as follows : " Pope is, as far as 
 I know, the greatest man who ever fell strongly under the influence of the 
 classical spirit ; and though it spoiled half his work, he broke through 
 
55 
 
 it continually into true enthusiasm and tender thought. ... In writing 
 the Pastorals he was cold-hearted . . . but in after life his errors were 
 those of his time, his wisdom was his own ; it would be well if we also 
 made it ours. — (' Modern Painters,' Vol. v., p. 247.) 
 
 [George, Lord Lyttelton. (b. 1709, d. 1773)]. Dialogues of 
 the Dead. Printed for W. Sandby, in Fleet street. 1770. 
 
 On the top of the title page is written : — " The wisest book, within 
 its adopted limits, that I ever read. Given to Sheffield, 1881. — J. Ruskin." 
 
 These dialogues were written in the year 1760 ; the author of the 
 26th., 27th., and 28th., however, was Mrs. Montague, (vide Johnson's 
 4 Life of Lyttelton' ). 
 
 * The Works of Dr. Samuel Johnson. In Nine volumes. 
 Pickering's "Oxford English Classics " edition. 1825. 
 Also two additional volumes of Debates ; of the same 
 publication (1825). Together Eleven volumes; in full calf 
 bindings. 
 
 Vol. I. Essay on the Life and Genius of the Author (1709- 
 1784), by his contemporary and friend, Arthur 
 Murphy; Irene, a tragedy; and Miscellaneous 
 Poems, in English and Latin ; Rasselas ; and 
 Letters. 
 
 ,, II. 'The Rambler,' (Nos. 1 to 105), March 20th, 1749, 
 to March 19th, 1751. 
 
 ,, III. 'The Rambler,' (Nos. 106 to 208), March 23rd, 
 1751, to March 14th, 1752. 
 
 ,, IV. Contributions (29) to 'The Adventurer,' March 3rd, 
 1753, to March 2nd, 1754; 'The Idler,' (Nos. I 
 to 103), April 15th, 1758, to April 5th, 1760. 
 
 ,, V. Miscellaneous Pieces and Letters, including the 
 preface to his English Dictionary, Shakesperian 
 Criticism, Essays on Greek Drama, &c. 
 
 ,, VI. Political and Literary Reviews ; and Lives of 
 Eminent Persons. 
 
 „ VII-VIII. Lives of the English Poets of the 17th and 
 1 8th Centuries. 
 
 ,, IX. Journey to the Hebrides, Tales, Prayers, Medita- 
 tions, and Sermons; with index to the nine 
 volumes. 
 
56 
 
 Vol. X. Parliamentary Debates, Nov. 19, 1740 — Dec. 4, 1874. 
 ,, XL Parliamentary Debates, Dec. 8, 1741 — Feb. 23, 1743. 
 
 Lives of the Most Eminent English Poets ; with critical 
 observations on their works, by Samuel Johnson. With 
 a preface and editorial notes by Peter Cunningham. Three 
 volumes. 
 Vol. I. Edmund Waller (1605), to John Dryden (1706). 
 ,, II. Thomas Sprat (1636), to Richard Savage (1743). 
 ,, III. Jonathan Swift (1667), to George, Lord Lyttelton 
 
 (r773)- 
 
 Presented by Mr. E. A. Petherick. 
 
 (d.) The XIXth. Century. 
 
 Sir Walter Scott. (1771-1832). 
 
 From his early life Mr. Ruskin has read Scott most 
 constantly, and of some of whose novels he owns the manu- 
 script. For his numerous criticisms of this favourite author, 
 see numerous references in ' Modern Painters,' ' The Pleasures 
 of England,' ' Praterita,' ' Fors,' (particularly Numbers 31 and 
 33, which include much biographical matter), and more 
 especially ' Fiction, Fair and Foul,' (in ' On the Old Road,' 
 vol. ii., pp. 15-18, 21-23 {foot-note), and 27-58). 
 
 " What good Scott has in him to do, I find no words 
 full enough to tell. His ideal of honour in men and women 
 is inbred, indisputable ; fresh as the air of his mountains ; 
 firm as their rocks. His conception of purity in woman is 
 even higher than Dante's ; his reverence for the filial relation, 
 as deep as Virgil's ; his sympathy universal. There is no 
 rank or condition of men of which he has not shown the 
 loveliest aspect ; his code of moral principle is entirely de- 
 fined, yet taught with a reserved subtlety like Nature's own, 
 so that none but the most earnest readers perceive the inten- 
 tion ; and his opinions on all practical subjects are final, the 
 consummate decisions of accurate and inevitable common- 
 sense, tempered by the most graceful kindness." — l Fors 
 Clavigera,' (No. 31,/. 2). 
 
57 
 
 The Life of Napoleon Buonaparte, Emperor of the 
 French. With a preliminary view of the French Revolu- 
 tion. By the author of ' Waverley,' &c. Nine volumes. 
 First Edition : 1827, (Cadell and Co., Edinburgh), in half- 
 calf binding. 
 
 Thomas Carlyle (1795-1881). 
 
 Carlyle is "the seer" whom Mr. Ruskin has looked 
 upon as his master, and as " the great representative of 
 the mind of his age in literature." — ' Modern Painters, 1 (vol. Hi, 
 p. 265). 
 
 " Read your Carlyle then, with all your heart, and with 
 the best brain you can give ; and you will learn from him 
 first, the eternity of good law, and the need of obedience to 
 it; then, concerning your own immediate business, you will 
 learn farther, this — that the beginning of all good law, and 
 nearly the end of it, is in these two ordinances, — That every 
 man should do good work for his bread : and, secondly, That 
 every man should have good bread for his work." — Fors 
 Clavigera, (Vol. 1., No. 10, p. 19). 
 
 Fourteen volumes, full bound in green morocco : 1843- 1874; 
 as follows: 
 
 The French Revolution (1837): a History in Three volumes. 
 Vol. I. The Bastille. Vol. II. The Constitution. Vol. III. 
 The Guillotine. First edition : 1874. 
 
 Oliver Cromwell's Letters and Speeches : with Elucida- 
 tions. Three volumes. Vol.i. (1636- 1650), and Vol. 11. (1650- 
 1658), First edition: 1845. Vol. m. Supplement and Appen- 
 dix (1626-1658) ; 1846. 
 
 Past and Present. First edition: 1843. 
 
 Latter Day Pamphlets. First edition : 1855. 
 
 History of Friedrich II. of Prussia, called Frederick the 
 Great. In Six volumes. Vols. I. and II., third edition, 1859; 
 Vol. Ill, first edition, 1862 ; Vol. IV, 1864 : Vols. V, and 
 VI., 1865. 
 
58 
 
 The Works of John Ruskin. 
 
 " Be sure, if the author is worth anything, that you will 
 not get at his meaning all at once ; — nay, that at his whole 
 meaning you will not for a long time arrive in any wise. Not 
 that he does not say what he means, and in strong words 
 too ; but he cannot say it all ; and what is more strange, will 
 not, but in a hidden way and in parables, in order that he 
 may be sure you want it." — ' Sesame and Lilies,'' (p. 13J. 
 
 Salsette and Elephanta : being the Newdigate Prize Poem : — 
 " Recited in the Theatre, Oxford, June 26th., 1839, by John 
 Ruskin of Christchurch College." Second edition, 8vo. : 1879. 
 
 This competitive poem was written in the author's twentieth 
 year, and was included in a collection of all the College poems that was 
 published at Oxford in 1839, being the last one in the volume, though 
 apparently it was added too late to be named in the table of contents. 
 
 * Modern Painters : by " a Graduate of Oxford." Five volumes. 
 
 The following quotation from " The Excursion " (Book IV), is 
 the adopted motto on the title page of every volume, and of all the 
 reprints of the parts of the volumes, which were published separately 
 in later years, as given below. 
 
 "' Accuse me not 
 
 Of arrogance, 
 
 If, having walked with Nature, 
 
 And offered, far as frailty would allow, 
 
 My heart a daily sacrifice to Truth, 
 
 I now affirm of Nature and of Truth, 
 
 Whom I have served, that their Divinity 
 
 Revolts, offended at the ways of men. 
 
 Philosophers, who, though the human soul 
 
 Be of a thousand faculties composed, 
 
 And twice ten thousand interests, do yet prize 
 
 This soul, and the transcendant universe, 
 
 No more than as a mirror that reflects 
 
 To proud self-love her own intelligence.' 
 
 Wordsworth." 
 
59 
 
 The dedicatory address by the author, who chose to be anonymous 
 until the publication of the third volume, is as follows : — " To the Land- 
 scape Artists of England this work is respectfully dedicated by their 
 sincere admirer, The Author." 
 
 The contents of each volume are, broadly, as follows : — 
 
 Volume I. Part i. Of general principles. — The Nature of 
 Ideas conveyable by Art : of Power : the Depen- 
 dence upon execution : the Sublime. Part u. Of 
 Truth. — The discernment of Nature : the Truth of 
 Tone, of Colour, of Chiaroscuro, and of Space : Of 
 Clouds, and the open Sky ; Of the Earth, — Moun- 
 ains and Foreground: Of Water : and of Vegetation. 
 Third edition : 1846. 
 
 ,, II. Part in : Of Ideas of Beauty : the Imaginative 
 and Theoretic Faculties. First edition: 1846. 
 
 „ III. Part iv : Of many Things — Style ; Realization, 
 and Idealization : The False Ideal (Religious and 
 Profane), The True Ideal (Purist, Naturalist, and 
 Grotesque) : Of Finish ; the Use of Pictures ; Of 
 Landscape (classical, mediaeval, and modern), and 
 the Teachers of Turner. First edition : 1856. 
 
 ,. IV. Part v : Of Mountain Beauty : Turner's Topo- 
 graphy, Light, and Mystery : the Firmament and 
 Dry Land — Mountains, their Geological formation 
 and Sculpture, (by Glacier action, &c), Gloom and 
 Glory. Second edition : 1868. 
 
 „ V. Part vi : Of Leaf Beauty — bud, leaf, branch, and 
 stem. Part vn : Of Cloud beauty. Part vm : Of 
 Ideas of relation (1), Of Invention formal. Part 
 ix : Of Ideas of relation (2), Of Invention spiritual. 
 First edition : i860. 
 
 This important work was commenced by the Author in defence of 
 Turner, when in his twenty-fourth year, — Turner then being sixty -eight 
 years old, yet still powerful in his art, — the first volume being published 
 in 1843 ; but the subjects so largely dealt with were elaborated during the 
 many years that were devoted to the preparation of the work, until five 
 
6o 
 
 volumes were completed in i860. The title originally intended by 
 the Author was 'Turner and the Ancients,' but the title which has 
 since become so famous was adopted in preference. The work, as is 
 apparent from the table of contents, is considerably more than a 
 treatise on art and artists, discovering rather the springs of all their 
 motives and aspirations, derived from the deep soul of nature, 
 and flowing thence through the heart of man. '"Modern Painters 
 teaches," to use the Author's own words, " the claim of all lower natures 
 on the hearts of men : of the rock, and wave, and herb, as a part of their 
 necessary spirit life. It declares the perfectness and eternal beauty of the 
 work of God, and tests all work of man by concurrence with, or sub- 
 jection to that." 
 
 The first two volumes are without illustrations, but the three later 
 ones contain eighty-six full page engravings, and a large number of wood- 
 cuts in the text. The majority of these illustrations are Professor Ruskin's 
 own work, either from original drawings, or close copies of parts of 
 pictures by other artists, particulars of which are given below ; while 
 several of the engravings are also from his hand. 
 
 Volume III contains eight plates after the author; two 
 after Turner ; two after Missal painters ; and one each 
 after Claude, Salvator Rosa, Tintoret, Leonardo da Vinci, 
 Masaccio, Raphael, and Titian. The plates being engraved 
 by J." C.Armytage (5), R. P. Cuff (4), J. H. Le Keux (4), 
 Thomas Lupton (2), J. Cousen (1), Henry Shaw (1), Henry 
 Swan (1), and the author (1). 
 
 Included in this copy of the work the water-colour drawing from 
 which one of the illuminations was reproduced, is bound in opposite the 
 chromo-lithographed plate. 
 
 Volume IV contains twenty-two plates from Mr. Ruskin's 
 own drawings ; eleven after Turner ; two after Claude ; and 
 one each after Ghirlandajo, and Stanfield. The engravings 
 were executed by J. H. Le Keux (8), R. P. Cuff (7), J. C. 
 Armytage (6), the author (5), Cousen (3), T. Boys (2), and 
 Thos. Lupton (2). 
 
 Volume V contains nineteen plates by the author, one of 
 which being an outline drawing after Fra Angelico ; twelve 
 are after Turner; two after G. Allen; one after Giorgione; 
 and one each after Cuyp and Hobbema, Durer and Veronese. 
 Three of the engravings are by Prof. Ruskin himself, the 
 
6i 
 
 remainder being by J. C. Armitage (15), «R. P. Cuff (5), Le 
 Keux (4), J. Emslie (3), and W. Hall (2). 
 
 Special Copy, (bound in Tree Calf, by Mansell) ; presented by Mn 
 Montefiore. 
 
 Another copy of the same ; new edition. 1888. With all 
 the woodcuts, one lithograph, and the 86 full-page steel 
 engravings t ; and three extra plates ("The Lake of Zug," 
 "Dawn after the Wreck," and " Chateau de Blois "), etched 
 by Mr. Ruskin and mezzotinted by the late Thomas 
 Lupton, previously intended for the fifth volume. Also an 
 additional volume,, containing a Complete Index, and col- 
 lation of the different editions. Together Six volumes: 1888. 
 
 The text is that of the last (1873) edition, with all the author's 
 subsequent notes, and a new epilogue. 
 
 The references in the Index, as in the case of the " Stones of 
 Venice," are to chapter and section, as well as to page, and it thus applies 
 equally to the former editions of the work. The volume contains a full 
 bibliographical account of the different editions of "Modem Painters" 
 from 1843 — 1873, and a collation of all their variations, including passages 
 omitted from the earlier by the later editions, &c, &c. 
 
 Frondes Agrestes : " Readings in ' Modern Painters,' chosen 
 at her pleasure by the author's friend, the Younger Lady of 
 the Thwaite, Coniston." In Nine sections, in one volume ; 
 with Preface and Notes by the Author. Fifth edition, 1880. 
 1, Principles of Art. 11, Power and Office of Imagination, 
 in, Illustrative of the Sky. iv, Illustrative of the Streams 
 and Sea. v, Illustrative of the Mountains, vi, Illustrative 
 of the Stones, vn, Illustrative of the Plants and Flowers, 
 viii, Education, ix, Moralities. 
 
 This selection was first published in the year 1875. 
 
 f " Three of the nine plates that were destroyed have been carefully 
 reproduced from early proofs of those originally etched by the author's 
 own hand, and the other six re-engraved by the best engravers. Of the 
 remainder, all are in good state, and the results obtained by careful 
 printing are such as to ensure the success of the work from an artistic 
 point of view ; the larger margins of this edition also make the plates 
 more effective." — George Allen. 
 
62 
 
 Modern Painters, Volume II : re-arranged and revised by the 
 Author ; in Two volumes, containing Part 11, " Of Ideas of 
 Beauty;" subdivided into three sections: — i, Of the Theoretic 
 Faculty ; n, Of Typical Beauty ; m, Of Vital Beauty ; and 
 Part in, Of the Imaginative Faculty. Also new Preface, 
 Critical Notes, and Epilogue, with Autobiographical Account 
 of the Author's early Art Studies. Small post 8vo. : 1883. 
 
 Reprints from " Modern Painters : " in Three Divisions, — 
 on the Origin of Form in Mountains, Clouds, and Trees. 
 In Montibus Sanctis : Studies of Mountain Form. Part 1, 
 1884; Part n, 1885. Cceli Enarrant : Studies of Cloud 
 Form. Part 1, 1885. Quarto. 
 
 The third division has not yet been published. 
 
 The Seven Lamps of Architecture. Third edition, 1880 ; 
 in special Morocco binding. 
 
 1. The Lamp of Sacrifice. 11. The Lamp of Truth. 111. 
 The Lamp of Power, iv. The Lamp of Beauty, v. The 
 Lamp of Life. vi. The Lamp of Memory, vn. The Lamp 
 of Obedience. Appendices 1 to iv. 
 
 This volume was an extended development of one of the sections 
 under preparation for the third volume of ' Modem Painters ' ; the first 
 edition being published in the year 1849. 
 
 " Architecture," as considered by Prof. Ruskin, " is the art which 
 so disposes and adorns the edifices raised by man for whatsoever uses, 
 that the sight of them contribute to his mental health, power, and 
 pleasure." Thus the author views architecture as expressing the mental 
 and moral state of the builders, in relation to the structures raised. 
 
 All the illustrations in the work were etched, as well as drawn, by 
 the author. 
 
 The Same. Sixth edition : 1890. 
 
 The Stones of Venice. With the original plates retouched, 
 and a new Index added. Three Imperial 8vo. volumes: 1886. 
 These volumes were published — the first volume in 1851, and the 
 second and third volumes in 1853. " As in ' The Seven Lamps,' the 
 ethical aspect occupies largely the mind of the author. It is not only a 
 treatise on the archaeology and history of Venice, but a sermon on the 
 causes of her downfall and decay." — W. E. A. Axon, in 'John Ruskin ; 
 a bibliographical biography' {p. 9.) ; 1879. 
 
' 6 3 
 
 The Stones of Venice : Selected descriptive portions, printed 
 separately, for the Use of Travellers while staying in Venice 
 and Verona. Vol. i, 1879 ; Vol. 11, 1888. Two volumes, 
 without illustrations. Small post 8vo. 
 
 Vol. I. Chapter 1. The Quarry. 11. The Throne. in.Torcello. 
 iv. St. Mark's, v. The Ducal Palace. Also a new Preface, 
 and additional Notes. 
 
 Vol. II. Chapter 1. Early Renaissance. 11. The Spite of the 
 Proud, in. The Streets of the Tombs, iv. Infidelitas. v. 
 Mene. vi. Castel-Franco. Appendix 1. Grostesque Re- 
 naissance ; Appendix 11. Venetian Index. 
 
 * Examples of the Architecture of Venice. Selected and 
 Drawn to Measurement from the Edifices, by Professor 
 Ruskin. The Plates and Text in a portfolio. Second edition : 
 1886. 
 
 The plates published in this series, were intended in further 
 illustration of ' The Stones of Venice,' and are as follows : — 
 
 I. The Ducal Palace : Twentieth Capital. Mezzotint, by 
 
 S. Reynolds. 
 
 II. Arabian Windows : Campo Sta. Maria Mater Domini. 
 
 Mezzotint, by T. Lupton. 
 III.Torcello : Capital of Nave Pillar, St. Mark's : Capital 
 of Central Porch. Lithograph, by G. Rosenthal. 
 
 IV. Cornice Moulding from a Tomb in the Church of SS. 
 
 Giovanni e Paolo. Lithograph, by G. Rosenthal. 
 
 V. The Ducal Palace : Compartments of the Southern 
 
 Balcony. Line Engraving, by R. P. Cuff. 
 Vb. The Ducal Palace : Sections of the Southern Balcony. 
 Line Engraving, by R. P. Cuff. 
 
 VI. St. Mark's : Southern Portico. Mezzotint, by T. Lup- 
 
 ton. 
 
 VII. St. Mark's : Details of the Lily Capitals. Line En- 
 
 graving, by R. P. Cuff. 
 
 VIII. Byzantine Ruin in Rio di Ca' Foscari. Line En- 
 graving by T. S. Boys. 
 
 IX. Stilted Archivolts from a Ruin in the Rio di Ca' 
 
 Foscari. Lithograph, by G. Rosenthal. 
 
64 
 
 X. Palace in Rio di Ca' Foscari : Conjectural Restoration. 
 
 Line Engraving, by J. C. Armytage. 
 XL Door Heads : From Ca' Contarini Porta di Ferro, and 
 
 in Campo S. Margarita. Mezzotint, by T. Lupton. 
 
 XII. Door Heads : In Ramo dirimpetto Mocenigo. Litho- 
 
 graph, by G. Rosenthal. 
 
 XIII. Door Heads : in Campiello della chiesa, San Luca. 
 Line Engraving, by J. C. Armitage. 
 
 XIV. Ca' Bernardo Mocenigo : Capital of Window Shafts. 
 Lithograph, by G. Rosenthal. 
 
 XV. The Ducal Palace : Renaissance Capitals of the Loggia. 
 
 Lithograph, by G. Rosenthal. 
 
 The King of the Golden River ; or, The Black Brothers : 
 A Legend of Styria ; with numerous woodcuts, by Richard 
 Doyle. Ninth edition, 1888. 
 
 "Written in 1841, at the request of a very young lady, and solely for 
 her amusement, without any idea of publication." — Author' s Preface (p. 5). 
 First published in 1851. 
 
 Notes on the Construction of Sheepfolds. Second edition ; 
 8vo. : 1875. 
 
 The first edition was published in 1851. 
 
 Giotto and his Works in Padua. Published by the Arundel 
 Society : 1854. 
 
 This treatise comprises chiefly a descriptive account of the thirty- 
 eight frescoes covering the walls of the Arena Chapel at Padua, which 
 he painted during the early years of the Fourteenth Century; but a general 
 estimate of his art powers and character precede the analytical part of 
 
 the volume. . 
 
 Presented by the Arundel Society. 
 
 " A Joy for Ever " (and its price in the Market) : The sub- 
 stance of Two Lectures, first published in 1857, under the 
 title, "The Political Economy of Art." Fourth edition : 1880. 
 
 1. The Discovery and Application of Art. 11. The Accumula- 
 tion and Distribution of Art. Supplementary additional 
 Papers : — Education in Art. Art School Notes. Social 
 Policy. 
 
 
65 
 
 Inaugural Address : Delivered at the Cambridge School of 
 Art, October 29th, 1858. Second edition, 8vo. ; 1879. 
 The first edition was published immediately upon its delivery. 
 
 The Two Paths. Lectures on Art, and its Application to 
 Decoration and Manufacture. Delivered in 1858-9. Second 
 edition : 1878. 
 
 1. The Deteriorative Power of Conventional Art over 
 Nations. 11. The Unity of Art. m. Modern Manufacture 
 and Design, iv. The Influence of Imagination in Architec- 
 ture, v. The Work of Iron, in Nature, Art, and Policy. 
 First published in 1859. 
 
 Unto This Last. Four Essays on the First Principles of 
 Political Economy. Fifth edition : 1887. 
 
 " Friend, I do thee no wrong. Didst thou not agree with me for 
 a penny ? Take that thine is, and go thy way. I will give unto this 
 last even as unto thee." 
 
 " If ye think good, give me my price ; and if not, forbear. So they 
 weighed for my price thirty pieces of silver." 
 
 Essay 1. The Roots of Honour. 11. The Veins of Wealth, 
 in. Qui Judicatis Terram. iv. Ad Valorem. 
 
 " Government and co-operation are in all things, the laws cf life ; 
 anarchy and competition, the laws of death." — John Ruskin. 
 
 These chapters originally appeared in ' The Cornhill Magazine ' for 
 August to November, i860, (Vol. II, pp. 155-166, 278-286, 407-418, 543- 
 564), and were first published in book form in 1862. 
 
 Those who are unacquainted with Mr. Ruskin's principles of 
 Political Economy, will find them here set forth, and continued in 
 ' Munera Pulveris,' in ■ A Joy for Ever,' and in 'Fors Clavigera,' as based 
 upon Honesty, Equity, and Justice, as distinguished from the ordinarily 
 received doctrines of the existing schools of the so-called science. The 
 introduction of factors so strange and heterodox into political economy 
 was, however, denounced by critics and public alike, as being sentimental, 
 and altogether unpractical, as told by the author in the following extract : — 
 ..." Eleven years ago, in the summer of i860, perceiving then fully, 
 (as Carlyle had done long before) what distress was about to come on the 
 said populace of Europe through these errors of their teachers, I began 
 to do the best I might, to combat them, in the series of papers for the 
 'Cornhill Magazine,' since published under the title of 'Unto this last.' 
 The editor of the magazine was my friend, and ventured the insertion of 
 the three first essays ; but the outcry against them became then too strong 
 for any editor to endure, and he wrote to me, with great discomfort to 
 E 
 
66 
 
 himself, and many apologies to me, that the Magazine must only admit 
 one Economical Essay more. I made, with his permission, the last one 
 longer than the rest, and gave it blunt conclusion as well as I could — 
 and so the book now stands ; but, as I had taken not a little pains 
 with the Essays, and knew that they contained better work than most 
 of my former writings, and more important truths than all of them put 
 together, this violent reprobation of them by the Cornhill public set me 
 still more gravely thinking ; and, after turning the matter hither and 
 thither in my mind for two years more, I resolved to make it the central 
 work of my life to write an exhaustive treatise on Political Economy." — 
 ' Munera Pulveris' {Preface, p. xxiii). 
 
 Munera Pulveris. Six Essays on the Elements of Political 
 Economy. First edition : 1872. 
 
 1. Definitions. 11. Storekeeping. in. Coin-Keeping, iv. 
 Commerce, v. Government, vi. Mastership. 
 
 These chapters, which are a continuation of ' Unto this last,'' first 
 
 appeared in ' Fraser's Magazine,' for June, September, and December, 1862, 
 
 « and April, 1863. The volume is inscribed " to the friend and guide who 
 
 has urged me to all chief labour, Thomas Carlyle." — Preface, {p. xxvi.) 
 
 Sesame and Lilies. Three Lectures delivered in the years 1864 
 and 1868. Third edition of the large 8vo. series, 1876; but 
 the sixth issue of the work, first published in 1865, which 
 included only the first two lectures. 
 
 1. Of Kings' Treasuries. II. Of Queens' Gardens. 111. Of 
 the Mystery of Life. 
 
 The first of these lectures is upon the essence and value of books ; 
 the second, on the education of girls. 
 
 The Crown of Wild Olive. Four Essays on Work, Traffic, 
 War, and the Future of England ; with an added Article on 
 the Economy of the Kings of Prussia. Fourth edition : 1873. 
 
 These lectures were first published in 1866, a third edition having 
 been called for within the following year ; but the additional article was 
 not included in any of these previous issues. 
 
 The Same (second copy). 
 
 The Ethics of the Dust. Ten Lectures to Little House- 
 Wives on the Elements of Crystallization. Second edition, 
 crown 8vo. : 1877. 
 
67 
 
 i. The Valley of Diamonds. n. The Pyramid Builders, 
 in. The Crystal Life. iv. The Crystal Orders, v. Crystal 
 Virtues, vi. Crystal Quarrels, vii. Home Virtues, vni. 
 Crystal Caprice, ix. Crystal Sorrows, x. The Crystal Rest ; 
 and Notes. 
 
 These conversational discourse, on the virtue of minerals, were given 
 in substance at a girls' school (Winnington Hall, Northwich, Cheshire), but 
 they " always fell more or less into the form of fragmentary answers to 
 questions ; and they are allowed to retain that form, as, on the whole, 
 likely to be more interesting than the symmetries of a continued 
 treatise." — (Preface, p. vii.) 
 
 The first edition appeared in 1866. 
 
 Time and Tide, by Weare and Tyne. Twenty-five Letters 
 to a Working Man of Sunderland on the Laws of Work. 
 Third edition : 1872. 
 
 1. Co-operation. 11. Contentment, in. Legislation, iv. Ex- 
 penditure, v. Entertainment, vi. Dexterity, vn. Festivity, 
 vni. Things Written, ix. Thanksgiving, x. Wheat-sifting, 
 xi. The Golden Bough, xn. Dictatorship, xm. Episcopacy 
 and Dukedom, xiv. Trade Warrant, xv. Percentage, xvi. 
 Education, xvn. Difficulties, xvm. Humility, xix. Broken 
 Reeds, xx. Rose Gardens, xxi. Gentillesse. xxn. The 
 Master, xxm. Landmarks, xxiv. The Rod and Honey- 
 comb, xxv. Hyssop. 
 
 These letters were addressed to Mr. Thomas Dixon, a cork-cutter, 
 under date, from February 4th to April 27th, 1867, and first published in 
 a collective form at the end of that year, having appeared previously, by 
 Professor Ruskin's permission, in the columns of ' The Manchester Daily 
 Examiner,' and also in ' The Leeds Mercury,' 1 as received by the correspon- 
 dent. A biographical note on Mr. Dixon appeared in the October number 
 of ' The Monthly Chronicle of North Country Lore and Legend,' vol. in, 1889. 
 
 Another Copy of the Same. 
 
 Queen of the Air. A Study of the Greek Myths of Cloud and 
 Storm. Third edition : 1874. 
 
 1. Athena in the Heavens. 11. Athena in the Earth. 111. 
 Athena in the Heart. 
 
 First published in 1869. 
 
68 
 
 Lectures on Art : delivered before the University of Oxford in 
 Hilary Term, 1870. Fifth edition, revised, with a new 
 Preface. 1890. 
 
 1. Inaugural. 11. The Relation of Art to Religion, in. The 
 Relation of Art to Morals, iv. The Relation of Art to Use. 
 v. Line. vi. Light, vn. Colour. 
 
 The first edition was printed during the year in which this course 
 of lectures was delivered by Mr. Ruskin, as the Slade Professor of Fine 
 Art at Oxford. 
 
 Fors Clavigera : Letters to the Labourers and Workmen of 
 Great Britain. Eight volumes, 1871 to 1884, and Index 
 volume, 1887. Together, Nine volumes. 
 
 These letters are similar in character to those published under 
 the title ' Time and Tide,' four years before the commencement of this 
 regular monthly series; and it was in connection with this serial publica- 
 tion that Mr. Ruskin instituted the St. George's Guild, and first founded 
 this Museum in the year 1876, as one of the features of its operations. 
 
 " Fors is the best part of three good English words — Force, 
 Fortitude, and Fortune .... Clavigera may mean either Club- bearer, 
 Key-bearer, or Nail-bearer. Each of these three possible mean- 
 ings of Clavigera corresponds to one of the three meanings of Fors. 
 Fors, the Club-bearer, means the strength of Hercules, or of Deed. 
 Fors, the Key-bearer, means the strength of Ulysses, or of Patience. 
 Fors, the Nail-bearer, means the strength of Lycurgus, or of Law." 
 Vol. 1, (No. 2, pp. 2—3). 
 
 Professor Ruskin has explained the purpose of these letters in the 
 course of the volumes, (see Vol. iv, pp. 137-142; and Vol. v, pp. 58 and 281,) 
 and for further elucidation the following extracts may be quoted : — 
 
 . . . . " Such as I am, to my amazement, I stand -so far as I can 
 discern — alone in conviction, in hope, and in resolution, in the wilderness 
 of this modern world. Bred in luxury, which I perceive to have been 
 unjust to others, and destructive to myself ; vacillating, foolish, and 
 miserably failing in all my own conduct in life — and blown about hope- 
 lessly by storms of passion — I, a man clothed in soft raiment, — I, a reed 
 shaken with the wind, have yet this message to all men again entrusted 
 to me : ' Behold the axe is laid to the root of the trees. Whatsoever tree 
 therefore bringeth not forth good fruit shall be hewn down, and cast into 
 the fire.' "—Vol. v, (p. 281). 
 
 .... " I do not enter into any debates, nor advance any opinions. 
 With what is debateable I am unconcerned ; and when I have only 
 opinions about things, I do not talk about them. I attack only what 
 
 
6 9 
 
 cannot on any possible ground be defended ; and state only what I know 
 to be incontrovertibly true." (Ibid. p. 138). 
 
 Respecting these letters Carlyle wrote to Emerson in America, 
 " Do you read Ruskin's Fors Clavigera ? If you don't, do. There is nothing 
 going on among us as notable to me as those fierce lightning bolts 
 Ruskin is copiously and desperately pouring into the black world of 
 anarchy all around him. No other man in England that I meet has in 
 him the Divine rage against iniquity, falsity, and baseness, that Ruskin 
 has, and that every man ought to have." 
 
 "The facination which this book has for students of Ruskin is 
 not easily over-estimated. There is no other book exactly like it ; 
 certainly no other, where we have a great writer so completely at home. 
 One might describe it as a Commonplace Book ; for while a main 
 design gradually develops itself in the monthly letters, Ruskin very 
 often left the dictation of his subject to chance — 'the third Fors,' as he 
 calls it — and to this happy chance we owe some of the most valuable, 
 as well as most charming passages in all his works. Its definite aim 
 happily allows it the utmost freedom of range . . . and just because 
 the seven volumes of ' Fors ' are familiar talk, one may say of them 
 what Ruskin says of the teaching of Heaven : ' they are given in so 
 obscure, nay, often in so ironical a manner, that a blockhead necessarily 
 reads them wrong.' There is no obscurity in the ' Fors,' if read con- 
 tinuously from the beginning ; but people now-a-days will not take 
 time to read so long a book. Now, beyond all books that I know, this 
 one admits of texts and extracts utterly misleading and damnatory ; and 
 so long as an ingenious press can quote passages and suppress contexts, 
 so long shall we get no justice done to the ' Fors.' " — William Smart, 
 in 'A Disciple of Plato : a Critical Study of John Ruskin,'' 1883, (pp. 39-40.) 
 
 A Second Copy. — Separate Parts ; Letters, 1 — 96. 
 
 A Third Copy. — Separate Parts ; various Letters. An incom- 
 plete set. 
 
 Aratra Pentelici. Six Lectures on the Elements of Sculpture ; 
 delivered in 1870. First edition : 1872. 
 
 1. Of the Division of Arts. 11. Idolatry, ill. Imagination, 
 iv. Likeness, v. Structure. VI. The School of Athens. 
 
 The Same; new edition, 1890. 
 
 The Relation Between Michael Angelo and Tintoret : 
 being the Seventh cf the Course of Lectures on Sculpture, 
 delivered at Oxford, 1870-71. First edition, 1872. 
 
70 
 
 The Sepulchral Monuments of the Cavalli Family in the 
 Church of Santa Anastasia, Verona. Published by the 
 Arundel Society : 1872. Descriptive text (six pages), written 
 by Professor Ruskin to accompany a chromo-lithographic 
 drawing of one of the Tombs. 
 
 Presented by the Society. 
 
 The Eagle's Nest. Ten Lectures on the Relation of Natural 
 Science to Art ; delivered in 1872. First edition : 1872. 
 
 1. Of Wisdom and Folly in Art. 11. Wisdom and Folly in 
 Science, in. The Relation of Wise Art to Wise Science, 
 iv. The Power of Modesty in Science and Art. v. The 
 Power of Contentment in Science and Art. vi. The Relation 
 to Art of the Science of Light, vn. The Relation to Art of 
 the Sciences of Inorganic Form. vm. The Relation to Art 
 of the Sciences of Organic Form. ix. The Story of the 
 Halcyon, x. The Heraldic Ordinaries. 
 
 Love's Meinie : Essays on Greek and English Birds. Only 
 three parts, completing the first volume, have been published, 
 as follows : — 
 
 Part 1. The Robin, 1873. Part 11. The Swallow ; second 
 edition, 1883. [The first edition of this part was printed in 
 1873] . Part in. The Dabchicks ; with Preface and Ap- 
 pendix, 1881. 
 
 Ariadne Florentina. Six Lectures on Wood and Metal 
 Engraving, delivered in 1872 ; with an appendix. Second 
 edition : 1876. 
 
 1. Definition of the Art of Engraving. 11. The Relation of 
 Engraving to other Arts in Florence, in. The Technics 
 of Wood Engraving, iv. The Technics of Metal Engraving, 
 v. Design in the German Schools of Engraving (Holbein 
 and'Durer.) vi. Design in the Florentine Schools of En- 
 graving (Sandro Botticelli), vn. Appendix. 
 The first edition appeared in 1873. 
 
 The Same, new edition ; 1890. . 
 
 
7i 
 
 Val D'Arno. Ten Lectures on Art of the Thirteenth Century in 
 Pisa and Florence ; delivered in 1873. First edition : 1874. 
 
 1. Nicolas the Pisan. n. John the Pisan. in. Shield and 
 Apron, iv. Parted per Pale. v. Pax Vobiscum. vi. Marble 
 Couchant. vn. Marble Rampant, vni. Franchise, ix. The 
 Tyrrhene Sea. x. Fleur de Lys. 
 
 The Same, new edition ; 1890. 
 
 Proserpina: Studies of Wayside Flowers. Ten parts as yet 
 published, with numerous Illustrations on Wood and Steel, 
 Parts 1 and 11, 1875 ; m and iv, 1876; v, 1878 ; vi, 1879 ; 
 vii and vni, 1882; ix, 1885; and x, 1886. 
 
 Mornings in Florence. Being simple studies of Christian Art, 
 for English Travellers. 
 
 Part 1. Santa Croce. 11. The Golden Gate. in. Before the 
 Soldan. iv. The Vaulted Book. v. The Strait Gate. vi. 
 The Shepherd's Tower. Third edition, 1889. 
 
 Also Parts 1 to iv, 1875 ; v, 1876 ; and vi, 1877 : in duplicate. 
 
 Deucalion : Collected Studies of the Lapse of Waves, and Life 
 of Stones. Eight parts published, with numerous Illustra- 
 tions on Wood and Steel. Parts 1 and n, 1875 ; in and 
 iv, 1876; v, 1878; vi, 1879; vn, 1880; and vni, 1883. 
 
 Letter to Young Girls. Eighteenth edition : 1888. 
 
 Reprinted, with slight addition, from ' Fors Clavigera,' (Letters 
 65 and 66), and first printed separately in the same year, 1876. 
 
 Bibliotheca Pastorum, ("The Shepherd's Library"): Selections 
 from General Literature. Edited by John Ruskin. 
 Vol. I. The Economics of Xenophon. Translated intc 
 English by Alex. D. O.Wedderburn, and W. G. Collingwood ; 
 with a Preface by the Editor. 1876. 
 
 Vol. II. Rock Honeycomb. Broken Pieces of Sir Philip 
 Sidney's Psalter. With a Preface and Commentary by the 
 Editor. Part I., 1877. 
 
 Vol. Ill, comprising the Second Part of Rock Honeycomb, 
 is not yet completed. 
 
72 
 
 Vol. IV. A Knight's Faith : Passages in the Life of Sir 
 Herbert Edwardes. i. The Valley of Four Hundred Forts. 
 ii. The Shores of Indus, in. The Patience of Kineyree. 
 
 1885. 
 
 ' ' The Athenian writing here presented [Volume I] to Saxon readers, 
 is the first of a series of classic books which I hope tc make the chief 
 domestic treasures of British peasants." — Extract from the Preface. 
 
 St. Mark's Rest. The History of Venice ; written for the 
 Help of the few Travellers who still care for her Monuments. 
 Part I. — Chapter 1. The Burden of Tyre. 11. Latrator Anubis. 
 in. St. James of the Deep Stream. 1877. 
 Part II. — Chapter iv. St. Theodore the Chair-seller, v. The 
 Shadow on the Dial. vi. Red and White Clouds, vn. 
 Divine Right. 1877. 
 
 Part III. — Chapter vm. The Requiem. 1879. 
 Supplement I. The Shrine of the Slaves. 1877. 
 Supplement II. The Place of Dragons. By James Reddie 
 Anderson, M.A. ; edited by Mr. Ruskin. 1879. 
 
 The Same : later edition, with an Appendix to Chapter vm., 
 on the Mosaics in the Baptistery, St. Mark's. Chapters i-v.in, 
 1884; First Supplement, second edition, 1887; Second Sup- 
 lement, 1879 ; and an Index to the whole volume. 
 
 The Laws of Fesole: A Familiar Treatise on the Elementary 
 Principles and Practice of Drawing and Painting, as de- 
 termined by the Tuscan Masters; arranged for the use of 
 Schools. With Illustrations on Wood and Steel. Parts 
 1, 1877; 11, in, and iv, 1878. Special full morocco binding. 
 
 " This book is called ' The Laws of Fesole,' because the entire 
 system of possible Christian Art is founded on the principles established 
 by Giotto in Florence, he receiving them from the Attic Greeks through 
 Cimabue, the last of their disciples, and engrafting them on the existing 
 art of the Etruscans, the race from which both his master and he were 
 descended." — Preface {pp. xii. and xiii). 
 
 " Under theterm ' Laws of Fesole' therefore, may be most strictly and 
 accurately arranged every principle of art, practised at its purest source, 
 from the twelfth to the fifteenth century inclusive. And the purpose of 
 of this book is to teach our English students of art, the elements of these 
 
 
73 
 
 Christian laws, as distinguished from the Infidel laws of the spuriously 
 classic school, under which, of late, our students have been exclusively 
 trained. Nevertheless, in this book the art of Giotto and Angelico is 
 not taught because it is Christian, but because it is absolutely true and 
 good ; neither is the Infidel art of Palladio and Giulio Romano for- 
 bidden because it is Pagan, but because it is false and bad, and has 
 entirely destroyed not only our English schools of art, but all others 
 in which it has been taught, or trusted in." 
 
 The Same ; in separate parts. 
 
 Guide to the Principal Pictures in the Academy of Fine 
 Arts at Venice. Two Parts, 8vo. : 1877. 
 
 Notes by Mr. Ruskin on his Drawings by J. M. W. Turner, 
 and on his Own Handiwork Illustrative of Turner, 
 exhibited at the Fine Art Society's Galleries, London, 1878. 
 Revised edition ; 12th Thousand. 
 
 Notes by Mr. Ruskin on Samuel Prout and William Hunt : 
 in connection with a loan collection of drawings exhibited at 
 the Fine Art Society's Galleries, 1879-80. Fourth thousand. 
 
 Elements of English Prosody : For use in St. George's Schools ; 
 explanatory of the various Terms used in ' Rock Honey- 
 comb.' (' Bibliotheca Pastorum,' see/. 71). 8vo ; 1880. 
 
 Arrows of the Chace : being a Collection of the Scattered 
 Letters of John Ruskin, LL.D., D.C.L. ; with added Preface 
 by the Author. Edited by an Oxford Pupil; with an Epilogue, 
 Appendix (containing further letters), and Index ; also a steel 
 engraving, woodcut, two diagrams, and a facsimile of part of 
 one of the letters. Two volumes, 8vo. ; 1880. 
 
 The letters contained in these volumes were published 
 chiefly in the daily newspapers during the years 1840-1880. 
 " I never wrote a letter in my life which all the world 
 are not welcome to read if they will .... The two volumes 
 contain very nearly the indices of everything I have deeply 
 cared for during the last forty years." — John Ruskin. 
 
 The Collection includes Letters on Art, Art Criticism, Art 
 Education, Art Fallacies, The Pre-Raphaelites, Turner, 
 
74 
 
 Pictures and Artists, Architecture, Science, War, Politics, 
 Economy, Railways, Servants, Houses, Inundations, Edu- 
 cation, Women (Work and Dress), Criticism, &c. 
 
 "Our Fathers have Told Us." Sketches of the History of 
 Christendom, for Boys and Girls who have been held at its 
 Fonts. 
 
 "The work," writes Mr. Ruskin, "if I live to complete it, will 
 consist of ten parts, each taking up some local division of Christian 
 history, and gathering towards their close into united illustration of the 
 power of the Church in the thirteenth century. The Appendix com- 
 pletes the first part, descriptive of the early Frank power, and of its 
 final skill, in the cathedral of Amiens. The second part, ' Ponte della 
 Pietra,' will, I hope, do more for Theodoric and Verona than I have 
 been able to do for Clovis and the first capital of France. The third, 
 ' Ara Celi,' will trace the foundations of the Papal power. The fourth, 
 ' Ponte-a-Mare,' and fifth, ' Ponte Vecchio,' will only with much diffi- 
 culty gather into brief form what I have by me of scattered materials 
 respecting Pisa and Florence. The sixth, ' Valle Crucis,' will be 
 occupied with the monastic architecture of England and Wales. The 
 seventh, ' The Springs of Eure,' will be wholly given to the cathedral of 
 Chartres. The eighth, ' Domremy,' to that of Rouen and the schools 
 of architecture which it represents. The ninth, ' The Bay of Uri,' 
 to the pastoral forms of Catholicism, reaching to our own times. And 
 the tenth, ' The Bells of Cluse,' to the pastoral Protestantism of Savoy, 
 Geneva, and The Scottish Border. Each part will consist of four 
 sections only ; and one of them, the fourth, will usually be descriptive 
 of some monumental city or cathedral, the resultant and remnant of the 
 religious power examined in the preparatory chapters. One illustration 
 will be given with each chapter." 
 
 The following are, however, , all that have yet been 
 completed : — 
 
 Part i. — The Bible of Amiens; with a frontispiece ("St. 
 Mary," after Cimabue, engraved from a drawing by the 
 Author), map of the Dynasties of France, plan of the Western 
 Porches of Amiens Cathedral, and two other engravings from 
 the Author's drawings. In Four chapters, — i, By the Rivers 
 of Waters: 1880; 11, Under the Drachenfells : 1881 ; in, 
 The Lion Tamer: 1882; iv, Interpretations: 1883; and 
 four Appendices, (with index) : 1885. 
 
75 
 
 Letters to the Clergy on the Lord's Prayer and the 
 Church ; with Replies from Clergy and Laity, and an 
 Epilogue by Mr. Ruskin. Edited by the Rev. F. A. 
 Malleson, M.A. [1880.] 
 
 Catalogue of Drawings and Sketches by J. M. W. Turner, 
 R.A., at present Exhibited in the National Gallery. Re- 
 vised, and cast into Progressive Groups, with Explanatory 
 Notes. 8vo. 1881. 
 
 General Statement, Explaining the Nature and Purposes 
 of St. George's Guild. 8vo. ; 1882. 
 
 The Ruskin Birthday Book. A selection of thoughts, mottoes, 
 and aphorisms, for every day in the year, from the works of 
 John Ruskin, LL.D., &c, &c. ; collected and arranged by 
 M. A. B., and G. A. With a portrait of the Author, specially 
 engraved for the work. 1883. 
 
 Motto of the Book : — ■• The only doctrine or system peculiar to 
 me is the abhorrence of all that is doctrinal, instead of demonstrable, 
 and of all that is systematic, instead of useful ; so that no true disciple 
 of mine will ever be a ' Ruskinian ' ! He will follow, not me, but the 
 instincts of his own soul, and the guidance of its Creator." — John 
 Ruskin. 
 
 The Art of England. The Course of Lectures Delivered at 
 Oxford, during the Spring and Autumn of 1883. Complete 
 in Seven Parts, 4to. ; 1883. 
 
 1. Rossetti and Holman Hunt. 11. E. Burne-Jones and G. 
 F. Watts, in. Sir F. Leighton and Alma Tadema. iv. Mrs. 
 Allingham and Miss Kate Greenway. v. John Leech and 
 J. Tenniel. vi. George Robson and Copley .Fielding vn. 
 Appendix and Index. 
 
 The Pleasures of England : a Course of Lectures Delivered 
 at Oxford during the Autumn of 1884. 
 
 I. Bertha to Osburga, " The Pleasures of Learning." 1884. 
 
 II. Alfred to the Confessor, " The Pleasures of Faith." 1884. 
 
 III. The Confessor to Cceur de Lion, " The Pleasures of 
 
 Deed." 1885. 
 
 IV. Cceur deLion to Elizabeth," The Pleasures of Fancy."i885. 
 
76 
 
 V. Protestantism, "The Pleasures of Truth." 
 
 VI. Atheism, " The Pleasures of Sense." 
 
 VII. Mechanism, " The Pleasures of Nonsense." 
 
 Only the first four parts of this series have as yet been published. 
 
 Roadside Songs of Tuscany : Translated and Illustrated by 
 Francesca Alexander; and Edited by John Ruskin, LL.D., 
 &c, &c. In Ten Parts ; medium quarto ; 1884-5. 
 
 " These songs and hymns of the poor people," writes the transla- 
 tor, " are but the sif tings, so to say, of hundreds and hundreds which I 
 have heard and learnt, mostly from old people : many of them have 
 never, so far as I know, been written down before, and others it would 
 be impossible now to find. ... In their day they have been a com- 
 fort to many. Labouring people have sung them at their work, and 
 have felt their burdens lightened ; they have brightened the long winter 
 evenings of the poor women in lonely houses high among the mountains, 
 when they have been sitting over their fires of fir-branches, with their 
 children about them, shut in by the snows outside, and with their men 
 all away in the Maremma ; and I have known those who have helped to 
 bear sickness and trouble, and even to meet death itself, with more 
 courage, by verses of the simple old hymns. ... It seems to me 
 that there are others who will collect and preserve the thoughts of the 
 rich and great ; but I have wished to make my book all of poor people's 
 poetry, and who knows but it may contain a word of help or consolation 
 for some poor soul yet ? However that may be, I have done my best to 
 save a little of what is passing away." 
 
 " Miss Alexander's work," says Mr. Ruskin, " in its relation to 
 former religious art of the same faithfulness, is distinguished by the 
 faculty and habit of realisation which belongs to all Pre-Raphaelism, 
 whether English or American ; that is to say, it represents any imagined 
 event as far as possible in the way it must have happened, and as 
 it looked when happening, to people who did not then know its Divine 
 import. . . . The songs could not be in what is best of them under- 
 stood, — even a little understood, — without the pictures of the people 
 who love them. ... I had partly hoped in closing this series of 
 pictures of the hearts of the Italian peasantry, to indicate the main 
 lessons they seemed to bear for us all. But I am abashed before their 
 strength and innocence, and able to draw only this one conclusion of 
 deep practical import, — that the only service we can rightly render 
 them is to love them. ... I am thankful my life has been spared 
 at least to place before my countrymen these records of domestic virtue 
 yet vivid and pure, in the nation which taught us the first syllables of 
 Christ's Gospel." 
 
77 
 
 The following are the contents of the Parts : — 
 
 Part I. The Story of Lucia. With Translator's and Editor's 
 Preface. Illustrations. — Beatrice of the Field of the Alder- 
 trees; Santa Zita ; and The Miracle at the Well. 
 
 II. Notes on the Life of Santa Zita by the Editor; and 
 Ballad of Santa Zita. Illustrations. — Santa Zita giving alms ; 
 and Santa Zita and the Angel. 
 
 III. Ballad of the Madonna and the Rich Man ; The Story 
 of Paolina ; and Notes on the Priest's Office, by the Editor. 
 Illustrations. — The Madonna and the Rich Manf ; and Going 
 to Church. 
 
 IV. Flower of the Pea, by the Editor ; The Dove; The Stories 
 of Isabella and Armida ; The Story of Maria and Meltilde 
 Seghi, Postscript by the Editor; and 'Thou Wilt be Content.' 
 Illustrations. — Isabella of L'Abetone ; and The Lovers' 
 Parting. 
 
 V. Ballad of the Jessamine ; Story of Gigia ; Story of For- 
 tunato ; and First Part of the Ballad of the Madonna and 
 the Gipsy. Illustrations. — The Jessamine Window f ; and 
 The Madonna entering the Gipsy's Hut. 
 
 VI. Second Part of the Ballad of the Madonna and the Gipsy; 
 Notes on Gipsy Character, by the Editor ; and the Story of 
 Edwige. Illustrations. — The Madonna teaching ; and the 
 Gipsy prophesying. 
 
 VII. The Colonel's Leave ; The Story of Faustina; The Song 
 of Roses ; Translator's Notes on her Drawing of the Samari- 
 tan ; Note on Idealism, by the Editor; and Song of the 
 Shepherds. Illustrations. — 'Speak to me, Speak to me, Mouth 
 of Love ' f ; and Christ and the Woman of Samaria. 
 
 VIII. 'Behold, my Heart!'; The Story of Emilia and her 
 Sister; The Golden Girdle; Translator's Note to the Song of 
 the Golden Girdle ; The Story of the Gemignano Amidei ; The 
 Leaves of Maize ; The Story of Teresa and Petrucci ; and 
 Editor's Note on the Drawing of St. Christopher and the 
 King. Illustrations. — Christ, the Child ; Saint Christopher 
 and the King. 
 
 t The original Pen drawings of these are in this Museum ; see /. 48. 
 
78 
 
 IX. The Palace on High ; ' When the Star '; The Story of 
 Beatrice and her Sons ; Songs of Country Loves; 'Hear Me, 
 Swallow Dear'; and The Legend of St. Christopher, by the 
 Translator. Illustrations. — Saint Christopher at the Cross ; 
 and Saint Christopher and the Hermit. 
 
 X. Editor's Note on the. Vision of St. Christopher ; Editor's 
 Note on ' Fatti alia Finestra'; 'Give Me Light, Lady'; 
 Nightfall ; Talk under the Olives, with Editor's Note ; The 
 Story of Edwige's Children ; and Evening Prayer. Illustra- 
 tions. — Saint Christopher at the Shore ; and Saint Christopher 
 in the Ford. 
 
 The Storm Cloud of the Nineteenth Century. Two 
 Lectures on the Forms of Clouds, delivered in 1 884 ; published 
 in the same year. 
 
 Catalogue of Selected Examples of Native Silica in the 
 British Museum, South Kensington. 8vo. 1884. 
 
 This catalogue forms a guide to a series of fine specimens pre- 
 sented by Professor Ruskin to the British Museum, and set apart in 
 special cases, in the pavilion at the end of the Mineralogical Gallery. 
 
 " A considerable number of the specimens here described have 
 been presented to the Museum out of my own chosen examples at Brant- 
 wood (or, in some instances directly purchased by me for this series), 
 in order to fill gaps in its order which could not be supplied from the 
 National Collection without loss to the beauty and completeness of the 
 series in the great gallery." — Preface (p. vii). 
 
 The Limestone Alps of Savoy ; a Study in Physical Geology, 
 forming a Supplementary Volume to Deucalion. By W. 
 Gershom Collingwood, M.A. Oxon., with an Introduction by 
 John Ruskin, M.A., D.C.L., LL.D., F.G.S., etc., etc., with 
 sixteen full-page illustrations. 8vo., 1884. 
 
 On the Old Road : a Collection of Mr. Ruskin's Miscellaneous 
 Pamphlets, Articles, and Essays (1834- 1884). A few Editorial 
 Notes have been added where found to be necessary, but 
 the text of the Reprints is unchanged. Full Indices are 
 given. Three Volumes : I., Art; II., Literature, Economy, 
 and Theology ; III., Various. 1885. 
 
79 
 
 This series of reprinted articles includes (inter alia) the follow- 
 ing subjects : — My First Editor ; Lord Lindsay's Christian 
 Art ; Eastlake's History of Oil Painting ; Samuel Prout ; Sir 
 Joshua and Holbein ; Pre-Raphaelitism ; Opening of the 
 Crystal Palace (1854) ; Study of Architecture; The Cestus of 
 Aglaia ; Minor Writings upon Art ; Notes on Science (in- 
 cluding early papers from 'Loudon's Magazine,' 1836, &c, &c.) ; 
 Fiction, Fair and Foul; Fairy Stories ; Usury ; Home and 
 its Economies ; The Lord's Prayer ; Notes on Sheepfolds ; 
 An Oxford Lecture ; &c, &c. 
 
 Usury, and the English Bishops. A Pamphlet by Robt. G. 
 Sillar, with Preface by Mr. Ruskin. 1885. 
 
 The Story of Ida : Epitaph on an Etrurian Tomb. By Fran- 
 cesca. Edited, with Preface, by John Ruskin With full- 
 page Steel Engraving. Third edition, 1885. 
 
 " I have become more and more convinced that the wholesomest 
 antagonism to what is dangerous in the temper, or foolish in the extrava- 
 gance, of modern Fiction would be found in, sometimes substituting for 
 the artfully combined improbability, the careful record of Providentially 
 ordered Fact." — Extract from the Preface. 
 
 Dame Wiggins of Lee and her Seven Wonderful Cats : 
 A Humorous Tale written principally by a Lady of Ninety. 
 Edited, with additional verses, by John Ruskin ; and with 
 new Illustrations by Kate Greenaway, (twenty-two wood- 
 cuts in all). Demy i2mo. 1885. 
 
 Extracts from the preface — " I have spoken in 'Fors' (Vol. v., pp. 
 37-8) of the meritorious rhythmic cadence of the verses, not, in its way, 
 easily imitable. ... I have the greatest pleasure in commending the 
 little book to the indulgence of the Christmas fireside, because it relates 
 nothing that is sad, and pourtrays nothing that is ugly." 
 
 Pr^eterita : Outlines of Scenes and Thoughts perhaps Worthy 
 of Memory in my Past Life. An Autobiography in Three 
 volumes, each covering Twenty years. 
 
 Volume I : in twelve parts, 1885-6. Chapter 1. The Springs 
 of Wandel, with steel engraving, ("My Two Aunts"). 
 11. Heme Hill Almond Blossoms, in. The Banks of Tay. 
 
8o 
 
 iv. Under new Tutorships, v. Parnassus and Plynlimmon. 
 vi. Schaffhausen and Milan, vn. Papa and Mamma, vm. 
 Vester, Camenae. ix. The Col de la Faucille. x. Quern tu, 
 Melpomene, xi. Christ Church Choir, xn. Roslyn Chapel. 
 
 Volume II : in twelve parts, 1886-7. Chapter 1. Of Age. 
 11. Rome. in. Cumae. iv. Fontainebleau. v. The Simplon. 
 vi. Macugnaga. vn. The Campo Santo, vm. The State of 
 Denmark, ix. The Feasts of the Vandals, x. Crossmount, 
 with steel engraving, (" The Old Dover Packet's Jib "). 
 xi. L'Hotel du Mont Blanc, xn. Otterburn. 
 Volume III : (only four parts published), 1889-90. Chapter 1. 
 The Grand Chartreuse. 11. Mont Velan. in. L'Esterelle 
 iv. Joanna's Care. 
 
 Dilecta : Consisting of Correspondence, Diary Notes, and ex- 
 tracts from books illustrating 'PraBterita'; arranged by John 
 Ruskin, LL.D. Parts 1, 1886 ; and 11, (all published): 1887. 
 
 Notes on some of the Principal Pictures of Sir John 
 Everett Millais, exhibited at the Grosvenor Gallery 
 in 1886 : with a Preface, and original and selected criticisms, 
 by John Ruskin, D.C.L., LL.D. ; and other comments, edited 
 by A. Gordon Crawford. 
 
 The Century Guild Hobby Horse ; No. 6, April 1887, con- 
 taining an article by Professor Ruskin, on Mr. Arthur 
 Burgess. 
 
 Hortus Inclusus. Messages from the Wood to the Garden. 
 Sent in happy days to the Sister Ladies of the Thwaite, 
 Coniston, by their thankful friend John Ruskin, LL.D. 
 Second edition, 1888. With a Preface by Mr. Ruskin, and 
 an Introduction by the Editor. Including letters headed : — 
 
 The Sacristan's Cell, Pompeian Frescoes, The Beginning of 
 " Frondes," The Lost Church in the Campagna, Foam of 
 Tiber, Wharfe in Flood, Wasps and Wasp Stings, Bolton 
 Strid, Good and Evil Fairies, S. Ursula, S. Mark's Doves, 
 S. Mark's Rest, Saints and Flowers, Professorship, Un- 
 written Books, Ingleborough, Nomenclature, Botanical, 
 
Planting Cranberries, Agates, Zoological, Sight-Seeing, 
 In the Bois de Boulogne, In the Market Place of Chartres, 
 The Hymn to Beauty, Eastertide, The Silver Shrine, The 
 Darkening of the Skies, Cookery, and Gardening, etc. 
 
 Ulric the Farm Servant : A Story of the Bernese Oberland, 
 by Jeremiah Gotthelff. Translated into English, from the 
 original German, by Julia Firth ; and revised and edited, 
 with notes, by John Ruskin, LL.D., &c, Nine parts, 
 bound. 1888. 
 
 The Same : second copy. 
 
 Christ's Folk in the Apennine. Reminiscences of Her Friends 
 among the Tuscan Peasantry ; by Francesca Alexander : 
 edited by John Ruskin. Second edition : 1889. 
 
 Volume I. — Part 1. The Peace of Polissena. Part 11. 
 'Pensatevi Voi ! ' Part in. The Mother of the Orphans. 
 Part iv. The Nun's School in Florence. Part v. " Addio, 
 Cara ! ' Part vi. Lieti Andiamo. 
 Volume II. — Part 1. " Giannina Singing" 
 
 The Centenary of Ackworth School. By J. H. Barbert. 
 With annotations by Mr. Ruskin. 
 
 F. BRITISH HISTORY. 
 
 Medallic Illustrations of the History of Great Britain 
 and Ireland, to the Death of George II. Compiled by 
 Edward Hawkins, F.R.S., F.S.A., and edited by Augustus 
 W. Franks, F.R.S., &c, and Herbert A. Grueber. Two vol- 
 umes ; 1884. Vol. I. From A. D. 1066-1690. Vol. II. From 
 1 69 1 1760. Both volumes are illustrated with wood-cuts 
 throughout the text. 
 
 By means of coins, medals, and seals, as dealt with in these vol- 
 umes, we have preserved to us an accurate record of the personality of 
 British sovereigns, with an outline indication of the extent of their 
 dominion, and the principles of their government, as suggested by the 
 symbols of their office, and other characteristics in the designs. 
 
 F 
 
82 
 
 English Coins. Vol. I. Anglo-Saxon Series. From A.D. 600- 
 954. By Charles Francis Keary, M.A., F.S.A. With thirty 
 Autotype plates. 1887. 
 
 This volume treats of the earliest Anglo-Saxon money struck by 
 the English in this country, comprising that of Mercia, Kent, East Anglia, 
 and Northumbria, and including also the coinage of the Archbishops of 
 Canterbury and York, and the coins bearing the names of various saints 
 that were produced in the divisions of the country named. 
 
 Autograph Letters in the Stowe Collection. Catalogue 
 of a selection from the Stowe Manuscripts (British Museum). 
 With fifteen Autotype facsimiles. 
 
 The formation of the Stowe Collection of MSS. relating to British 
 History, was commenced early in the present century by the Marquess of 
 Buckingham, at his country seat at Stowe, and after various additions to 
 it under other owners, until it comprised 996 documents, it became the 
 property of the nation in 1879. The charters and letters here reproduced 
 date from A.D. 697 to 1728. 
 
 This, and the two preceding volumes were presented by the 
 Trustees of the British Museum, who published these works. 
 
 Historical Records of the British Army; comprising the 
 History of every Regiment in Her Majesty's Service, from 
 its formation. Sixty Volumes, with coloured plates. By 
 Richard Cannon, excepting the second volume, which is by 
 Edmund Packe. 1834- 1848. 
 
 CAVALRY. 
 
 1. The Life Guards. With six plates ; 1835. 1660-1835. 
 
 2. The Horse Guards, or Oxford Blues. Eight plates ; 
 
 1834. 1661-1833. 
 
 3. The First, or the Royal Dragoons. Three plates; 1840. 
 
 1661-1839. 
 
 4. The Second Dragoon Guards, or Queen's Bays. Four 
 
 plates; 1837. 1685-1837. 
 
 5. The Second, or Royal North British Dragoons, commonly 
 
 called the Scots Greys. Two plates ; 1840. 1660- 1839. 
 
 6. The Third, or Prince of Wales's Dragoon Guards. Three 
 
 plates; 1838. 1685-1838. 
 
 7. The Third, or the King's own Regiment of Light Dragoons : 
 
 since changed to the Third Hussars. Three plates ; 
 1847. 1685-1846. 
 
 
83 
 
 8. The Fourth, or Royal Irish Regiment of Dragoon Guards. 
 
 Three plates ; 1839. 1685-1838. 
 
 9. The Fourth, or the Queen's Own Regiment of Light 
 
 Dragoons, or the Fourth Hussars. One plate; 1843. 
 
 1 685- 1 842. 
 
 10. The Fifth, or Princess Charlotte of Wales's Dragoon 
 
 Guards. Three plates ; 1838. 1685-1838. 
 
 11. The Sixth Dragoon Guards, or the Carabineers. Three 
 
 plates; 1838. 1685-1838. 
 
 12. The Sixth, or the Inniskilling Dragoons. Four plates ; 
 
 1843. 1689-1843. 
 
 13. The Seventh, or Princess Royal's Dragoon Guards. Two 
 
 plates; 1839. 1688- 1839. 
 
 14. The Seventh, or Queen's Own Hussars. One plate; 
 
 1842. 1689-1842. 
 
 15. The Eighth, or the King's Royal Irish Hussars. Three 
 
 plates; 1844. 1693-1843. 
 
 16. The Ninth, or the Queen's Royal Light Dragoons, or 
 
 Ninth Lancers. One plate ; 1841. 1715-1841. 
 
 17. The Tenth, or Prince of Wales's Own Hussars. One 
 
 plate; 1843. 1715-1842. 
 
 18. The Eleventh, or Prince Albert's Own Hussars. One 
 
 plate; 1843. 1715-1842. 
 
 19. The Twelfth, or the Prince of Wales's Royal Lancers. 
 
 One plate ; 1842. 1715-1842. 
 
 20. The Thirteenth Light Dragoons, or Thirteenth Hussars. 
 
 One plate ; 1842. 1715-1842. 
 
 21. The Fourteenth, or the King's Light Dragoons: or 
 Fourteenth Hussars. Three plates; 1847. 1715-1846. 
 
 22. The Fifteenth, or King's Light Dragoons, or Fifteenth 
 
 Hussars. One plate ; 1841. 1759-1841. 
 
 23. The Sixteenth Queen's Lancers. One plate; 1842. 
 
 1759-1841. 
 
 24. The Seventeenth Light Dragoons, or Seventeenth 
 
 Lancers. Seven plates ; 1841. 1759-1841. 
 
 As the number of Cavalry Regiments under service is thirty -one, 
 there are seven which are not included in this set. 
 
8 4 
 
 INFANTRY. 
 
 25. The Second, or Queen's Royal Regiment of Foot : now 
 
 the Royal West Surrey. Three plates; 1838. 1661-1837. 
 
 26. The Third, or the Buffs : now the East Kent Regiment. 
 
 Four plates; 1839. 1556- 1838. 
 
 27. The Fourth, or the King's Own : now the Royal Lanca- 
 
 shire Regiment. Two plates; 1839. 1680- 1839. 
 
 28. The Fifth, or Northumberland Fusiliers. Four plates ; 
 
 1838. 1674-1837- 
 
 29. The Sixth, or Royal First Warwickshire : now the Royal 
 
 Warwickshire. Two plates ; 1839. 1674-1838. 
 
 30. The Seventh, or the Royal Fusiliers. Three plates ; 
 
 1847. 1685-1846. 
 
 31. The Eighth, or King's Regiment: now the Liverpool 
 
 Regiment. Five plates; 1844. 1685-1844. 
 
 32. The Ninth, or East Norfolk: now the Norfolk Regiment. 
 
 Three plates; 1848. 1685-1847, 
 
 33. The Tenth, or the North Lincolnshire : now the Lincoln- 
 
 shire Regiment. Four plates ; 1847. 1685-1847. 
 
 34. The Eleventh, or the North Devon : now the Devonshire 
 
 Regiment. Three plates ; 1845. 1685-1845. 
 
 35. The Twelfth, or the East Suffolk : now the Suffolk 
 
 Regiment. Five plates; 1848. 1685-1847. 
 
 36 The Thirteenth, First Somerset, or the Prince Albert's : 
 
 now the Somersetshire Light Infantry. Three plates ; 
 
 1848. 1685- 1848- 
 
 37. The Fourteenth, or the Buckinghamshire : now the West 
 
 Yorkshire Regiment. Two plates ; 1845. 1685-1845. 
 
 38. The Fifteenth, or Yorkshire East Riding : now the East 
 Yorkshire Regiment. Two plates; 1848. 1685-1848. 
 
 39. The Sixteenth, or Bedfordshire Regiment. Two plates ; 
 
 1848. 1 688- 1 848. 
 
 40. The Seventeenth, or Leicestershire Regiment. Two 
 
 plates; 1848. 1688- 1848. 
 
 41. The Eighteenth, or the Royal Irish Regiment. Three 
 
 plates; 1848. 1684-1848. 
 
 42. The Nineteenth, or First Yorkshire North Riding: now 
 
 the Yorkshire Regiment. Two plates; 1848. 1688- 1848. 
 
85 
 
 43- The Twentieth, or East Devonshire : now the Lancashire 
 Fusiliers. Three plates ; 1848. 1688-1848. 
 
 44. The Twenty-first, or Royal North British Fusiliers ; now 
 
 the Royal Scots Fusiliers. Three plates; 1849. 1678-1849. 
 
 45. The Twenty-second, or the Cheshire Regiment. Three 
 
 plates; 1849. 1689-1849. 
 
 46. The Twenty-third, or Royal Welsh Fusiliers. Five 
 
 plates; 1850. 1689-1850. 
 
 47. The Thirty-first, or Huntingdonshire : now the First 
 
 Battalion East Suney Regiment. 1702-1850. 
 
 To which is appended an account of the Services of 
 the Marine Corps. Seven plates ; 1850. 1664-1748. 
 
 48. The Thirty-fourth, or Cumberland : now the First Battalion 
 
 Border Regiment. Three plates; 1844. 1702-1844. 
 
 49. The Thirty-sixth, or Herefordshire : now the Second 
 
 Battalion Worcestershire Regiment. Three plates; 
 1853. 1701-1852. 
 
 50. The Forty-second, or Royal Highland : now the First 
 
 Battalion Royal Highlanders. Three plates ; 1845. 
 
 1 739- 1 844. 
 
 51. The Fifty-third, or Shropshire : now the First Battalion 
 
 Shropshire Light Infantry. Three plates ; 1849. 
 
 « 1755-1848 
 
 52. The Fifty-sixth, or West Essex : now the Second Bat- 
 
 talion Essex Regiment. Three plates; 1844. 1755-1844. 
 
 53. The Sixty-first, or South Gloucestershire : now the 
 
 Second Battalion Gloucestershire Regiment. One 
 plate; 1844. 1758- 1844. 
 
 54. The Sixty-seventh, or South Hampshire : now the Second 
 
 Battalion Hampshire Regiment. Three plates; 1849. 
 
 1 758- 1 849. 
 
 55. The Seventieth, or Surrey : now the Second Battalion 
 
 East Surrey Regiment. One plate; 1849. 1758-1848. 
 
 56. The Seventy-first Highland Light Infantry : now the 
 
 First Battalion Highland Light Infantry. Three plates ; 
 1852. 1777-1852. 
 
86 
 
 57« The Seventy-second, or Duke of Albany's Own High- 
 landers : now the First Battalion Seaforth Highlanders. 
 Two plates; 1848. 1778-1848. 
 
 58. The Seventy-fourth Highlanders : now the Second 
 
 Battalion Highland- Light Infantry. Three plates; 
 
 1850. 1 787- 1 850. 
 
 59. The Eighty-seventh, or Royal Irish Fusiliers : now the 
 
 First Battalion Royal Irish Fusiliers. Four plates; 
 1853. 1793-1853. 
 
 60. The Ninety-second, or Gordon Highlanders : now the 
 
 Second Battalion Gordon Highlanders. Four plates ; 
 
 1851. 1 794- 1 850. 
 
 Honor, Military and Civill, contained in Foure Bookes, viz., 
 1. Justice and Jurisdiction Military. 2. Knighthood in 
 generall and particular. 3. Combats for Life and Triumph. 
 4. Precedencies of Great Estates and others. By W. Segar, 
 Norroy. \ London, 1602. 
 
 The volume bears the following inscription on the fly leaf : — 
 " Sheffield Museum. From the Master, John Ruskin, 10th May, 1876. 
 * Once Norroy was not all pasteboard.' — Carlyle." 
 
 A Display of Heraldie. By John Guillim, late Pursuivant at 
 Armes. Fourth edition. London, 1660. 
 
 The Government of England ; itsStructure, and its Develop- 
 ment. By Prof. William Edward Hearn, LL.D. 1867. 
 
 G. GENERAL LITERATURE. 
 
 I. Works Appertaining to the History of Art. 
 
 Il Tintoretto : discorso di Ferdinando Galanti, letto il Giorno 
 8 Agosto 1875, n ella R. Accademia di Belle Arti in Venezia. 
 Venezia ; 1876. 
 
 t The Norroy, or North Roy, was the third King-at-Arms, and was so 
 Called on account of his office relating to the North side of the Trent. 
 
 
87 
 
 Giotto. By Harry Quilter. With a coloured frontispiece, from 
 a drawing by the author, four photographs, and eight wood- 
 cuts. 1880. 
 
 The description of the pictures and sculptures of Giotto here 
 given were written by the author after close study of the originals at 
 Florence, Padua, and Assissi. 
 
 For Professor Ruskin's writings on Giotto, see ' Giotto and his Works 
 in Padua,' ' Mornings in Florence,' and '■The Laws of I- 'hole? 
 Presented by W. White. 
 
 History of Painting: Ancient, Early Christian, and Mediaeval. 
 Translated from the German of Dr. Alfred Woltmann, and 
 Dr. Karl Woermann, and edited by Sidney Colvin, M.A., 
 Slade Professor of Fine Art in the University of Cambridge. 
 With 136 woodcut illustrations. 1880. 
 
 This volume was intended to supersede Dr. Kiigler's ' Handbook,' 
 which was first published in 1837, and " which, in its successive English 
 editions, had the advantage of translation and revision by thoroughly 
 accomplished hands. The present work not only represents the existing 
 state of knowledge better than that of Kiigler, but follows a more com- 
 prehensive plan, inasmuch as it prefixes to the story of Christian 
 painting, the story of painting as practised in ancient Egypt, the Asiatic 
 Empires, Greece and Rome ; a portion of his task which Professor 
 "Woltniann confided to a highly instructed colleague, Dr. Woermann, of 
 Diisseldorf. Prof. Woltmann's own share of the book is especially 
 distinguished for its copious and original treatment of the various 
 European schools of miniature painting, mural painting, and mosaic, in 
 the Early Christian and Middle Ages. A knowledge of these compara- 
 tively obscure branches of the subject, is in truth essential to the under- 
 standing both of the genius of those ages themselves, and of the steps 
 by which painting, in the days of its humility, determined the choice 
 and matured the conception of those themes which in the days of its 
 glory were destined still to occupy it. Speaking generally, it may be 
 said with confidence that the narrative now set before the reader will be 
 found to be the most complete and trustworthy History of Painting yet 
 written." — The Editor's Preface. 
 
 , Presented by W. White. 
 
 Handbook of Painting : The Italian Schools. Based on the 
 Handbook of Dr. Franz T. Kiigler ; originally edited by Sir 
 Charles L. Eastlake, P.R.A. Fifth edition, revised, and in 
 part re-written by Austen Henry Layard, G.C.B., D.C.L., 
 &c. With 241 illustrations. In Two Volumes : 1887. 
 
88 
 
 Tuscan Studies and Sketches. By Leader Scott. 1888. 
 
 This volume includes chapters upon Michael Angelo and Bandi- 
 nelli ; the Laurentian Library of Codices at Florence ; Florentine 
 Mosaics ; and on Frescoes, Tapestries, and Pictures, in and near Florence. 
 Presented by W. White. 
 
 II. Biographical Works. 
 
 * The Life of Sir Thomas More [1480-1535]. By his Great 
 grandson, Cresacre More ; with a biographical preface, and 
 Notes by the Rev. Joseph Hunter, F.S.A., and a portrait 
 after Holbein, engraved by E. Scriven. Pickering 8vo. 1828. 
 Bound in full morocco. 
 
 The Life and Works of Thomas Bewick; being an account 
 of his career and achievements in Art, with a notice of the 
 works of John Bewick. By David Croal Thomson. With 
 one hundred illustrations, including the famous large plate 
 of the Chillingham Bull. 1882. 
 
 This edition, the woodcuts of which are printed on India paper, 
 was limited to 75 copies ; this one having been presented to the Museum 
 by the Author. The work is dedicated to Professor Ruskin, "whose 
 writings have added glory to the art of the past, and whose teaching has 
 given greatness to the art of the present." 
 
 John Ruskin : a Bibliographical biography. By William E. A. 
 Axon, M.R.S.L. Reprinted from Vol. V. of the Papers of 
 the Manchester Literary Club. 1879. 
 
 John Ruskin : his life and work. By William Smart, M.A. ; 
 being the Inaugural address delivered to the Ruskin Society 
 of Glasgow, on October 28th, j88o. Demy 8vo. Third 
 thousand. 1880. 
 
 John Ruskin : Aspects of his Thought and Teachings. By 
 Edmund J. Baillie (Member of the Ruskin Society) ; with a 
 woodcut portrait. 1882. 
 
 A Disciple of Plato : a critical study of John Ruskin. By 
 William Smart, M.A. ; with a terminal note by Mr. Ruskin. 
 1883. 
 
«9 
 
 John Ruskin. By J. Marshall Mather (Member of the Ruskin 
 Society. 1883. 
 
 John Ruskin : a Biographical Outline. By W. G. Collingwood, 
 M.A. (President of the Ruskin Reading Guild.) With 
 an etched portrait by Burton, and a fac-simile of Mr. 
 Ruskin's writing. 1889. 
 
 The above biographies of Mr. Ruskin presented by W. White. 
 
 Other Biographical Works, as Scott's ' Life of Napoleon ' ; 
 Johnson's ' Lives of the Poets ' ; Roscoe's ' Life of Pope ' ; 
 are included under the particular headings to which they 
 severally belong. 
 
 * Studies in Ruskin : some aspects of the work and teaching of 
 John Ruskin. By Edward T. Cook, M.A. With Autotype 
 reproduction of the Bust portrait of Professor Ruskin, by Sir 
 J. E. Boehm, R.A., and twelve woodcut Illustrations ; also 
 a series of thirteen Fac-similes of Drawings by of Professor 
 Ruskin, 1890. 
 
 A volume consisting chiefly of articles which appeared in the 'Pall 
 Mall Gazette,' and containing much matter of interest respecting the 
 practical'results of Mr. Ruskin's teaching. 
 
 The drawings by Mr. Ruskin here reproduced are as 
 follows : — 
 
 I. The Market Place, Abbeville (1868). In pencil. 
 
 II. Pine Forest, Mont Cenis (1854 or I 856). Pen and 
 
 brush drawing. 
 
 III. General view of Lucerne, from above (1866). Pencil 
 
 on tinted paper. 
 
 IV. The Old Bridge at Lucerne (1862). Water colour 
 
 reproduced in sepia. 
 
 V. Fribourg, Switzerland (1856). Pen sketch. 
 
 VI. The Glacier des Bossons, Chamonix (1854?). ^* en 
 
 and sepia wash. 
 
 VII. The Grand Canal, Venice (1870). Pencil sketch " given 
 
 up in despair." 
 
 VIII. Evening in Autumn, under the Castle of Hapsburg 
 
 (1858). Water-colour drawing, reproduced in brown. 
 
go 
 
 IX. Study of a Kingfisher (about 1871.) Water-colour 
 
 drawing, reproduced in sepia. 
 
 X. Study of Young leaves of plane, in light and shade 
 
 (1857?) Pen and violet carmine wash, touched 
 with white ; reproduced in a dark sepia colour. 
 XL Part of the Facade of the Destroyed Church of San 
 Michele, Lucca, as it appeared in 1845. Water- 
 colour ; reproduced in a warm sepia. 
 
 XII. Study of Agrimony leaves (1857?) Pen and sepia, 
 
 touched with white. 
 
 XIII. Study of Gneiss, with its Weeds, above the stream of 
 
 Glen Finlas (1853). A study in lamp black. 
 Presented by the Author. 
 
 III. Miscellaneous Works. 
 
 * Costumes. Recueil de Cent Estampes representant differentes 
 Nations du Levant, tirees sur les Tableaux peints d'apres 
 Nature en 1707, et 1708, par les ordres de M. de Ferriol, 
 Ambassadeur du Roi a la Porte, et gravees enT7i2, et 1713, 
 par les soins de M. Le Hay. Two volumes issued separately, 
 bound together in one volume. The first volume with the 
 title-page executed by hand in gold, which is dated Paris, 
 " avec privilege du Roi," 1714, comprises the plates — line 
 engravings coloured by hand ; and the second volume, 
 consisiing of twenty-seven pages of text, bears the date 1715. 
 
 The History of Scottish Poetry. By David Irving, LL.D. 
 Edited (from the manuscript of the work) by John Aitken 
 Carlyle, M.D. With a memoir of the author (1778-1860), 
 and a glossary. 1861. 
 
 Architecture. Sketches for Cottages and other Buildings. 
 By R. Norman Shaw, R.A. 1878. 
 
 The Immorality of Lending for Payment of Interest, or 
 for any Usurious Gain. A Pamphlet by Arthur H. 
 Mackmurdo. 1878. 
 
9i 
 
 The Influence of Joy upon the Workman and his Work. 
 By H. Bendelack Hewetson, M.R.C.S. 1880. 
 
 Presented by the author ; and containing critical remarks written 
 by Mr. Ruskin on the margin of some of the pages. 
 
 The Same : with marginal notes by the writer. 
 
 Under the Window : Pictures and Rhymes for Children, by 
 Kate Greenaway. Engraved and printed (in colours), by 
 Edmund Evans. 
 
 For Mr. Ruskin's appreciation of Miss Greenaway's drawings of 
 children, see ' The Art of England,' Part iv., which is devoted to her 
 and Mrs. Allingham's work ; also ' Fors Clavigera,' Vol. viii. 
 
 The Ruskin Reading-Guild Journal. Volume L, 1889. Edited 
 by William Marwick. 
 
 Presented by the Editor, " On the occasion of the opening of the 
 
 Ruskin Museum at Meersbrook, Sheffield, April 15th, 1890." The 
 
 volume contains the most recent portrait (a full length photograph) 
 
 of Professor Ruskin. At the completion of this volume the form of 
 
 the Journal was changed, and is now continued, as a monthly magazine, 
 
 with Mr. Kineton Parkes as joint editor, under the title of " Igdrasil." 
 
 I 
 On the Planting of Trees in Towns. Two papers read 
 
 before the North of Scotland Horticultural Association. By 
 
 Robert Walker. Revised, issued, and presented by the two 
 
 Aberdeen Members of St. George's Guild (Messrs. James 
 
 Walker, and John Morgan). 1890. 
 
 Igdrasil : Journal of the Ruskin Reading Guild ; a Magazine of 
 Literature, Art, and Social Philosophy. Edited by William 
 Marwick, and Kineton Parkes. Volume I. January to 
 September, 1890. 
 
 For an explanatory account of the title, and aims of this magazine, 
 see pp. 1-3, and 41-42. 
 
93 
 
 INDEX. 
 
 PAGE. 
 
 Addison, Joseph 54 
 
 Alexander, Francesca 48, 76-78, 81 
 
 Anderson, J. R 72 
 
 Ani — papyrus of 1 
 
 Audebert, J. B 19 
 
 Audoin 17 
 
 Audubon 18 
 
 Axon, W. E. A 88 
 
 Bacon, Francis 52-54 
 
 Baillie, E. J 88 
 
 Baldini, Baccio . . .... . . 35 
 
 Bellini 34 
 
 Berkeley, M. J. t 14 
 
 Bertrand, A 20 
 
 Bewick, Thos 18,88 
 
 Blanchard 17 
 
 Blant (le), Edmond 33 
 
 Botticello, Sandro 35 
 
 Bowdich, T. E 26 
 
 Brocquiere (de la), B n 
 
 Brooke, Stopford A 41 
 
 Bus (du), Bernard 23 
 
 Cannon, R 82-86 
 
 Carlyle, J. A 90 
 
 Carlyle, Thomas 57 
 
 Chapman, George . . . . 49-50 
 
 Chaucer, Geffray 52 
 
 Collingwood, W. G. 9, 37, 71, 78, 89 
 
 Colvin, Sidney 87 
 
 Cook, Captain 12 
 
 Cook, E. T 89 
 
 Crawford, A. G 80 
 
 PAGE. 
 
 Cunningham, P 56 
 
 Curtis, W 13-14 
 
 Cuvier (Baron) 15-17 
 
 Darwin, Charles 21 
 
 Davis, J 11 
 
 Deshayes, G. P 16 
 
 Desmarest, A. G 18,19 
 
 Donovan, E 17 
 
 D'Orbigny 15 
 
 Doyere 17 
 
 Duges 16 
 
 Duncan, R 29 
 
 Diirer, Albrecht.. .. 34,35,36-37 
 
 Durvenoy 15 
 
 Dyck (van), A 34 
 
 Eastlake, C 88 
 
 Eden, Richard n 
 
 Ellis, R. L 53-54 
 
 Eyton, T. C 18,21 
 
 Fayrer, J 26 
 
 Ferriol (de) 90 
 
 Firth, Julia 81 
 
 Fisher, R 34 
 
 Francesca 79 
 
 Franks, A. W 81 
 
 Fraser, Louis 17 
 
 Galanti, F 86 
 
 Galvano, Antonie n 
 
 Gardner, Percy 32-33 
 
 Gotthelf, J 81 
 
 Gould, J 18,20-23,24 
 
94 
 
 PAGE. 
 
 Gozzolli, Benozzo 34 
 
 Gray, G. R 23,25-26 
 
 Greenaway, Kate 79, 91 
 
 Gregory IX. (Pope) 6 
 
 Grueber, H. A 33, 81 
 
 Guhl, E.. ... 33 
 
 Guillim, J 86 
 
 Gunther, Albert C. L. G . . . . 26 
 
 Hadfield, Edmund 8 
 
 Hakluyt, Richard 9-1 1 
 
 Hawkins, E 81 
 
 Head, Barclay V 32-33 
 
 Hearn, W. E 86 
 
 Heath, D. D 53-54 
 
 Hedwig Joanne 14 
 
 Hewetson, H. B 91 
 
 Hewitson, W. C 27 
 
 Holbein, Hans 7,35 
 
 Homer 49-51 
 
 Hooker, W.J 13-14 
 
 Hueffer, F 33 
 
 Hunter, Joseph 88 
 
 Irving, D 90 
 
 Jacquemart, Albert 33 
 
 Jardine, W 20 
 
 Jerdon, T. C 23 
 
 Johnson, Samuel 55-56 
 
 Keary, C. F 82 
 
 King, T. H 34 
 
 Koner, W 33 
 
 KUgler, Franz T 87 
 
 Kurr, J. G 13 
 
 Langier de Chartrouse (Baron). 23 
 
 Laurillard 15 
 
 Layard, A. H 88 
 
 Leech, J 46-48 
 
 Lesson, R. P 18-20 
 
 Levaillant, F 19 
 
 Lewin, J. W 19 
 
 Leyden (van), Lucas.. .. .. 35 
 
 PAGE. 
 
 Lionardo da Vinci 34 
 
 Lippi, Fra Fillipo 35 
 
 Lloyd, H. E 45 
 
 Lyttelton (Lord), George.. .. 55 
 
 Mackmurdo, A. H 91 
 
 Maitland, S. R 7 
 
 Malleson, F. A 75 
 
 Marmontel, Jean Francois . 51-52 
 
 Marryat, J 33 
 
 Marwick, W 91 
 
 Mather, J. M 89 
 
 Mazzuoli 34 
 
 Merian, Marie S 27 
 
 Michael Angelo 34 
 
 Michelet 26 
 
 Milne-Edwards 15, 16, 17 
 
 More, Cresacre 88 
 
 Morris, Beverley R 25 
 
 Murphy, A 55 
 
 Murray, A. S 31 
 
 Murs (des), 23 
 
 Nesbitt, Alex. ..^ 33 
 
 Oudart, P 19 
 
 Packe, E 82 
 
 Park, Mungo 12 
 
 Parkes, Kineton 91 
 
 Pinkerton, John n-12 
 
 Polo, Marco 12 
 
 Poole, Reg. Stuart 30-33 
 
 Pope, Alexander 54 
 
 Ptolemy 13 
 
 Quilter, Harry 87 
 
 Raimondi, Marcantonio .. .. 35 
 
 Raphael 34 
 
 Rawley, G 53 
 
 Richardson, J 20 
 
 Roscoe, W 54 
 
 Roulin 15 
 
 Riippell, E 18,23 
 
 Ruskin 48,58-81,89-90 
 
 
95 
 
 PAGE. 
 
 Sanderson, J. T. Cobden.. .. 9 
 
 Schlegel, H 24 
 
 Scott, Leader 87 
 
 Scott, Sir Walter 56-57 
 
 Seebohm, H 25 
 
 Segar, W 86 
 
 Selby, P. J 20 
 
 Sextus IV. (Pope) 6 
 
 Sharpe, R. Bowdler 25 
 
 Shaw, Henry 8 
 
 Shaw, R. Norman 91 
 
 Short, F 41 
 
 Siebold (von), F 24 
 
 Sillar, R. G 79 
 
 Smart, W 88, 89 
 
 Smith, A. H 31 
 
 Smith, J. E 14 
 
 Spedding.J 53-54 
 
 Stoger, F. Xaver 37 
 
 St. Hilaire, I. Geoffroy . . . . 18 
 
 PAGE. 
 
 Swainson, W 20 
 
 Temminck, C. J 18,23,24 
 
 Thomson, D. C 88 
 
 Tura 34 
 
 Turner, J. M. W. 37-46, 48, 59, 72, 73 
 
 Valenciennes, A 16 
 
 Vertomannus, Lewes 11 
 
 Vieillot, L. P 18, 19 
 
 Vinci (da), Lionardo 34 
 
 Viti, T 34 
 
 Walker, R 91 
 
 Ward, J 41 
 
 Wedderburn, A. D. 71 
 
 Wedmore, F 41 
 
 West wood, J. O 7 
 
 Woermann, Karl 87 
 
 Woltmann, A 87 
 
 Woodfall, G g-i 1 
 
 Wroth, W 32-33 
 
 LOXLEY BROTHERS, PRINTERS, FAROATE, SHEFFIELD. 
 
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JUN2 11961 
 
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