PART 2:
	DESCRIPTIVE BIBLIOGRAPHY
	OF RUSKINS EARLY MANUSCRIPT NOTEBOOKS

MS I
	Yale (in slipcase Harry & Lucy, Poems &c). Date of manuscripts composition autumn 1826-early 1827, but includes pieces composed probably earlier in 1826, and describes retrospectively some actual events of spring/summer 1826.

Provenance
	Sothebys 1930.

Description
	Red Book; 9.5  15.2 cm; title page (verso of front endboard) + frontispiece (1r) + pp. inaccurately numbered by Ruskin (starting on 1v) as 1-29, [30-31 torn out], 32-45, 44 [sic, i.e., what should be 46], 47-49, 48-49 [sic, i.e., 48-49 given twice], 50-59, 80-86, 88-106 + inside of back endboard.
	Despite the erratic page numbering, no leaves appear to be missing, except for pp. 30-31 as noted above. The leaf with pp. 36-37 was torn out and then reattached to its remaining stub with a glued, perforated sticker. A loose leaf inserted between the front endboard and Ruskins frontispiece (not counted in the description above) holds a clipping from PJR describing MS I along with brief remarks, possibly in Wedderburns hand. It is not clear whether, for this purpose, an existing notebook leaf was used (i.e., whether Ruskins frontispiece actually began on 2r, following this leaf), or whether a piece of paper was trimmed to the Red Books size and inserted here. The latter is more probable, since similar insertions in other Red Books (e.g., MS III) certainly formed no part of the original notebook.
	Ruskins erratic page numbering up through page 50 probably arose from his attempt to correct earlier misnumbering. Erased earlier numbering remains visible starting on the present p. 21 (19 is the erased number, an error since p. 19 had already appeared) and continuing consecutively through the present second p. 49. Since the latter was written over top of 47, it appears that, at about this point, Ruskin realized an error, went back to the present p. 21, and began renumbering; however, he made some new errors and possibly deliberately repeated pp. 48-49 in an attempt to bring his numbering in sync with following pages.
	The erratic numbering after p. 50 appears to have resulted from Ruskin writing 80 for 60, and carrying on without correction. The missing p. 87 is probably a mere oversight.
	Title page: HARRY AND LUCY / CONCLUDED / BEING THE LAST / PART OF / EARLY LESSONS / [diamond(?)-shaped ornament] / in four volumes / vol I / with copper / [horizontal bar] / plates / [diamond-shaped ornament] / PRINTED and composed by a little boy / and also drawn.
	1r: I HARRY AND LUCY / concluded / [horizontal bar] / frontispiece / [drawing] / [at bottom, in Ruskins later hand:] Red book. No. 3. Sept 8th 1870. The roman numeral preceding HARRY AND LUCY probably refers to the drawing--i.e., a plate number--rather than to the volume, since the next plate in the volume is numbered 2. The frontispiece drawing shows a horse, house, tree, and bridge. Behind them is an outline that looks like a hill but that the boy labeled a rainbow. The rainbow emerges from a cloudy sky, through which the sun is breaking. The drawing could refer to the poem that closes the volume, On the Rainbow: In Blank Verse (no. 9), or it could suggest Harrys vision of the Witch of the Alps at the end of the prose narrative (no. 3). Other plates in the volume bear no close relation with the text, however, and the frontispiece may have been a decorative feature that suggested the texts, rather than the other way around.
	P. 106: The end / hernhill / fountain street / <end of the poems> / juvenile library fountain street. This colophon is followed by a drawing on the back endboard (see Content below).
	This notebook is written entirely in large penciled print, more childish than that in any other Red Book; however, Ruskin was already carefully imitating published books by justifying the margins and devising a title page and plates. Toward the end of the manuscript, Margaret Ruskin wrote, this book begun about Sept or Oct 1826 / finished about Jany 1827, which would mean that the fair-copying, although not necessarily the composition of the contents, was accomplished while the family was traveling (see nos. 1-3). The prose narrative includes events at Herne Hill in spring 1826 and a journey to Hastings in the summer (see no. 3); and some of the poems may refer to an autumn journey to Scotland (e.g., no. 6; and see the note to no. 2).
	MS I is the only Red Book to locate its imaginary publisher (in this case, the juvenile library) in hernhill / fountain street, other manuscripts title pages mentioning simply Herne Hill. Could Ruskin be referring to what Praeterita records as an early memory, the water carts being filled in front of the house (Works, 35:21)? In Praeterita, Ruskin fails to clarify whether the carts were observed from the Hunter Street house--where the family lived until March 1823, almost four years before MS I (see Ruskin's Camberwell, 1)--or from the windows of Herne Hill; by the 1880s, in any case, Ruskin might well have confused memories of the two locations. Unfortunately, attempts have been unsuccessful to gain information about either a Fountain Street or water mains in the vicinities of the two houses.

Content
	a) Volume 1 of Harry and Lucy, no. 3 (inside front endboard [i.e., title page] + pp. 1-96). Illustrated by a frontispiece and nine plates (pp. 1r, 13, 24, 37, 42, 48 [i.e., second p. 48], 54, 59, 86, 94); for details respecting plates, see no. 3. Page 25 (verso of plate 3) is blank, and some text has been lost with pp. 30-31.
	b) Poems, nos. 5 (pp. 97-100), 6 (pp. 100-101), 7 (pp. 101-2), 1 (pp. 102-3), 8 (pp. 103-4), 9 (pp. 105-6).
	c) A drawing dated 21 march (1826 or 1827?) on the inside of the back cover shows mountainous heights of wisdom rising over a ravine labeled the depths of folly, through which runs the rivulet of vice. At the bottom of the drawing, Ruskin jotted a note to himself, To ask charles  why leaves are joined together. Ruskin is probably planning to ask his cousin Charles Richardson, who frequently visited Herne Hill (see, e.g., RFL 141).

MS IA
	Yale (in box labeled Ruskin, John, 1819-1900 / Miscellaneous Manuscripts containing a folder, Early Poems IA, but also containing folders for other items that were probably originally bound in IA, as well as folders unrelated to IA). Dates of contents of original MS IA range from 1827 or 1828 to 1842.

Provenance
	Sothebys 1931. In the aftermath of Goodspeeds fire, MS IA was discovered and delivered to Yale, as explained in a letter of 4 November 1942 from Goodspeed to Chauncey B. Tinker (typed on stationery of Goodspeeds Book Shop, No. 18 Beacon Street, Boston, Massachusetts, and now included in a folder labeled The Monastery in the box Miscellaneous Manuscripts [see below, Description, and Content, a]).

Prof. Chauncey B. Tinker
1293 Davenport College
New Haven, Connecticut

Dear Prof. Tinker:
	Yesterday in rummaging about my library I was happy to come upon a folder of Ruskin manuscripts which I knew had escaped destruction, but which I had been unable to locate. I am sending them to you to go with the others. To me they are of particular interest, and they include one piece which, with one possible exception, is I imagine the earliest example known of Ruskins handwriting.
	The one beginning Come on, good horse is particularly interesting for its reference to Glendarg Glen of Scotts Monastery, which Ruskin mentions in the early chapters of Praeterita. The list which goes with the manuscripts is, of course, in Wedderburns hand. The two pieces marked with a G on this list I am keeping myself for the present at least.
Yours sincerely,
Charles E. Goodspeed [signed]
Goodspeed perhaps means that the contents of MS IA escaped total destruction, since several of the items in the collection are charred--items that, according to all descriptions, had always been included in MS IA (see Content, below). Indeed, charring is visible on the very items mentioned in Goodspeeds letter--the list . . . in Wedderburns hand, and the blank sheets to which The Monastery manuscripts are pasted. Fire damage may account for the loss of the original binding of MS IA (see Description below), as well as for the possible loss of certain items (see Content, a, b, below).
	The items that, as mentioned in his letter, Goodspeed marked G on Wedderburns list (i.e., the poems Papa, whats time, a figure or a sense and Bosworth Field) were given to the library in the following year (see YULG 18, no. 2 [October 1943]: 36), and they are now included in the MS IA folder. Another item in Wedderburns list, A visit to the Hospice of St. Bernard, is notated in Goodspeeds hand as sent separately; this manuscript also is present in the MS IA folder. (Perhaps that notation explains what Goodspeed means in his letter by sending [the remaining MS IA items] to you to go with the others--the others being the Hospice manuscript, as well as the Praeterita manuscript donated in 1941, and other Ruskin manuscripts purchased by Yale from Goodspeed in earlier years; see Introduction, Provenance of the Major Manuscripts, Sothebys 1931.)

Description
	MS IA is no longer bound as a thin folio in red cloth, as described by Cook and Wedderburn (Works, 2:530), presumably a binding similar to the red buckram covering other assemblages, such as MS XB. Its loss is not significant in itself, since, as Wedderburn remarks on the still extant title page, MS IA had been bound since the publication of the Poems in 1891 (i.e., PJR), and neither the binding nor the selection and ordering of contents were governed by any noticeable rationale.
	MS IA must still have been covered with red cloth when Goodspeed acquired it, since his Cat. mentions the contents as mounted and bound in a small folio cloth volume. This description matches that in Sotheby Cat. 1931, item II of lot 27 (p. 6), as bound in cloth. In his 4 November 1942 letter to Tinker, Goodspeed refers to a folder of Ruskin manuscripts, not a volume, suggesting that the dealer was responsible for disassembling the collection, although he does not indicate whether the binding was removed before or after the fire. Certainly, the items of MS IA were loose when delivered to the library as (or among) 31 sheets of poems (YULG 17, no. 3 [January 1943]: 59), and Goodspeed could not have retained two poems and sent another separately, unless he had first removed the binding. The larger items, whose edges perhaps would have been more exposed to the heat, have been encased in clear plastic to protect the seared paper.
	The title page, which Goodspeed attributes to Wedderburn, reads as follows:
Ruskin MS. / Early Poems. / IA / This has been bound since the publication of the Poems in 1891 / and maybe [sic] added to the list of MS. given there, as IA. / See The Library Edition II.530.
This sheet, as well as the Contents, measures approximately 17.5 X 30 cm., which points to the approximate size of the small folio volume described in Goodspeeds Cat., although these sheets appear to have been trimmed after they were charred at the edges.
	The remarks about binding on the title page may have been added later, but the date of the red cloth binding must in any case have been nearly contemporaneous with the preparation of the Library Edition. In the second volume (1903) of the Library Edition, the remarks about binding MS IA resemble those on the title page of IA and narrow the date further to between 1900 and 1903: this volume has been bound up since Ruskins death [1900], and is thus an addition to the list in the Poems, 1891 (Works, 2:530).
	The title page is followed by Wedderburns table of contents, which should be compared against the contents of the bound volume as described in Goodspeed, Cat., since Wedderburns list is inadequate and confusing. (The following transcription reproduces the originals erratic punctuation. The titles and numbers, which are written in ink, have been checked off in pencil, perhaps by Goodspeed, whose notations mentioned above are also in pencil. Likewise attributable to Goodspeed may be a penciled gloss (2 items) entered next to Calais.)
	Contents.
Sheets 
Very early MSS. Come on, good horse &c.1-3.
Papa, whats time, a figure or a sense.5.
Bosworth Field.6.
Vesuvius; Trafalgar; The Yew.7-10.
Death.11.
My fathers birthday. 1833.12.
Calais &c. (2 items)13.
Lille, The Meuse &c14.
To his father. Birthday ode 1834.15.
Twelve months all rolling round have past16.
Ode to his father 1836.17.
Mont Blanc.18.
Athens19.
A visit to the Hospice of St. Bernard.20
A Scythian Banquet Song.24.25.
The Broken Chain. (Stanzas 17.26.)26
	Prose translation of the Iliad   i.  ii 1-12728
It is unclear what Wedderburns column of numbered sheets refers to, or why his enumeration omits 4, 21-23, and 27, since, as will be discussed below, the numbers cannot be reconciled with consistent features of the individual manuscripts. Nor can Wedderburns numbers, even subtracting the skipped numbers, be neatly reconciled with Sotheby Cat. 1931, which cites 24 pp. One possibility is that Wedderburn was counting sheets on which items were mounted. The manuscript Come on good horse, mentioned in Goodspeeds letter to Tinker, is pasted onto a sheet watermarked [(?)]ETOWGOOD FINE, the same watermark that identifies the paper on which The Constellations is mounted (see Content, a and b, below). These papers cannot be proven to have belonged to the original bound MS IA, since Wedderburns title page and contents are written on quite different paper, watermarked Judicature Foolscap. However, this style of mounting is common in the older collections of Ruskin manuscripts, as in MS XI where the early small poetry pamphlets are mounted onto larger sheets, which are in turn bound together. Further connecting the mounting sheets for The Monastery and The Constellations with the original MS IA, these papers show evidence of slight charring. It is reasonable to conclude, then, that Wedderburns column of numbers refers to mounting sheets but possibly only for the smaller items; in MS XI, for example, larger items were not mounted on sheets but attached directly to binding stubs.
	Other possible discrepancies arise in comparing Wedderburns table of contents with the contents of MS IA as listed in Works, 2:530. The Constellations (no. 21), listed in Works, is omitted from Wedderburns table, unless this item is comprised among Very early MSS. (see below, Content). Wedderburns table also fails to mention The Crystal Hunter (no. 188), mentioned in the Works list, unless Wedderburn meant to include this ode under the entry To his father. Birthday ode 1834. Otherwise, the two lists of contents match, the one in Works being ordered according to what Cook and Wedderburn judged (partly erroneously) to be the items dates.
	Somewhat better success may attend comparison of the January 1943 acquisition notice in YULG of 31 sheets of poems with the numbers of sheets presently extant--but only by stretching the definition of sheet. Putting aside Papa whats time and Bosworth Field, which Goodspeed held back, and Hospice, which he sent separately, thirty sheets can be counted, plus one sixteen-page (or eight-sheet) sewn booklet. If it is credible that a cataloger counted the booklet as one sheet, we can refer to at least one benchmark, that the present collection corresponds to what Goodspeed originally sent, when considering the possibility of lost or destroyed items.
	I think it more likely, however, that the YULG count of thirty-one refers, not to physical sheets, but titles of poems--i.e., the notice ought to have read sheets of 31 poems. One can arrive at that number by counting the individual titles in Goodspeed, Cat., for both MSS IA and X. MS X is recognizable in the YULG notice by the listing of one of its items, a 31 March 1836 verse letter to John James Ruskin (see MS X, Content, e). If one discounts this item as listed separately, as well as the poems Goodspeed held back from MS IA, one can imagine a cataloger at Yale using the Goodspeed Cat. cursorily to check the titles of pieces delivered to Yale. This would still tell us that the present collection largely corresponds to what Goodspeed sent, although it provides no certainty that portions of individual titles--sheets of The Monastery and The Constellations, items that can be only partially reconciled with the earlier descriptions--may not have been lost or misplaced after, rather than before, the collection arrived at Yale.
	At some point after acquiring MS IA from Goodspeed, Yale enclosed most of MS IAs original items in a folder labeled Early Poems IA but sorted a few other items probably from MS IA into other, separate folders labeled The Monastery and Calais (see Content, a and g, below; neither of these separate folders is listed in the Beineckes card catalog, unlike Early Poems IA and folders containing other items donated by Goodspeed). All three folders are enclosed in a box labeled Ruskin, John, 1819-1900 / Miscellaneous Manuscripts, along with folders devoted to other manuscripts, which are unrelated to MS IA.
	Of these manuscripts in the box that are unrelated to MS IA, some were once included in MS X, a volume that was split up like MS IA and donated by Goodspeed in 1942: nos. 109, 203, 215, 256, and the Peace Song, and the Zodiac Song (see part 1, MS X). Other folders contain manuscripts also donated by Goodspeed:
The Laws of Fiesole (Goodspeed, Cat., item 95; Sotheby Cat. 1931, item VII of lot 28; YULG 17, no. 3 [January 1943]: 59; fire damaged, and no longer bound in blue cloth).
Review of Lindsays Sketches of the Hitory of Christian Art (Goodspeed, Cat., item 85; Sotheby Cat. 1931, item VII of lot 27; YULG 17, no. 3 [January 1943]: 59; fire damaged, and no longer bound in the red cloth, of which a fragment is kept in the folder). Listed along with this manuscript in YULG is Lord Lindsays Christian Art, printed reading copy, 1847, with manuscript corrections, a volume now cataloged separately. . . .?
Undated math problem (not listed in Goodspeed, Cat., but notated on its folder as a gift of Goodspeed in 1942, and listed in YULG 17, no. 3 [January 1943]: 59; fire damaged).
Lecture V of The Art of England, corrected proofs (neither listed in Goodspeed, Cat., nor notated on its folder as a gift of Goodspeed, but charred and mounted on rice-paper stubs like other survivors of his fire; not mentioned in YULG, unless included among other Ruskiniana donated by Goodspeed in 1944 [YULG 19, no. 2 (October 1944): 34]; not specifically listed in the Sothebys catalogs, unless it was included in Sotheby Cat. 1931, p. 7, lot 30, Oxford Lectures).
Roadside Songs of Tuscany, a folder included in the box, although not acquired from Goodspeed but from ?. Goodspeed did donate a Ruskin letter to Francesca Alexander, Brantwood, 23 March 1886 (YULG 19, no. 2 [October 1944]: 34).
Map of Scandinavia, drawn by Ruskin and dated 18 September 1830, included in the box, although not acquired from Goodspeed but from ?.
	When I follow tradition in referring to MS IA, it is to be understood that I intend the items as originally bound together under this designation and that these items can presently be found in Yales box Miscellaneous Manuscripts--if not in the particular folder labeled Early Poems IA.

Content
	Possible discrepancies exist between the items as presently disposed in the folder MS IA or elsewhere in the box Miscellaneous Manuscripts and their description in earlier accounts. The discrepancies, if they represent actual losses and not merely confusions arising from inadequate descriptions, might well be blamed on destruction by Goodspeeds fire; however, with the exception of one, rather slender piece of evidence (see [b] below), documentation is too scanty to confirm if, when, or how the losses occurred. If Goodspeed disassembled MS IA prior to the fire, it is even possible that he had already misplaced an item or two or sold them separately, their present whereabouts unknown.
	a) In the folder Early Poems IA, draft for portion of The Monastery, no. 46, single torn sheet, 12  20 cm; 34 lines in ink beginning come on good horse and let us see, from the third book of the poem, lines 26-59, as fair-copied in MS III (with minor variants and deleted lines). On verso, 12 lines in very rough pencil draft of two passages from the third book of the poem as fair-copied in MS III: martin took his task a[s(?)] guide / [(?)]d all the women did in him confide, which are interesting variants of lines 86-87 of fair copy; and, following a horizontal line, draft of lines 14-25 of the fair copy. On the verso, portions of the pencil draft were lost with tears at the edges, which is not the case with the ink script on the other side, Ruskin writing around the tears. Thus, the ink copy must have been written after the pencil (the lines are sequential, except for lines 86-87), and therefore, I believe, Ruskin was fair-copying in MS III as he drafted. This is one of several indications that The Monastery draft, far from offering the earliest example known of Ruskins handwriting, was composed in 1829 like its fair copy.
	This manuscript must have been the first item in MS IA when bound since Wedderburn heads his table of contents Very early MSS. Come on, good horse &c. Goodspeeds Cat. also lists it as the first item (79.A.1) and quotes from the manuscript extensively. Goodspeed describes the manuscript as consisting of 2 pp., and, if he means two sides of one sheet, then this item fully matches his description.
	As already mentioned (Description, above) Ruskins sheet is mounted onto a slightly larger sheet watermarked [(?)]ETOWGOOD FINE, which I assume to have been cut from the bound MS IA. The mounting sheet, but not the manuscript itself, shows slight evidence of charring.
	The Yale box Miscellaneous Manuscripts holds another folder labeled The Monastery, containing a 12.5  20-cm sheet written in pencil, 34 lines in pencil from the second book of the poem as fair-copied in MS III, lines 29-63, beginning now must we leave poor martin there and continuing to bottom of its verso, you are under my protection then I say goodbye. These lines together with those on the MS IA sheet thus add up to the Library Editions listing of The Monastery versified, 80 lines in the original MS IA (Works, 2:530).
	The Library Edition dates these 80 lines as 1827, but the two manuscripts suggest no reason for dating their drafts from books II or III much earlier than their 1829 fair copy in MS III, since the manuscripts are similar in paper, size, and pencil handwriting. Moreover, Ruskin appears not to have used longhand earlier than 1828 (see no. 21; see also no. 46 for further remarks on the dating of The Monastery).
	The pencil draft in the separate folder must have formed part of the second item in MS IA when bound, since Goodspeeds Cat. lists in second place (item 79.A.2, following the ink manuscript of The Monastery) 4 pp. in pencil [of] a metrical transcription from Scott's Monastery. But if by 4 pp. Goodspeed means the rectos and versos of two sheets, and if his item 79.A.2 truly consisted entirely of The Monastery, then one sheet is presently missing.
	Goodspeed left other evidence that he knew of a another sheet. The pencil draft, like the ink draft in the MS IA folder, is mounted on a slightly larger, charred sheet (watermark showing only a seated Brittania in an oval surmounted by a crown). On this sheet, Goodspeed wrote below the manuscript, This (with the previous pp.) is a rhymed version of passages from chapter II of The Monastery (first edition), vol. 1, 182[(?)] / CEG 19[(?)] (my emphasis; part of the note lost with trimmed, burnt edges of the mounting sheet). Since Goodspeed apparently counted pages or rectos and versos of sheets, Goodspeeds pp. might have referred only to the ink manuscript (come on good horse), which remains extant, and not to that manuscript plus another unknown one; but, if so, he would have erred in identifying both the ink manuscript and the pencil draft as versifying chapter two of Scotts novel, for the ink manuscript is taken from chapter three.
	The problem is not clarified by comparing Goodspeeds records with Wedderburns. Wedderburns table of contents included with MS IA lists three sheets of Very early MSS., starting with come on good horse--this entry certainly referring to the first, ink manuscript of The Monastery but also to two other unnamed items, whether he means manuscript sheets (recto and verso) or sheets used to mount manuscripts. Wedderburns other two items may have been Goodspeeds two sheets (4 pp.) of pencil manuscript of The Monastery, again pointing to a presently missing second sheet. But, again, the Library Edition specifies 80 lines, which are presently accountable in two manuscripts. (Goodspeeds Cat. fails to mention the total number of lines in either his 2 pp. or his 4 pp. manuscripts, just as, annoyingly, the Library Edition fails to mention the number of sheets.)
	Thus, in summary, inconclusive evidence points to a missing sheet of Monastery draft--Wedderburns third sheet, or Goodspeeds two more pages. To identify that missing sheet, we might look to manuscript, not of The Monastery, but of The Constellations, b below. This item, however, raises problems of its own.
	b) Also in the Yale folder labeled The Monastery is a 12.5  20-cm folded sheet, written on all four sides in pencil, beginning Orpheus and bootes now. This is partial draft of The Constellations, no. 21, which survives in other copies. This manuscript is pasted onto a sheet that, like the mounting for the ink Monastery manuscript, is watermarked [(?)]ETOWGOOD FINE and is slightly charred.
	The Library Edition mentions The Constellations as having been bound in MS IA following The Monastery (Works, 2:530), and one might suspect that here is the third item in Wedderburns table of contents as well as Goodspeeds additional Monastery manuscript, which he misidentified; and, indeed, this draft of The Constellations does physically resemble the pencil draft of The Monastery. But this solution founders, since, first, the folded sheet comprises four pages, not Goodspeeds two; second, Goodspeed does separately itemize The Constellations as following both the ink and the pencil Monastery manuscripts (Cat., item 79.A.3). Compounding the mystery, Goodspeed describes a 6 pp. manuscript, not a four-page folded sheet, suggesting that a single sheet (i.e., 2 pp.) is presently missing from this poem, as well.
	Wedderburns table of contents included with MS IA fails to list The Constellations altogether, unless he included it among the three items of Very Early MSS.; that is, Wedderburns 1-3 may correspond to Goodspeeds item 79.A.1-3 if Wedderburn counted the ink manuscript of The Monastery as one item, the pencil manuscript as a second, and The Constellations as a third. In both Wedderburns table of contents and Goodspeeds Cat., these items are followed by Papa whats time. But, as already explained, Goodspeeds page count cannot be reconciled with the extant manuscripts. Moreover, why does Wedderburns table of contents list Papa whats time as a fifth item, skipping over a fourth enumeration? Could Wedderburns 1-3 have referred only to the individual sheets of The Monastery, including the now missing sheet, while the skipped fourth item in his list was The Constellations? Owing to the sketchiness of Wedderburns manner of describing the contents of MS IA, one returns to Goodspeeds Cat. as the more accurate description when MS IA was still bound, and this description clearly indicates a sheet of The Constellations that, like a sheet of the The Monastery, cannot presently be accounted for.
	In Viljoens transcription of The Constellations (from the MS III version) among her papers at the Morgan Library, she points to the line Orpheus and bootes new [sic] and remarks, Here begins version in Goodspeed ms.; that is, the MS IA version begins at line 27 of the complete poem as fair-copied in MS III--and the manuscript does appear fragmentary--and carries through to the end. Viljoens gloss suggests that a sheet (perhaps containing draft of the opening 26 lines) may have been unavailable to her, as well as to us (HGVP, box F.X), which may tend to confirm that nothing has been lost or misplaced at least since MS IA arrived at Yale (see Description above; Viljoens transcription is undated, but she had been steadily transcribing Ruskin material since the late 1920s and probably examined the Goodspeed collection not long after it came to Yale in 1942).
	As discussed in the note to no. 21, Lancaster holds two photographs (one of the front and one of the back) of another manuscript of The Constellations different from the extant Yale manuscript, a photograph that was made in the course of compiling the Library Edition. The existence or location of the original of this manuscript is unknown, but it was clearly intermediate between the MS IA draft and the MS III fair copy: it showed a printed fair copy of the MS IA draft version, with longhand revisions that were carried into the MS III version. The lost intermediate fair copy tends to support the probable loss of Constellations material from MS IA, since the photograph shows orpheus and bootes now as line 27, proving that draft of the first 26 lines must once have existed.
	Could the photograph show the lost IA manuscript itself? The photograph reveals what looks like a binding behind the perimeter of the manuscript. If this was the red-cloth, thin folio of the early descriptions of MS IA, the photograph must significantly have reduced its actual size (as compared, for example, with the paper for Wedderburns table of contents, which is larger). Even if the photograph reduced the original, however, it still fails to resolve the mystery. Instead of the presumably missing two pages, or unfolded single sheet, of The Constellations, the photograph shows a folded sheet (i.e., 4 pages, although the manuscript itself is unnumbered), with the poem fair-copied on 1r-v and revisions scrawled on 2r-v. The sheet appears to have been laid open flat against some sort of backing and photographed, first, from the front (showing pp. 4 and 1) and, second, from the back (showing pp. 2 and 3). Photographed in this manner, front and back, the manuscript cannot have been bound permanently along its fold. If the manuscript had been bound, the photograph would show, first on the left, the back page of an unrelated manuscript, and then on the right, the first page of The Constellations, followed by the inside spread of the poem. That this is not the case is proved by a revised line of the poem, which was begun on p. 3, being finished on p. 4, the page to the left of p. 1 in the photograph.
	Of course, the folded sheet shown in the photograph could have been bound afterward in MS IA. In that case, in order for Goodspeed to arrive at the six pages mentioned in his Cat., he would have to have counted, along with the four-page draft extant in MS IA, only the two pages of fair copy on the folded sheet in the photograph, ignoring the revisions on pp. 3-4. This seems to me improbable, since, while Goodspeed might have ignored blank pages (see, e.g., c below), he would not have discounted draft revision.
	c) A copy of Papa whats time a figure or a sense (no. 4, as reprinted and described in RFL, 150-51) is a 12.5  20-cm folded sheet. It is listed as following The Constellations in Goodspeed, Cat., item 79.A.4, and in Works, 2:530; and the title occurs following the first entry, Very Early MSS., in Wedderburns table of contents. Goodspeed describes 2 pp. in pencil, rather than the expected four pages, presumably because p. 1v is blank, and 2v holds only the superscription described in RFL, 150 (headnote). The manuscript is undamaged by fire and lies loose in the Yale folder Early Poems IA. 
	d) All descriptions (Goodspeed, Cat., item 79.B; Works, 2:530; Wedderburns table of contents for MS IA) place Bosworth Field (no. 69) following c above. The 19  11.5-cm fair copy is undamaged by fire and lies loose in the Yale folder Early Poems IA. Like c above, the manuscript is a presentation copy, a folded sheet with ink fair copy on the facing inside spread. Both blank outer pages are used for addresses: on one, For my Papa / from J. Ruskin / 1 January 1830 / Age 10 years; on the other, For my Papa and, in John Jamess hand, Aged 10 years / 1 Jany 1830. Accordingly, in their dated list for MS IA (Works, 2:530), Cook and Wedderburn correctly ascribe the poem to late 1829--that is, composition in late 1829 for New Years presentation.
	e) Goodspeed, Cat., item 79.C, cites Poems--Vesuvius, Trafalgar, The Yew and Death--a similar MS. to the foregoing [i.e., Bosworth Field, d above]. 8 pp. For [sic] my Papa February 8th 1830.--by J. Ruskin aged 11 years this day 8 Feby 1830. Goodspeed has associated the four poems (8 pp. total) with a cover sheet for an unnamed presentation poem, inscribed by Ruskin To my Papa / February 8th 1830, and annotated by his father by J. Ruskin aged 11 years / this day / 8 Feby 1830. This cover sheet, like the four sheets (8 pp.) containing the poems, lies loose (and undamaged by fire) in the Yale folder Early Poems IA. Almost certainly, only Vesuvius, Trafalgar, and The Yew (nos. 70-72) belong with the cover sheet, while Death (no. 73) should be separated from the group.
	Vesuvius, Trafalgar, and The Yew are fair-copied successively on both sides of three 20.5  12.5-cm sheets identical to the cover sheet. When the folds and torn edges are matched up, the cover proves to have followed the last poem, The Yew, with the address on the outside. This physical evidence is confirmed independently by the February 1830 dates ascribed to Vesuvius and Trafalgar, nos. 70-71, by Ruskin himself in their MS V copies.
	The fourth poem, Death (no. 73) probably does not belong to this group, since it is copied on a separate sheet of a slightly different size (19.75  12.5 cm), different watermark (J WHA[(?)] / TURKE[(?)] / 18[(?)] as compared to HOLDSWORTH / & / PHILLIPS used for the other three poems), and unmatching horizontal folds. This copy of Death should be dated, rather, by its MS V copy, which Ruskin assigned to March 1830. It is true, however, that the lettering style for this presentation copy is very similar to that for the other three poems, as well as for Bosworth Field, d above.
	The early editors, as so often, contribute only obfuscation. In Works, 2:530, the editors group together Bosworth Field, Vesuvius, Trafalgar, and The Yew under 1829, and they assign Death alone to 1830, apparently pairing Death with the cover sheet. This would be the least probable grouping. The 1 January 1830 (composed 1829) Bosworth Field manuscript has nothing to do, physically, with the other manuscripts, and the other poems are independently ascribable to 1830, not 1829.
	Wedderburns table of contents for MS IA does properly distinguish between Bosworth Field, Death, and the trio Vesuvius, Trafalgar, and The Yew as three separate items. His sketchy description does not mention the 8 February 1830 cover sheet, much less whether it might still have been physically attached to the trio of poems at this time. It is possible, however, that his cryptic 7-10 for Vesuvius, Trafalgar, and The Yew included the cover sheet to make a total of four sheets. 
	f) All descriptions (Goodspeed, Cat., item 79.D; Works, 2:530; Wedderburns table of contents for MS IA) list My Fathers Birthday for 1833 (The month of May, the month of May, no. 178), which is in the Yale folder Early Poems IA. Goodspeed describes the manuscript as 1 pp., 4to--i.e., two 20  25-cm sheets, one of them taken up by the poem on its recto and its verso, and the other devoted only to the address To my Father / 10th May 1833. The sheets, burned on the left and right edges, are enclosed in plastic.
	Burd ascribes his printing of the poem (RFL 277-78) to RMS I (i.e., MS XI), but I have been unable to locate a copy of the poem either in that volumes table of contents or in the volume itself. I would assume, therefore, that Burd has confused MS XI with MS IA, except that his printing shows a few slight variants from the MS IA copy. These may be errors or carry-overs from the Library Edition printing.
	g) The parts of Account of a Tour on the Continent, no. 180, as they were described in earlier accounts of MS IA, all appear to be extant, either in the folder Early Poems IA or elsewhere in the box Miscellaneous Manuscripts. In the folder IA are two sheets (20.2  25.2 cm) containing copies (perhaps draft or semifinal copy) of the first five poems (without their prose sections) of no. 180, in the order those poems appear in the fair copy, MS IX. Ruskin numbered the lines of these poems sequentially--that is, without starting his numbering anew with each poem--showing that he had established their order for the fair copy in MS IX. The first of these two sheets contains the following:
Calais (poem only, lines numbered by Ruskin 1-24, complete as fair-copied in MS IX; copy in John Jamess hand).
Cassel (poem only, untitled in manuscript, lines numbered by Ruskin 25-51, i.e., lines 1-27 as fair-copied in MS IX; copy in John Jamess hand from line 25 to 42, and in Ruskins hand from line 43 to 51 [i.e., Ruskins hand starts with the ecclesiastical procession, While far beneath in long array, etc.).
A key for a code, nearly every letter of the alphabet represented by a code symbol (not employed in any known manuscript; see no. 99), at bottom of recto and in Ruskins hand.
As noted, this sheet is largely in John Jamess hand. It must therefore be Goodspeed, Cat., item 79.E, Calais. (MS., 2 pp., 4to, in the hand of Ruskins father), although the dealer is incorrect to ascribe the copy to John James entirely. By 4to, Goodspeed means the large size of the sheet. Although only slightly darkened by fire on one edge, the sheet is enclosed in plastic.
	The second sheet of this manuscript resumes Cassel and includes three more poems:
Cassel (poem only, lines numbered by Ruskin 52-62, i.e., lines 28-38 as fair-copied in MS IX).
Lille (poem only, lines numbered by Ruskin 63-112, i.e., complete as fair-copied in MS IX).
Brussels (poem only, lines numbered by Ruskin 113-73, i.e., complete as fair-copied in MS IX).
The Meuse (poem only, written sideways in the margin, front side of the sheet, i.e., the side with Cassel and part of Lille; complete as fair-copied in MS IX).
This second sheet is entirely in Ruskins hand. It must be Goodspeed, Cat., item 79.G, from which he quotes eight lines of the poem Lille, and which he describes identically to item 79.E above as 2 pp., 4to. This sheet is more seriously damaged than its mate and is enclosed in plastic.
	This second sheet is what Wedderburn lists as Lille, The Meuse &c in his table of contents, while the first sheet must be represented by one of the items in the entry Calais &c (2 items). As I remarked above (Description), however, the penciled gloss (2 items) appears to be Goodspeeds.
	In a separate folder in the Yale box and labeled Calais, more material from no. 180 is fair-copied on a folded sheet, 12.6  20.2 cm. This is Goodspeed, Cat., item 79.F (Prose and verse--Calais, Passing the Alps, Milan Cathedral, Andernacht and St. Goar--4 pp.), and presumably the second of the (2 items), according to the notation next to Calais in Wedderburns table of contents. (Wedderburns description Calais &c. could fit either of the two sheets starting with Calais, prose or verse, with the &c. standing for the other poems on the respective sheets. His ascription of the single digit 13 to the item(s) is as obscure as his other enumerations.) This small folded sheet escaped fire damage, as did other manuscripts of its size in IA.
	Ruskin numbered lines of poetry on this manuscript, as well. It consists of the following:
Calais (prose only, complete as fair-copied in MS IX).
Passing the Alps (poem; lines numbered by Ruskin 324-59; a unique copy of this poem, neither fair-copied in MS IX nor drafted in MS VIII).
Milan Cathedral (poem; lines numbered by Ruskin 360-77; a unique copy, neither fair-copied in MS IX nor drafted in MS VIII).
Andernacht (poem; lines numbered by Ruskin 378-403; complete as fair-copied in MS IX and printed Works, 2:354 n.--i.e., not the main copytext used for Works, 2:353-54, which is from a later revision of Andernacht).
St. Goar (poem; lines numbered by Ruskin 404-29; complete as fair-copied in MS IX and printed Works, 2:359 n. 1--i.e., not the main copytext used for Works, 2:359-60, which is from a later revision of St. Goar).
This copy of selected prose and verse--like the two sheets containing the poems Calais, Cassel, Lille, Brussels, and The Meuse--probably dates from relatively early in Ruskins project, no. 180, since Andernacht and St. Goar were later revised, perhaps sometime in 1835, for publication in Friendships Offering (see note to no. 180).
	h) Goodspeed, Cat. (item 79.H) and Works (2:530) list Ruskins 1834 birthday address to his father, no. 192, together with The Crystal Hunter, no. 188. Wedderburns table of contents for MS IA is more ambiguous, but he probably means to include both poems under the entry To his father. Birthday ode 1834 since, in the presentation copy itself, The Crystal Hunter begins on the verso of the prefatory address My Dearest Father. (In MS VIII, however, no. 192 is headed differently as The Address and drafted separately from no. 188.)
	Goodspeed cites 3 pp. for this manuscript, an error that seems unaccountable except as a confusion with j below, which is fair-copied on the same size paper. The 1834 poem is fair-copied on four 25  20-cm sheets (i.e., 8 pp.), badly charred on the top and bottom edges and sealed in plastic, and contained in the Yale folder Early Poems IA. The sheets are written on seven sides and numbered 1-7 by Ruskin, with the final page left blank except for To my Father. On p. 7, there is a notation, almost obliterated by the burnt edge, [Johns(?)] poetry / May 1834.
	This birthday poem marks a departure from Ruskins earlier method of fashioning presentation copies, which was to fold a single sheet sideways to form a small (approximately 12  20-cm) pamphlet. Here, two columns of text are written on a full sheet broadside, and two more on the verso broadside. The text on the verso is written upside-down to the text on the front, so that, when the sheet is flipped over, the text still appears right-side-up. These more spacious presentations become the rule after the mid-1830s.
	i) Twelve months all rolling round have past, no. 164, is listed in all descriptions: Wedderburns table of contents for MS IA; Goodspeed, Cat., item 79.I (as another birthday poem to his father, 4 pp., undated); and Works, 2:530. The poem is untitled and undated but listed as 1831 in the Library Edition. Like other items of its size in MS IA, it was unaffected by fire.
	When this manuscript is compared against Ruskins ode for his fathers birthday of 1831, bound in MS XI (see Content, g), the two manuscripts can be seen to match in every particular: they are both 20  12.3-cm folded sheets of light blue-green paper, display the same copperplate hand (Ruskins fancy scripts can vary, but the capital letters in these two manuscripts are clearly imitated from the same source), and even match up in their horizontal folds.
	Obviously, when the MS XI manuscript declares at the bottom of 1v that I here do beg to give you an ensample, the reader is meant to look for the ensample at the top of the folded insert--i.e., what is now the MS IA manuscript--which begins Twelve months all rolling round have past. In his printing of the MS XI ode, Burd breaks off with I here do beg to give you an ensample but remarks in a note that the draft in MS VIII extends beyond this line, adding fifty-four lines to illustrate both the comic and flowery styles of poetry and that these additional lines begin Twelve months all rolling round have past (RFL 256). The fair copy of those lines (albeit with revisions from the MS VIII version) became separated from the fair copy of the poems opening.
	For the relation between Ruskins birthday odes to his father for 1831 and 1832, and for prior confusion over dating of these odes, see nos. 118a and 164.
	j) All descriptions (Goodspeed, Cat., item 79.J; Works, 2:530; Wedderburns table of contents for MS IA) list Ruskins 1836 birthday poem for his father, Congratu-- (no. 231). Goodspeed describes this manuscript as 3 pp., 4to.--correctly, if he was counting sides of sheets, as usual. The text is written on three sides of two 20  25-cm sheets, with the fourth given to the address To my Father / May 10th 1836. Like h above and unlike birthday presentation poems of earlier years, Congratu-- is written out using the full sides of sheets, not half-pages pamphlet style--only here, the text is written top to bottom, not broadside as in h. With their left and right edges charred, the sheets are enclosed in plastic and contained in the folder Early Poems IA.
	k) All descriptions (Goodspeed, Cat., item 79.K; Works, 2:530; Wedderburns table of contents for MS IA) list Mont Blanc. This 19.7  13.2-cm sheet, written on both sides, is correctly noted in all accounts as a transcription in Margaret Ruskins hand. Although the Library Edition declares this the only complete copy (Works, 2:468), the manuscript can only be deemed longer than the MS VII version, not necessarily complete, since the writing extends top to bottom on both sides of this torn half-sheet. For speculation about the poems dating, see Undatable Pieces, B. The manuscript is not damaged by fire and lies in the folder Early Poems IA.
	l) All descriptions (Goodspeed, Cat., item 79.L; Works, 2:530; Wedderburns table of contents for MS IA) list Athens (no. 135), a 19.7  12.2-cm folded sheet. None of the descriptions mentions the handwriting, however, which appears to be Margaret Ruskins. The title and one correction are in pencil (possibly Ruskins own hand), the stanzas in ink (Margarets hand?). The copy contains only seven unnumbered stanzas of this much longer, although unfinished, poem; but, since the manuscript is written on only three sides, it may represent all that had been composed at the time of its transcription. If so, Goodspeed (Cat., item 79.L) and Cook and Wedderburn (Works, 2:530) are correct to attribute this manuscript to 1831, while the entire poem should be dated 1831-32, as Cook and Wedderburn correctly note (Works, 2:537). For complete information on dating, see no. 135. This manuscript is undamaged and lies loose in the folder Early Poems IA.
	m) All descriptions (Goodspeed, Cat., item 79.M; Works, 2:530; Wedderburns table of contents for MS IA) list A Visit to the Hospice of St. Bernard (no. 209). The manuscript consists of 12 sheets, 19.5  25 cm, watermarked 1834, with the pages numbered 1-24 by a hand other than Ruskins. The text is neatly disposed on hand-ruled lines. This fair copy, as the Library Edition remarks, goes no further than the opening of Scene 5 (Works, 1:505 n. 1); specifically, p. 24 ends with the phrase torrent of the Drance, whose dark waters have worn. Since this phrase extends to the bottom right corner, further fair copy could have existed, although the extant draft in MS VIII continues only through some portion of scene 6. The sheets of the fair copy are charred on the left and right edges, and encased in plastic. The ink is badly faded, especially from p. 8 to the end. The sheets are contained in the folder Early Poems IA.
	n) All descriptions (Goodspeed, Cat., item 79.N; Works, 2:530; Wedderburns table of contents for MS IA) list A Scythian Banquet Song (no. 259). Goodspeeds description of 4 pp. must be revised to take account of fire damage. Of the 4 pp.--or two 19.5  25-cm sheets (one watermarked 1837) written on both sides, now in the folder Early Poems IA--one sheet has been separated at its fold into two 19.5  12.5-cm sheets, so that the manuscript is now encased in a total of three plastic sleeves. The manuscript suffered especially intrusive charring, costing some lines at the top and bottom of the sheets, which have been trimmed in places.
	The manuscript holds only the first 16 stanzas of the 27-stanza poem, presented in the manner of h above--the stanzas written in two columns broadside and continued in the same style on the verso. All four sides of the original sheets are filled, suggesting that this fair copy could have once continued onto further sheets, but Goodspeeds 4 pp. indicates that only these two sheets were included in the bound MS IA. Wedderburn, in his table of contents, enumerates the manuscript as 24.25., as if it consisted of two sheets, but his meaning is obscure, since he does not so designate other manuscripts consisting of multiple sheets. The Library Edition fails to clarify whether the MS IA copy, as the editors knew it, was complete (Works, 2:57 n.).
	The manuscript is early enough to record a change in title, <Th> A Scythian <Drinking Song> Banquet Song, and the headnote differs from the published version: The taste of the Scythians <if we ma> in household furniture if we may trust to Herodotus was somewhat peculiar: their drinking cups for instance, being generally the skulls of their enemies (cf. Works, 2:57). A few minor changes in wording (e.g., <darkness> silence, and <waves> breeze, in the final lines of stanzas 1 and 7, respectively) are accounted for in the published text. Otherwise, the manuscript is neatly written, perhaps too neat to be the original draft that, as appears from letters to W. H. Harrison, was composed in a single day, before March 1838 (Works, 2:57 n. 1). Note that, in another letter to Harrison of 1 August 1838, Ruskin still entitles the poem a Drinking Song (Works, 2:69), so the MS IA copy--or at least the revisions on this copy--may date from after that time.
	o) All descriptions (Goodspeed, Cat., item 79.O; Works, 2:530; Wedderburns table of contents for MS IA) list The Broken Chain, no. 245a. This is a 21  13.5-cm, 16-page sewn booklet, with pp. 2-10 numbered by the original hand and with pp. 11-16 left blank and uncut. This fair copy, which is in John Jamess hand, contains only stanzas 17-26 of part V; however, nothing has been lost from MS IA, since Wedderburns table of contents specifies Stanzas 17.26, and both Works (2:530) and Goodspeed, Cat. concur. The manuscript is undamaged by fire and lies loose in the folder Early Poems IA.
	p) The 1832 prose translation of the Iliad, misdated as 1842 by Cook and Wedderburn (Works, 2:530; see no. 160a), is contained in the MS IA folder. This is a fair copy on six 31.5  19-cm sheets; each sheet was folded once vertically, so the sheets could be assembled as a quire, forming a booklet with 16  19-cm pages, each page holding two vertical columns of text. The paper is hand-ruled and the text obsessively neat, resembling (except in its double-column format) the Sermon Books, MSS IIA-E.
	In its present condition, the quire has been separated into individual sheets, each sheet laid flat and enclosed in clear plastic, owing to fire damage. Thus, each sheet consists of four pages. Since neither the pages nor the sheets are numbered, the following list conjecturally orders them. The pages are identified by their first and last words:

Sheet 1 (p. 1, Now tell through Argos far; p. 2, from her through hecatombs un; pp. 23-24, blank).
Sheet 2 (p. 3, paid through dark; p. 4, eyed through me that; pp. 21-22, blank).
Sheet 3 (p. 5, the value through much more; p. 6, than thee through the dark-; pp. 19-20, blank).
Sheet 4 (p. 7, eyed through orator of; p. 8, whom through not me; p. 17, ed words through of ten [end of fair copy, column left incomplete, with 127 (i.e., line 129) in pencil and in Wedderburns hand added at end]; p. 18, blank).
Sheet 5 (p. 9, and I will through left to me; p. 10, to turn through Greeks took; p. 15, the Greeks through and spoke; p. 16, Hear me through with wing).
Sheet 6 (p. 11, to Chryses through with the; p. 12, hecatomb through ascen-; p. 13, ded soon through of the Greeks; p. 14, Then answered through ships of).
None of the manuscript is missing, since Wedderburns table of contents and Works 2:50 specify the translation as extending only to book 2, line 127. Goodspeed (Cat., item 79.P) describes 16 pp., double column, an odd way of counting since he includes only the full double-column pages, omitting p. 17 with its single incomplete column.

MS IB
	PML (MA ?). Date of composition 1829, possibly continuing into later years.

Provenance
	Sharp. In one of his few remarks about provenance in his notes on his collection (PML MA 3451), Sharp comments that Mrs. Severn--Joan Severn, Ruskins cousin--paid 105 for [MS IB] at Sothebys. This is somewhat inaccurate, as J. S. Dearden informs me. At the time of Margarets death in 1871, Ruskin gave MS IB to his valet, F. Crawley, and it passed in turn to Crawleys son-in-law. It next emerged in a Sothebys sale catalog for 3-8 December 1900 (lot 1015) but was bought privately, prior to the sale, by Joan Severns husband, Arthur, for 105, thus returning MS IB to Brantwood. These circumstances account for the comment in the Library Edition that the existence of [MS IB] was not known at Brantwood till after Ruskins death, and therefore was omitted from the list in the Poems, 1891 [PJR] (Works 2:530 n. 2).
	MS IB differs from the other manuscripts possessed by Joan--MSS VII, IX, X, and XA, which contain the major tour poems, and which were given directly to her by Ruskin. Perhaps her affection for MS IB is explained by its association with Grimms German Popular Stories, illustrated by Cruikshank. In 1869, Ruskin published a preface to a new edition of this book (Works, 19:231-39), and Joan owned a copy inscribed by Ruskin (Adams Collection, 315-16).
	Subsequently, the manuscript was not included in the Sothebys sales of 1930-31, so either it was sold before or during the Brantwood dispersal sale to a local dealer and then to Sharp, or it was acquired by Sharp directly from Brantwood or from Violet Severn.
	The interesting questions concern the familys share in the fate of MS IB between 1871 and 1900. Why would Ruskin have singled out this manuscript as a remembrance of his mother for his valet? The remembrance was not necessarily a wholly fond one, since in Ruskins youth the manuscript could have represented Margarets reservations about the value of her sons creative activity. In 1831, anxious to stop his rhyming, Margaret begged him to turn to something else to take exercise[,] copy Crookshanks [sic] &c &c (RFL 224). She was evidently more comfortable with Ruskin obsessively copying George Cruikshanks illustrations for German Popular Stories (see no. 35) in MS IB than with more original poetic invention. If such memories still rankled Ruskin after his mothers death in 1871, he would at the same time have been capable of sanitizing his memories of his mother by praising her standards of discipline--the self-control that she enforced by ordering her son to copy, rather than to invent. The gift to Crawley could well have represented Ruskins mixed feelings.
	Also interesting is the 105 that Joan Severn paid for the manuscript in 1900, an extraordinary sum when one compares the 260 paid for twelve juvenile notebooks in 1930. Perhaps in the year of Ruskins death, expectations about the value of his manuscripts were higher, and Joan--her sentiment, one may speculate, fed by indignation that a gift to a valued servant should have turned up on the market at any price--was willing to pay a substantial sum.

Description
	Handmade book from unruled plain paper, afterward professionally bound in green leather with greenish marbled boards, 17.8  11.5 cm. (This binding, which existed in 1900, may have been added at any point during the 70 years prior to the Sothebys listing.) Title page: THE PUPPET SHOW / OR / AMUSING CHARACTERS / FOR CHILDREN / WITH COLORED PLATES / BY JOHN RUSKIN / 1829. For the title page, titles of sections, and some initial letters, Ruskin employed the taxing double letter print mentioned in no. 33.
	Following binders flyleaves, 30 original leaves (approximately 17.4  10.5 cm), consisting of the unnumbered title page with Introduction on its verso numbered by Ruskin page 1; the following recto and verso--for figure I, George of England--are numbered pp. 2 and 3; and, from p. 4, sequential numbers are assigned only to the rectos, with the versos ignored (i.e., for Ruskins pp. 4-31, one should read pp. 4r-v--31r-v). Ruskin gives page 28 twice, but compensates by skipping a p. 29. In addition to this page numbering, Ruskin also numbers the figures sequentially. See list of figures in no. 35.

Content
	No. 35.

MS IC
	Bem MS 88. Date of composition ?.

Provenance
	?

Description
	Commonplace book used jointly by John and John James (under [C] below, the hand of the copyist is indicated by JR or JJR). Full calf notebook, 182  110 cm. About half of the unnumbered pages have been used. Paper watermarked J. Wha[...(?)] 180[...(?)].

Content
	Elegy in a Country Churchyard [sic] (by Gray; JJR; missing the closing epitaph); The Passions (by Gray; JJR; missing the closing apostrophe to music, lines 95-118; Grays full title, The Passions: An Ode to Music not spelled out);

MS II
	Yale (in slipcase Harry & Lucy, Poems &c). Date of composition autumn 1828 through spring and probably summer 1829.

Provenance
	Sothebys 1930.

Description
	Homemade book of plain paper, no cover; approx. 10  16.3 cm; 16 unnumbered leaves; paper watermarked 1825. Dated in unknown hand (1828-1829); entitled Vol 1 by Ruskin in childhood. Script is pencil and ink longhand, varying in control from neat to a wild scrawl; nowhere does Ruskin use his fancy print or copperplate hands. Misdated first half of 1828 by Collingwood (PJR (1891, 1903), 1:263).
	The booklet was later enclosed in a paper cover that, like the inside covers of the Red Books, has pasted on it a clipping from PJR describing MS II, along with brief remarks, possibly in Wedderburns hand. As remarked by this annotator, the cover formed no part of the original booklet.

Content
	a) Drafts for poems, nos. 28 (1r-1v), 29 (1v-2r), 30 (2r), 31 (2r).
	b) Draft for lines 122-62 of the first book of Eudosia, no. 27 (2r-2v).
	c) Draft for Harry and Lucy, no. 32 (3r-3v).
	d) Draft for poems and sermon reports, nos. 36 (partial draft, 3v), 37 (4r), 36 (remainder of draft, 4r), 40 (4r), 41 (4r-5r), 42 (5r), 43 (5r-6r), 44 (partial draft, 6r-7v), 45 (7v), 44 (remainder of draft, 8r-9r).
	e) Draft entitled a letter (9r-9v). This brief fragment of a conclusion to a letter--printed from this source in RFL (170)--has been misidentified and misdated as part of a presentation for John Jamess May 1828 birthday. In fact, it is almost certainly draft for the conclusion to a presentation to John James one year later, a May 1829 birthday letter that has been printed from its fair copy (RFL 200).
	f) Poem fragments, nos. 58 (9v), 59 (9v-10r).
	g) Draft for Eudosia, no. 27, book I, lines 100-104 (on lily of valley), lines 163 to end of book I (on white lily, peony, laurel, and oak), and variants of opening four lines of book II (on pine, not designated as book II here in MS II) (10r-14v).
	h) Poem fragment no. 60, probably intended as continuing revision of no. 44 (14v-15r).
	i) Undated letter to Mrs. Monro that refers to Mary Richardson and Ruskin noting down the Reverend Edward Andrewss sermons in a book at home, i.e. MS II itself--an activity that can be identified with the first quarter of 1829 (15v-16v).

MSS IIA, B, C, D, E. PML (MA 3451; books A, B, D, E) and Ruskin Museum, Coniston (book C, now replaced by a photocopy and the original deposited in Cumbria Record Office, County Offices, Kendal, Cumbria). Date of composition largely late 1832, 1833, and probably into 1834.
	A. Provenance. See above, introduction to Appendix A.
	B. Description. These handmade books, the so-called Sermon Books, bear no title by Ruskin except for the titles he gave to the individual sermons (a paper cover to book A reading Sermons Written by Ruskin as a Child is in an unknown hand, perhaps Ladd-Thomass). All books roughly 15.5  9.5 cm, except for slightly larger blank covers on some books; all except IIE constructed of sheets folded in half and hand-sewn and written in black ink. MS IIE, once sewn, now consists of loose sheets containing both ink fair-copy holograph and rough draft in pencil. Beginning with 3v of IIA and continuing throughout all the booklets, the ink script is justified--that is, a line is ruled in pencil down the right and left margins, about 1 cm from the edge, and the script is kept carefully within the lines to mimic printed text. Ruskin left no top or bottom margins.
IIA. Fifteen unnumbered leaves, with the sixteenth leaf cut away; text begins 1r, ends 15v; no cover. Despite the missing leaf, sermon 5, which is divided between IIA and IIB, reads uninterruptedly.
IIB. Twelve unnumbered leaves; text begins 1r, ends 12v; paper cover, identical to folios only slightly larger. On several leaves and the outside back cover, a penciled draft is visible, usually erased and lightly visible beneath the ink script but sometimes remaining intact and upside-down to the finished text.
IIC. Ten unnumbered leaves; text begins 1r, ends 10v; stiff blue cover, once sewn to text leaves but now loose, and larger than text leaves by 1 cm each way.
IID. Sixteen unnumbered leaves; text begins 1r, ends 16v; stiff brown cover, larger than text leaves by 1 cm each way.
IIE. Consists of loose leaves and folios, a few of which show evidence on left margins of having once been sewn, containing both fair and rough copy, as follows: 
(a) Fair copy of sermons XVII (conclusion continued from MS IID), XVIII, XIX, and XX (beginning only), consisting of cover with four leaves. Cover.--Front or back only, other half having been cut away; identical to text leaves; on recto, rough pencil geometry diagram; verso blank. Text.--Ink fair-copy holograph; text begins 1r, ends 4r with 4v blank.
(b) Pencil draft, labelled by Viljoen Sermon [XX and] XXI in rough draft, but Ruskin himself provided no headings and no direct indication of the proper order of these pieces. Their physical characteristics are as follows (n.b.--these may need reordering eventually): (b.1) One leaf, recto beginning 1. draws out the duties, verso blank. (b.2) One folio, watermark 1832; 1r beginning Deuterony [sic] 30.19; 1v blank except a little watercolor of an amalgam of cubes, perhaps a crystal; 2r beginning We are like the seed; 2v, likely continuous from 2r, beginning would obey him. (b.3) One leaf, recto beginning Deut. 28-1, verso blank. (b.4) One folio, 1r beginning Now what is life; 1v, rough geometrical diagram; 2r beginning Provision for intercourse; 2v blank. (b.5) One leaf, 1r beginning The only difference, 1v blank except for meaningless doodles.
	C. Content. With the exception of some pencilled Euclidean diagrams, the booklets consist entirely of what Viljoen called The Sermons on the Pentateuch, nos. 170, 174-75, 182.
	D. Remarks. Misdated autumn 1831 into 1832 by Viljoen and by Burd, following Viljoen, in Ruskins Testament. The dates of the Sermon Books are based on the positions of rough drafts of sermons relative to other dateable material in the Red Books and on the proximity of both rough drafts and fair copies to Euclidean exercises, which are independently dateable. The conclusions in Appendix B concerning the dating of portions of the Sermon Books can be summarized as follows: A benchmark of early 1833 is established for the draft of sermon VIII in MS IVC by its position relative to mineralogy notes and its interleaving with Euclidean exercises (see nos. 173-74). If Ruskin drafted the sermons more or less sequentially and fair-copied them as he drafted (an inference supported by his fair-copying over top of erased draft in no. 170), the first six sermons would have been drafted and copied from late 1832 through early 1833, possibly wholly in early 1833. This date is confirmed by the manuscript bearing the closest physical resemblance to the Sermon Books, no. 160a, which was started in February 1832. Moreover, little other writing survives from late 1832 into 1833, suggesting that Ruskin was wholly engaged with the earlier Sermon Books (see no. 170).
	Sermons VII, IX, and X exist in draft, but no independent evidence establishes the date of those drafts; they can therefore only be assumed to be roughly contemporaneous with sermon VIII, early 1833 (see no. 175). After May 1833, Ruskin would have been distracted from working on the final third of the sermons by the familys first Continental tour and, following their return in late September, his composition of A Tour of the Continent. He could have carried on with the Sermon Books during the tour itself, just as the similarly handsewn fair-copy tour diary, no. 83, was manufactured during the Lakes tour of 1830. However, for reasons discussed in the note to no. 182, early 1834 appears likelier for the final third. Alongside their fair copies in MS IIE exist geometry exercises, and Ruskin does refer elsewhere to continued work on Euclid in early 1834 (see no. 173).

MS III
	Yale (in slipcase Harry & Lucy, Poems &c). Date of manuscripts composition autumn 1827 through early 1828, and about March 1829, but includes copies of pieces written earlier, in 1826.

Provenance
	Sothebys 1930.

Description
	Red book; 9.9  15.2 cm; consisting of title page (on inside front endboard) + frontispiece (1r) + pp. numbered by Ruskin (starting on 1v) as 1-82 (with p. 65 given twice) + inside back inboard. Some page numbers are corrected in ink over top of penciled numbers beneath. The page numbering may have been entered complete from the start, since, later in the book, writing crowds the number at the top of the page.
	Title page (inside front cover, ink and pencil): HARRY AND LUCY / CONCLUDED / BEING / THE LAST PART / OF / EARLY LESSONS / IN / FOUR VOLS / VOL 2 / WITH COPPER PLATES / [rule] / HERNHILL. Between the rule and HERNHILL, an annotation in Ruskins later hand, Red book No. 2. Sept 8th 1870. There is a rough box surrounding HARRY AND LUCY.
	1r (pencil): Drawing of harry going across the sea in a steamboat. Although not labeled as such, the drawing occupies the same position as the frontispiece to MS I. On the verso of this page begins the narrative.
	As in MS I, between the title page and 1r is inserted a page (not counted in the description of pagination, above) with a clipping from PJR describing MS III and containing a brief identification, possibly in Alexander Wedderburns hand. For this purpose, an existing page in MS III was not exploited; rather, a piece of paper was cut to size and inserted, as can be seen from how the leaf is pasted.
	As Collingwood remarked, Ruskin worked in differing parts of MS III at different times. A rough chronology of the notebooks use can be sorted out as follows. I incorporate and revise Collingwoods description, and Viljoens in Dating MSS. of Boyhood:
	a) As indicated by the itinerary in no. 20, and borne out by the ink print used for this volume of Harry and Lucy--for Ruskin did not use ink before late April 1827 (see no. 12), whereas the earlier MSS I and IVA are written entirely in pencil--he probably began this narrative during an autumn 1827 visit to Perth. (Likewise, MS I was probably started on the road during the previous years northern journey [see no. 3].) For Harry and Lucy and the poetry discriptive (b below), Ruskin copied the letters in ink over top of pencil, which remains visible beneath the ink. Pencil is still used for the plates (not for their legends, which are in ink), although the plates exhibit greater skill than those in MS I.
	Ruskin may originally have reserved three-quarters of this Red Book for Harry and Lucy, since later pages (pp. 36, 42) retain the penciled notes chap 6 and chap 7. No. 20 was never extended that far, instead ending with the unfulfilled promise, But I will put them on to scarthing moor in another chapter.
	b) At about the same time as Harry and Lucy--in a similar ink print and farther in the book, following the space apparently designated for the narrative--Ruskin entered the poetry discriptive (sic) (nos. 2, 12-19). Nos. 12-13 certainly were not composed much earlier than May 1827 (see no. 12), and their copies here occur among poems (nos. 15, 17) likely inspired by the Scottish journey recorded in Harry and Lucy.
	c) At the start of 1828, in a smaller, neater print, Ruskin briefly rounded out Harry and Lucy and followed it with poems (a section headed POETRY), as he had done in the first volume of Harry and Lucy, MS I. The poems include his most recent New Years ode as well as earlier New Years odes.
	d) By a year later, in early March 1829, Ruskin had returned to this Red Book to copy his versification of Scotts The Monastery (no. 46), for which he used the blank pages following the poetry discriptive until, running out of room at the end of the book, he continued the poem in blank pages just preceding the poetry discriptive.
	Viljoen believed she detected a steady sophistication in the script over the course of the four books of The Monastery; if so, Ruskin might have started the poem sometime in 1828, though he certainly did not finish it until early March 1829 (see no. 46). It seems to me unwise, however, to rely too much on handwriting for evidence of steadily increasing motor skills over a matter of months. Other circumstances besides practice can affect handwriting. All that can be confidently asserted is that the tiny ink hand (with no pencil outline beneath) for book 1 must be significantly later than the awkward ink lettering (over top of pencil) for poetry discriptive, which precedes The Monastery.
	e) At about the same time as The Monastery, around March 9, 1829, Ruskin responded to his parents criticism that he left projects unfinished, by using the blank pages after Harry and Lucy and the 1828 poems to copy several recent poems (see nos. 47, 53).
	f) The plates for Harry and Lucy would have been drawn at the same time that no. 20 was fair-copied, but other drawings in MS III cannot be dated with certainty. A drawing of Ragland Castle when newly built provides a terminus for the early 1828 section of poetry (c above), but, since the drawing is associated with the poem Ragland Castle in the earlier fall/winter 1827 poetry discriptive (b above), it may have preexisted the 1828 poems that run up to it.
	Two other drawings, one of a mountain landscape with a castle and a second of a bridge, may predate their surrounding group of 1829 poems (e above). No. 47 wraps around the first, and nos. 49 and 50 fall before and after the second. These drawings may be associated instead with the stray designations of chap 6 and chap 7 (see a above), which in both cases fall on the rectos preceding them.

	Content
	a) Volume 2 of Harry and Lucy, no. 20 (pp. 1-21), illustrated by a frontispiece (1r) and 3 plates (pp. 8, 15).
	b) Poems of early 1828 and earlier, nos. 21 (pp. 21-25), 4 (pp. 25-27), 22 (pp. 28-29), 23 (p. 30), 11 (pp. 31-32), 24 (pp. 32-33).
	c) Untitled plate that may have been intended to illustrate Harry and Lucy, no. 20, but that falls in the middle of no. 4 (p. 26; see no. 4). Broadside pencil drawing of Ragland Castle when newly built (p. 34; see no. 14); blank p. 35.
	d) Poems of March 1829 and earlier: no. 47 (pp. 36, 38), with notation chap 6 in pencil above poem in ink; broadside pencil sketch of mountain landscape with castle (p. 37, intervening between pages containing no. 47 and, therefore, probably predating that poem); nos. 28 (pp. 39-40), 48 (pp. 40-41), 49 (p. 41); blank p. 42, except for notation chap 7 in pencil; pencil drawing of a bridge and boaters on water beneath (p. 43); nos. 50 (pp. 44-45), 51 (p. 45), 38 (pp. 45-47), 52 (p. 47), 53 (pp. 47-48), 54 (p. 48), 55 (p. 48), 39 (pp. 48-50); blank p. 51.
	e) Books 3-4 of The Monastery, no. 46 (pp. 52-56 [bk. 3], 56-58 [bk. 4]); blank pp. 59-61.
	f) Poems of fall/winter 1827 and earlier, poetry discriptive (sic), nos. 14 (p. 62), 15 (pp. 62-63), 16 (p. 63), 13 (pp. 63-65[a], two successive pages being numbered as 65), 12 (p. 65[a]-65[b]), 17 (pp. 65[b]-66), 2 (pp. 66-68), 18 (p. 68), 19 (pp. 69-70).
	g) Books 1-2 of The Monastery, no. 46 (pp. 70-75 [bk. 1], 75-80 [bk. 2, ending go back to page 52 / END OF BOOK SECOND / HERN HILL / DULWICH).
	h) No. A, Undateable (p. 81). Page 82 blank, followed by inside back endboard, on which Ruskin wrote random words and letters, as if practising his lettering.

MS IIIA
	Yale (in slipcase Harry & Lucy, Poems &c). Date of composition December 1828; 1833-34.

Provenance
	Sothebys 1930.

Description
	Red book; 9.8  15.2 cm; 38 leaves (counting from Yale bookplate, and including final leaf or endpaper, which has been partially glued to back board), of which 2r-15r numbered by Ruskin as pp. 1-29; watermark 1823. The leaf 31r-v has been attached to 30v with tape, and a stub along the inside margin of 31v shows that a leaf has been torn out. Following 31v, the gathering 32r-37v is loose and could be missing outermost leaves.
	The inside front board is blank except for Yales bookplate and, unlike the other Red Books in the slipcase Harry & Lucy, does not have glued or tipped in a brief description of the notebook penned by Wedderburn(?) with a clipping from PJR. MS IIIA was never described by the earlier editors, however, neither in PJR nor in Works. Wedderburn, or whoever was responsible for slipcasing the juvenilia, was evidently content to include MS IIIA in the Harry and Lucy slipcase, where it logically belonged.
	Title page (1r): HARRY AND LUCY / CONCLUDED / BEING / THE LAST PART / OF / EARLY LESSONS / BY / JOHN RUSKIN / IN FOUR VOLUMES / VOL III / HERNHILL / DULWICH. On back of the title page (1v), Ruskin imitated a printed page of ERRATA.
	Unlike the Harry and Lucy narratives in MS I and III, this volume of the tale is written entirely in ink; however, this volume contains no plates, for which pencil had been reserved in MS III, even when the text was ink. Later in MS IIIA, the mineralogy notes and sermon draft are written in pencil.
	The pages following Harry and Lucy that are blank except for Ruskins page numbering (pp. 10-29) must have been intended for the continuation of the narrative, since Ruskin prepared the pages in the same way as pp. 1-9--i.e., with verticle rules in pencil near the inside and outside margins, serving as guides to justify Ruskins printing.
	Viljoen misdated MS IIIA as autumn 1828, 1829-30, 1832. The mineralogy notes, no. 172, are presumably no earlier than the note on payment for the Homer and for mineralogy articles, which precedes the notes written from the end of the volume. Payment for Homer must refer to translating the Iliad (no. 160a) in late February 1832: But Homer! I am happy to inform you, sir, that I have translated about 550 lines of the first book. . . . These however I do suppose are news to you extremely unwelcome--unwelcome owing to what John James will have to pay (RFL 268-69). The following mineralogy notes were entered considerably later, I believe, probably after December 1832 (see note to no. 172). Finally, following the mineralogical notes, the rough draft of the eighteenth Sermon on the Pentateuch could have been entered anytime in 1833 after sermons VIII-X were drafted early in that year (see nos. 174-75).

Content
	Forward from front of book:
	a) Following title page (1r), a list of errata (1v).
	b) Vol. 3 of Harry and Lucy, no. 32 (pp. 1-9 [2r-6r]). The end of the narrative (pp. 7-9 [5r-6r]), is nearly identical to its draft in MS II. The fair-copy text is broken off in the middle of a sentence.
	c) Blank pp. 10-11 (6v-7r), presumably left open for continuation of Harry and Lucy, never completed.
	d) Mineralogy notes, no. 172 (pp. 12-15 [7v-9r]), later composed on pp. originally set aside for continuation of Harry and Lucy. These notes appear roughly contemporaneous with j below.
	e) Blank, 9v-24v (9v-15r numbered by Ruskin pp. 16-29, and 15v-23v left completely blank).
	f) List of minerals keyed to numbers of unknown significance (24r).
	g) Blank, 24v-25r.
	Forward from back of book:
	h) Mineral list, no. 186 (38r).
	i) List of payments to Ruskin by John James (37v):
							s.	d
		To	80 Lines composition.	0	4
		To	8. min. articles.		0	8
		To	2. Pages homer		2.	0
							_______
							3.	0
		To	2 ditto			2.	0
		Lent					2.	6
							_______
						Paid	<1.	6>
Presumably, the total paid is crossed out, because Ruskin had short-changed himself a shilling. According to no. 148, Ruskin was getting a halfpenny per line for his greek in late 1831 and early 1832, presumably for his translation of the Iliad (see no. 160a). It is not clear what lines he is counting, but 24 lines to earn a shilling for a page appears a likely equation.
	From this sum, we also discover that a mineralogical article earned a penny, and, at least at this time, poetry composition was paid a farthing per five lines of poetry (see no. 91).
	j) Mineralology notes (36v, 35v, 34v), no. 172. These notes alternate with blank pages (37r, 36r, 35r, 34r; 37r contains a few words).
	k) Draft of sermon 18, no. 182 (32v, 31v, 30v, 29v, 28v, 27v, 26v, 25v). As in j, the draft pages alternate with blank pages (32r, 30r, 29r, 28r, 27r, 26r).
	l) Pen and ink sketch of group of trees on an outcropping of rock (31r, undatable).

MS IV
	Yale (in slipcase Harry & Lucy, Poems &c). Date of composition September 1828 to early 1830; 1836; c. 1845-46 (by John James Ruskin).

Provenance
	Sothebys 1930.

Description
	Red book; 9.7  14.6 cm. From front of book, consisting of inside front endboard (left blank by Ruskin) + title page (1r) + pp. numbered by Ruskin (starting on 1v) as 1-33. The numbered pages are followed by 24 unnumbered leaves, mostly blank, although some were later used reverso from the back of the book by Ruskin, and a few other of these pages were used by John James.
	Title page: EUDOSIA OR / A POEM / ON THE / UNIVERSE / BY JOHN RUSKIN / VOL I / [double rule] These are thy glorious works parent of good / Almighty thine this universal frame / Thus wondros [sic] fair   MILTON [double rule] / BOTANY / HERN HILL / DULWICH. At bottom of title page, annotation in Ruskins later hand, Red book No. 1. Sept 8th 1870.
	As he did with other Red Books, Wedderburn inserted a clipping from PJR describing MS IV, in this case pasting the clipping directly to the inside front endboard.
	Long after Ruskin had abandoned use of MS IV, his father returned to this Red Book, which he probably treasured more than his son did at the time, to compile a personal catalogue of Ruskins published poems. John James may have begun compiling the list in 1845 since its largest portion--written in ink, in his florid hand--presents a sequential record of poems published between 1830 and 1845 (pp. 20-31). This portion of the list was perhaps compiled in connection with John Jamess complaint to W. H. Harrison on 1 July 1845 that the published poems were inconveniently dispersed among various annuals: It is the scatterment of looking for a needle in the bundle of hay I dislike--I know not how to have him or where to find him (quoted in Ruskins Poems 1850, 154).
	For entries on three following pages (p. 32, and a following unnumbered leaf), John James switched to pencil to record publications of 1846, along with some poems of earlier years, omitted from the sequential list in ink. Also mentioned here are Bundle Sheets w F. O., perhaps referring to bound proofs of Ruskins contributions to Friendships Offering that Harrison had by this time presented to John James, and that the doting father carried on his travels (see Works, 2:xxxiv; Ruskins Poems 1850, 154). This second stage of the list may represent John Jamess initial preparations for the 1850 Poems by J.R., a project first confided to Harrison in 1847 (Ruskins Poems 1850, 155). As further indications that, by 1846, John James may have been compiling his list preparatory to the Poems of 1850, it may be pointed out that poems omitted from the list do not appear in the Poems; that the list extends through 1846, the last year in which Ruskin published poetry prior to the Poems (except for Mont Blanc Revisited in late 1849 [see Works 38:7]); and tht earlier prose publications are omitted.
	The list reads as follows, with my interpolations set in square brackets. As already remarked in the Introduction, this first attempt at bibliography of Ruskins early writings already committed a significant error, the incomplete publication information for no. 44: 
[p. 20][In ink but crossed out in pencil:] on Skiddaw & Derwent Water / page 72 Spiritual Times / Feby 1830, age 11 years. [See no. 44 regarding John Jamess omission of an earlier publication of part of this poem.]
[p. 21]The Months [no. 194] in Friendships offering of 1836 / page 290. [John James omitted Fragments from a Metrical Journal (originally part of no. 180) and no. 207--both published in Friendships Offering of 1835.]
	[p. 22]The Last Smile [no. 222] page 102 / Friendships offering 1837 / Leoni a Legend of Italy [no. 212] / Friendship offering 1837 / page 217.
[p. 23]Friendship offering 1838 / Scythian Grave [no. 253] Page 110 / Remembrance [no. 249] page 119 / Christ Church [no. 252] page 287.
[p. 24]1839 / Recreant [no. 260] page 56 in Amaranth / Wreck [no. 261] page 90 In London Monthly Miscellany / We care not what skies are the clearest [no. 262] page 48b[?] / Though thou hast not a feeling for one [no. 263] page 491. / Iter ad Brundusium [no. 264] page 500 / Memory [no. 240] page 53b / The Name [no. 266] page 558 / Canzonet [no. 267] page 604 / meteorological journal [no. 268] pg 624 / Canzonet [no. 269] page 635 / Mirror [no. 250] page 653 / Song of Tyrolese [no. 271] page 739.
[p. 25]Friendships offering 1839 / Scythian Banquet Song [no. 259] page 25 / Aristodemus at Platea [no. 257] page 140.
[p. 26]Friendships offering / 1840 / Scythian Guest page 52 / Broken Chain page 137 part 1 & 2? [John Jamess query; see no. 245a].
[p. 27]Friendships offering 1841 / Tears of Psammenitus page 37 / Two paths page 73 / Old Water Wheel page 107 / Farewell page 108 / Departed Light 217 / Agonia 288 / Broken chain 311 part 3? [John Jamess query] / [in pencil] To -------- quese. [The last entry likely refers to To Adèle, which Cook and Wedderburn ascribe to the previous years volume of Friendships Offering, and which they say was entitled in that 1840 volume as To * * *  (Works 2:110; 38:5); John Jamess version of the title would refer to Adèles marriage to Baron Duquesne.]
[p. 28]Friendships offering 1842 / Last Song of Arion page 48 / Hills of Carrara page 178 / Broken Chain part 4 page 359.
[p. 29]Friendships offering 1843 / Broken chain last part / Modern Painters.
[p. 30]Friendships offering 1844 / Battle of montenotte / Walk in Chamouni. 
[p. 31]Book of Beauty 1845 / Madonna dell aqua 18 / Keepsake old seaman 653 / Alps 270.
[p. 32][From here, the list is written entirely in pencil:] 1846 / Keepsake / Arve at Cluse 234 / Mont Blanc 35 / Book of Beauty / Written among the Basses Alpes page 109 / Glacier 110.
	[p. 33][blank verso]
[on immediately following unnumbered recto] Gipsies St Helena 1837 / St Helena 1838 / Salsette 1839 / Bundle Sheets w F. O.
[on immediately following unnumbered verso] compared with / Goethe / Coleridge / I. Taylor / Burke / Juvenal.

Content
	Forward from front of book:
	a) Eudosia, no. 27, with no. 72 incorporated into end (pp. 1-17, with title page on unnumbered 1r, a blank numbered p. 1 on the verso of the title page, and the text beginning on p. 2). Pp. 18-19 blank, except for Ruskins page numbering.
	b) John Jamess catalogue of Ruskins published poems (pp. 20-33 + the immediately following unnumbered leaf).
	c) 21 blank leaves.
	Forward from end of book: 
	d) Mineralogy notes, no. 56 (both sides of 2 unnumbered leaves + recto of third leaf).

MS IVA
	Yale (in slipcase, Juvenilia). Date of composition 1827; 1833.

Provenance
	Sothebys 1930.

Description
	Red book; 9.7  15.2 cm; 44 leaves; watermark Cansell (n.d.); written in pencil. Viljoen misdated MS IVA as 1827 and 1831.

Content
	The content was first described briefly in Works, 38:206, Juvenilia, a.
	Forward from front of book:
	a) Latin exercises, no. 10 (1r-20r).
	b) Draft of sermons VII and X, no. 175 (21r-27r, written on rectos only).
	c Blank leaves, 27v-30r.
	Forward from end of book:
	d) Latin exercises, no. 10 (inside back cover and 44v-42r, 41r [41v blank]).
	e) After blank 40v, draft of sermon IX, no. 175 (40r-30v, written on rectos only--i.e., rectos if reading in the direction of the sermon; versos, if counting pages from the front of the notebook).

MS IVB
	Yale (in slipcase, Juvenilia). Date of composition 1828; late 1830 or early 1831; 1833.

Provenance
	Sothebys 1930.

Description
	Red book; 9.9  15.1 cm; 42 leaves; watermark 1823. Briefly described in Works 38:206 (Juvenilia, c).
	Some of Ruskins sketches of machinery in this notebook appear crude, others refined; most notably, the sketches are in ink, whereas earlier sketches in MSS I and III (1826-28) are in pencil, even though Ruskin had started using ink for text in those notebooks. The drawings in MS IVB of cogs, wheels, and whirligigs may be fantastical or they may reflect actual sightings during the tour of 1828, such as the technique for making blocks (for ships tackle) extensively detailed in the tour notes, no. 25.

Content
	Forward from front of book:
	a) Fragmentary alphabetized list of minerals, keyed to a reference work, and crystal sketches or geometry exercises (inside front cover).
	b) Lists of minerals, keyed to a reference work (1r); Yale bookplate tipped in to this page.
	c) Travel itinerary, no. 25, prospective list (1v-16r).
	d) Fair-copy transcript of The Sound of the Sea by Mrs. Hemans, no. 26 (17r-17v).
	e) List of something wanting (18v), and sketches of machinery (18v-19r, 20v-21r, 22r).
	f) Mineral list, keyed to a reference work (20r).
	Forward from end of book:
	g) Geological sketches, and Latin vocabulary list (inside back cover).
	h) Tour notes, no. 25, actual tour notes (42v-42r).
	i) Dimensions of a large stone near Grange; catalogue of 105 minerals, no. 86 (41v-39r).
	j) Narrative of a geologist in Sweden, running into mineralogical notes with frequent references to Loudons Magazine of Natural History, no. 171 (38v-22v, 21v-20v, 18r; then, from 16v to 3v, running reverso and upside-down into travel itinerary (c, above) coming from other end, filling whatever blank spaces were left).

MS IVC
	Yale (in slipcase, Juvenilia). Date of composition late 1831 through 1833 and possibly into 1834.

Provenance
	Sothebys 1930.

Description
	Red book; 9.6  14.5 cm; 43 unnumbered leaves (1 leaf torn out between 42 and 43). Briefly described in Works 38:206 (Juvenilia, b).
	Initially, from 1831 through 1833 and perhaps later, this Red Book appears to have been devoted exclusively to Ruskins mineralogy. In about 1833, sermon draft and geometry exercises were inserted in pencil--the same time when MSS IIIA, IVA, and IVB were being similarly used for drafting mineralogy and sermons. Viljoen misdated all these items as 1831.

Content
	Forward from front of book:
	a) Sketches for plates in no. 180 of 1833-34 (inside front cover + 1r).
	b) Catalogue of 376 minerals, no. 118b (1v-12r).
	c) Draft of Sermon VIII, no. 174, continued from f, reverse end of book (10r-16r, rectos only; 10r-12r partly erased).
	d) Geometry exercises, no. 173 (12v-14v, versos only).
	Forward from end of book:
	e) Mineralogy notes, no. 99 (inside back cover + 42v-17v). Since the notes begin on 42v in the middle of a sentence, they must have begun on the leaf that has been torn out (see Description, above).
	f) Draft of Sermon VIII, no. 174, beginning of the draft, continued in c (17r).

MS IVD
	Princeton (cataloged as Ruskin MS.--Early Geology). Date of composition about 1831 through 1836.

Provenance
	Sothebys 1931.

Description
	Ruskins so-called Mineralogical Dictionary (untitled in manuscript) and mineralogical notes, in five handmade books and some loose folios, bound together in dark red buckram, 33.5  20.5 cm, with Ruskin MS.--Early Geology stamped in gilt on spine. When bound, the sequence of the parts was confused, so that they are best described in connection with their content. Viljoen does not extend the date of the manuscript late enough, ascribing it to 1831-34.

Content
	a) Two sheets watermarked Judicature Foolscap, 32.5  19.5 cm, hand-ruled in light pencil and otherwise blank except for a letter d, which resembles Ruskins early script, in upper right corner of first recto. These are most likely unrelated binders sheets, or sheets added by Alexander Wedderburn, who frequently used such large sheets to list a table of contents for the manuscripts he assembled and had bound (see also i, below; contrary to Wedderburns usual practice, however, no title or table of contents prefaces MS IVD). If these are binders sheets, the notation d is not, of course, by Ruskin. If the sheets are original to the dictionary, however, and the d by Ruskin, he may have left them to indicate a proposed continuation, since the dictionary had bogged down in the Cs (see no. 98).
	b) Two sheets mounted on stubs, 19  30.5 cm, watermarked A Cowan & Son / 1830, numbered on rectos 1 and 2 by a later hand. If preceded by h (see below), which is bound out of sequence, the three folios h and b, along with the first recto of c, form the earliest part of the Mineralogical Dictionary--i.e., unalphabetized entries on gold, silver, iron, copper, and lead. This earliest attempt at the dictionary is described in no. 98 and dated about 1831-32.
	c) One loose (?) sheet plus a sewn booklet, all identical in size and watermark to b, with rectos numbered 3 through 7 by a later hand. The recto of the first sheet, which appears glued to the sewn booklet (although in the present state of MS IVD, it cannot be ascertained whether the sheet was originally loose), begins with text on ruby copper, which is clearly continuous with the text that ends b. This recto goes on to describe varieties of lead, to the bottom of the page. Then, on the verso of that folio, the dictionary begins anew with alphabetized entries (Acanticone, Actynolite, Glossy Actynolite, etc.)--Ruskin deleting an entry at the top of this page for Phosphate of Lead, which would have been continuous with the discussion of lead begun on the recto. The new series of alphabetized entries continues throughout this sewn booklet and on into d, e, and g. The alphabetized entries date from 1833-35 (see no. 98).
	d) Another sewn booklet, identical in size and watermark to b, rectos numbered 8 through 15 in a later hand. Clearly an unbroken continuation of c, since the end of c reads See next paper for continuation of Amber, and the top of d, 8r, reads Amber continued. This booklet carries the Dictionary into the Bs.
	e) Sewn booklet, 19.5  32 cm, watermarked J & M Mills / 1827, rectos numbered 16 through 21 in a later hand. Begins in mid-entry on basaltic rocks, carrying over from end of d. Again, the continuity is confirmed by Ruskin having written, at the end of d, See opposite page, and the text continuing unbroken at the start of the new booklet. This booklet finishes the Bs and takes Cs up to clay entries. Ruskin drew an ornament at the end of e, much like those found in other fair-copy manuscripts of the early 1830s.
	f) Interrupting the Dictionary, no. 98, this handsewn booklet contains no. 196, geological notes and illustrations more sophisticated than the Dictionary and dating from 1835-36. The booklet is made of bluish, unwatermarked paper; 19  31.5 cm; 16 folios, of which only the first eight have been numbered 22 through 29 on the rectos by a later hand, the following six left unnumbered because blank, and the fifteenth and sixteenth numbered as 30 and 31. The first three pages were also numbered by Ruskin himself.
	The two folios at the end contain, reading upside-down and running oppositely to the text at the beginning of the booklet, a rough draft entry for Acanticone. (Acanticone forms the first entry of the fair-copy alphabetized portion of c above, but Ruskin had merely cross-referenced the item for an entry in the Es, not yet written: Is a variety of Epidote which see.) This rough draft for Acanticone is followed by page references to various minerals in Saussures Voyages dans les Alpes (amber 267, salt 297, basalt 345 373 (1)), and then by lists of references to minerals found in an unknown multivolume work up to the eighth volume (not the Magazine of Natural History) (??? vol 8, garnets 20, schorl 36, gold 38; vol 7 hyacinth 140, prxnite 143, manganese 145). Still working backwards from the end of the booklet, on the overleaf of the acanticone entry and the indexes, Ruskin gives another index that he has compiled from some work (cross stone 1:362, cyanite 2:94, diamond 1:1, dolomite 2:462, electrum 3:67). Since these are alphabetized C to F (corundum through euclase and felspar), he was probably projecting entries for the continuation of the Mineralogical Dictionary, which had come to a stick in 1835 with the Cs (see no. 98)--the last completed entries having concerned forms of copper, which would alphabetically have preceded corundum. Finally, on both sides of the second of these ending folios, a key to Ruskins mineralogical code, expanded and revised from an earlier code (see no. 99). All these entries on the two end folios appear earlier than no. 196 and more closely related to no. 98, especially to its unfulfilled continuation, suggesting that Ruskin initially constructed the booklet for purposes of no. 98, put it aside, and later returned to it for the more advanced purposes of no. 196.
	g) Returning to the Mineralogical Dictionary proper, no. 98, this last complex assemblage interleaves blank pages of differing sizes with holograph pages, the blanks evidently provided in order to take up runover and afterthoughts--as indeed they sometimes do. In sequence, the folios of this handsewn booklet are as follows:
g.1) Three sheets, same bluish paper as f, 18.5  31.5, rectos numbered 32 through 34 by a later hand, and beginning with entry on Clay slate, which answers to the last entry of e, Slate clay. (Sheet numbered 35 does not belong with this sequence; see h below.)
g.2) Blank unnumbered , 19.5  32.5, no watermark.
g.3) Bluish 18.5  31.5 sheet, later numbered 36, which continues coal entries from g.1, 34v.
g.4) Blank 32.5  19.5 sheet, no watermark.
g.5) Bluish 18.5  31.5 sheet, later numbered 37, continuing on coal.
g.6) Blank unnumbered 19.5  32.5 sheet, no watermark.
g.7) A large swatch of the bluish 18.5  31.5 folios, interleaved with both small blank half-sheets (about 16  20 cm) and larger, folio-sized sheets of white paper. Of these, the holograph pages (including many of the bluish sheets and a few of the half-sheets) are numbered 38 through 45, while sixteen completely blank folios of differing sizes are left unnumbered. Included among the latter are two blank folios, 32.5  19.5, watermarked J Whatman / Turkey Mill / 1832, proving that these blanks were interleaved by Ruskin, and not by the later binders of the manuscript. The last entry (incomplete) in g gives the heading only for Earthy red copper ore.
g.8) A final folio that forms the back of the booklet, numbered 46, shows on its verso a sketch of a roadside cottage or inn.
	h) Although bound on a stub in the middle of g (between folio 34 and a large blank folio) and numbered 35 by a later hand, I list this folio separately because it clearly belongs in front of b. Identical in size and watermark to b, the closing entry on white silver on h, 35v, runs smoothly into the text on silver at the top of b, 1r.
	i) Two folios, indentical to a, though with no lettering, close the entire manuscript. Most likely binders sheets.

MS V
	Yale (cataloged by its slipcase title, Poems 1829-1832). Date of composition summer 1829 to early 1832. A separate manuscript tipped in to the back of MS V dates from 1829 in fair copy.

Provenance
	Sothebys 1930.

Description
	A 12  18.5 cm, pre-ruled notebook, covered with greenish marbled boards, half-bound in chocolate calf, and gilt--the same binding as that described by Collingwood (PJR 1:264); leaves 11  17.7 cm. Following and not including the marbled front endpaper: three blank leaves + 167 pp. as numbered by Ruskin (with p. 1 starting on a recto, and with p. 37 given twice) + 3 blank leaves + back marbled endpaper.
	The three leaves at the beginning and end of the notebook are unruled and, unlike the ruled leaves that make up the main part of the notebook, bear a watermark (Smith & A[(?)] / 18[(?)]). This might suggest a rebinding of MS V, but the worn marbled boards appear original, as do the leather corners. Also, the edges of the paper were marbled in a color that may once have matched the boards. It seems likely, therefore, that MS V has come down to us in the same binding, in which it was first purchased for Ruskins use. 
	On p. 167 (a verso, facing the first of the three blank final leaves) Ruskin wrote in ink, but then erased, MISCELLANEOUS POETRY / HELVELLYN. This is how the notebook begins on p. 1, so the reason for the erasure is not apparent (the erased material is upside down to the text coming from the other direction). On the back inside endpaper, Ruskin scribbled some numbers.
	Ruskin did not make a separate title page; rather p. 1, on which begins the poetry, is headed by Ruskin MISCELLANEOUS POETRY. Beneath this title and above the title of the first poem, John James wrote, By J. Ruskin from 10 years to 11 to 12 to         of age, with a long space left perhaps to allow for adding Ruskins ages as the years went by. As it turned out, the fair-copied poems in the notebook did not extend quite far enough into 1832 to justify John James entering 13 into the space.
	MS V is the earliest major manuscript that was originally neither a Red Book nor a homemade booklet. Here Ruskin begins the habit of keeping one notebook for carefully copied presentation of his poetry, while drafting the poems in other notebooks, especially MSS VI and VIII. Some evidence suggests that he took both sorts of notebooks along with him on journeys (see no. 78), entering the fair copies in MS V on Sundays or other days when the family paused from traveling, just as the travel diary of 1830 was written up from notes during a lengthened stop (see no. 83).
	Tipped in at the back of MS V is a handmade pamphlet that originally formed no part of MS V. It was inserted here probably by Wedderburn, and no later than 1903, since the Library Editions Notes on the Original MSS. of Poems elaborates Collingwoods description of MS V by adding, In this book [MS V] . . . are now inserted the leaves of a thin paper book (Works, 2:531; see also no. 57, for Collingwoods probable ignorance of this pamphlet until after PJR was completed). The addition is mentioned also on a leaf tipped in between the marbled endpapers of MS V; like similar leaves in some of the Red Books, this holds a clipping from PJR describing MS V, along with brief remarks penned probably by Wedderburn.
	Title page of tipped-in pamphlet: BATTLE OF WATERLOO / A PLAY / IN TWO ACTS [sic] / WITH OTHER SMALL / POEMS / DEDICATED TO HIS FATHER / BY JOHN RUSKIN / 1829 / HERNHILL / DULWICH. The pamphlet requires a description of its own. Most of the booklets leaves have been cut at the fold and tipped separately onto successive pages of the notebook. If nothing is lacking--and only a front cover has very likely disappeared--the booklet consists of 8 leaves that were folded once to form 16 pp., 10 x 16 cm. The innermost fold, leaves 4-5, remains in tact, tending to confirm how the booklet was constructed. Starting with 2r, Ruskin numbered the pages 1-14. In addition to this gathering, a back cover remains that is white on the inside, facing p. 16, and bright pink on the outer side, and that looks to be the same age as the other leaves. No matching front cover is extant. Nothing is written on the back cover, but it must have formed part of the pamphlet at least when the editors discovered it; otherwise, they would have had no reason to include it. There is no assurance, however, that Ruskin himself was responsible for the pink cover, when he constructed the pamphlet in 1829, and there is of course no way of knowing what, if anything, might have been written or drawn on the front cover.

Content
	a) Fair copies of poems, most of them originally drafted in MSS VI and VIII, but not necessarily fair-copied here in order of composition: nos. 62 (pp. 1-2), 61 (pp. 2-3), 63 (pp. 3-4), 64 (p. 4), 65 (p. 5), 66 (pp. 6-7), 67 (pp. 7-9), 68 (pp. 9-10), 69 (pp. 10-13), 70 (pp. 13-16), 71 (pp. 17-20), 73 (pp. 20-23), 78 (pp. 24-29), 76 (pp. 29-35), 79 (pp. 36-37a-b [i.e., the poem takes up a total of three pages, including the two pages that Ruskin mistakenly numbered twice as p. 37]), 80 (pp. 38-46), 81 (pp. 46-51), 82 (pp. 52-53), 77 (pp. 53-54), 89 (pp. 54-55), 92 (pp. 55-59), 91 (The Ascent of Skiddaw, i.e., that portion of no. 91 only; pp. 59-78), 107 (pp. 78-83), 100 (pp. 84-86), 103 (pp. 86-88), 109 (pp. 88-90), 102 (pp. 90-92), 124 (pp. 92-94), 125 (pp. 95-97), 126 (pp. 97-99), 127 (pp. 100-102), 110 (pp. 102-3), 105 (pp. 103-4), 119 (pp. 105-6), 111 (pp. 106-8), 139 (pp. 109-11), 140 (pp. 111-12), 141 (pp. 112-13), 144 (pp. 113-15), 147 (pp. 115-16), 151 (pp. 116-17), 85 (pp. 117-18), 91 (untitled here, but book 1, lines 401-28; pp. 118-20), 135 (17 stanzas; pp. 121-29), 159 (pp. 129-30), 160 (pp. 130-33).
	b) Ruskin left pp. 134-67 blank, so Wedderburn(?) used pp. 136-48 to tip in the handmade booklet, BATTLE OF WATERLOO. Content of the booklet: no. 57 (title page, 1r; list of characters, 1v; text, pp. 1-7 [2r-5r]), 36 (pp. 7-8), 29 (pp. 8-9), 41 (pp. 9-10, 44 (pp. 10-13).

MS VI
	Princeton (cataloged as Ruskin MS.--Poems). Date of composition January 1830 through fall 1831; 1833-34; 1838(?).

Provenance
	Sothebys 1931.

Description
	In the time since Collingwood described the manuscript, its reddish marbled paper covers have disappeared, replaced by a dark red leather or roan binding, 32.5  11.5 cm, with Ruskin MS.--Poems impressed in gilt on the spine and cover. Arrangements for this binding would have been made by Alexander Wedderburn, since the limp roan described in Sotheby Cat. 1931 and the red leather mentioned in Goodspeed, Cat., must refer to the same binding. The original notebook was purchased, not handmade, with marbled edges and pre-ruled paper, watermarked J Wh[at(?)]man 1829.
	Contrary to earlier assumptions (see Dearden, ed., Iteriad, 22), this manuscript probably was not used during the summer tour of 1830, since poems associated with that tour (nos. 78-82, 84, and 85[?]) are not listed in Ruskins index to MS VI (see Content, a, below); however, the manuscript may have accompanied Ruskin on the summer tour of 1831 (see no. 91).
	Because MS VI is a rough-draft notebook, the sequence of its contents reveals their rough order of composition. This evidence is obscured in places by folios having been torn out, destroying many drafts both of poems known from copies elsewhere and of pieces that apparently existed only here. Fortunately, there remains in the back of MS VI Ruskins own index, giving us the sequence and at least the titles of the lost entries. The mutilation had already occurred when Collingwood first described the manuscript for PJR, and evidence suggests that Ruskin himself tore out the pages--or at least that the destruction, if not by him, occurred during the notebooks use.
	Interpretation of the index involves some speculation, since Ruskin renumbered some pages after some folios were torn out, and, later, someone else also took a hand to numbering pages; however, the use of the notebook can be broadly reconstructed as follows.
	The first 57 pages are missing (as Collingwood also remarks, although he errs in listing only one other page as missing elsewhere in the book: there are, in fact, three other missing folios, as discussed below). The next pages 58-85 were accurately numbered by Ruskin, though with even numbers unconventionally assigned to rectos. The versos were likely odd-numbered from the beginning, since page 57 is the last missing--i.e., the folio, pp. 56-57.
	Following p. 85 (a verso), two folios (pp. 86-87 and 88-89) were completely torn out, leaving stubs to attest to their former existence. With their removal, two works were irrevocably lost--according to Ruskins index, Rustic in London [p.] 87 (no. 120), and Heat [p.] 88 (no. 121). Possibly the draft of some portion of Iteriad [p.] 88 was lost, as well (see below). Clearly, these two folios were removed during the notebooks use, since the index lists the extant poem Creation (no. 129) on page 91 (a verso), a number at which one can arrive only by counting the two missing folios that fell just before the folio with Creation.
	The index entry for Creation reads in full as Creation 91 86, with 86 lined up with a column consistent with other entries. This mystery may be solved two ways: As one possibility, Creation or a related poem may originally have been drafted on the first of the two missing folios (the former pp. 86-87), and that earlier draft or related poem has simply been lost. This possibility is supported by the extant poem opening with The second day past oer and gloomy night, as if an earlier poem had described the first day. As a second possibility, both of the index numbers referred to the same poem, but Ruskin corrected 91 to 86 after tearing out the two folios. Two problems arise from this explanation. First, Ruskin had to err, since the poem occurs, according to revised numbering, on the verso, page 87, not on the recto, page 86. Second, 86 appears to be the earlier index entry, not one added as a correction. Thus, the former possibility is easier to accept, but Ruskin has befuddled explanation by tearing away approximately a quarter-page from the top of the folio with the extant Creation, thus losing any page numbers he might have written. What is certain is that, prior to the notebooks mutilation, the extant poem Creation had been indexed for p. 91; and, following the notebooks mutilation, Ruskins new (visible) numbering starts on the page after Creation--i.e., the new page 88, formerly (presumably) page 92.
	By tearing away the top of the folio holding the extant Creation, Ruskin also destroyed most of the first stanza of the intriguing no. 122 from its recto and, from its verso, something that preceded the fragment no. 128 (tis not the proper measure). On the next recto following this mutilated folio, Ruskins revised page numbering is visible, pp. 88-89. The index gives as its last two page numbers for Iteriad (though more was to be written, if not indexed, in MS VI) 88 and 92. These entries present a puzzle similar to that for Creation. The newly numbered pp. 88 and 92 do hold Iteriad--the former even entitled Iteriad Book 4th and starting with line 27. That p. 88, however, according to the old numbering, would have been p. 92, and the old p. 88, now removed, might well have contained Iteriad draft--in fact, there are very good reasons to believe it did (see note, no. 91).
	Thus, while definite conclusions cannot be drawn, probabilities suggest that Ruskin stopped his indexing not long after he mutilated the notebook, and that all his index numbers refer, therefore, to his earlier numbering. That is, an earlier version of Creation (probably describing the first day) once existed on the missing p. 86; some Iteriad draft was lost with the removed p. 88; not long before removing pp. 86-89, Ruskin had indexed his latest Iteriad draft as 92 and, after the removal of 86-89, he renumbered that same p. 92 on the page itself as p. 88.
	The extant folio, pp. 88-89 (new numbering), following the torn folio holding Creation, would formerly have been p. 92; but it is numbered 88 with no sign of a prior erasure. It appears, then, that when Ruskin reached about this point--the composition of Iteriad, 4:27-68--he for some reason tore out the two missing folios, started his new page numbering, and halted his indexing for Iteriad. (Alternatively, the mutilation and renumbering could conceivably have occurred somewhat later, when Ruskin reached about three hundred lines into book 4. This possibility will be discussed below.) This means that poems indexed as falling on pages after this watershed had already been drafted; otherwise, their index entries would refer to the new page numbering, and this theory seems borne out by the disposition of the remaining pages.
	Following the newly numbered pp. 88-89, yet another folio has been removed, what would have been pp. 90-91, according to the new numbering. A remaining stub attests to the folios existence and shows that it once held Iteriad draft on the recto--at least, line 95 of book 4, a line continuous with 4:69-94 at the bottom of p. 89. The next existing folio was numbered 90-91. Ruskins index mentions De arte poetica [p.] 94 (no. 130), a title that is nowhere extant in MS VI. If one counts pages, including all three missing folios, prior to Ruskins renumbering (i.e., when the second-day Creation poem was correctly indexed as p. 91), one will arrive at pp. 94-95 for the third missing folio. Thus, De arte poetica was lost with this folio, and it likely existed prior to the new page numbering--i.e., prior to the composition of Iteriad 4:27ff., which Ruskin reached about summer 1831 (see note to no. 91), or perhaps somewhat later when he had reached 300 lines into book 4 (see below). A fragment of De arte poetica may, nonetheless, have been retained. At the top of the recto following the third missing folio--i.e., on what would formerly have been p. 95, now numbered p. 90--a fragment appears to have been carried over from the previous page (two stanzas extant, the first of which is incomplete). The subject of this fragment, no. 131, is consistent with De arte poetica, no. 130, and the two may be the same poem.
	A few other index entries point to the old numbering, before midsummer: Bed [p.] 102, Eternal hills [p.] 103, and Fun [p.] 103. These poems--the former two untitled in draft (nos. 133-34), and the latter entitled different style in draft but with a refrain Fun fun &c (no. 136)--now fall on pp. 96-97, a folio that would have been numbered pp. 102-3 prior to removal of all three missing folios. Thus, these three poems, too, likely preexisted the composition of Iteriad 4:27ff. or 4:300ff., when the missing folios were removed. This means that these poems should not regarded as composed sequentially with the draft of Iteriad presently surrounding them but that they were composed earlier and the Iteriad draft wrapped around them. This arrangement may be confirmed by the appearance of the manuscript: on p. 96 (i.e., formerly, p. 102) Iteriad 4:247-61 extends from the top of the page down to the beginning of Bed, which runs to the bottom of the page. At the top of p. 97 (i.e., formerly, p. 103), Ruskin squeezed in just one line of Iteriad, 4:262, before Eternal Hills and Fun take up the remainder of the page; then Iteriad recommences with 4:263ff. on the next page.
	Another index entry, Joy, where is [p.] 97 (no. 132), can be made to correspond with the poem itself only by counting all three missing folios. It presently falls on p. 91; thus, it probably predates the Iteriad draft surrounding it--4:101ff. that follows it, and Coming down upon Ambleside (4:383-402) that precedes it (see below).
	The passage Coming down upon Ambleside is responsible for the suggestion, already mentioned, that Ruskins mutilation and renumbering of MS VI may have occurred somewhat later than the composition of Iteriad 4:27-68. The Ambleside passage, which is placed (and perhaps written) out of sequence in the notebook, is cross-referenced by Ruskins own note later on, FROM LINE 375 TO LINE 401 AT PAGE NINETY SIX; since page ninety six refers to the old numbering, Ruskin may not have yet removed the missing folios before composing book 4 into the 300s.
	Unfortunately, the pages holding these shorter poems composed earlier than their surrounding Iteriad draft do not show erasure of a former page numbering. The page with Where Is Joy (no. 132) is unnumbered; only the recto of that folio is numbered (the new p. 90). The same is true of Eternal Hills and Fun, whose page (a verso) is unnumbered, with its recto numbered (the new p. 96). The latter page is the location of Bed, but there is no sign of an erasure of the former p. 102 (as Bed is indexed) beneath the new p. 96. One can only assume that, with the earlier numbering system, Ruskin either indexed these poems by counting his pages, without marking the pages themselves, or wrote the numbers on the pages themselves in erasable pencil.
	The composition of book 4 of Iteriad (new p. 88 and following) is complex; full discussion will be found in the note to no. 91. It may be generally remarked here that this part of the manuscript is given over to partly drafting, partly schematizing line arrangements of draft from elsewhere. Thus, Ruskin is by now, perhaps, starting to fair-copy Iteriad in MS VII. This task may partly account for the removal of the three missing folios from MS VI. If so, one wonders why Ruskin did not mutilate MS VI after having completely finished the draft of book 4, rather than toward the onset of its composition.
	Starting with the first page of his new system (p. 88, holding Iteriad 4:27-67), and not counting removed folios, Ruskin numbered rectos only with even numbers through page 100 (only failing to indicate the new p. 94, which is unnumbered). On the last of these pages, 100 is written over top of an erroneous 99, and another hand has also numbered this latter page as 100 in pencil. This new hand numbers the next recto in pencil as 101 and continues, 101-35. Since p. 135 falls on an endpaper that does not appear part of Ruskins original notebook, this hand must be later--probably Wedderburns, after the manuscript acquired its present binding.

Content
	As Collingwood remarks, MS VI is a rough-copy book for Iteriad and for shorter poems, many of them copied into MS V. Unlike MS V, in which poems were fair-copied in an order regardless of their dates of composition, MS VI reveals a compositional sequence of poems--some lost with the removal of folios. The sequence starts with Vesuvius, which is the earliest item listed in Ruskins index. Since Vesuvius can be independently dated as February 1830, and some other titles in the index can also be dated from other sources, conjectural dates can be assigned to pieces based on their relative positions in the manuscript.
	Dates can be provisionally given even to titles of lost pieces, since their former positions are recorded in the index. Of course, we cannot be certain that Ruskin drafted the lost poems seriatim in the notebook, any more than we can assume that the extant poems form an undeviating sequence--and, as explained in Description above and in no. 91, Ruskin did at times skip backwards and fill unused spaces. In broad outline, however, the titles of lost poems indicate interests that absorbed Ruskin from early 1830 to late February or early March 1831, the period covered in the lost portion of MS VI.
	Throughout the notebook, shorter poems were interspersed with draft of Iteriad, no. 91. The index tells us that Iteriad itself started life as a shorter poem, The Ascent of Skiddaw, which would later become book 3 (see no. 91). The index cites p. 32 both for Skiddaw and for the first of a series of pages for Iteriad. Skiddaw was drafted, judging by its indexed position, starting in late December 1830 or early January 1831, just following the lost piece Revolution. In MS VII Ruskin says he started Iteriad on November 28, 1830, either referring to MS VI and offsetting these calculations by just a month or referring to draft in another manuscript, now lost.
	MS VI falls into fairly distinct sections. In their sequence of appearance, the contents are as follows:
	a) The sequence of the titles in the missing part of the manuscript can be reconstructed as nos. 70 (p. 6), 71 (p. 8), 73 (p. 10), 74 (p. 12), 75 (p. 13), 76 (p. 21), 77(?) (p. 25, see no. 77), 92 (p. 28), 93 (p. 29), 94 (p. 30), 95 (p. 31), 91 (p. 32; this is bk. 3, indexed under both Skiddaw and Iteriad), 96 (p. 37), 77(?) (p. 39, see no. 77), 97 (p. 40), 100 (p. 46), 101 (p. 47), 102 (p. 48), 91 (p. 48, some portion, presumably of book 3 or beginning of book 1), 103 (p. 49), 104 (p. 51), 105 (p. 51), 106 (no p. no., but see no. 106), 107 (p. 52), 91 (p. 54, some portion presumably of bk. 1).
	b) In the extant portion of MS VI, from p. 58, the roughly continuous record of poetry composition continues. Extant are drafts of books 1, 2, and 4 of Iteriad, no. 91, which are listed as follows, broken down into their parts and interspersed with shorter poems, to show their sequence: no. 91 (pp. 58-74; bk. 1:176-518, and bk. 2: 1-400; probably listed as Iteriad 54 in index), 109 (p. 75, confirmed by index, Poesie 75), 110 (pp. 75-76, listed Wind 76 in index), 91 (p. 76; bk. 2:401-26; listed as Iteriad 76 in index), 111 (pp. 77-78, listed Want of subject 77 in index), 112 (p. 78; listed To dash howling without page no. in index, unless the 79 for following entry, no. 114, is incorrectly meant to cover no. 112, as well), 113 (p. 78; through third stanza, line 5, followed by Contd on p 81; listed as Feminine Gender 78 in index), 114 (p. 79; listed as Doctors 79 in index), 91 (p. 79; bk. 2:659-67; entitled Conclusion of Book 2 Iteriad on p. 79; not listed in index), 115 (pp. 79-80; not listed in index, owing either to oversight or to later insertion), 116 (p. 80; partial draft, i.e., five lines not identical but closely related to later occurence of poem), 91 (p. 80; bk. 2:668-83; not listed in index, almost certainly owing to later insertion), 113 (p. 81; remaining 4 lines of stanza 3), 116 (p. 81; full draft; listed as Life 81 in index), 91 (p. 81, beneath rule at bottom of page; bk. 2:684-88; not listed in index), 91 (p. 82; bk. 2:427-69; listed in index as Iteriad 82), 91 (p. 82, beneath rule at bottom of page; bk. 2:689-92; not listed in index), 91 (p. 83; bk. 2:470-513; continuation of index listing Iteriad 82), 91 (p. 83, beneath rule at bottom of page; bk. 2:693-94; not listed in index), 91 (p. 84; bk. 2:514-38; continuation of index listing Iteriad 82), 117 (pp. 84-85; listed as Day of joy 84 in index), 119 (p. 85; listed as Mariners song 85 in index), [120-21 (indexed as Rustic in london 87 and Heat 88), and a portion of 91 (probably bk. 2:539-658 and bk. 4:1-26, and possibly indexed as Iteriad 88), now lost with removed folios, i.e., old pp. 86-89], 122 (unnumbered partially torn folio, i.e., old p. 90; no identifiable listing in index), 123 (unnumbered partially torn folio, i.e., old p. 90; listed as Tempest 90 in index), 128 (unnumbered partially torn folio, i.e., old p. 91; no identifiable listing in index), 129 (unnumbered partially torn folio--i.e., old p. 91--and continuing onto following folio, new p. 88; listed as Creation 91 86 in index), 91 (new p. 88; bk. 4:27-67; possibly listed as Iteriad 92, i.e., old p. 92, in index), 91 (unnumbered verso of new p. 88, i.e., new p. 89; bk. 4:68), 73 (p. 88v, i.e., new p. 89; unfinished revision, indexed only by its earlier version Death 10), 91 (p. 88v, i.e., new p. 89; bk. 4:69-94; not indexed), [130 (indexed as De arte poetica 94), and 91 (4:95, probably 95-100; not indexed), lost with removed folio, i.e. old pp. 94-95], 131 (new p. 90; possibly a remainder of no. 130; not otherwise indexed), 91 (new p. 90; variant, unpublished conclusion to bk. 4), 91 (new pp. 90-91; bk. 4:383-408; entitled here Coming down upon Ambleside and lines unnumbered; not indexed), 132 (new pp. 91-92; listed as Joy, where is 97 in index, i.e., old p. 97), 91 (new pp. 92-96; bk. 4:101-261; not indexed), 133 (new p. 96; listed in index as Bed 102, i.e., old p. 102), 91 (new p. 97; bk. 4:262; not indexed), 134 (new p. 97; listed as Eternal hills 103 in index, i.e., old p. 103), 136 (new p. 97; listed as Fun 103 in index, i.e., old p. 103), 91 (new p. 98; bk. 4:264-326 [these lines numbered differently in the draft--i.e., 248-313--than in their final fair copy, whose numbering is cited here, for the sake of clarity; some of these lines indicated in this draft only by their opening words or by a note referring to where they will be found in some other manuscript]), 91 (new pp. 99-100r, 100v, and pp. 101-5 by later hand; 4:327-696 [numbered differently in this draft--i.e., 314-704--than their final numbering in fair copy; at line 382 (i.e., Ruskins line 376), there is a note to pick up lines 383-408 from earlier in MS VI: from line 375 to line 401 at page ninety six--i.e., old p. 96, now new p. 90 with the section Coming down upon Ambleside), 91 (pp. 107-8 in new hand; Notes to Iteriad, book 1, scored through in draft).
	c) Pp. 130-32: index to MS VI. The index was constructed by listing letters of the alphabet equally spaced down the page; then the titles were entered in the spaces under the headings. This was done in ink, while in pencil on these pages and the following folio, 133-34, are some multiplication and addition exercises. These exercises accord with the lessons starting in 1831 that Ruskin is known to taken from Mr. Rowbotham (sums are advancing in very good style, Ruskin announced in January 1832, addition subtraction multiplication and division, but he thought Rowbothams instruction made up of disagreeable et ceteras and to be a dry, and entertainmentless thing [RFL 258, 268, and see 261 n. 11].) Also on p. 134 is a fragment of verse, The [gem(?)] Oh [gemini(?) how monstrous pretty tale / Ah what a deal of trouble authors ye / Ye ladies Wayward fancie for to hit--.
	d) Probably after the index was started on page 130, Ruskin used the preceding p. 129, working upside down and in the opposite direction to the rest of the book, for nos. 87, 88, and 90 (no. 90 dated 10 September 1830). No. 90 continues from p. 129 backwards to page 126.
	e) Various items are scattered throughout pages remaining in the space between c-d at the back of the manuscript and a-b coming from the front. Reading from the back, and upside down to text coming from front of book: On p. 124, a four-stanza poem, The Brave Hussar. This is copied, not in Ruskins hand, but possibly John Jamess; in any case, the poem is signed by, or attributed to, Eliza Andrews--probably the daughter of Edward Andrews, Ruskins tutor, who had a child by this name.
	On p. 123, a four-line fragment (I think that the elements are contramacious / Such a huge disposition they showed for to splash us / For if we did but wish on some day to go out / That day they were sure to kick up such a rout). This is headed <4> 3rd book, no doubt referring to Iteriad. The passage is scored through, and apparently it was not ultimately used.
	On pp. 110-11, rough pen-and-ink sketches for the Account of a Tour of the Continent, 1833, no. 180. The first shows a Swiss cottage and bridge, and the drawing is captioned No. 1. Head [i.e., at the head of a poem or prose selection of no. 180, as fair-copied and illustrated in MS IX]. The Swiss Cottages. Alongside this drawing is one of a gothic fountain, captioned No 2. Tail. Swiss Cottages. Following these is a rocky, narrow path alongside a cliff, with a horse and rider proceeding toward a distant town; captioned, No. 1. Splugen. Head. Enclosed in rules, between the first two and the third drawings, is a note (but no sketches) for No 3 head, William tell from boys own book and No 4. tail. Tells tower at Altorf. On the opposite page (p. 111), Ruskin drew a precipitous waterfall from high crags, captioned Perhaps. No. 2. Tail. The descent. Alongside this, another sketch (including stone arches) is not captioned and too fragmentary for identification.
	f) Much later in 1838(?), Ruskin used remaining blank spaces to compose no. 270. This essay begins on p. 112 and goes forward to p. 125 (working around the Eliza Andrews poem and Iteriad fragment in e); then, obstructed by no. 90 in d, Ruskin continued the essay on available blank pages 106, 108-9, 111. Ruskin numbered these pages in sequence, 1-18.

MS VII
	Yale (cataloged as Iteriad &c). Date of composition probably 1831-32 for fair copy of Iteriad (draft begun in 1830); 1835(?)-36. Tipped-in manuscripts composed 1837 and 1838.

Provenance
	Sothebys 1930. This is one of the manuscripts, along with MSS IX and X, that Collingwood listed as in the possession of Mrs. Arthur Severn. On the inside front flyleaf, she inscribed: Joan R. Severn--given to me by Di Pa in 1887 at Brantwood.

Description
	Notebook, greenish marbled paper boards, three-quarter-bound in dark blue morocco; 25  21 cm; marbled endpapers, and edges; 144 original leaves (not including endpapers), of which Ruskin numbered only pp. 1-57 (with p. 47 given twice, but, in compensation, no p. 48). A later hand numbered the leaves but included in this numbering the leaves of a dismembered copybook that was later tipped in to the back of MS VII (see below), bringing the total to 162 leaves. The year 1830 is visible in the watermark.
	In its initial use, this was a fair-copy notebook used primarily for Iteriad, no. 91, and Athens, no. 135, which are fair-copied in a hand similar to, but larger than, that used for MSS IIA-E.
	On inside front flyleaf (beneath Joan Severns inscription): Begun 28 Novr 1830 / Finished 11 Jany 1832 (written in ink over top of the same words in pencil). The earlier date refers to the start of composition and the latter to the final fair-copying (see note to no. 91).
	Title page (1r): ITERIAD / or / THREE WEEKS / AMONG / the / LAKES / 1831. The title page, which Ruskin displayed in fancy lettering drawn from Butterworths Young Arithmeticians Instructor: Containing Specimens of Writing with Directions (RFL 259, 261 n. 17) is reproduced in Iteriad, or Three Weeks among the Lakes, ed. James S. Dearden (Newcastle upon Tyne: Frank Graham, 1969), among the illustrations between pp. 32 and 33. Similar lettering occurs in some of Ruskins letters to his father in MS XI.
	On the verso of the title page, Ruskin drew another fancily lettered Iteriad, followed by Book First / The argument and a prose summary of the first books contents. Each of the three remaining books begins much the same way, without Iteriad repeated, but with a fancy ornament separating the text of the argument from the poem.
	Title page (59r): ATHE[NS / OR THE] and on the verso (59v) [Canto First], with the bracketed letters representing what Ruskin only sketched in pencil from his orthography primer, without finishing the letters in ink. At the top of the following page, halfway down on which begins the poem, Ruskin penciled [THE ARGUMENT] and left a space for a prose summary, like those that begin the books of Iteriad.
	Tipped in between the front marbled flyleaves, Wedderburn(?) added a page on which is pasted a description of MS VII clipped from PJR, as was done for other manuscripts that Collingwood had already described. On this sheet, Wedderburn(?) provides information about material tipped in at the back of MS VII: His fathers copy of The Gipsies & The Exile of St Helena, formerly in one thin copybook have now been inserted in this book.

Content
	Forward from front of book:
	a) Iteriad, no. 91 (pp. 1r-58r; or, in other terms, 1r-v [title page and argument] + pp. 1-57 [as numbered by Ruskin, with inaccuracies already mentioned] + 30v-58r).
	b) Athens, no. 135 (59r-61v), with the poem itself (six stanzas only) appearing on 60r-61v; incomplete fair copy (see no. 135).
	c) Blank leaves, 62r-113r.
	Forward from end of book:
	d) Blank inside flyleaf and 162v-r.
	e) Poem, The Rhine (161v, dated 1833; Works, 2:368-69), and poem, Chamouni (161r-59v, dated 1833; Works, 2:382-84), both of them sections of no. 180. Copied by another hand, probably Margarets. Items e-h have the appearance of having all been fair-copied at around the same time, as if these pieces were being anthologized for some reason.
	f) No. 244, untitled, copied in the same hand (probably Margarets), and dated October 1st 1836 (159v-55r).
	g) No. B, Undatable, partial copy in the same hand, probably Margarets (154v-r).
	h) No. 204, copied in the same hand, probably Margarets (153v-50v).
	i) As noted above (Description) and in the Library Edition (Works 2:27 n. 1, 45 n. 2a; not mentioned, however, in the description of MS VII, Works, 2:532), a copybook was dismembered and tipped in to the back, starting between leaves 149 and 147 and continuing until between leaves 115 and 113. This booklet contains no. 251 (a copy probably by John James, with annotations attributed to W. H. Harrison), and no. 256 (also a copy probably by John James). There are a total of 18 leaves. It can no longer be positively confirmed that these leaves once formed a single thin copybook (see Description above)--as opposed, say, to two separate booklets, one for each poem. There is no reason to doubt the claim, however, since all leaves measure the same size, 19 x 22.8 cm.
	Title page: The Gipsies / a Poem / by / John Ruskin Aetat 18 / 1837 (1r, verso blank); 9 leaves, following the title-page leaf, which are numbered pp. 1-17 in the copyists hand, and written on both sides (except for the final page).
	Title page: The Exile of St. Helena / by John Ruskin / Aetat 19 / 1838 (11r, and 11v blank, if one counts these leaves continuously from The Gipsies); 7 leaves, following the title-page leaf, written on both sides (except for the final page). These leaves were not numbered by the copyist, but the lines of poetry were numbered and, on that basis, nothing appears to be missing.

MS VIII
	Yale (cataloged as Poems etc. 1831-38). Date of manuscripts composition about September 1831 continuously through December 1836 and possibly into 1837.

Provenance
	Sothebys 1930.

Description
	Ruled notebook, reddish marbled paper boards, three-quarter-bound in black leather (three-quarter bound, according to the Yale catalogue); 14.5  23.5 cm.
	Ruskins own page numbering begins with the first verso, which is actually the verso of the first leaf after the front flyleaf; however, this page is pasted to the flyleaf, so that p. 1 appears to be the verso of the flyleaf. Ruskins numbering continues with odd numbers on versos to p. 43. Then, although no pages appear to have been removed, p. 43 is followed by p. 45, and the new numbering carries through p. 55 (with only rectos numbered after p. 49).
	With the end of Ruskins numbering, another hand hereafter numbers leaves in pencil on the rectos, starting with 56 and carrying through 72. Leaves 73-75 are left blank, and the later hand picks up again with 76-79. Again, a blank is left for 80, but 81 is written above a canceled p. 106--apparently the remnant of earlier, baffled attempt to follow Ruskins original system (the 106 is not in Ruskins hand).
	After 82, the later, editorial hand abandons numbering leaves, and the next numbering to appear is again Ruskins own. On what would have been 125r for the later hand, Ruskin begins numbering pages for his play Marcolini, pp. 1-8. Oddly, what would have been pp. 9-39 are left blank, but Ruskin begins numbering again, accurately, with p. 40 (a verso) through p. 63 (a recto). Four more unnumbered pages of the play remain, followed by seven more leaves (the last, like the first, glued to the endpaper). In Content below, I will refer both to Ruskins pagination and to that by the later hand (probably Wedderburns).
	Much like MS VI, this is a rough copy notebook for poems fair-copied in other manuscripts. In fact, MS VIII must have been started immediately after MS VI, since it contains draft for a portion of the final book of Iteriad, most of which is contained in MS VI. The new notebook MS VIII was possibly begun for the sake of Ruskins new epic Athens.

Content
	As Collingwood remarks, the notebooks stratification is complex. His interpretation appears correct in broad outline, though in need of refinement. From fall 1831 to spring 1833, Ruskin started at the beginning of the notebook and worked sequentially through drafts of Athens and shorter poems (a, below). The last poem in a is a May 1833 birthday poem for John James, no. 178. Shortly thereafter, the family departed for their first Continental tour.
	Then, probably after their return in late September 1833, Ruskin continued working forward from a, drafting the so-called Account of a Tour of the Continent, the metrical journal of the tour (b, below). At some point while drafting the Account, he worked out an ambitious proposed table of contents on the inside back boards of MS VIII (j, below). The Account occupied Ruskin well into 1834, taking time out only in December 1833 to prepare some poems for New Years, which he started upside-down at the opposite end of the notebook (c, below; Collingwood misdated this section as a year later). He also took time in February-May 1834 to prepare some poems for his fathers birthday, which he composed amid the later drafts of the tour poem (b, below).
	Now well into 1834, Ruskin was juggling the composition of the Account (including its fair-copying and elaborate illustration in MS IX) with continuing work on the Sermons on the Pentateuch (MSS IIA-E) and on the Mineralogical Dictionary (MS IVD), while also making his debut as a scientific author with papers in The Magazine of Natural History (nos. 190-91, 193). And then there were his lessons. With projects piling up, in December 1834 he skipped ahead in MS VIII, as Collingwood interprets the sequence, in order to leave open several blank pages following the draft of the Account for its completion, and to start a new section of shorter pieces beginning with a poem for New Years 1835. This section extends to odes for his fathers birthday in May (d, below).
	Meanwhile, the metrical journal of the Continental tour (b) was abandoned, perhaps because Ruskin was set back by pleurisy in spring 1835 and then distracted by a second Continental tour, undertaken for his recovery between June and December. This new tour required its own metrical account (no. 203, MS X). The new travel poem would prove less ambitious than no. 180 in its presentation, lacking the engraved illustration and copperplate printing of MS IX, but no. 203 would prove more ambitious in its Byronic verse structure. This new metrical journal was not drafted in MS VIII (in fact no rough draft apparently is extant), but Ruskin did use the notebook for several shorter pieces inspired by the 1835 tour. These were drafted in the blank pages formerly allotted to the completion of the earlier tour poem, no. 180 (e, below).
	In the space left after d--i.e., following the 1835 New Years through May birthday 1835 section--Ruskin sketched some other, shorter 1835-36 poems (f, below). The precise dates of the pieces in e and f are highly conjectural, as explained in nos. 207-14. At best, these pieces can be attributed to between July 1835 (the earliest point when the family visited the places associated with these poems) and May 1836 (when Ruskin wrote a birthday ode for his father that sets an upper boundary for the group in f).
	Next, taking up space still remaining after e--i.e., following the section associated with the 1835 tour--Ruskin launched a new kind of verse for him, Shelleyan rather than Byronic. His formerly rather unsentimental and satiric worldview had suddenly been upset by the arrival of Adèle Domecq at Herne Hill in January 1836. The sequence of Adèle poems (g, below) is continuous with the tour-inspired shorter poems in e. In fact, a transition between the two groups is marked by Venetian pieces that can be seen as arising either from the Continental or Adèle experiences. This sequence could have been in process of composition for quite some time, perhaps into the next year (see note to no. 240).
	Finally, in May 1836, during the early stage of the Adèle sequence in g, Ruskin used some more space following f to draft his fathers birthday ode, no. 231. After this, he continued with the verse drama Marcolini, no. 241, for many pages (h, below).
	The remainder of the contents, i and k, consists of slight sketches and lesson work. Detailed sequences of contents within the sections a-k are as follows:
	a) Just as in MS VI from late 1830 through 1831, Ruskin had interleaved draft of Iteriad with shorter poems, so in the first part of MS VIII from fall 1831 he interleaved draft of the unfinished epic Athens with shorter poems. In fact the two projects overlap briefly at the beginning of MS VIII with a small portion of the fourth book of Iteriad following a portion of Athens, and at some point he began to fair-copy Athens into MS VII following the fair copy of Iteriad. The sequence of this section is as follows: nos. 134a-b (p. 1), 135 (stanzas 1-4, pp. 1-2; following stanza 4, bottom p. 2, Ruskin wrote For Continuation [of Athens] see page 14), 91 (bk. 4:297-320, p. 3, line numbers identified by later hand at top of page), 137 (p. 4), 138 (p. 5), 139 (pp. 5-7), 140 (p. 7), 141 (pp. 7-8), 142 (pp. 8-9), 143 (p. 9), 144 (pp. 9-11), 145 (p. 11), 146 (p. 11-12), 147 (pp. 12-13), 148 (p. 14), 135 (stanzas 5-9, pp. 14-16), 149 (p. 16), 150 (p. 17), 135 (stanzas 10-12 entitled Athens, pp. 17-18), 151 (p. 18), 152 (p. 19), 135 (stanzas 13-14 entitled Athens, p. 19), 153 (pp. 19-20), 154 (pp. 20-21), 135 (stanzas 15-18 entitled Athens, pp. 21-22), 155 (pp. 22-24), 156 (p. 25), 158 (p. 25), 159 (p. 26), 160 (pp. 26-28), 135 (stanza 19, probably entitled Athens but see note to no. 160, pp. 28-29), 161 (p. 29), 162 (p. 30), 163 (pp. 30-31), 164 (pp. 31-37), 135 (stanzas 20-21 entitled Athens, pp. 37-38), 165 (p. 38), 167 (pp. 38-41), 135 (unnumbered stanza entitled Athens, p. 41), 168 (pp. 41-42), 169 (p. 42), 176 (pp. 43, 45 [Ruskins page numbering omits 44]), 177 (pp. 45-52), 177a (p. 49, interrupting no. 177), 178 (pp. 52-53).
	b) Following no. 178 begins the draft of no. 180, Account of a Tour of the Continent. Some of this draft could have been composed during the tour itself, between May 11 and September 21, 1833; however, the sequence of parts in MS VIII does not follow that of the actual tour. Certainly, much was written in the fall, winter, and spring after the familys return.
	Most of the poem is here in MS VIII--some sections occuring in MS IA, and others in VII and XI (the latter two manuscripts containing fair copy in hands other than Ruskins, not holograph draft). When the draft begins following no. 178, it was apparently already underway (see below), so some draft has probably disappeared. MS VIII also includes portions that Ruskin failed to fair-copy in MS IX, the main manuscript, which was left incomplete. These unused portions in MS VIII are incorporated into the version of the Account as printed in Works, thus conjecturally reconstructing the journal beyond the point where Ruskin left off in MS IX (see Works, 2:364 n. 1). Some of this reconstruction may confuse Ruskins intentions.
	The sequence of the drafts in MS VIII begins as follows. First, immediately following a horizontal line drawn beneath no. 178, occur the lines Oh are there spirits, can there be, which Cook and Wedderburn print in a note (Works 2:384 n. 1) and remark as preceding the prose Source of the Arveron and the lyric I woke to hear the lullaby (the latter taken by them as the start of The Arve at Chamouni). One notices that the two lyrics are joined by a system of line numbering: the fifth line of Oh are there spirits, can there be is numbered by Ruskin as 510; the tenth line as 515; four more lines take the poem to the bottom of the page (p. 53 of MS VIII); and then, while the next verso and third of a recto are taken up by the intervening prose Source of the Arveron, the next line of poetry (I woke to hear the lullaby, p. 55 of MS VIII) is numbered by Ruskin as 520--continuous with line 519 at the bottom of p. 53 of MS VIII.
	Since these line numberings for the poetry drafts provide possible clues to reconstruction of the poem, they are included in the following list. However, this line numbering cannot necessarily be taken as indicating Ruskins intended ordering of the sections, perhaps not even his order of composition. The numbers may function as an ongoing but arbitrary guide, without respect for beginnings and endings of separate pieces, perhaps as an aide for fair-copying. The line numbering even extends into poems that clearly do not form part of the Account, such as The Crystal Hunter.
	Take as an example the manuscript appearance of the prose section on Brussels (see below for complete details). Three-quarters down the page, 62r, Ruskin composed the start of this passage, entitling it Part of Brussels, and extending the draft halfway onto p. 62v. Here the draft stops in mid-sentence (. . . circumnavigating, for <traversing>), followed by a poem Oh softly blew the mounting breeze (entitled by the editors as Chiavenna). The poem is numbered by Ruskin 810-22, which is continuous with the last installment of verse (but a quite different poem), 778-809 (the poem entitled The Black Forest by the editors). The remainder of the prose passage on Brussels (perambulating . . . tread on it softly) begins at the top of the next recto, 63r, and finishes on 63v. An obvious inference is that Ruskin wrapped the prose around the poem, already drafted in its place. The line numbers, then, might have been added to the poetry later on, telling us nothing about the sequence of composition.
	However, there is another, equally plausible explanation. Note that in the fair copy of this passage, MS IX, a line ends circumnavigating for--the for neatly crowded into the justified right margin. The next line begins with perambulating.-- One may infer that Ruskin fair-copied in MS IX as far as he had drafted in MS VIII (p. 62v); crossed out the last word in draft, which he could not fit on a line (<traversing>); stopped to draft the poem Oh softly blew the mounting breeze, lines which he numbered in sequence; and then resumed drafting the prose passage, but changing his mind about the next word--perambulating, rather than traversing.
	Either of these scenario can be supported by the evidence. Perhaps the safest conclusion is that, unlike the disposition of parts of Iteriad in MS VI, nothing in the arrangement of the Account sections strongly argues for Ruskins erratic use of the manuscript. Certain poems and prose pieces could have been composed at wide and erratic intervals in the notebook; however, the entries appear regular, workmanlike, and sequential.
	The order is as follows: Oh are there spirits, poem, untitled, numbered as 506-19, p. 53 (Works 2:384 n. 1). The Source of the Arveron, prose, titled by Ruskin, pp. 54-55 (Works 2:386-87). I woke to hear the lullaby, poem, untitled, numbered 520-64, pp. 55-55v (Works 2:384-85, entitled by editors, not Ruskin, as The Arve at Chamouni). Note that the last page numbered by Ruskin is p. 55, and hereafter p. nos. refer to the numbering of rectos only, in pencil, by another, later hand.
	Andernacht, prose section only, titled by Ruskin, pp. 55v-56v (Works 2:354-55; fair-copied in MS IX). St. Goar is the least and sweetest place, prose section only, untitled, p. 56v (Works 2:360-61; fair-copied in MS IX). There is a charmed peace, that aye, poem, untitled, numbered 565-614, pp. 56v-57v (Works 2:366-67, entitled by editors, not Ruskin, as The Alps from Schaffhausen). Viamala [sic], poem, titled by Ruskin, numbered 615-46, pp. 57v-58r (Works 2:369). Splugen, poem, titled by Ruskin, numbered 647-95, pp. 58r-59r (Works 2:370-71). The <descent> Summit, poem, titled by Ruskin, numbered 696-751, pp. 59r-60r (Works 2:371-72). The descent, poem, titled by Ruskin, numbered 752-77, pp. 60r-60v (Works 2:372-73). The Meuse, prose, titled by Ruskin, pp. 60v-61r (Works 2:349-50, fair-copied in MS IX). Cologne, prose (first paragraph only, with fragment noted by Ruskin at end), titled by Ruskin, p. 61r (Works 2:351-52, fair-copied in MS IX). Oh the morn looked bright over hill and dale, poem, untitled, numbered 778-809, pp. 61r-61v, (Works 2:365-66; draft includes the final line of the poem, which the editors, oddly, print in a note, 366 n. 1; entitled by editors, not Ruskin, as The Black Forest). It was a wide stretchy sweep, prose, untitled, p. 62r (Works 2:360 n. 1). This last prose is incorrectly afixed by the editors to the end of the St. Goar poem, whose draft they say contains at this point the . . . prose passage; however, this prose has no association whatever with St. Goar. It is more likely associated with the poem it does immediately follow--not St. Goar, but Oh the morn looked bright over hill and dale, whose lines 8 and 27 identify what the prose passage calls our entrance into the narrow dell above mentioned.
	Part of Brussels, prose (part of first paragraph, Brussels is a lovely . . . for circumnavigating, for <traversing>), titled by Ruskin, pp. 62r-62v (Works 2:347; fair-copied in MS IX). Oh softly blew the mounting breeze, poem, untitled, numbered 810-22, p. 62v (Works 2:373; entitled by editors, not by Ruskin, as Chiavenna). Resumption of prose on Brussels, perambulating, Oh woe . . . tread on it softly, untitled, pp. 63r-63v (Works 2:347-48; fair-copied in MS IX). Thus the earlier Part of Brussels is resumed at the top of the following recto and drafted to the end, as fair-copied in MS IX.
	Lago di Como, poem, titled by Ruskin, numbered 823-63, pp. 63v-64r (Works 2:373-74). Of various trees a vista green, poem, untitled, numbered 864-89, pp. 64r-64v (Works 2:378-79). Although these lines are not entitled by Ruskin, a later and clearly associated draft is entitled by him Genoa. Separated from the preceding Lago di Como by a horizontal line, this section of Genoa constitutes only lines 19-44 of the poem as printed.
	It was an eve of summer, mild, poem, untitled, numbered 890-920, pp. 64v-65r (Works 2:377-78). Entitled by the editors, not by Ruskin, as Lago Maggiore, the poem is separated from the preceding Genoa by a line space (and Ruskin drew stars following, and on the same line as, the last line of the Genoa poem). This draft is missing the last eight lines of the poem as printed, lines that occur later in MS VIII; however, as argued below, it is not clear that those eight lines do in fact belong with Lago Maggiore.
	Aix la Chapelle, prose, titled by Ruskin, pp. 65r-66r (Works 2:350-51; fair-copied in MS IX). At the end of the sixth paragraph, after the word monarch, appears in draft the one-word sentence, Wake----. This sentence appears neither in the fair copy, MS IX, nor in the Library Edition. Since this sentence falls at the bottom of p. 65v, here may be another indication of Ruskin interrupting his rough-drafting to fair-copy in MS IX. On the following recto, 66r, the remainder of the prose passage is drafted (Saw Charlemagnes chair . . . Goodnight). The remainder of the page is filled with two rough sketches in ink--one of mountains, and one of houses and boats on a canal--bearing no resemblance to any of the drawings in MS IX. Curiously, a number 100 is noted on the same line as the end of the prose passage; then, in the margin and next to the sketches are the numbers 925 and 930, apparently awaiting the continuation of the poetry, but the sketches were drawn over top of the numbers instead. When the poetry does start on the verso of this page, Ruskin does not begin numbering from 921 (see Lago Maggiore above), but from 939--as if he did use those intervening 925 and 930 numbers for poetry draft, elsewhere.
	Smiling <with> from those bright rays kiss, poem, untitled, numbered 939-68, pp. 66v-67r (Works 2:361-62; fair-copied in MS IX). Although these lines are not entitled by Ruskin in this place, they are clearly associated with draft, below, that he does entitle Heidelberg. The Library Edition has greatly confused the description of this passage. In a note, the editors print what they represent as draft lines in MS VIII, dropped from the fair copy (Works 2:361 n. 1). These lines are not from MS VIII, but from MS IX. In other words, if one restores these lines to their place where noted by Cook and Wedderburn, one reads the poem as it in fact appears in fair copy, MS IX. When this editorial correction is made, the 30 lines from MS VIII, beginning with Smiling <with> from those bright rays kiss, may be recognized as draft for lines 19-48 of the fair copy--i.e., counting in the lines that Cook and Wedderburn inexplicably drop into a note.
	The traditions of the Rhine, prose, untitled, pp. 67r-67v (Works 2:368; entitled by editors, not Ruskin, as The Rhine). Oh warmly down the sunbeams fell, poem, untitled, numbered 973-1081, pp. 67v-69r (Works 2:355-58; fair-copied in MS IX). These lines are entitled by Ruskin in MS IX, not in MS VIII, as Ehrenbreitstein. Note that this poem does not begin with numbering 969, as expected, but with 973.
	Continuation Heidelberg, poem, titled by Ruskin, numbered 1083-1155, pp. 69r-70v (Works 2:362-64; fair-copied in MS IX). (Strictly, the numbering should begin with 1082, the last line of Ehrenbreitstein being 1081, but Ruskin appears to have counted the line with the title Continuation Heidelberg.) A continuation of the earlier section of Heidelberg numbered 939-68, this section starts with the variant lines as given in Works 2:362 n. 1--lines indeed scored through in MS VIII. Cook and Wedderburns description is correct regarding this passage, following which the poem continues to its end as in fair copy.
	Schaffhausen, poem, titled by Ruskin, numbered 1148-59, p. 70v (Works 2:366). In ms., Ruskin entitled these lines Schaffhausen; but in the Library Edition, the lines are retitled Entrance to Schaffhausen. Note that these lines are unexpectedly numbered 1148-59, overlapping the preceding conclusion to Heidelberg. If the overlap reflects the collision of two numbering systems, the manuscript nonetheless gives every appearance of Ruskin working steadily and sequentially. There is no crowding of lines that would suggest the preceding Heidelberg having been squeezed into place above a preexisting Schaffhausen. The inconsistent and oddly chosen numbering (the first numbered line in Schaffhausen is 1151, four lines into the poem) suggests, rather, that Ruskin was trying to correct some anomaly elsewhere. Also, note that Schaffhausen seems incomplete, the final punctuation a comma in draft.
	The lake smiled sweetly, and the boy, poem, untitled, unnumbered, pp. 70v-71r, unpublished. This is no. 181, which I have followed Cook and Wedderburn in listing separately from the Tour itself, no. 180 (see note, no. 181). The dozen lines are not included in Ruskins numbering--which jumps from 1159, at the end of the preceding poem (Schaffhausen), to 1160, at the start of the following poem (Not such the night whose stormy night). There seems every reason to believe, however--from style and content--that this poem belonged to the Tour project. The manuscript shows no evidence of crowding or wrapping draft around The lake smiled sweetly, as if that poem occupied that space from some other time; rather, the hand is steady throughout, each line of poetry following the printed rules of the notebook. A line space neatly divides The lake smiled sweetly from Schaffhausen preceding it, and another line space divides it from the poem following it.
	Not such the night whose stormy might, poem, untitled, numbered 1160-82, p. 71r (Works 2:385-86; entitled by editors, not Ruskin, as Evening at Chamouni). One possible reason for Ruskin omitting numbering the lines of The lake smiled sweetly is that he intended to connect the beginning of Not such the night (1160) with the end (1159) of Schaffhausen--i.e., Not such the night should be read as a continuation of Schaffhausen, which, as already remarked, appears to be incomplete.
	It is said that French will carry you over all Europe, prose, untitled, pp. 71v-72r (Works 2:358; fair-copied in MS IX). Most beautiful are the paths, prose, untitled, p. 72r (Works 2:364; partly fair-copied in MS IX, up to ancient granite, sometimes).
	At this point--and if Ruskin has been working more or less sequentially in MS VIII, the time would be between late February and early May 1834--he took time to work on his fathers birthday poems (see no. 188). First, after the prose fragment Most beautiful are the paths, occurs the first 21 lines of what Ruskin will entitle Vintage (no. 187, pp. 72r-73v). Between these lines and the next installment notated Continuation of Vintage (77r-77v), Ruskin placed the birthday poems, The Crystal Hunter (no. 188, pp. 72v-76r) and The Address (no. 192, pp. 76r-77r). It is equally possible for Vintage or the birthday poems to have been composed first: either The Crystal Hunter was begun in the middle of 72v and Vintage inserted in the blank space preceding the birthday poem, or composition of Vintage was temporarily halted to work on The Crystal Hunter. What is more intriguing is whether Vintage should be regarded as part of the tour poem, no. 180, or perhaps as an abortive birthday poem. Ruskins editors decided it was neither and left it unpublished. Indeed, while the opening description of grape harvesting on the Continent might connect the poem with no. 180, the comic quarrel in the Continuation between casks of wine in a cellar seems inappropriate for the tour poem (and the poems octameter couplets out of keeping, as well). The comic poem could more likely been launched as a birthday present.
	The lines of no. 188, The Crystal Hunter, which is entitled in draft, are numbered as 1183-1368--picking up from the last line (1182) of Not such the night, even though The Crystal Hunter is clearly distinct from the Account. In the opposite margin, Ruskin did additionally number the lines starting from 1 to 119 (he abandoned this system with stanza 12, because he began transposing stanzas). But the continuation of numbering from the tour poem into a clearly separate project shows that the system cannot be trusted as an unambiguous guide to the Account.
	Following Continuation of Vintage, there occurs an untitled poem (The foam globes round come riding fast, pp. 77v-78r, no line numbering) that the Library Edition assigns to the Account (no. 180). There the poem is paired with the prose piece editorially entitled The Source of the Arveron (Works 2:387), a highly speculative choice in view of its actual position in draft. The draft does not even clearly warrant a connection with the Account, except for the poems meter.
	What follows does definitely return to the Account: Cont. Heidelberg, prose, titled by Ruskin, pp. 78r-78v (Works 2:364-65). The first prose paragraph having been given earlier (and only part of that fair-copied in MS IX), this continuation finishes the prose section as printed in the Library Edition. In the middle of this paragraph, however, Ruskin stopped to draft eight lines: So broadly stretched in sapphire sheet, poem, untitled, numbered 1369-76 (Works 2:378). These lines are printed in the Library Edition as the closing eight lines of Lago Maggiore, I do not know on what grounds. (The fragments line numbering, 1369-76, tells us little, merely picking up from the last line number of The Crystal Hunter.)
	After the eight-line fragment, Ruskin gives the remainder of the Heidelberg prose (78v-79r). This is followed by Genoa, poem, titled by Ruskin, numbered 1376-97, pp. 79r-79v (Works 2:378-79). Its lines 19-44 appeared earlier, untitled; here, Ruskin begins the poem and writes through to lines 19-21, indicating the overlap with ampersands (Of various trees a vista green &c. / Into a streamlet looking down / whose living crystal shot between &). He next indicates and scores through the last line (44) of the previously drafted segment (x x x / <A little space of time>); and after three more scored lines (<And think how wide the world must be / Across from pole to pole / When all that there you look upon>), he drafts Genoa from line 45 to the end, as printed.
	Next: Cadenabbia, poem, titled by Ruskin, numbered 1417-61, pp. 79v-80v (Works 2:375-76). Villa Pliniana, poem, titled by Ruskin, numbered 1462-84, p. 80v (Works 2:376).
	c) About December of 1833, while working on no. 180, Ruskin inverted MS VIII and began writing from the opposite end (on what would be pp. 262r-64r, counting from the front of the notebook, p. 264r being the inside of the back flyleaf). On p. 264r (inside the flyleaf), he entered the two-stanza French poem no. 182a, followed by nos. 183 (pp. 264r-63v), 184 (pp. 263v-63r), 185 (pp. 263r-62v), 185a (pp. 262v-62r), 185b (p. 262r). Nos. 185 and 185a were apparently intended for New Years 1834. Collingwood misdated this section as a year later (see no. 183).
	d) In December 1834, skipping over 31 leaves following the last entry of draft for no. 180 and possibly intending to devote those leaves to the completion of the tour poem, Ruskin begins a new sequence of shorter poems, mostly celebratory odes for John James: nos. 194 (pp. 112r-15v), 195 (pp. 114r-v), 197 (pp. 115v-17r), 200 (pp. 117r-18v), 201 (pp. 118v-119r).
	e) In the space between b and d, Ruskin takes up a new project, the poetic effusions of the Continental tour of 1835: nos. 207 (pp. 81r-v), 208 (pp. 81v-82r), 209 (pp. 82r-92v), 211 (p. 92v-93r), 212 (pp. 93r-103r). See nos. 207 and 209 for speculation about how MS VIII may have been used during this stage of composition. Nos. 211-12 could also have been spurred by Adèle Domecqs early 1836 visit, discussed in g, below.
	f) This section of MS VIII is the most conjectural in the notebook in terms of dating. It is not even certain whether these poems should be treated as a group. Possibly at about the same time as e, or just following that time, Ruskin skipped to this section, which follows d. The poems placed here could have arisen from the tour of 1835: nos. 210 (pp. 119v-120r), 213 (pp. 120v-23r), 214 (pp. 123r-v). See those nos., however, for problems in dating and even ambiguities in their presumed subject matter.
	g) Returning to where e left off, Ruskin further fills the space between b and d with a series of poems about Adèle Domecq: nos. 217 (p. 103v), 218 (p. 104r), 219 (pp. 104v-105r), 220 (pp. 105r-v), 221 (pp. 105v-106r), 222 (p. 106r), 225 (pp. 106r-v), 226 (p. 106v), 227 (p. 107r), 228 (pp. 107r-v), 229 (p. 107v), 232 (pp. 108r-v), 233 (p. 108v), 234 (pp. 108v-109v), 235 (pp. 109v-110r), 236 (pp. 110r-v), 237 (p. 110v), 238 (p. 111r), 239 (p. 111v), 240 (p. 111v). The composition of this series could have strung along for quite some time (see note, e.g., to no. 240). No. 240 is written in two parallel columns in order to fit the poem into remaining space on a verso; the following recto was already taken up by no. 194, which had begun section d above.
	h) In May 1836, in space following f, Ruskin inserts nos. 231 (pp. 123v-124v) and 241 (pp. 124v-57r).
	i) Following no. 241, pp. 257v-59v are blank. Then on p. 260r occur a Latin exercise and some geometry figures. Since Ruskin was being tutored in geometry by 1833-34 (see no. 173), these exercises fall easily within the parameters of the use of MS VIII. After this page of schoolwork, pp. 260v-261v are blank, meeting up with the reverso text c coming from the other end of the notebook.
	j) The back boards are are filled with an elaborate outline for no. 180. Collingwood refers to this list as projecting 150 pieces of prose and poetry, and at least as many drawings for the finished version in MS IX, which was not carried that far (Works 2:340 n. 1). The boards are reproduced in WS fig. 6b (and see p. 50).
	k) The front boards contain pencil and ink doodles, mainly of dogs and crystals, and some fragmentary writing, mainly about geology.

MS VIIIA
	Bem ?; 1188-89. PML ?. Date of use, summer 1831 and summer 1832(?).

Provenance
	In Praeterita, Ruskin says he removed two little pencillings from Canterbury south porch and central tower, which he gave to Miss Gale, of Burgate House, Canterbury; the remnants of the book itself to Mrs. Talbot, of Tyn-y-Ffynon, Barmouth, both very dear friends (Works, 35:78). He did not give the entire remnants to Fanny Talbot, however, for among the early drawings left for gift to Joanie [Severn] are all those made--the first ever made from nature--at Sevenoaks, Tunbridge, Canterbury, and Dover (Works, 35:467). In John Ruskins First Sketchbook, James S. Dearden notes that Miss Gales Canterbury drawings were signed and dated by Ruskin 15 January 1880, when he must have given them away. The discrepancy in Praeterita concerning the remainder of the sketchbook is explained by Ruskins letter of 6 January 1885 to Fanny Talbot, quoted by Dearden:
by way of a beginning of rubbish Ive sent you the cover and most of the sheets of my first sketch book, 1831--when I was 12. It has some pencil scrawls at Dover and Canterbury and much MS of my proposed Mineralogical Dictionary! I have taken out some leaves which I mean to frame to preserve, referring to the book only as given to you. (Facets, 88)
The removed sketches, first ever made from nature, remained at Brantwood until the dispersal sales of 1931.
	The Talbot book (Bem ?) was acquired by J. H. Whitehouse at some point between 1919 and 1923 (RBB 38). The Gale drawings (Bem 1188-89). . . . The Severn drawings were divided among different lots at the 1931 Brantwood dispersal sales. Two, the Battle Abbey and Tunbridge Wells drawings, were bought for Charles Goodspeed. They are not listed in Goodspeed, Cat., which begins with drawings of 1833

Description
	Ruskin himself describes the sketchbook in Praeterita as my quite first sketch-book, an extremely inconvenient upright small octavo in mottled and flexible cover, the paper pure white, and ribbedly gritty, filled with outlines, irregularly defaced by impulsive efforts at finish, in arbitrary places and corners (Works, 35:77). It is ? x ? cm (cover), ? X ? cm (pages); 33 leaves.
	The sketchbook was used during a summer tour of 1831 to sketch sites in the southeast of England, before the family traveled on to Wales. According to Dearden, John James described the following itinerary in ?:
1831, May 25  Dover, Margate, Southampton, Portsmouth, Stonehenge, Hereford, Devils Bridge, Hafod, Aberystwyth, Dolgelly, Cader Idris, Barmouth, Harlech, Tan-y-bwlch, Caernarvon, Snowdon, Bangor, Conway, Llangollen, Oswestry, Monmouth, Chepstow, Clifton, Bath, Newbury, 21 July.
The sketchbook was used again in 1832, during a similar journey to the southeast (see MS VIIIB). This itinerary is listed by John James in ? as restricted to the southeast:
1832  Sevenoaks, Dover from 22 May to 30 June; Hastings to 19 July.

Content
	Owing to Ruskins dismemberment of the book, the original order of the pages is uncertain. As presently arranged, the content is as follows.
	a) [get order right at Lancaster] As inscribed by Ruskin later? (see Facets 89): Gateway at Maidstone 1831; Maidstone Church 1831; Dover Cliffs; Abbey near Dover see Fors [St. Radigunds Abbey; see Fors 27:491]; My first tree from nature 1831; Gateway of a college at Maidstone inside view. Uninscribed drawings that Dearden identifies with help of Mary Richardsons sketchbook: Leeds Castle near Maidstone; Ruins of the Roman Tower, Dover Castle built by Julius Ceasar; architectural details from the end of the S.W. transept of Canterbury Cathedral.
	b) Drawings detached for Gale: half of top part of central tower of Canterbury Cathedral, inscribed by Ruskin My first as ever was drawing of architecture, 1832. J. Ruskin signed 15 January 1880; carving and pinnacles above entrance of the S.W. porch of Canterbury Cathedral, inscribed by Ruskin J. Ruskin. Canterbury South porch 1832. Signed 15 January 1880.
	c)dismembered books sketches are followed by mineralogical notes (no. 157), then more sketches, and then more mineralogy. The mineralogy might have been written either later in 1831 following the summer tour, or in 1832 following another summer tour to the southeast--the latter tour also apparently recorded by sketches in the notebook. (In fact, the notes may well date from both times; and another prose item--the notes on a military drill witnessed at Dover Castle, no. 166--while appearing at the very start of the present arrangement, may have been written during either of the familys visits to Dover in 1831 and 1832.)

MS VIIIB
	PML ?

Provenance
	Sharp.

Description
	If MS VIIIA is Ruskins first sketchbook, the Morgan sketchbook is his second--at any rate, one used, like the first, during the summer tour of 1832. The Morgan sketchbook is covered by brown marbled boards with a calf spine and corners, 18.5 X 26.5 cm (cover) and 17.5 X 26.5 (pages); 20 leaves. The paper is watermarked J Wh[. . .]man Tur[. . .]ky Mill [. . .]30.

	The Morgan sketchbook was not dated by Ruskin; an unknown hand (perhaps Sharps) has inscribed it as an Early drawing book of sketches by J. Ruskin (done in 1831-32) However, if the Bembridge sketchbook--at least according to the elderly Ruskins testimony (see Dearden, Facets, p. 89)--was in use during those two years, it seems likely that the first book was used for sketching primarily in 1831 and thereafter recycled for note-taking and more sketching, while the Morgan sketchbook was exclusively devoted to sketching the 1832 tour. The contents of the latter match well with the tour limited to the southeast, an itenerary recorded by John James as 1832  Sevenoaks, Dover from 22 May to 30 June; Hastings to 19 July (qtd. in Dearden, ibid., p. 87). This would have allowed Ruskin considerable time for the, at least, fifteen sketches, annotated by him contemporaneously as follows:
Taken from the Gardens of the Crown Inn, Seven Oaks (1r); Seven Oaks church from Behind the Crown inn Gardens (2r); Knole house and park (3r); From the Tunbridge road near Seven Oaks (4r); Entrance to Seven Oaks from the Tunbridge road (5r); Leeds Castle near Maidstone (6r); the seventh leaf cut away; Ruins of the Roman Tower, Dover Castle (built by Julius Caesar) (8r); One of entrance towers. Dover Castle (9r); St Radigunds abbey from the inside (10r); Entrance to sally port, Dover castle (11r); an incomplete and unannotated drawing of a ruined wall with an entrance (12r); Entrance to an old College at Maidstone (13r, but a loose sheet that may be out of place); unannotated drawing of large rock or cliffs with trees (14r); unannotated drawing of a ravine (15r); a fence and trees along a road identified as At Dulwich, Surrey (16r); four blank leaves. (Tears in the margin reveal two missing leaves, though 13r appears not to be one of these.)
	These subjects closely match some of those in Mary Richardsons sketchbook, which may have been done at Johns side at the same time in either 1831 or 1832, since both children were students of Charles Runciman--Mary, for once, even maintaining the prior claim to the instruction and accomplishment (see Dearden, ibid., p. 89, and RFL, p. 258, 263). Even more notable is how closely the subjects match Ruskins own drawings in the 1831 Bembridge sketchbook--annotated in the 1880s by Ruskin as Gateway at Maidstone 1831; Maidstone Church 1831; Dover Cliffs; [St. Radigunds] Abbey near Dover see Fors; My first tree from nature 1831; Gateway of a college at Maidstone inside view (Dearden, ibid., p. 89).
	One wonders whether the summer 1832 tour was limited to the southeast in order to give the children, especially John, ample opportunity to develop their sketching abilities, going over and improving the same subjects--perhaps at Runcimans recommendation. In February 1832, Ruskin had boasted to his father how he had invented a Welsh scene out of his head by plundering Marys sketches for the techniques he needed: I examined one of Marys pictures, to see how the rocks were done, & then another to see how the woods were done, & another to see how the mountains were done, and another to see how the cottages were done, and I patched them all together, & I made such a lovely scene (RFL 263). By returning to the same scenes in the Southeast on what would amount to Ruskins first deliberate sketching tour, perhaps he was catching up with Mary and learning how it was done.
	All of these sketches employ the pencil drawing that, Ruskin said later that February, does well for near scenes, analyses of foliage, or large trees, but not for distance, or bare & wild scenery--not, that is, the watercolor that Runciman, impressed by Ruskins Welsh composition, immediately set him to learn, and not the dramatic commotion of expansive picturesque views he attempted in his Dover Castle of c. 1832 (RFL 267-68; see Paul H. Walton, The Drawings of John Ruskin [London: Oxford University Press, 1972], pp. 7, 9 pl. 4). The sketches, rather, bring the spectator close to the subject, though always from the perspective of entering, exiting, passing by--the experience of picturesque travel.

MS IX
	Yale (cataloged as Poems 1833). Date of manuscripts composition 1833-34.

Provenance
	Sothebys 1930. On the first leaf following the front flyleaf of MS IX, Joan Severn inscribed Joan R. Severn / from Di Pa, this manuscript being one of the those associated with touring that Ruskin set aside for her (see Introduction, Provenance of the Major Manuscripts, Sothebys 1930). Opposite this inscription is inscribed in pencil Mr Ruskin in John Jamess(?) hand, followed by a line I cannot decipher.

Description
	Ruled notebook; brown marbled boards and endpapers, three-quarter-bound in bluish-green leather; 20.5  16.5 cm. Someone--probably Wedderburn--has numbered leaves on their rectos, starting, oddly, with the second leaf following the two front flyleaves; i.e., the inside first flyleaf has the inscription by John James mentioned above, the second flyleaf has the inscription by Joan Severn mentioned above, and then there is another unnumbered leaf before the numbering begins on the following leaf. Despite this irregularity, I employ this numbering for the Content below.
	In the front of the notebook, eleven leaves (i.e., the first unnumbered leaf following the inscribed flyleaves, plus numbered leaves 1-10) have had their right edges cut away--to about one cm. deep--but leaving a small tab on the edge of each leaf. On these marginal tabs, someone has printed an alphabet, prepatory for an alphabetical directory of some kind. These leaves were never used, however, and it is impossible to say whether the alphabetizing was done by Ruskin or by someone who had prepared the notebook before him. Possibly, Ruskin meant to provide an alphbetized table of contents at the start of his poem. (He did compile an index at the back of MS VI, although that index was probably for his personal use, since MS VI was a rough copy notebook.) As it turned out, Ruskin failed to prepare even a title page for MS IX, and the illustrated poem and prose sequence is untitled.
	It is also possible that, since Margaret Ruskins writing is the first to appear in the manuscript (Content, d), she made the alphabetical tabs for some use of her own. The paper is watermarked HAGAR & CO / 1822, so the notebook might have lain unused in the household for a long time. What seems least likely is that someone would have subjected the manuscript to this treatment after Ruskin used the notebook for his poetry--or, for Ruskins part, that he would have started his project several leaves into the notebook, leaving all those blank leaves to be exploited later.
	Tipped in at the front, attached to the marbled fly leaf, Wedderburn added a sheet describing MS IX. Like his sheets tipped into the front of many Red Books and other major manuscripts, he pasted onto it a clipping from PJR describing the MS IX, and commented on any additions or rebinding since Collingwoods 1891 edition. In this case, where Collingwood summarized that pp. 1-21 are prepared for alphabetical index, while pp. 22-23 contain quotations in Mrs. J. J. Ruskins handwriting, and pp. 25-111, about a third of the book, were filled with prose and verse . . . with inserted drawings--i.e., the so-called Account of a Tour on the Continent--Wedderburn added the note, most of the blank pages have since been removed & the book replaced in its old cover. This ranks among the more damaging decisions about the treatment of the early manuscripts. With blank leaves removed, we are prevented from seeing clearly where Ruskin might have left gaps in his fair-copying, intending to insert a passage or a drawing later--a practice that remains obvious in the extant arrangement. One wonders, too, whether the leaves were entirely blank; even a roughly penciled notation might have provided clues about Ruskins plan.
	Reconstruction of the original manuscript is rendered uncertain, since one cannot be absolutely certain how many leaves were removed. Collingwoods page counts in PJR accurately describe MS IX in its present condition. This means that Collingwood skipped over blank leaves when numbering the manuscript--a practice consistent with his treatment of blank leaves in MS IVD--and these unnumbered leaves would have been the pages removed by Wedderburn. Stubs do remain visible, but one cannot be confident that stubs would show for all the removed leaves, especially if the manuscript was removed and then rebound in its cover. In Content below, I have noted where a stub remains visible, which one may interpret as a leaf (i.e., two pages) that Ruskin presumably intended to fill with writing or drawing. One must bear in mind, however, that not all stubs may be visible.
	The remaining stubs of the removed leaves should not be confused with stubs of a different paper--paper that is not ruled, as the original paper is, and protruding slightly beyond the original marbled edges. These stubs appear to have been inserted as part of the rebinding process, to which Wedderburn alludes in his tipped-in sheet. As irrelevant to the notebook Ruskin used, these rebinding stubs are not listed in Content below. Only the stubs are mentioned of paper that clearly belonged to the original notebook.

	Content
	a) John Jamess inscription (inside front flyleaf).
	b) Joan Severns inscription (second front flyleaf).
	c) Tabbed and alphabetized pages (unnumbered leaf plus folios 1-10r).
	d) Margarets copy of the Advice of the mother of the Chevalier Bayard on his leaving home to commence the profession of arms, extracted from ??? (10-11r). This is followed by a quotation from I Chronicles 28:9 (11r). The advice to the chevalier is as follows:
Peter, my friend, you are going into the service of a noble Prince; as much as a mother can command her child, do I command you three things, which, if you do, rest assured they will enable you to pass through this present life with honour. The first is, that above all things you love and serve God, without offending Him in any way, if it be possible to you. For it is He who gave us life, it is He who will save us, and without Him and His grace we should not have the power to perform a single good work in this world. Recommend yourself to Him every morning and evening and He will give you aid. The second is, that you be mild and courteous to all Gentlemen, casting away pride. Be humble and obliging to everybody. Be not a slanderer or a liar. Keep yourself temperate in regard to eating & drinking. Avoid envy it is a mean vice. Be neither a flatterer nor a tale-bearer, for people of this description do not usually attain to any high degree of excellence. Be loyal in word and deed. Keep your promises. Succour poor widows and orphans, and God will reward you. The third is, that you be bountiful of the goods that God shall give you to the poor and needy, for to give for His honours sake never made any man poor; and believe me, my child, the alms that you shall dispense will greatly profit both your body and soul.
(See no. 35 for Ruskins treatment of the Chevalier Bayard, who is depicted at the bottom of a page mainly devoted to Denis of France. The chevalier lies beneath a tree and supports upright the cruciform hilt of his sword.)
	The verse from Chronicles, in Margarets copy, reads as follows:
And thou, Solomon my son, know thou the God of thy father, and serve him with a perfect heart and with a willing mind: for the Lord searcheth all hearts, and understandeth all the imaginations of the thoughts: if thou seek Him, He will be found of thee; but if thou forsake Him, He will cast thee off forever. 28 1st Chronicles 9thv
	e) Blank page (11v), followed by stub for one removed leaf. This might have been a leaf destined for Ruskins title page, if he planned one. Another possible place would have been the two front flyleaves.
	(f) Fair copy with accompanying illustrations (in imitation of engravings) of Account of a Tour on the Continent, no. 180. Text written in copperplate hand, and illustrations drawn on separate squares of paper and pasted into place. Not all the Tour, as drafted in MS VIII and elsewhere, was fair-copied. The Library Edition follows the poem, so far as it was fair-copied and reconstructs the remainder (see Works 2:340 n.).
	Here are the contents of the Account listed in sequence, with citations from the Library Edition matched with the manuscript page numbers:
	Drawing (Works, 2:341 n. 1) (12r), Calais (poem, Works, 2:341) (12r-12v), drawing (Works, 2:341 n. 3) (12v).
	Drawing (Works, 2:341 n. 4) (13r), untitled prose section on Calais (Works, 2:341-42) (13r-14r), drawing (Works, 2:342 n. 2) (14r).
	Drawing (Works, 2:342 n. 3) (14v), Cassel (poem, Works, 2:342-43) (14v-15v), drawing (Works, 2:343 n. 1) (15v).
	Drawing (Works, 2:343 n. 2) (16r), untitled prose section on Cassel (Works, 2:343-44) (16r-17r), drawing (Works, 2:344 n. 1) (17r).
	Drawing (Works, 2:344 n. 2) (17v); Lille (Works, poem, 2:344-45) (17v-18v); no drawing at end of poem, but small space available (18v).
	Drawing (Works, 2:345 n. 2; note that the Library Edition gives the impression that this drawing closes the poem, when in fact it heads the prose section) (19r); untitled prose section on Lille (Works, 2:345) (19r-19v); no drawing at end of prose section, but small space available (19v).
	No drawing at head of poem, but space definitely left for that purpose (20r); Brussels (poem, Works, 2:346-47) (20r-21v); drawing (Works, 2:347 n. 2, first sketch listed) (21v).
	Stub (between 21v and 22r).
	Drawing (Works, 2:347 n. 2, second drawing listed) (22r), untitled prose section on Brussels (Works, 2:347-48) (22r-24r), no drawing at end of prose section, but ample space available (24r).
	No drawing at head of poem, but space definitely left for that purpose (24v); The Meuse (Works, poem, 2:348-49) (24v-25v); drawing (Works, 2:349 n. 1), positioned between last two lines of The Meuse (poem) and beginning of prose section (25v); untitled prose section on the Meuse (Works, 2:349-50) (25v-26r); drawing, not at end of prose passage on 26v, where a small space is available, but pasted broadside and taking up whole of 27r (Works, 2:350 n. 2, first drawing listed).
	Blank page (27v); drawing (Works, 2:350 n. 2, second drawing listed) (28r); Aix la Chapelle (Works, prose, 2:350-51) (28r-30r).
	Nearly full-page blank space definitely left for drawing, following last few words of Aix la Chapelle (prose) and preceding the two opening lines of Cologne (30r); Cologne (poem, Works, 2:351) (30r-31r, with the deliberately erased gap described in Works, 2:351 n. 2).
	Drawing, between last line only of Cologne (poem) and beginning of prose section (Works, 2:351 n. 3) (31r); untitled prose section on Cologne (Works, 2:351-53) (31r-33v); no drawing following prose section, but a small space available (33v). One of these leaves (31r-v) has at some point been cut away from its stub; then, the loose leaf cut horizontally between the drawing and the prose at the bottom; and, finally, the two pieces have been taped back into place again, reattached to the stub. The piece with the drawing has B written at the side. See 37r-v, below.
	Stub (between 33v and 34r).
	No drawing, although large space definitely allowed (34r); Andernacht (poem, Works, 2:354 n., i.e., not 2:353-54) (34r-34v); drawing, at top of page following poem and preceding prose, which is described in Works as somewhat detached from the poem, but which certainly depicts Andernach tower (Works, 2:354 n. 2) (35r); untitled prose section on Andernach (Works, 2:354-55) (35r-36v); no drawing at end of prose section, but ample space available (36v).
	Drawing (Works, 2:355 n. 1, and page reproduced 356 opp.) (37r); Ehrenbreitstein (Works, poem, 2:355-58) (37r-39v); drawing (2:358 n. 1) (39v). One leaf (37r-v) has been removed from its stub and then reattached with tape. Since the tape is the same as that used to reattach 31r-v, and since this entire leaf is reproduced in Works, one suspects that the leaf was detached so it could be photographed for the Library Edition. It is equally possible, however, that the editors took advantage of an existing separation.
	No drawing, although nearly full-page space definitely allowed (40r); untitled prose section on Ehrenbreitstein (Works, 2:358) (40r-41r); no drawing at end of prose passage, and insufficient space available for one (41r).
	No drawing, although space definitely allowed (41v); untitled poem on St. Goar (Works, 2:359 n. 1, i.e., not 2:359-60) (41v-42r); no drawing at end of poem, but small space available (42r).
	No drawing, although space definitely allowed (42r); untitled prose passage on St. Goar (Works, 2:360-61)(42v-43r); no drawing at end of prose passage, and only a very small space available (43r).
	Drawing (Works, 2:360 n. 1, cited erroneously as following poem on St. Goar) (43v); untitled poem on Heidelberg (Works, 2:361-64) (43v-46v); no drawing, but space allowed on two-page spread (45v-46r, on each page of which the poetry extends only halfway down, lines 65-76 on 45v, and lines 77-86 on 46r); no drawing, and no space available, at end of poem (46v).
	Blank leaf (47r-47v); no drawing, although space definitely allowed (48r); beginning of untitled prose section on Heidelberg (Works, 2:364 [Most beautiful . . . granite, sometimes]).
	Blank page (48v).
	Stub (between 48v and 49r).
	Drawing, pasted in middle of page (Works, 2:364 n. 1 [no. 1]) (49r).
	Blank page (49v).
	Drawing, pasted in middle of page (Works, 2:364 n. 1 [no. 2]) (50r).
	Blank page (50v).
	Drawing, pasted broadside in middle of page (Works, 2:364 n. 1 [no. 3]) (51r).
	Blank page (51v).
	Drawing, pasted in middle of page (Works, 2:364 n. 1 [no. 4]) (52r).
	Blank page (52v).
	Two drawings (Works, 2:364 n. 1 [nos. 5a-b]), no space available for text.
	Blank page (53v).
	Stub (between 53v and 54r).
	Drawing, pasted in middle of page (Works, 2:364 n. 1 [no. 6]) (54r).
	Blank page (54v).
	Drawing, pasted in middle of page (Works, 2:364 n. 1 [no. 7]) (55r).
	Blank pages (55v-74r).

MS X
	Yale (original contents dispersed in individual folders by title, and the folders contained either in box labeled Ruskin, John, 1819-1900 / Miscellaneous Manuscripts [along with other folders unrelated to the original MS X] or in Ruskin, John, 1819-1900 / Letters, boxes F-H and N-Z). Dates of composition of original contents range from 1831 to 1860.

Provenance
	Sothebys 1931. For Joan Severns possession of MS X, along with other manuscripts containing tour poems, see Sothebys 1930. Not all the items in MS X are associated with touring; it is unknown whether the other items held some especially fond association for Joan.

Description
	According to Collingwoods original description, MS X was a cover containing a number of miscellaneous items, from which, by the time the Library Edition was undertaken, the diary of 1830 as well as other papers, not in verse had been separated (see MSS XA and XB). The remaining contents of the original cover, along with a few additions, were bound up in a volume, which retained the designation MS X. This was item III of lot 27 in Sotheby Cat. 1931 (p. 6), described as The Poetical Tour of 1835, Letter to his Father in verse, 31 March, 1836, and much later in date The Peace Song and the The Zodiac Song, and other pieces. MS X then came into Goodspeeds possession and is described in his Cat. as one volume, red cloth, no doubt the red buckram used for other Ruskin manuscript bindings of this period. Like MS IA, however, by the time MS X was turned over to Yale, it had been unbound and its contents separated--whether before Goodspeeds fire, or after (and owing to) the damage. The separate items are now cataloged at Yale under their individual titles, many of them enclosed in folders inside the box Ruskin, John, 1819-1900 / Miscellaneous Manuscripts (see also MS IA, Description).

Content
	a) To Poesie (no. 109) is listed first in Goodspeed, Cat. (item 83.A), and presumably appeared first in the original binding, although according to Works (2:534) this item either was added later to MS X as described by Collingwood or was omitted from that earlier description. Its place in front of the contents may account for its severe fire damage, much of the upper right corner being lost of the 10.3  18.8-cm sheet. (Similarly, the upper right corners of b, below, which probably lay immediately beneath a, were sacrificed.) For preservation, the sheet is encased in rice paper, and enclosed in a separte folder in Miscellaneous Manuscripts.
	Both Goodspeed, Cat. and Works are tentative in identifying the hand of this copy, but the hand is unquestionably Margarets. In a penciled note at the end of the poem, she apologizes I am sorry this is no better writte[n b]ut my pen was bad & I coul[d] not make it better.
	b) Journal of a Tour through France to Chamouni (no. 203), according to Works (2:534), was contained in two paper books, one of 26 pages for Canto I, and the second of 10 pages as far as carried for Canto II. Goodspeed, Cat. (item 83.B) summarizes 36 pp., 4to. Despite the severe charring, the manuscript is preserved complete, although the books are cut into individual leaves, which are encased in rice paper. Canto 1st (the poem is untitled) is written on thirteen 15.5  19-cm sheets; the presumptive second canto (no such designation is supplied, only the stanzas are numbered) is written on five 22.5  18-cm sheets.
	In both books, the stanzas run continuously recto to verso, leaf by leaf. In canto two, two successive stanzas are numbered 24, the editors of the Library Edition silently correcting the second to 25 and adjusting the successive numbering accordingly. The fragmentary twenty-ninth and final stanza (thirtieth, in the Library Edition) is not incomplete owing to missing manuscript, since it stops in the middle of a verso.
	With its very few corrections, the manuscript appears to be fair or semifinal copy (although one must never underestimate Ruskins facile ability to produce uncorrected draft). If fair copy, the manuscript, by comparison with Ruskins other travelogues, is no copperplate fair copy like the Iteriad in MS VII, much less an elaborately illustrated production like the Account of a Tour on the Continent in MS IX. Perhaps Ruskin was becoming less interested in bookmaking as an aspect of his poetry.
	c) Both descriptions (Goodspeed, Cat., item 83.C, and Works, 2:534) list a versified letter from abroad to Richard Fall, 14 June--2 September 1835 (no. 204), which is now kept inside a folder in a box at Yale, Ruskin, John, 1819-1900 / Letters: F-H.
	The description in Works specifies double columns on 5 large pages, but Goodspeed, Cat. cites 10 pp. On the folder containing the manuscript (resembling the other folders for items of the Goodspeed donation), as in Works, 5 p. is notated. Goodspeed Cat. gives the erroneous description, since the manuscript presently consists of three sheets, 20.5  25 cm, two of them written in double columns on both sides, and the third written in double columns on one side. Nothing is missing, since these sheets constitute the entirety of the poem as published in Works, 2:429-38--including the ms. postscript, dropped into a note on p. 438.
	The charred sheets are encased in rice paper. The hand appears to be Margaret Ruskins.
	d) Both Goodspeed, Cat. (item 83.D) and Works (2:534) list Conversation supposed to be held between Mr R. Mrs R. Miss R. & Master R. on New-years morning 1836 (no. 215). Both descriptions count six pages--6 pp., 4to, according to Goodspeed--which correspond to the three extant 25  20-cm sheets, encased in plastic and enclosed in a separate folder in the box Miscellaneous Manuscripts. Fire damage was severe to the right edges, which show a curious vertical streak, as if the sheets had been folded along that crease; however, Ruskins writing carries across the crease.
	e) Both Goodspeed, Cat. (item 83.E) and Works (2:534) list a rhymed letter to John James Ruskin, 31 March 1836 (no. 230), which is now kept inside a folder in a box at Yale, Ruskin, John, 1819-1900 / Letters: N-Z. The 20.5  25-cm folded sheet, written in verse on three sides, with the address and a prose paragraph on the fourth side, corresponds to Goodspeeds 3 pp., 4to, and address. Charred and encased in rice paper. The most thorough transcription of the letter is in RFL, 358-64, which also provides a full description of the letter.
	This is the only item from MS X that is specifically identified among Goodspeeds donations in YULG (17, no. 3 [January 1943]: 59). The remainder may have been included among the 31 sheets of poems also listed in that acknowledgment, or they may have been comprised in the other Ruskiniana acknowledged later in YULG (19, no. 2 [October 1944]: 35). See MS IA, Description.
	f) Both descriptions (Goodspeed, Cat., item 83.F, and Works, 2:534) identify a partial copy (lines 1-185 only) of The Exile of St. Helena (no. 256) in an unidentified hand--in the hand of a secretary, the Library Edition adds, in its list of Exile manuscripts, of which Yales is b (Works, 2:45 n. 2). The hand, I believe, is Margaret Ruskins.
	The manuscript is untitled, except for the epigraph drawn from II Samuel (the second epigraph of the printed version, from Aeschylus, is not present; see Works, 2:45). The manuscript consists of three 18  23-cm sheets, written on both sides, plus one shorter 18  15-cm sheet, written on one side, and torn just below line 185; hence, the torn page represents the state of the manuscript since it was first described as totaling 185 lines, and nothing was lost to fire damage except for the right edges, which are severely charred. The leaves are encased in plastic and enclosed in a folder in the box Miscellaneous Manuscripts. 
	g) Both descriptions (Goodspeed, Cat., item 83.G, and Works, 2:534) include the Peace Song, and the Zodiac Song, the Library Edition explaining that these poems, like a above, were added to MS X when first bound and were not enclosed in the cover described by Collingwood.
	The charred manuscripts of the two poems are encased in rice paper and kept in separate folders in the box Miscellaneous Manuscripts. Works (2:245 n.) describes a loose sheet for each, and Goodspeed, Cat. 2 pp., 4to for both. Specifically, The Peace Song is 20  25 cm and watermarked 1863, and The Zodiac Song is  18  25 cm (no watermark). Perhaps the two manuscripts were intended as a pair, since the one is entitled and numbered 1. The Peace Song, and the other 2. The Zodiac Song.
	The first printing of The Zodiac Song (Works 2:247) follows this manuscript exactly and is evidently taken from it, while the printing of The Peace Song in the Library Edition (there entitled Awake, Awake) is taken from another source and lists this manuscript as a variant. See also Van Akin Burd, ed., The Winnington Letters (Cambridge, Mass.: Harvard University Press, Belknap Press, 1969), 251, 253 n. 4.

MS XA
	PML (no accession no. at present) and Coniston Museum. Date of composition 1830.

Provenance
	Sharp. In Collingwoods time, this 1830 travel diary was included in a cover along with some other items in the possession of Mrs. Arthur Severn (PJR, 1:267). See Sothebys 1930 for other tour-related manuscripts that were given to Joan Severn.
	As noted by Cook and Wedderburn in their description of MS X (Works, 2:534), the 1830 diary was later bound separately from MS X. This history, remarks Dearden, as well as bad selection and lotting from Brantwood by Sothebys, explains how the manuscript became separated from the other diaries (RBB, 49).
	Eventually, the diary found its way into the hands of Sharp--all except for two leaves, which had been kept apart at the time of binding and donated by Joan Severn to the Coniston Museum. In the manuscript, these two leaves were replaced by a transcript in Collingwoods hand. (Presently, the museum exhibits copies of these leaves, while the originals are deposited at the Cumbria Record Office, County Offices, Kendal, Cumbria.) The diary especially became a bone of contention between Sharp and J. H. Whitehouse, who had acquired most of the diaries (for this story, see TLC, 4-5; RBB, 182-83; and Van Akin Burd, Frederick James Sharp, 1880-1957, Book Collector 44, no. 4 [Winter 1995]: 554-57). Like all the manuscripts in Sharps possession, the diary was bequeathed to Helen Gill Viljoen and eventually was donated to the Morgan Library.

Description
	As explained in Provenance above, Wedderburn arranged to have the diary bound after its separation from MS X. The binding is red buckram, like those for manuscripts that formed lot 27 in Sotheby Cat. 1931; lettered in gilt Ruskin MS.--Tour to the Lakes, 1830; 19  23 cm. The original two handmade paper books consist, respectively, of 44 pp., watermarked G. Wilmot / 1830, and impressed with stationers stamp of a crown, 18.5  22.5 cm; and of 20 pp., watermarked I & J Dewdney / 1826, of slightly varying size 20-20.5  15.5-16.5 cm. Burd also supplies a description in TLC, 3.
	The leaves donated to the Coniston Museum are comprised in the outside folded sheet of the second, smaller book. As Burd remarks, since Collingwoods transcript of these leaves was bound along with the original manuscript, the binding must have been done between August 1901, when the Coniston Museum opened and Joan Severn presumably donated the leaves, and 1903, when the binding is mentioned in the second volume of the Library Edition.
	See the introduction to TLC for Burd and Deardens analysis of the handwritings of John Ruskin and Mary Richardson, who shared in the composition; of the ordering of the contents; and of the circumstances under which the diary was written.

Contents
	Nos. 83-84.

MS XB
	Princeton (cataloged as Early Prose Writings). Date of composition 1836 and 1838, possibly wholly in 1838.

Provenance
	Sotheby's 1931. According to Collingwood (PJR ?), the two manuscripts contained in this binding were originally included among the contents of MS X. By Cook and Wedderburns time, the two manuscripts, like MS XA, had been bound apart from MS X.

Description
	Bound in red buckram, with Ruskin Ms. Early Prose Writings in gilt on spine, 21.5  34.5 cm. Of the contents, the first, no. 216, consists of 9 leaves of bluish paper, watermarked Ruse & Turner / 1836, 21  34 cm, written in ink on both sides of each leaf, except for blank 9v. The second, no. 270, consists of 6 leaves of paper identical to the first, written in ink on both sides of each leaf.
	Owing to the later binding and to the consistency of the paper used for the two manuscripts, one cannot be positive that the Chronicles (no. 216) and the Essay (no. 270) are written on distinct gatherings--i.e., that they were fair-copied separately. The likelihood of distinct gatherings, however, is suggested by the soiling of the blank back page of no. 216 (9v), as compared with the good condition of the first page of no. 270, which follows immediately in the present binding. Also, the hands differ, that for no. 216 being very small and close, despite the folio-sized pages--much like the later portion of the large mineralogical dictionary, MS IVD (i.e., the dense flush-and-hang entries)--whereas the hand for no. 270 is much larger and more widely spaced, Ruskin fitting about half the number of lines per page as compared with no. 216 (although the lines become more crowded in the Essay, as Ruskin runs short of paper at the end of the booklet). Finally, two separate gatherings is suggested by their slight misalignment from one another where they meet at the spine of the binding.
	Although probably distinct gatherings, the two manuscripts must have been bound together owing to their matching physical characteristics. At Brantwood, the paper booklets may even have been found folded together, since horizontal creases in the paper match throughout the two manuscripts. In addition to the identical paper, the manuscripts share some similarities of presentation, such as justified right and left margins, and a double-ruled line, which is used in no. 216 to divide the introduction from chapter one, and which in no. 270 closes the essay.
	Owing to the present binding, I am unable to account for the odd number of leaves in no. 216. Generally, Ruskin constructed his handmade pamphlets by sewing folded sheets. In some of these other manuscripts, a leaf was cut away from the outside of the gathering, leaving an odd number of leaves, and one suspects that to be the case here. Nothing appears to be missing from no. 216, which begins with a title at the top of 1r and ends with a blank page, 9v.
	When bound, the two manuscripts were enclosed together within sheets of foolscap, with contents ennumerated in Wedderburns hand: Ruskin MS. / Early Prose Writings (2r); and Ruskin MS / Early Prose Writings. / Chronicles of St. Bernard. / Velasquez, a Novice. / Essay on Music & Painting (3r).

Contents
	a) Two blank binders sheets.
	b) Wedderburns contents pages, 3 leaves, written on 2r and 3r, as specified in Description above.
	c) No. 216, 9 unnumbered leaves.
	d) No. 270, 6 leaves, numbered pp. 1-12 by Ruskin.
	e) Wedderburns foolscap, 2 leaves, blank.
	f) Two blank binders sheets.

MS XI
	Yale (cataloged as Ruskin MS., Early Poems and Letters to His Father, 1827-44, 1847-51, 1859). Dates of composition of contents vary from 1827 through 1859.

Provenance
	Sothebys 1930. According to notations on the endpapers, Ruskin himself had a hand in the arrangement of at least one of the volumes of letters bound in 1889, although not definitely the volume containing juvenilia. Again, according to notations in the volumes, they appear to have been in the keeping, first, of Alexander Wedderburn and, after Ruskins death, of the Severns at Brantwood. See below, Description.

Description
	Blue morrocco, gilt, decorated volume 22  28.5 cm; on spine, RUSKIN. / MS. POEMS AND LETTERS. J.R. / ENGLAND, SCOTLAND, FRANCE, SWITZERLAND. / 1827-44  1847-51  1859 / BOUND. 1924.
	Originally, according to Collingwood, MS XI was an envelope containing collected loose papers, including poems; fair-copied by the author as presents, chiefly to his father; or copied by others (Works 2:534). By the time the second volume of the Library Edition was published (1903), the loose papers, together with some others, had been bound up in a volume of letters and poems, 1827-44 (Works 2:534). This binding, according to the date stamped on the spine of five other blue morrocco volumes, was done in 1889. Since Collingwoods Poems was published in 1891, the letters cannot have lain loose in an envelope for very long after he described MS XI.
	Why, then, is the volume of the early letters stamped on the spine as bound in 1924? According to the bibliography volume (1912) of the Library Edition, when the Works were completed, there were at Brantwood some seven bound quarto volumes of letters from Ruskin to his parents, of which the first was the 1827-44 volume described in the second volume. When the volumes of letters were sold at Sothebys on 24 July 1930, however, Lot 110 consisted of only six volumes. The discrepancy is explained, if rather obscurely, by a NOTE on a front endpaper of the present first volume.
In the Library Edition of Ruskin (Vol. 38. p. 205) the contents of this volume are catalogued as two volumes, viz. (i) 1827-1844 and (iii) 1847-1851. This is because at the time of the catalogue the volumes were separately bound together in one volume.
	The lettes of 1859 at the end of this volume should have been placed in the volume more appropriate to their date, but were overlooked when that volume was bound.
December, 1924.
In 1924 it was decided to disassemble the bindings of the original first and third volumes and rebind them together. This is apparently all that is meant by the awkward phrase separately bound together in one volume. The redisposition of the volumes contents is clarified by comparing the bibliography list of 1912 with what is stamped on the spines of the volumes currently at Yale (the bindings were never stamped with volume numbers but only with the dates of their contents):

1912 (Works, 38:205)1924 and afterward
vol. 1: 1827-44vol. 1: 1827-44, 1847-51, 1859 (bd. 1924)
vol. 2: 1845 vol. 2: 1845-50 (bd. 1889)
vol. 3: 1847-48-49-50-51
vol. 4: 1851-52vol. 3: 1851-52 (bd. 1889)
vol. 5: 1853vol. 4: 1853 (bd. 1889)
vol. 6: 1857-58-59-61vol. 5: 1858-61, 1867 (bd. 1889)
vol. 7: 1862-63vol. 6: 1862-63 (bd. 1889)

First, it is clear that the present first volume holds the original volumes 1 and 3, as well as 1859 letters that apparently had never been bound prior to 1924. This disposition is confirmed by the volume still containing a typescript table of contents for the 1827-44 letters and poems, a typescript that differs markedly from a handwritten table of contents for the 1847-51 letters and from a page divider (no table of contents) for 1859. Presumably, the typescript and holograph tables of contents date from their original respective volumes.
	As for the other slight discrepancies between the two lists, they seem unlikely to have arisen from any actual redisposition of the contents of the original volumes 2 and 4-7 after 1889. Regarding volume 2, the Library Edition list fails to mention letters after 1845 though 1850, because, I imagine, those letters are from John James to Ruskin and not from Ruskin to his parents (Works, 38:205)--Ruskins authorship apparently being the editors primary concern at that point. The same explanation may be given for the failure of the Library Edition list to mention letters of 1867 in volume 6 (now volume 5): the 1867 letters are to Ruskin from his mother, not the reverse. Finally, the mismatch regarding that same volumes 1857 correspondence can be explained by the Library Editions providing the greater accuracy, for once: that volume contains only a few 1857 letters, as compared to the much more substantial collection of 1858-61, as identified on the spine.
	Only the first of the blue morrocco volumes, of course, should be identified as MS XI--and, strictly, only the 1827-44 section of that volume, as presently bound. Although we can never know precisely what was contained in Collingwoods envelope, nothing appears to have been lost since Cook and Wedderburn described the first binding of these letters (see Works 2:534, although this list omits prose letters). Moreover, assuming the typescript table of contents for the 1827-44 section to be the original, one finds it to correspond to all manuscripts presently extant in that section. The 1827-44 letters and poems form a core source for RFL, where the present blue morrocco volume 1 is called RMS I.
	It may be mentioned here that the 1924 rebinding of the original volumes 1 and 3 matches the 1889 bindings. The five 1889 bindings are all the same blue morrocco, gilt, and decorated (only more worn than the 1924 rebinding), and 22  28.5 cm. All have written in pencil on their front endpapers, To be given to Mrs Arthur Severn in event of my death / AW., so they must have been for some time in the possession of Alexander Wedderburn. Brief descriptions of volumes 2-6 follow. (I have not compared the volumes contents, letter by letter, against editions of the letters in question, and I have not attempted to be thorough regarding publication history. Many of the letters in these volumes, of course, were first published in Works; Collingwood, Life; and Cook, Life):
	Vol. 2: on spine, RUSKIN. / MS LETTERS. J.R.  J.J.R. (M.R.) / N. ITALY. PISA, FLORENCE, VENICE, &C. / 1845.-50. / BOUND. 1889.  This volume is important to this bibliography as forming a source of one letter for RFL, where the volume is called RMS II. Namely, the volume holds John Jamess letter to Margaret, 9 March 1831, a letter that includes John Jamess own verse (RFL 238-41); however, most of John Jamess letters in this volume are beyond the scope of RFL. Most of the contents of this volume are published as Ruskin in Italy: Letters To His Parents, 1845, ed. Harold I. Shapiro (Oxford: Clarendon, 1972).
	Vol. 3: on spine, RUSKIN. / MS LETTERS. J.R. / VENICE, ETC. / 1851.-1852. / BOUND. 1889.  The contents of this volume are published as Ruskins Letters from Venice, 1851-1852, ed. John Lewis Bradley (New Haven: Yale University Press, 1955).
	Vol. 4: on spine, RUSKIN. / MS LETTERS. J.R. / SCOTLAND. / 1853. / BOUND. 1889. This contains, in addition to letters to his parents, three of Ruskins letters to Miss Mitford (1854?).
	Vol. 5: on spine, RUSKIN. / MS LETTERS. J.R. (M.R.) / SWITZERLAND, N. ITALY. BOULOGNE, IRELAND, BONNEVILLE, LUCERNE. / 1858.-1861. (1867.) / BOUND. 1889.  This volume is the main source for John Ruskin, Letters from the Continent, 1858, ed. John Hayman (Toronto, Buffalo, and London: University of Toronto Press, 1982), and an important source for The Winnington Letters: John Ruskins Correspondence with Margaret Alexis Bell and the Children of Winnington Hall, ed. Van Akin Burd (Cambridge, Mass.: Belknap Press of Harvard University Press, 1969). As mentioned earlier, this volume also holds letters to Ruskin from his mother of 1867, and there is one of 1864.
	Vol. 6: on spine, RUSKIN. / MS LETTERS. J.R. / LUCERNE, MILAN, MORNEX, GENEVA, ANNECY. WINNINGTON. CHAMOUNI, GENEVA. WINNINGTON. / 1862.-1863. / BOUND. 1889. In addition to the pencil note by Wedderburn directing what should be done with the volume in the event of his death, vol. 6 has a note in ink on a front endpaper: The letters in this volume were given by Mr Ruskin to A. Wedderburn, & arranged by him in this book, which was deposited at Brantwood, after Mr Ruskins death, by arrangement with Mrs Severn. / A. Wedderburn / Oct. 1900. If him refers to Ruskin, only this volume testifies to the authors own hand in its arrangement.
	The contents of this volume are an important source for The Winnington Letters: John Ruskins Correspondence with Margaret Alexis Bell and the Children of Winnington Hall, ed. Van Akin Burd (Cambridge, Mass.: Belknap Press of Harvard University Press, 1969).

Contents
	This bibliography omits description of the early letters in MS XI that contain no poetry, letters that will be found adequately described in RFL. Here, rather, are described only the items in MS XI that are listed chronologically in part 2. The items that were not originally letters are described for the first time; poetry contained in letters will be found described in RFL but are also listed here for the sake of consistency (and portions of text of those letters containing poetry, portions that were omitted in RFL, are provided). Only physical description is given here, whereas inscriptions regarding dating are relegated to the individual entries in part 2.
	a) No. 11: 20  13-cm single sheet, pencil.
	b) Nos. 22-23: 20.5  12.2-cm folded sheet, written in pencil on three sides, with To my Papa on address side.
	c) No. 33: 20  12.5-cm folded sheet, written in ink on three sides, with address side blank.
	d) Nos. 38 (2 stanzas) and 39 (3 stanzas) in 21 February 1829 letter (described RFL 177). No. 38 and no. 39 (RFL 179-80) are arranged side by side, with a verticle bar between them.
	e) No. 39 (4 stanzas) in 10 March 1829 letter (described RFL 191). As Burd remarks (RFL 194 n. 1), Margarets penciled note on this letter was erased; however, one part remains barely legible, written below the stanzas of no. 39. Apparently, she is responding to Ruskins remark that the psalm (no. 39) is the same as I wrote it at first  I tried to alter it but I found I could make nothing better of it (RFL 194). The omissions are owing to the writing having been too thoroughly erased for a secure reading:
The cause of Johns [ . . . (?)] is that in copying from his slate he leaves out the [ . . . (?)] to write on his slate as fast as his hand can go  he does not seem to hesitate a minute  when it is full put it on paper without alteration [ . . . (?), remainder obscured by binding of letter]
This letter is followed by the 10 May 1829 letter (no poetry).
	f) No. 108 in March 6th 1830 letter (described RFL 233, and date corrected to 1831, although Burd does not make clear that the 1830 error was originally Ruskins on the letter itself). Burd provides part of Margarets postscript, noting that a preceding eleven lines have been erased (RFL 235). The erased lines are visible enough for the following conjectural reading:
The house you wrote me to look at is the very house on the left hand side of the ... ...  to Norwood which you have always so much admired  it belongs to M[ . . . Bramah(?)] they will not let it for less than [8(?)] weeks [terms(?)] with 3 cows & garden  12 guineas a week without use of vegetables & cows  I left our address and time we wanted it for and Mrs [Bramah(?)] has just called  I think the [ . . . (?)] more than we need [ . . . (?)] but I shall be glad to do what you wish  of course the milk & vegetables are worth a good deal
For further discussion about renting this house, see RFL 246, 247 n. 3, 249. This letter is followed by letters of 21 February (one by John and one by Margaret), 28 February, 14 March, 21 March 1831 (no poetry).
	g) No. 118a: 20  12.5-cm folded sheet, written in ink on two sides, with recto of address leaf blank, and verso of address leaf inscribed To my Papa / from J. R. / aged 12. See MS IA, Content, i, for a probable missing companion folded sheet for this manuscript. Followed by letters of 14 January, 20 February, 27 February, 4 March 1832; 15 January 1833 (no poetry).
	h) No. 180, prose section on Chamouni, as printed in Works, 2:380-82. This is written in Margaret Ruskins hand in ink on the 20  25.5-cm, blue paper that Ruskin used for letters after 1832. The editors of the Library Edition are correct that the signature J. R. / fragment from a Journal / 1833 is in John Jamess hand. The date may apply either to the Continental journey or to the manuscript itself. Followed by letter of 22 February 1834 (no poetry).
	i) No. 189 in 10 March 1834 letter (described RFL 282; Burd does not mention a penciled postscript by Margaret, but it has in any case been erased beyond legibility).
	j) No. 194: 17.5  22-cm booklet, six leaves, in ink. Its binding into MS XI makes it impossible to determine whether the booklet is sewn but presumably so; otherwise, the middle signatures would have slipped out. On 1r, To My Father / Jan.y 1.st. / 1835. 1v, blank. 2r-6r, poem (17 stanzas). 6v, in John Jamess hand, Johns Poem / 1 Jany 1835.
	k) No. 198 in 18 February 1835 letter (described RFL 295). Burd omits Margarets penciled note at the top of the first page and between columns on other pages: 
My Dearest John I have your two last letters and thank you My own love for them   I do I must think you have no small regard even for me and our boy must be loved I think by all who know any thing of him and how much then by his father thank god he has at present no cough and I might almost say the same of myself--
	Mr Hopkenson [sic, spelled Hopkinson elsewhere in RFL] sent out a fly yesterday [see RFL 304] which is pronoun[ced . . . (?), rest of line obscured by binding of letter] Mary too says it looks very respectable you know I am no judge
	I will write more particularly in my next  I do not like to trouble you either to read or rub out pencil  I am much gratified by your attention about this same carriage  Mr Telford called this morning in his way to town  I was not up  Mary saw him but could not make him [Hear(?)]  this of Johns was written without copy [He cries must send by next afternoons(?)]
		[ . . . (?)] My Dearest more than Dear[ . . . (?)] yours MR
	l) No. 199 in 11 March 1835 letter (described RFL 308).
	m) Nos. 201 and 200 (fair-copied in that order): 19  25-cm booklet, four leaves, with pp. 1-7 numbered by Ruskin, written in ink. Its binding into MS XI makes it impossible to determine whether the booklet is sewn. Pp. 1-3, My Dearest Father. (no. 201); pp. 3-7, no. 200. On address leaf (unnumbered p. 8) To my Father / On his Birthday / May 10th. 1835 / [and in John Jamess hand,] Domecqs Vineyards.
	n) No. 224 in 27 February 1836 letter (described RFL 321). Followed by letters of 5 and 10 March, and two other letters of March 1835 (see RFL 335-45; each of these is numbered at the top [by John James?], i.e., No. 1, No. 2, No. 3, and No. 4). Next follow letters of 19, 25, and 29 March, and 20 and 24 December 1836.

	o) No. 247 in 30 December 1836 letter (described RFL 397). Followed by letters of 10 January, 26 February, and 15 March 1837.
	p) No. 254: a 20  25-cm leaf plus a 20  14.5-cm leaf, which together probably form a folded sheet, the second leaf having been cut across the bottom--the binding obscuring whether the leaves are attached. On address side, My Dear Father / May 10.th 1837. Notated by John James on address side, Johns poetical Epistle / on my Birthday / 1837 / from Oxford, and on first page, Birthday. Followed by letter of 19 January 1838.
	q) No. 205: two 20  25-cm leaves, probably forming a folded sheet, but the binding obscures whether the leaves are attached. Obviously a rough draft, the text is closely written in varying tints of ink and with different pens, probably reflecting successive stages of composition between July and October during the 1835 tour of the Continent. The prose letter that Ruskin started to write on 1r is scored through and a verse letter started beneath it. The verse continues, in very densely packed single columns, to the very bottom of 2v. The concluding lines are wrapped around to the top of 1r, where they are inserted between the scored-through lines of the original prose letter. On 4r, Ruskin also scored through lines of Greek (perhaps taken from Thucydides, whom Ruskin mentions studying in the poem). This was probably a prior use of the sheet, since the Greek runs upside down to the poems text.
	No. 205 is followed by Ruskins letter to J. C. Loudon of September 1838 (printed Works, 36:15-17); Ruskins letters to his father of 21 August 1841 (RFL 678-79), and of 5 December 1839 (RFL 631-32); Margarets letter to John James of 5 December 1839 (RFL 632-33); a copy in John Jamess hand of Ruskins 1 August 1842 letter to W. L. Brown (printed in part, Works, 2:223n.); Ruskins letter to his father of 3 August 1841 (RFL 677-78); a copy in Margarets hand of two letters (apparently both copied at the same time), one of 20 December 1843 to W. L. Brown (Works, 4:390-93), and the second of 10 March 1844 to Osborne Gordon (Works, 3:665-67).
	The following sections of this volume, containing letters from 1847 and afterward, are not listed here, as being beyond the scope of this bibliography.

MS XIA
	HL (HM 6103). Date of composition starting either in early 1832 or in early 1833 and continuing for an unspecifiable period, probably not longer than a year or two.

Provenance
	Huntington.

Description
	Unruled notebook, blue-green marbled boards, half-bound in red leather; 23.5  19 cm. Extant are 38 leaves. At least 4 leaves have been torn out from the end of the notebook. Watermark J Whatman / Turkey Mill / 1831.
	Title page (2r): Practical / GEOMETRY. The word Practical is lettered in a gothic style, while GEOMETRY is lettered in the style used for the words ITERIAD and ATHENS on the title pages to those epics in MS VII (see MS VII, Description). Above the title is an ornament consisting of a face surrounded by fancy scroll. While early catalogers notes at HL assume that such ornamental pen work must be in another hand (see Hodson, Checklist, 196), the ornamented lettering, like that for the title pages of Iteriad and Athens in MS VII, was likely copied by Ruskin from E. Butterworth, Butterworths Young Arithmeticians Instructor, Containing Specimens of Writing with Directions (Edinburgh, 1815?). Such a text seems an appropriate model for Ruskins geometry exercise notebook, but the Young Arithmeticians Instructor did not necessarily form part of the regimen assigned by Ruskins mathematics tutor, Mr. Rowbotham. The Butterworth text had been purchased by John James in 1827 (RFL 168 n. 1), much earlier than Ruskins formal mathematics tutoring, and it appears to have been consulted by the family mainly for orthographical instruction and practice (RFL 251, 259). In fact, the exercises that Ruskin labels problems in his notebook are more orthographical than mathematical in character, being more concerned with how to draw geometrical shapes accurately than with how to theorize about them--a practical, not a pure, geometry.
	The first leaf (1r) displays an ornamented inscription, Mastr Ruskin, / Jany 21st 1833. No indication is given whether this date refers to the inception of the text or its completion. An argument for 21 January 1833 as the completion date can be drawn from the orthography. The scroll work on each page around the headings Problem I, Problem II, etc., closely resembles that used for the Finis to Iteriad--such a finis, Ruskin said on 14 January 1832 when he finished Iteriad, that he took [from] Mr Butterworth and indeed quite eclipsed Mr Butterworth [and] threw him into the shade  (RFL 259; see RGI pl. 7). If Ruskin went on in early 1832 to use this style of flourish for his Practical Geometry, he might well have finished the notebook a year later on 21 January 1833. This hypothesis is supported also by the distinctive lettering used for GEOMETRY. The title pages sharing that lettering, Iteriad and Athens in MS VII, probably were drawn during the last quarter of 1831 (see nos. 91, 135). Thus, we can imagine Ruskin, at the beginning of 1832, drawing on his full orthographic arsenal for his Practical Geometry.
	Alternatively, an argument for 21 January 1833 as the date of inaugurating the notebook is suggested by the apparent incompletion of the project. The loose ends are not very noticeable (see Content below), however, and Ruskin likewise inscribed his Iteriad fair copy as finished, despite missing Notes (see no. 91). Nonetheless, the fact that Practical Geometry is incomplete must weigh somewhat against Ruskin having signed and dated it as if to signify an accomplished ending.
	The choice between the alternative interpretations is not greatly helped by the contents. In his 14 January 1832 letter, the same letter in which Ruskin mentions drawing on Butterworth for the Finis to Iteriad, he also refers to his mathematics lessons as Mr Roebothams [sic] sums--namely, addition subtraction multiplication and division. By 4 March, he had positively got to the Rule of three (RFL 273), a method of working out problems of proportion. On 15 January 1833, shortly before the inscription date in Practical Geometry, Ruskin complained of being bogged in my algebra. At any time during this progress, Ruskin might have begun the problems in MX XIA, which are practical, not theoretical; that is, the problems are designed to hone the students skill with compass and ruler. This practical training might have been started in January 1833 in preparation for Euclidean geometry, which is first mentioned by Ruskin in early 1834, when he reached the fifth book of Euclid (RFL 279); however, the exercises might just as easily have begun earlier.
	It is possible, of course, that Ruskins inscription has nothing whatever to do with the geometry exercises, and that on 21 January 1833 he merely took a fancy to inscribing his name. I favor interpreting the date as referring to the geometry problems, however, and specifically to the notebooks completion. Besides the orthographical considerations mentioned above, which seem stronger than coincidence would allow, the ending date of January 1833 is suggested by the practical geometry problems being followed by algebraic problems--exercises that might well have bogged Ruskin afterward, as he complained on 15 January 1833.

	Content
	a) Notes on Greek, Egyptian, and Asiatic empires (see no. 135); algebra problems (inside front endboard).
	b) Inscription (1r, see Description above; 1v, blank).
	c) Title page (2r, see Description above; 2v blank).
	d) Practical geometry problems (3r-26v). Each page is devoted to a single problem, consisting of a heading (Problem I, Problem II, etc., each heading decorated with flourishes, as described in Description above); a prose statement of the problem; and an elegant diagram that carries out the the problem. There are 48 problems total. Problem 44 is missing its roman numeral in the heading, which reads simply Problem. Problems 46-48 are missing their prose statements.
	This portion of the notebook bears out Duncan K. Wilsons remark about methods of teaching arithmetic (at least in Scotland and up through the eighteenth century, which are the limits of his study), namely that it was customary for the master to dictate rules and examples which the pupil slavishly reproduced in his copybook in beautiful copperplate writing (The History of Mathematical Teaching in Scotland to the End of the Eighteenth Century [London: University of London Press, 1935], 45). The same must have been true of geometry instruction, which tended to be practically oriented (Wilson, pp. 57, 82). A few specimens of text will serve to indicate the nature of all 48 problems. In manuscript, each of the following texts is accompanied by a diagram that demonstrates its respective problem in geometrical drawing: 
	Problem I
	 From a point C in a given line AB to raise a perpendicular to that line.

	Problem II
	To divide a given right line AB into two equal parts that is to bisect it.

	Problem III
	From a given point D to let fall a perpendicular on a given line AB.

Ruskin, for whom no copying task could prove too obsessive, may have enjoyed this practical labor, although he complained bitterly about his more abstract mathematics instruction (see no. 173).
	e) Five neatly copied rules of proportion, e.g., If the line a = b / And the line c = b / Then will the line c = a (27r-28r).
	f) Small pencil and watercolor landscape drawings over top of geometrical figures (28v-29r).
	g) Algebraic exercises, pencil and ink (29v-38v, plus inside back endboard). Also on endpaper: pencil drawing of a gothic edifice, perhaps a cathedral entrance.
	h) Between 38v and endpaper, at least 4 pages removed, of which the stubs remain.

MS XIB
	PML (MA 3257). Date of composition 1836.

	Provenance
	In a description of the manuscript by the dealer H. P. Kraus, who sold the manuscript to PML, the item is ascribed to the Rockefeller/McCormick collection (her sale, Nov. 23, 1943). [ie., Edith Rockefeller McCormick?] The manuscript was not sold at this time to PML, the library bookplate telling us that it was purchased as the gift of the Fellows Fund, 1979. On the inside front cover is pasted the bookplate of Francis Kettaneh
	[see Francis Kettaneh, Précieux livres anciens provenant de la collection dun amateur dont la vente aura lieu à Paris, a sale by Ader, Picard, Tajan on 20 May 1980, which doesnt have Ruskin; and Collection of the Late Edith Rockefeller McCormick, a sale at Anderson Galleries in 1934, which doesnt have any books or mss. at all.]
	12 leaves; 3 has inlaid a mimeoed description, incl. the binding itself, and a blurb on the ms.; and 4 pasted a catalog description. Binding 30.5 x 43.5. Binding encased in a maroon cloth covered box with morocco spine; on spine in gilt, JOHN / RUSKIN / ORIGINAL / MANUSCRIPT /1836

	Description
	Four sheets of bluish paper, written on all eight sides; each sheet 21 x 33.5 cm.; two sheets watermarked Rush & Turners / 1836, and the two others with a Britannia figure seated in an oval.
	The sheets are inlaid in 29.5 x 43 cm. paper leaves, gilt; and bound by Riviere in dark brown or maroon morocco extra, decorated with gilt line and tooled borders, gilt back, and inner gilt borders. Gilt title on front cover: John Ruskin / Does the Perusal of Works of Fiction / Act Favourably or Unfavourably / On the Moral Character / Original Manuscript. On spine: JOHN / RUS- / KIN / MS.
	Content. No. 246. This holograph fair copy was not available to Cook and Wedderburn, who reprinted from an edition of 1893 and used the editorial title, "Essay on Literature."

MS XIC. PML (MA ?). Date of composition 1838.
	Provenance.
	Description. Cook and Wedderburn list three mss. of Ruskin's second submission for the Newdigate Prize, "The Exile of St. Helena." Of those, the Morgan's is "ms. c" (Works II:45 n. 2). This copy apparently contains more variants than what are noted in the Library Edition. Also, while the editors remark that none of the mss. of "Exile" contains notes--meaning, apparently, the author's explanatory footnotes--MS XIC does . . . .
	Content. No. 256.

MS XID
	PML (MA 2389), two notebooks contained in dark-blue morocco-covered slipcase, gilded on the spine with the designation RUSKIN / MS. / POETRY / OF / ARCHITECTURE / MODERN / PAINTERS. / VOL. I. / &C. / 1902. Date of composition ?

Provenance
	Purchased by Morgan Library at Sothebys, 16 December 1964.

Description
	As described in Works 1:2, two identical notebooks contain the incompletely surviving manuscript of The Poetry of Architecture, the series of essays originally published in ?? Loudons magazine, ??. The second of the two notebooks contains also manuscript of Ruskins letter to the Times of 7 January 1847 (Works 12: 397-406), and early draft of the opening of Modern Painters I (first printed in part, in a heavily edited version, in Works 3: 680-82). The texts are written in ink on lightly ruled, unwatermarked paper, bound in half-calf and marbled boards, approx. 16.8  20.3 cm. The binding appears original, as the marbling on the boards matches that on the edges of the paper. The following detailed discussion is focused especially on The Poetry of Architecture. For discussion of the other two manuscripts, see the appropriate volumes in Works and....
	Notebook 1.--The first volume contains 64 leaves, including endpapers. The text begins on 3r, and is accurately numbered by Ruskin as pp. 1-122 (page numbers are frequently omitted, but the next page to be numbered is always counted accurately, as if all pages had numbered consistently throughout). Although this notebook contains fewer leaves than does notebook 2, it shows no evidence of leaves having been removed.
	Tipped into the front of the notebook 1 is a description, in Wedderburns hand, listing the contents as follows:
	Ruskin MS.
This book contains the original MS. of the following chapters of The Poetry of Architecture
Part I.Chap.3.
4.
5.
6.
Part II.Chap.1.
2.
3.
4.
5.
	Wedderburns table accurately lists the contents, according to the chapters numbering first adopted in ? and carried through ?. Notebook 1 begins with what Ruskin designates in manuscript as No. 4, a chapter found as chapter 3 in the Library Edition. This discrepancy carries through the drafts Chap. 7th--that is, chapter 6 of part 1 in the Library Edition--and on into the drafts Ch. 8. The Villa, which forms chapter 1 of part 2 in the Library Edition. Notebook 1 continues in this manner through Chap 12. <No 3.> The Villa.--that is, in the Library Edition numbering, chapter 5 of part 2.
	Notebook 1 contains the originals of a few, by no means all, of the diagrams and sketches used to illustrate the published papers. One pencil sketch on the back endpaper of a roofline with gothic arches is not published, so far as I am aware.
	Notebook 2.--This notebook is second in the sense that it contains the continuation of the Poetry of Architecture essays from notebook 1. Notebook 2 nonetheless displays a large, handwritten numeral 1 on the front cover. If by Ruskin, the numeral perhaps refers to the Modern Painters manuscript, which was begun on a recto immediately following the Poetry of Architecture the last installment of the manuscript.
	Notebook 2 consists of 83 leaves, including some that have been partially cut away. A few more leaves were cut away altogether, with only very small stubs left behind.
	Wedderburns table of contents, tipped into the front of notebook 2, reads as follows:
	Ruskin MS.
This book contains
1.Chapter VII of Part II of the Poetry of Architecture--arranged in the MS as two chapters 14 & 15.
2.MS. of parts of Modern Painters. Vol. 1.
3.The draft of the letter on the National Gallery (Times Jan 7, 1847), p. 38
	The major portion of The Poetry of Architecture contained in the second notebook is chapter 7 of part 2, the final chapter published by Loudon before ceasing publication of his magazine. In draft, this chapter is divided in two, designated as chapters 14 and 15. The division occurs at paragraph 230 as presently numbered, this paragraph forming the opening of the draft chapter 15. Since the two draft chapters are entitled identically in draft, as The mountain Villa. England, Ruskin must always have conceived of them as a unit.
	Wedderburns table of contents for notebook 2 fails to list a portion of what is now known as chapter 6. Wedderburn may well have overlooked the chapter 6 fragment, since these few paragraphs follow chapter 7 in manuscript, and are not separately headed--only a blank line space indicating the separation between chapters. Wedderburns omission is corrected in the description of the manuscript provided in the Library Edition (Works 1:2), but this description, while generally accurate, allows the impression that the first notebook ends with the fragment of chapter 6--that is, with paragraphs 182-84, as numbered in the Library Edition--whereas, in fact, notebook 1 ends with paragraph 181 (Works 1:138), the conclusion of chapter 5, part 2. Paragraphs 182-84 constitute the fragment of chapter 6 that follows chapter 7 in notebook 2.
	 More precisely, the fragment of chapter 6 in notebook 2 extends from its opening (paragraph 182) through the middle of paragraph 184, ending with the phrase fine detached specimens of the picturesque blue country (in the published version, fine detached specimens of the natural green country [Works 1:140]). According to the Library Edition, this opening of chapter 6 plus a few more paragraphs existed also in a separate manuscript:  182-194 are preserved in the four pages of a separate sheet of foolscap. Thus of  182-184 there are two MS. copies (Works 1:2). This second foolscap copy must have been what was reproduced for the Library Edition (Works 1:140 opp.), since that facsimile shows a portion of manuscript later in paragraph 184 than what is available in notebook 2. The foolscap manuscript is not held by PML....
	As for the remainder of The Poetry of Architecture manuscript, not contained in the PML notebooks or the ? foolscap manuscript, the Library Editions statement apparently remains correct, that of  1-37 and  194-212 there is no MS extant (Works 1:2).
	In notebook 2, the text begins on 3r, and, as in notebook 1, the pages are accurately but erratically numbered by Ruskin--i.e., he counts the pages correctly, but actually writes numbers on the pages sporadically, starting from page 7. This continues through page 34; pages 35-36 (unnumbered by Ruskin) hold the end of chapter 7, and the fragment of chapter 6. Then begin the later manuscripts included in notebook 2, the Times letter (Works 12:397-406), and the Modern Painters I fragment.

Content
	Notebook 1:
	a) Blank colored endpaper (1r), with penciled note in Latin on verso (1v), and followed by blank leaf (2r-v).
	b) Chapters of no. 255, as described above (3r-? [pp. 1-123, in Ruskins numbering). Pagination of individual chapters:
	 No. 4. The Mountain Cottage. Switzerland (i.e., pt. 1, chap. 3), 3r-8v (pp. 1-12).
	 Chapter 5th The Mountain Cottage. Westmoreland (i.e., pt. 1, chap. 4), 8v-15r (pp. 12-25).
	 Chap 6th A Chapter on Chimnies (sic) (i.e., pt. 1, chap. 5), 15r-22r (pp. 25-39).
	 Chap. 7th (i.e., pt. 1, chap. 6), 22r-27v (pp. 39-50).
	 Ch. 8. The Villa (i.e., pt. 2, chap. 1), 28r-35v (pp. 51-66).
	 Ch. 9. The villa. Italy (i.e., pt. 2, chap. 2), 35v-44r (pp. 66-83).
	 Ch. 10. The Villa. Italy (i.e., pt. 2, chap. 3), 44r-50r (pp. 83-95.
	 Ch. 11. The Villa. England (i.e., pt. 2, chap. 4), 50v-56r (pp. 96-107).
	 Chap 12. <No 3.> The Villa. (i.e., pt. 2, chap. 5), 56v-63v (pp. 108-22).
	c) Drawing, diagrams, and brief notes, 64r.
	d) Blank colored endpaper, 64v, and inside back cover.

	Notebook 2:
	a) Blank colored endpaper and first leaf (1r-2v).
	b) Chapters of no. 255, as described above (3r-20v). Pagination of individual chapters:
	 3r-11r (i.e., pp. 1-17): Chap. 14. The mountain villa. England, i.e., as published, pt. 2, chap. 7 through  229.
	 11v-20r (i.e., pp. 18-34 plus recto of the following, unnumbered leaf): Chap. 15. The mountain Villa. England, i.e., as published, pt. 2, chap. 7 from  230 to end.
	 20r-v (unnumbered): untitled ms., i.e., as published, pt. 2, chap. 6,  182-84 ( 184 partial).
	c) Draft of an early opening to Modern Painters, which was written largely on rectos only, many of the remaining blank versos being used later for (d) below. Pagination of specific portions of manuscript as follows:
	 21r (with a brief insertion in the text spilling onto a blank portion of 20v), 22r, 23r: untitled draft, printed in Works 3: 680-81, as draft (a).
	 24r, 25r, 26r, 27r, 28r, 29r, 30r-v, 31r-v, 32r, 33r: draft entitled Chap. 1. Of Imitative art, which is described and quoted in Works 3: 681, as draft (b). It is worth noting that, after two pages of this draft (24r and 25r), which seem to constitute an abortive beginning, Ruskin began numbering (from 26r) the rectos as pp. 1-8 (26-33 rectos only; versos ignored in his pagination, which, at the time, would have been blank). This numbering probably points to a second start on this chapter.
	 34r, 35r, 36r-v, 37r, 38r, 39r (mutilated), 40r, 41r-v, 42r-v, 43r, 44r, 45r-v, 46r-v, 47r (these rectos numbered by Ruskin as pp. 9-22, including the mutilated leaf): called Chap II in draft, the Library Edition identifies this as substantially the same as pt. 2, sec. 1, chap. 2 (i.e., Works 3: 140-48; see also 681). A beginning on the chapter was made on 34r, 35r, and 36r; then the chapter was begun anew on 37r, carrying through 47r--rectos mainly, with some brief notes and draft on 36v, 41v, 42v, 45v, and 46v.
	 The next section is complex owing to leaves having been mutilated or cut away altogether, after Ruskin numbered the rectos. As suggested in the Library Edition, the lost leaves probably contained the beginning of a chapter 4, since this portion of the manuscript begins with Chap. III. Of the relative importance of truths (47r), and arrives at Chap. 5 (60r). This material was identified by the editors of the Library Edition as the germ of pt. 2, sec. 2, chaps 1-3 of Modern Painters--the truths of tone, color, and chiaroscuro.
	The original pagination of this section of notebook 2 is somewhat doubtful, for it is difficult to determine the original position of the removed leaves, but the following is reasonably accurate (Ruskins pagination is cited in parentheses, which continues to refer to rectos only). Chapters 3/4 of manuscript are contained in 47r (p. 22), 48r (p. 23, with a brief note on 48v), 49r (p. 24), 50r (p. 25, with a long note on 50v), 51r (p. 26), 52r (p. 27).
	Then, according to Ruskins numbering, which next shows a p. 30, two leaves have been removed. One of these remains present as a mutilated (partially cut away) 53r; as this leaf, along with p. 30, forms the center of a 12o gathering, it would have been numbered p. 29 on its recto. The other removed leaf, evidenced only by small torn stubs, would have been the preceding p. 28.
	Chapters 3/4 continue with 54r (p. 30), 55r (p. 31), 56r (p. 32), 57r (p 33), 58r (p. 34), 59r (p. 35), 60r (p. 36). Separately from this run of text, Ruskin inserted a distinct piece of text on a series of versos, 54v, 55v, 56v, 57v, which would later be incorporated into the Truth of Chiaroscuro chapter of Modern Painters (pt. 2, sec. 2, chap. 3).
	 Chap. 5, which the editors of the Library Edition connect with pt. 2, sec. 2, chaps. 4-5 of the published Modern Painters, is contained in 60r-81r, with briefer notes on 60v, 63v, 65v, 67v, 71v, 79v, 80v. The rectos were numbered by Ruskin up through p. 45 (69r).
	d) Nearly complete manuscript of letter to the Times, 7 January 1847, up to mighty foundation in middle of closing sentence on 21v, 22v, 23v, 24v, 25v, 26v, 27v, 28v, 29v, 32v, 33v, 34v, 35v, 36r (following a fragment of Modern Painters draft at top of page), 36v (following a fragment of Modern Painters draft at top of page), 37v, 38v, 39v (a mutilated page, of which the verso contains only one word foundation, which should indeed follow mighty, end of 38v). (Two versos, 30v and 31v, were skipped over in drafting the letter, because these pages had already been used for overflow from the Modern Painters text.). The closing words of the letter do not appear to be extant; their draft may have been lost with the portion of 39r-v that was cut away.
	e) Blank 82r-v and 83r-v. The inside back board contains diagrams of curves.

Dating: the Times letter is dated Jan 6, 1847 in Lib Ed (12:406), and is said to have been published Jan 7 (12:396). If thats right we can take the composition of that portion of ms. as Jan 5-6 (see 12:397 and n. 2).