Content
	As Collingwood remarks, the notebook’s 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 Year’s, 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 father’s 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 Year’s 1835. This section extends to odes for his father’s 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 Year’s 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 AdPle Domecq at Herne Hill in January 1836. The sequence of AdPle 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 AdPle 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 AdPle sequence in g, Ruskin used some more space following f to draft his father’s 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 [Ruskin’s 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 family’s 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 Ruskin’s, 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 Ruskin’s 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 Ruskin’s 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 Ruskin’s 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 Wedderburn’s 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 Ruskin’s 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 father’s 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. Ruskin’s 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 poem’s 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 poem’s 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 fragment’s 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 Year’s 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 AdPle Domecq’s 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 AdPle 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.