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 Ruskin’s 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 (Ruskin’s 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 Ruskin’s 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 that’s right we can take the composition of that portion of ms. as Jan 5-6 (see 12:397 and n. 2).