eloquence were not written without a world of pains. The engravers and
the business department of the new publications also required his
co-operation, for they were now becoming large ventures. During the
three and a half years preceding the summer of 1851 Ruskin seems to have
spent L1,680 of profits from his books, making by his writings at this
period only about a third of his annual outlay; so that the estimated
cost of these great illustrated volumes, some L1,200, was a matter of
anxiety to his father, who, together with the publisher, deprecated
large plates and technical details, and expressed some impatience to
see results from this visit to Venice. He looked eagerly for every new
chapter or drawing as it was sent home for criticism. Some passages,
such as the description of the Calle San Moise ("Stones of Venice," II.
iv,) were unfavourably received by him. Another time he says, "You have
a very great difficulty now in writing any more, which is to write up to
yourself": or again,--"Smith reports slow sale of 'Stones of Venice'
(vol. I.) and 'Pre-Raphaelitism.' The times are sorely against you. The
Exhibition has impoverished the country, and literature of a saleable
character seems chiefly confined to shilling books in green paper, to be
had at railway stations. Smith will have an account against us." He
always sent adverse press-notices, on the principle that it was good for
John: and every little discouragement or annoyance was discussed in
full.

The most serious news, threatening complete interruption of the work
rapidly progressing in spite of all, was of Turner's death (December 19,
1851). Old Mr. Ruskin heard of it on the 21st, a "dismal day" to him,
spent in sad contemplation of the pictures his son had taught him to
love. Soon it came out that John Ruskin was one of the executors named
in the will, with a legacy of _L20_ for a mourning ring:--"Nobody can
say you were paid to praise," says his father. It was gossipped that he
was expected to write Turner's biography--"five years' work for you,"
says the old man, full of plans for gathering material. But when one
scandal after another reached his ears, he changed his tone, and
suggested dropping personal details, and giving a "Life of his Art," in
the intended third and final volume of "Modern Painters." Something of
the sort was done in the Edinburgh Lectures and at the close of vol. v.
of "Modern Painters": and the official life was left to Walter
Tho