of
Carlisle, in presence of the Corporation, the Trustees of the Guild, and
a large assembly of friends and Sheffield townspeople. Since then the
attendance of visitors and students shows that the collection is
appreciated by the public; and it is to be hoped that though nominally a
loan it will remain there in perpetuity, and that it will be maintained
and used with due regard to the intentions of the founder.

Many other plans had to be modified, as he found himself less able to
work, and was obliged to hand over his business to others. With his
early books he had been dissatisfied, as expressing immature views. "The
Stones of Venice" had been recast into two small volumes, and "St.
Mark's Rest" written in the attempt to supplement and correct it. But
the original book was obviously in demand, and a new edition was brought
out in 1886.

"Modern Painters" had been also on the condemned list. The aggressive
Protestantism and the geological theories involved in his description of
mountains he condemned as errors; moreover, at the time of the last
edition published by Messrs. Smith & Elder (1873), he had been told
that the plates, which he considered a very important part of the work,
would not stand another impression; and so he destroyed nine of them, in
order that no subsequent edition might be brought out in the original
form. He reprinted vol. ii. in a cheap edition, and began to recast the
rest, with annotations and additions, as "In Montibus Sanctis," and
"Coeli Enarrant", while Miss S. Beever's selections ("Frondes Agrestes")
found a ready sale. But this did not satisfy the public, and there was a
continual cry for a reprint, to which, at last, he yielded. Early in
1889 the "Complete Edition" appeared; with the cancelled plates
reproduced.

He had always felt it a grievance that the enormous popularity of his
works in America meant an enormous piracy. Towards the end of the
"Fifties," Mr. Wiley of New York had begun to print cheap Ruskins; not,
indeed, illegally, but without proper acknowledgment to the author, and
without any reference to the author's wishes as to form and style of
production. An artist and writer on art, insisting on delicacy and
refinement as the first necessity of draughtsmanship, and himself
sparing no trouble or expense in the illustrations of his own works, was
naturally dissatisfied with the wretched "Artotypes" with which the
American editions caricatured his beautiful plates. Not only