E. 1871 168

LITERATURE.

FICTION--FAIR AND FOUL. 1880-81 175
FAIRY STORIES. 1868 290

ECONOMY.

HOME, AND ITS ECONOMIES. 1873 299
USURY. A REPLY AND A REJOINDER. 1880 314
USURY. A PREFACE. 1885 340

THEOLOGY.

NOTES ON THE CONSTRUCTION OF SHEEPFOLDS. 1851 347
THE LORD'S PRAYER AND THE CHURCH. 1879-81. (Letters
and Epilogue.) 382
THE NATURE AND AUTHORITY OF MIRACLE. 1873 418

AN OXFORD LECTURE. 1878 429

* * * * *

PICTURE GALLERIES:

_THEIR FUNCTIONS AND FORMATION._

A. PARLIAMENTARY EVIDENCE.

NATIONAL GALLERY SITE COMMISSION 1857.
SELECT COMMITTEE ON PUBLIC INSTITUTIONS 1860.
THE ROYAL ACADEMY COMMISSION 1863.

B. LETTERS ON A MUSEUM OR PICTURE GALLERY.

(_Art Journal, June and August, 1880._)

* * * * *

PICTURE GALLERIES--THEIR FUNCTIONS AND FORMATION.

THE NATIONAL GALLERY SITE COMMISSION.[1]

_Evidence of John Ruskin, Monday, April 6, 1857._

114. _Chairman._ Has your attention been turned to the desirableness of
uniting sculpture with painting under the same roof?--Yes.

What is your opinion on the subject?--I think it almost essential that
they should be united, if a National Gallery is to be of service in
teaching the course of art.

Sculpture of all kinds, or only ancient sculpture?--Of all kinds.

Do you think that the sculpture in the British Museum should be in the
same building with the pictures in the National Gallery, that is to say,
making an application of your principle to that particular case?--Yes,
certainly; I think so for several reasons--chiefly because I think the
taste of the nation can only be rightly directed by having always
sculpture and painting visible together. Many of the highest and best
points of painting, I think, can only be discerned after some discipline
of the eye by sculpture. That is one very essential reason. I think that
after looking at sculpture one feels the grace of composition infinitely
more, and one also feels how that grace of composition was reached by
the painter.

Do you consider that if works of sculpture and works of