Immediately after finishing the pamphlet on “Pre-Raphaelitism,” he left for the Continent with his wife and friends, the Rev. and Mrs. Daniel Moore; spent a fortnight in his beloved Savoy, with the Pritchards; and then crossed the Alps with Charles Newton.  On the 1st of September he was at Venice, for a final spell of labour on the palaces and churches.  After spending a week with Rawdon Brown he settled at Casa Wetzler, Campo Sta.  Maria Zobenigo, and during the autumn and winter not only worked extremely hard at his architecture, but went with his wife into Austrian and Italian society and saw many distinguished visitors.  One of them, whom he lectured on the shortcomings of the Renaissance, was Dean Milman.  “I am amused at your mode of ciceronizing the Dean of St. Paul’s,” wrote his father, who kept up the usual close correspondence, and made himself useful in looking up books of reference and consulting authorities like Mr. James Fergusson—­for these chapters of easy 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