in the old-fashioned way--halting at Bradford for the
lecture on "Modern Manufacture and Design" (March 1st), and ending with
a visit to the school at Winnington, of which more in a later chapter.

In 1859 the last Academy Notes, for the time being, were published. The
Pre-Raphaelite cause had been fully successful, and the new school of
naturalist landscape was rapidly asserting itself. Old friends were
failing, such as Stanfield, Lewis, and Roberts: but new men were growing
up, among whom Ruskin welcomed G.D. Leslie, F. Goodall, J.C. Hook,--who
had come out of his "Pre-Raphaelite measles" into the healthy naturalism
of "Luff Boy!"--Clarence Whaite, Henry Holiday, and John Brett, who
showed the "Val d'Aosta." Millais' "Vale of Rest" was the picture which
attracted most notice: something of the old rancour against the school
was revived in the _Morning Herald_, which called his works
"impertinences," "contemptible," "indelible disgrace," and so on. It was
the beginning of a transition from the delicacy of the Pre-Raphaelite
Millais to his later style; and as such the preacher of "All great art
is delicate" could not entirely defend it. But the serious strength of
the imagination and the power of the execution he praised with
unexpected warmth.

He then started on the last tour abroad with his parents. He had been
asked, rather pointedly, by the National Gallery Commission, whether he
had seen the great German museums, and had been obliged to reply that he
had not. Perhaps it occurred to him or to his father that he ought to
see the pictures at Berlin and Dresden and Munich, even though he
heartily disliked the Germans with their art and their language and
everything that belonged to them,--except Holbein and Duerer. By the end
of July the travellers were in North Switzerland; and they spent
September in Savoy, returning home by October 7th.

Old Mr. Ruskin was now in his seventy-fifth year and his desire was to
see the great work finished before he died. There had been some attempt
to write this last volume of "Modern Painters" in the previous winter,
but it had been put off until after the visit to Germany had completed a
study of the great Venetian painters--especially Titian and Veronese.
Now at last, in the autumn of 1859, he finally set to work on the
writing.

The assertion of Turner's genius had been necessary in 1843, but Turner
was long since dead; his fame was thoroughly vindicated; his bequest to
the nati