you to think of
this; for I tell you truly--you who care for Italy--that both her
passions and her mountain streams are noble; but that her happiness
depends not on the liberty, but the right government of both."[14]

FOOTNOTES:

[Footnote 12: Report (with extracts) of a paper entitled "A Talk
respecting Verona and its Rivers," read by Mr. Ruskin at the Weekly
Evening Meeting of the Royal Institution of Great Britain, Feb. 4th,
1870. See _Proceedings_ of the Royal Institution, vol. vi., p.
55.--ED.]

[Footnote 13: This catalogue (London: Queen Street Printing-Office,
1870) is printed below, p. 109, Sec. 242 _seqq._--ED.]

[Footnote 14: See _Arrows of the Chace_.]

CATALOGUE.

(_See ante,_ p. 101.--ED.)

_Drawings and Photographs, illustrative of the Architecture of Verona,
shown at the Royal Institution, Feb. 4th, 1870._

SECTION I. NOS. 1 TO 7. LOMBARD.

242. (1.) _Porch of the Church of St. Zeno._ (Photograph.)

Of the 12th century.

(2.) _Porch of the South Entrance of the Duomo._

Probably of the 10th or 11th century, and highly remarkable for the
wildness of its grotesque or monstrous sculpture, which has been
most carefully rendered by the draughts-man, Mr. Bunney.

It will save space to note that the sketches by my two most
skillful and patient helpers, Mr. A. Burgess and Mr. Bunney, will
be respectively marked (A) and (B), and my own (R).

(3.) _Porch of the Western Entrance of the Duomo._ (Photograph.)

Later in date--but still of 12th or very early 13th century.
Details of it are given in the next drawings.

243. (4.) _Griffin_ (I keep the intelligible old English spelling),
_sustaining the Pillar on the North Side of the Porch seen in No. 3._
(R.)

Painted last summer.

I engraved his head and breast, seen from the other side, in the
plate of "True and False Griffins," in "Modern Painters." Only the
back of the head and neck of the small dragon he holds in his
fore-claws can be seen from this side.

(5.) _Capital of the Pillar sustained by the Griffin, of which the base
is seen in No. 4._ (A.)

First-rate sculpture of the time, and admirably drawn.

(6.) _Portion of decorative Lombardic molding from the South Side of the
Duomo._ (A.)

Showing the peculiar writhing of the branched tracery with a
serpentine flexure--altogether different from the springing lines
o