the Ticino, no more defiled, no more alternating between fierce flood and venomous languor, but in calm clear currents bearing ships to every city and health to every field of all that azure plain of Lombard Italy.... 241. "It has now become a most grave object with me to get some of the great pictures of the Italian schools into England; and that, I think, at this time--with good help--might be contrived. Further, without in the least urging my plans impatiently on anyone else, I know thoroughly that this, which I have said _should_ be done, _can_ be done, for the Italian rivers, and that no method of employment of our idle able-bodied laborers would be in the end more remunerative, or in the beginnings of it more healthful and every way beneficial than, with the concurrence of the Italian and Swiss governments, setting them to redeem the valleys of the Ticino and the Rhone. And I pray 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.