I. A LETTER TO COUNT ZORZI 411

be able to study the history of architecture on the authentic building; in my own work it now takes me at least half the time I have to study a building, to find out first what pieces of it are genuine.

The use of sculptured and gilded wood for permanent interior support would often rather enhance than diminish the picturesque effect of the building: iron bands may be used externally for the support of walls whose decay does not admit of repair without danger. Many ruined abbeys in England which are fortunately situated in the private grounds of noblemen, have been thus retained in beauty and strength for any period; and the retention in their position of the highest arches of the Amphitheatre at Verona is an admirable instance of similar care in Italy.

10. And now I leave the cause in your hands, dear Count. If, by your intercession, the façade to the Square, and mosaics of the porch, can yet be saved, every ture artist in Europe will bring you tribute of honour, and future Venice, of never-ending gratitude. Whatever be the issue, your protest cannot be in vain, and I do not doubt but that all your future life will be stronger in the sense of having now accomplished your duty in sincerity so fearless and so earnest. Once more, farewell. I have written in haste, and have not said anything that I would, in praise of your essay, because it may perhaps seem to you desirable (as to me it would be gracious) to publish this stranger’s testimony for such support as it may bring to your own. But I must at least in closing be permitted to express the deep respect in which I accept the name you have given me of friend: respect for your faithful love for art, your no less faithful love for truth, and your most faithful love for your country, in whose days of trouble and rebuke, you bear your ancient name in its unblemished honour.

Indeed so¹ I remain, your affectionate friend,

JOHN RUSKIN.

¹ [So in the original pamphlet. Quære “And so ...”]

[Version 0.04: March 2008]