CONTENTS 239

CHAPTER V

PAGE

THE SIMPLON (1844)320

83. Abroad again-The beauty of the Simplon traverse. 84. Geneva: its place in Europe. 85, 86, 87. The town described. 88. The Salève. 89. M. Bautte, the jeweller. 90, 91. The Rhone at Geneva. 92. The penthouses. 93. Arrival at Geneva (June 1)-Chamouni (June 6)-Joseph Couttet-Author’s drawings at Chamouni-Extracts from his diary. 95. St. Gingolph-Over the Simplon to Baveno (July 4): the Lago Maggiore the Eden of Italy. 96. At the Simplon again. 97. Meeting with James Forbes-Zermatt (July 19)-Osborne Gordon. 98. Black bread in the Valais-Saussure on the Valleys of Monte Rosa. 99. The Reffelberg-Brieg-Author’s panorama from the Bel Alp-Back to Chamouni. 100. Author’s studies of flowers and stones. 101. Paris-George Richmond at Samuel Rogers’: Rubens and the Venetians. 102, 103. Author’s diary on the Louvre-Home again, August 1844.

CHAPTER VI

THE CAMPO SANTO (1845)340

104, 105. Author’s studies 1844-1845: Turner’s Liber Studiorum and Christian Art; decides to go to North Italy before continuing Modern Painters. 106. Turner’s opposition. 107. Fighting in Switzerland. 108. Tour with Couttet and George Hobbs-Servants at Herne Hill and Denmark Hill-The author’s body servants. 109. Annecy and Conflans: author’s drawing of Annecy, and verses at Geneva and Conflans-Determination to write no more poetry. 110. Author’s religious temper at this time-The teaching of George Herbert: his “Submission” a favourite with author. 111. His Sunday observance. 112. By the Riviera to Sestri, and thence to Lucca. 113. Author’s early taste in sculpture: ornaments at home. 114. Gradual discipline in his taste from studies of nature, and beautiful womanhood-Realization of his ideal in the “Ilaria” at Lucca. 115. The churches of Lucca, a revelation to him in architecture-A picture by Fra Bartolommeo there a similar revelation in early Christian art. 116. Happiness of his work at Lucca. 117. The essence of Christianity defined: George Herbert’s “The Bag.” 118. The story of Christianity in the Campo Santo at Pisa. 119. Dies iræ, or amoris? 120. Author’s studies of the frescoes-The story of St. Ranieri. 121. The cloister of S. Francesco. 122. Author’s manner of life at Pisa. 123. His drawing, and spectators-The “companion-people” of Italy. 124. Author untroubled as yet by schemes of political and social reform.

[Version 0.04: March 2008]