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Rh of agents; and the operations of Smith, Elder, & Co.'s Indian branch had to seek other channels than of old.

The publishing department invariably afforded Smith a means of distraction from the pressure of business cares elsewhere. Its speculative character, which his caution and sagacity commonly kept within reasonable limits of safety, appealed to one side of his nature, while the social intimacies which the work of publishing fostered appealed strongly to another side. The rapid strides made in public favour by Ruskin, whose greatest works Smith published between 1850 and 1860, were an unfailing source of satisfaction. In 1850 he had produced Ruskin's fanciful 'King of the Golden River.' Next year came the first volume of 'Stones of Venice,' the pamphlets on 'The Construction of Sheepfolds,' and 'Pre-Raphaelitism,' and the portfolio of 'Examples of the Architecture of Venice.' The two remaining volumes of 'Stones of Venice' followed in 1853. In 1854 appeared 'Lectures on Architecture and Painting,' with two pamphlets; and then began the 'Notes on the Royal Academy,' which were continued each year till 1859. In 1856 came the elaborately illustrated third and fourth volumes of 'Modern Painters;' in 1857, 'Elements of Drawing,' 'Political Economy of Art,' and 'Notes on Turner's Pictures;' in 1858, an engraving by Holl of Richmond's drawing of Ruskin; in 1859, 'The Two Paths,' 'Elements of Perspective,' and the 'Oxford Museum;' and in 1860, the fifth and final volume of 'Modern Painters.' The larger books did not have a rapid sale, but many of the cheaper volumes and pamphlets sold briskly. It was at Ruskin's expense, too, that Smith prepared for publication the first volume that was written by Ruskin's friend, Dante Gabriel Rossetti, 'The Early Italian Poets,' 1861. In 1850 Ruskin's father proved the completeness of his confidence in Smith by presenting him with one of the few copies of the volume of his son's 'Poems' which his paternal pride had caused to be printed privately. Smith remained through this period a constant visitor at the Ruskins' house at Denmark Hill, and there he made the welcome addition to his social circle of a large number of artists. Of these Millais became the fastest of friends; while Leighton, John Leech, Richard Doyle, (Sir) Frederic Burton, and the sculptor Alexander Monro were always held by him in high esteem.

It was at Ruskin's house that Smith was introduced to Wilkie Collins, son of a well-known artist. He declined to publish Collins's first story, 'Antonina,' because the topic seemed too classical for general taste, and he neglected some years later to treat quite seriously Collins's offer of his 'Woman in White,' with the result that a profitable investment was missed; but in 1856 he accepted the volume of short stories called 'After Dark,' and thus began business relations with Collins which lasted intermittently for nearly twenty years.

In the late fifties Charlotte Brontë's introduction of Smith to Harriet Martineau bore practical fruit. In 1858 he issued a new edition of her novel 'Deerbrook,' as well as her 'Suggestions towards the future Government of India.' These were followed by pamphlets respectively on the