The copies Burne-Jones made for Ruskin on this journey are larger and more finished than those executed for his own use in 1859, but although they were ostensibly art-historical records (comparable to those Ruskin made himself or later commissioned from Fairfax Murray and others), they were clearly selected with the copyist's artistic welfare very much in mind. Most were taken from Venetian pictures, Titian's early frescoes in Padua, the great works of Tintoretto and Veronese in the Ducal Palace, the Scuola di San Rocco, and Santa Maria della Salute in Venice; and by noting what Ruskin had said about the originals, often in the Venetian Index to The Stones of Venice y we can see that he was trying to drive home the old lessons once again. Tintoretto's Visitation (figs. 64, 65) in San Rocco, for instance, was an illustration of both the classical tradition and an aspect of Vital Beauty, the "gestures" being "as simple and natural as Giotto's, only expressed in grander lines," while "the intervals between the figures look like ravines between great rocks, and have all the sublimity of an alpine valley at twilight." 30 Similarly, a group of female guests in the same artists Marriage at Cana (1561) in the Salute was intended to be a model of the "grace" that constitutes Vital Beauty in Man, Ruskin having written lyrically of the "beau- tiful profiles and bendings of breasts and necks along the whole line." 31 In this case, Ruskin actually said that although he no longer wanted the copy, Burne-Jones should finish it, as it would be "best for [his] own work." 32