Blank space on page for possible drawing (MS IX)—Since the heading of this section is placed significantly below the top of the page, leaving a vertical column measuring approximately nine lines of Ruskinʼs cursive copperplate script, it is reasonable to assume that he intended to paste a drawing here, but never produced it, or that he produced a drawing, but it has been removed or lost.

Evidence that Ruskin did produce a header vignette can be found in the catalogue of the Ruskin Exhibition held in Coniston, 21 July–8 September 1900. Item no. 10 in Collingwood, Ruskin Exhibition, is a drawing dated “about 1834”, Hotel de Ville, Brussels, after Samuel Prout, which is described as a “copy” that Ruskin “reduced to miniature scale” from a larger drawing of the same subject. The latter drawing, also a copy after Samuel Prout, Hotel de Ville Brussells in Facsimiles of Sketches Made in Flanders and Germany, is still extant in the Ruskin Library, Lancaster (6 3/4 × 4 1/4 inches, pen and ink, with pencil wash; RF 1449). The current location of the “miniature” shown at the exhibition is unknown; however, the most likely purpose for Ruskin to have reduced the larger drawing in 1834 would have been to fit the space above the the section header for “Brussels”. See Drawings from the Tour of 1833, and Missing and Unidentified Drawings for the Composite‐Genre Illustrated Travelogue (MS IX) and Related 1833 Tour Sketches.

“Mind” (MS IA, g.1)—This word, written sideways between the columns of the poem, does not appear to be intended as part of “Brussels” itself; and the hand may not be Ruskinʼs, although the formation of the terminal d is more characteristic of his hand than of Margaret Ruskinʼs, whose handwriting can sometimes be confused her sonʼs. The word seems to form an imperative; and while no other clue remains to indicate what was to be “minded”, the word may be a metamark (see Editorial and Encoding Rationale and Methodology: Element, Attribute, and Value Usage—Metamarks).