Ashmolean The Elements of Drawing, John Ruskin’s teaching collection at Oxford

The lithograph shows Poseidon enthroned, holding his trident. Behind him stands a young woman holding a wreath; in front of him, a young man reaches out his hand to the god. It reproduces the decoration of a red-figure crater, then in the collection of the Duc de Luynes. It was plate IX in the third volume of Lenormant and de Witte's "Elite des monuments céramographiques", published in 1858. It was presumably taken from Ruskin's copy of the work now preserved in the Ruskin Library (inventory no. 1996B2621), which is missing many of its plates.

The print was first catalogued by Ruskin in 1870, as no. 203 in the Standard Series, framed with another print from Lenormant and de Witte of a black-figure illustration of Neptune astride a sea-horse; they formed part of a series 'arranged chiefly with the view of showing the change in Greek conception of deity'. It retained its number in the 1871 catalogue of the Standard and Reference Series but, by the time Cook and Wedderburn were compiling their edition of the catalogues (published in 1906), the frame had been moved to no. 185. Cook and Wedderburn note (XXI.45 n. 1) that it carried its original number (203) on the edge of its frame, but the new number (185) on the face. Presumably, it was easier to engrave and attach a new ivory label on the edge of the frame than it was to remove or gild over the painted number on the face.

Ruskin described the print as showing Poseidon 'as the Olympian deity'; its design was 'pure Greek, and very noble'.

According to Ruskin, the change in the ancient Greek conception of deity took place between the sixth and fourth centuries BC, and was marked by a development from conceiving of the gods as embodiments of physical forces to individual, characterised intelligences; from active to passive figures; and from grotesque to deliberately-selected beautiful depictions. At the same time, ceramic decoration changed from painting black figures on the red ground to painting a black background, letting the red ground show through in the figures themselves - though this soon led to careless execution. He believed the best vases were red-figure vases produced just after the transition (Catalogue of Examples, pp. 25-27; Standard and Reference catalogue, pp. 28-30).