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Engraved Elevation of the north-western Wall and Vaults of the Loggia of the Villa Madama Johann Gotfried Gutensohn
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Details
- Artist/maker
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Johann Gotfried Gutensohn (1792 - 1844) (engraver)Joseph Thurmer (1789 - 1833) (engraver)after Baldassare Peruzzi (1481 - 1536)after Giulio Romano (Pippi) (1499 - 1546)after Giovanni (Nanni) da Udine (1487 - 1564)
- Object type
- Material and technique
- watercolour and bodycolour over engraving on wove paper
- Dimensions
- 235 x 491 mm (plate); 343 x 491 mm (sheet)
- Associated people
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Wilhelm Heinrich Ludwig Gruner (1801 - 1882) (publisher)
- Associated place
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- Europe › Italy › Lazio › Roma (Rome) › Rome › Villa madama › Villa madama (subject)
- Inscription
- Recto:
engraved:
top right: 7.
to the left of the scale (which is numbered '1' to '40' at 5-foot intervals): Pieds
to the right of the scale: de Paris.
bottom right: I. Th e G.G.
bottom, in two columns: Längen Durchschnitt von der Halle der Villa Madama. || Profil sur la Longueur du Portique de la Villa Madama.
in graphite, top left, partially cropped away at the top: R/115
Verso:
bottom right, in graphite, written diagonally up and to the left of the sheet: Rud 119
just to the left, the Ruskin School's stamp
- Provenance
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Presented by John Ruskin to the Ruskin Drawing School (University of Oxford), 1875; transferred from the Ruskin Drawing School to the Ashmolean Museum, c.1949.
- No. of items
- 1
- Accession no.
- WA.RS.RUD.119
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Subject terms allocated by curators:
Subjects
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References in which this object is cited include:
References
Ruskin, John, The Ruskin Art Collection at Oxford: Catalogue of the Rudimentary Series, in the Arrangement of 1873, ed. Robert Hewison (London: Lion and Unicorn Press, 1984), cat. Rudimentary no. 119, RUD.119
Ruskin, John, Instructions in Practice of Elementary Drawing, Arranged with Reference to the First Series of Examples in the Drawings Schools of the University of Oxford (n.p., [1872]), cat. Rudimentary no. 115-119
Ruskin, John, Instructions in the Preliminary Exercises Arranged for the Lower Drawing-School (London: Smith, Elder, 1872), cat. Rudimentary no. 115-119
Ruskin, John, Instructions in the Preliminary Exercise Arranged For the Lower Drawing-School (London: Spottiswoode, 1873), cat. Rudimentary no. 115-119
Ruskin, John, ‘Rudimentary Series 1878’, 1878, Oxford, Oxford University Archives, cat. Rudimentary no. 104
Ruskin, John, ‘The Ruskin Art Collection at Oxford: Catalogues, Notes and Instructions’, Edward T. Cook and Alexander Wedderburn, eds, The Works of John Ruskin: Library Edition, 39 (London: George Allen, 1903-1912), 21, cat. Rudimentary no. 119
Location
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- Western Art Print Room
Position in Ruskin’s Collection
Ruskin's Catalogues
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Ruskin's Rudimentary series, 3rd ed. (1872)
R|115–R|119} Examples of Decoration, designed by Raphael, Giulio Romano, and their scholars. The arts devoted entirely to the pleasure of the eye, and caprice of fancy: perfect in skill by the practice of ages; but now entirely destructive of morality, intellectual power, and national character. E. -
Ruskin's Rudimentary series 4th ed. (1872)
R|115 – R|119} Examples of Decoration, designed by Raphael, Giulio Romano, and their scholars. The arts devoted entirely to the pleasure of the eye, and caprice of fancy: perfect in skill by the practice of ages; but now entirely destructive of morality, intellectual power, and national character. E. -
Ruskin's Rudimentary series, 5th ed. (1873)
R|115 – R|119} Examples of Decoration, designed by Raphael, Giulio Romano, and their scholars. The arts devoted entirely to the pleasure of the eye, and caprice of fancy: perfect in skill by the practice of ages; but now entirely destructive of morality, intellectual power, and national character. E. -
Ruskin's revision to the Rudimentary series (1878)
104.A still richer example of the school, exquisitely delightful in its floral patterns. Every student of decorative art is to copy the mouldings on the right hand side of the door with pen and Indian ink, touching with colour. If his eye and hand are not fine enough to enjoy doing this he never will make a good painter. It is because minute work of this kind was despised by our later English School that even our men of greatest genius never were able to produce a standard classic work.
