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Engraving of the Ceiling of the north-east Vault of the Loggia of the Villa Madama Baldassare Peruzzi
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Details
- Artist/maker
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Baldassare Peruzzi (1481 - 1536)Johann Gotfried Gutensohn (1792 - 1844) (engraver)Joseph Thurmer (1789 - 1833) (engraver)after Giovanni (Nanni) da Udine (1487 - 1564)
- Object type
- Material and technique
- watercolour and bodycolour over engraving on wove paper
- Dimensions
- 396 x 331 mm (plate); 492 x 343 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: 10.
top centre: D
bottom right: I. Th. G. G.
to the left of the scale (which is numbered '1', '5', '10', '15' and '20'): Pieds
to the right of the scale: de Paris
bottom, in two columns: Verzierung eines Kreutz Gewölbes in der Halle | der Villa Madama. || Décoration d'une Voute d'arrête du Portique | de la Villa Madama.
in graphite:
in the bottom left corner of the image: 10. | Villa.M.
bottom, towards right, in graphite: R115
Verso:
bottom left, in graphite: Rud 115
bottom, left of centre, 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.115
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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. 115, RUD.115
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. 105
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. 115
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)
105.The richest possible condition of this decorative school, indicating the time when the pleasure of their newly invented style, and the superb power of the captains of it, Perugino, Raphael, and Correggio led the entire mind of Italy to conceive pleasure to be the only end of art. Therefore, finding it more pleasurable to contemplate nymphs R. and satyrs than saints and patriarchs, she fills her picture panels with these more attractive subjects, and from that day she and her arts perished together. The floral decoration in this example is still exquisitely beautiful but its larger paintings base, and the tone of colour gradually becoming violent & vulgar. The oval nearest the white rosettes, however, of Achilles seizing the sword, must be a pretty realization of the subject.
