Ruskin's Rudimentary series, 3rd ed. (1872)
Items marked 'M' are drawings "by my own Hand" (by Ruskin), P are photographs, E engravings and A by Ruskin's Assistant, Arthur Burgess.
Catalogue of the Rudimentary series / 5. Classical design / Pure Italian R|101 to R|113. Pure Italian
- R|101} The Coliseum, Rome. Photograph from Turner’s drawing at Farnley. Placed here to show the main type of architecture which was to govern the period of the Revival. P.
-
R|102} Senate House, Verona, by Fra Giocondo, showing the forms of buildings which were associated with the painting of Cima, Bellini, Carpaccio, Mantegna, and Luini. Exquisite of its kind. P.
-
R|103} Decoration of the Monastero Maggiore, Milan, Gruner’s plate. See my pencil note on it. E.
-
R|104} Grand Canal, Venice; showing Revival of architecture of purest time, and profile of Gondola. P.
- R|105} Sketch of Gondola in perspective (the beautiful lines of this boat were developed by the temper of the Revival. A.
-
R|106}
First scene in Carpaccio’s life of St. Ursula. Revival painting of highest type, at the pure time. P.
-
R|107} The centre of Carpaccio’s picture above-named, on larger scale. P.
- R|108} Annunciation by Fra Angelico, with Revival architecture of exquisite design. P.
-
R|109} Madonna and Angels by Fra Angelico. Draperies of the Revival School becoming too important. P.
-
R|110} Inlaid woodwork, Verona. Tricks of perspective effect. P.
- R|111} Ca’ Pesaro, Venice. Architecture of Revival fully developed. P.
- R|112} Panel of Pulpit at Siena. Ornamentation of Revival fully developed. P.
-
R|113} Study of head of Tintoret’s Bacchus, by Mr. E. B. Jones, before the picture was restored. Painting of Revival fully developed.
