Unpublished manuscript catalogue for proposed re-organisation of the Rudimentary series.
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.
Taylor, Gerald, ‘John Ruskin: A Catalogue of Drawings by John Ruskin in the Ashmolean Museum, Oxford’, 7 fascicles, 1998, Oxford, Ashmolean Museum, no. 107
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. 98, RUD.098
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. 98
Ruskin, John, Instructions in the Preliminary Exercises Arranged for the Lower Drawing-School (London: Smith, Elder, 1872), cat. Rudimentary no. 98
Ruskin, John, Instructions in the Preliminary Exercise Arranged For the Lower Drawing-School (London: Spottiswoode, 1873), cat. Rudimentary no. 98
Ruskin, John, ‘Rudimentary Series 1878’, 1878, Oxford, Oxford University Archives, cat. Rudimentary no. 98
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. 98
Finished study of the capital of one of the niches of the later tomb, in the upper story of it. It is drawn with all this care, first, to shew the lovely qualities of colour and pretty accidents of stain given to marble by age when the surface is undestroyed, and, partly, to shew the different inclination of the leaves at the angles, those toward the front of the niche being thrown forward and those at the back kept vertical - but this with so delicate a difference that any modern architect would think it the effect of accident & clumsiness. But it is a part of a great system throughout all the Veronese monuments, under which the action of the foliage, in every minor ornament, has reference to its position on the building.