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Index
Tim Barringer, Tara Contractor, Victoria Hepburn, Judith Stapleton, Courtney Skipton Long
Description: Unto This Last: Two Hundred Years of John Ruskin
Unto This Last: Two Hundred Years of John Ruskin
Index
Author
Tim Barringer, Tara Contractor, Victoria Hepburn, Judith Stapleton, Courtney Skipton Long
PublisherYale Center for British Art
Copyright© 2019 Yale University
Stable URL: https://aaeportal.com/?id=-20941
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Index
NOTE: Page numbers in italics refer to an illustration. Page numbers in bold refer to a catalogue entry. Catalogue items are listed individually and under maker, where appropriate. Unless otherwise noted, “Ruskin” used alone refers to John Ruskin. This index uses letter-by-letter alphabetizing.
A
Abstract of the Objects and Constitution of St. George’s Guild (Ruskin), 250
Acland, Henry W. (1815–1900), 46n55, 84n38, 84n41, 228–29, 234n8
The Oxford Museum (with Ruskin), 75, 228–30, 297n2
frontispiece, 75, 229
Addresses on Decorative Colour (Ruskin), 232n6, 233
Alexander, Francesca: Roadside Songs of Tuscany (ed. by Ruskin), 270
Allen, George, 213–14, 247n2
“Amethyst—Quartz with warped Faults in concentration” (after Ruskin), from Deucalion (Ruskin), 224, 224
“Decorative Plumage: 1. Peacock” (after Ruskin), from The Laws of Fésole (Ruskin), 242, 242, 243n3
publisher of Ruskin’s books, 18, 50, 53, 63–64, 66n8, 213–14, 262
“Spirals of Thorn” (R. P. Cuff after), from Modern Painters V (Ruskin), 125
Allen, Hugh (1861–1931), 213–14
Apple Blossom, 213–14
“Amateur Navvies at Oxford—Undergraduates Making a Road as Suggested by Mr. Ruskin” (Horace Harral after Joseph Nash), 41–43, 42, 238–39
American Pre-Raphaelites, 15, 294–95, 296
and Association for the Advancement of Truth in Art, 294–95, 295n4, 296
and Ruskin on slavery and Confederacy, 20–21, 295
Anderson, James Reddie: “The Place of Dragons,” in St. Mark’s Rest (ed. by Ruskin), 128
“Appeal to the Law, An” (E. L. Sambourne), from Punch, or the London Charivari, 274–75
Apple Blossom (Hugh Allen), 213–14
Apuleius: Metamorphoses, 277
Aratra Pentelici (Ruskin), 214, 247
The Greek Type of Athena (Arthur Burgess), 240–41, 240, 241n4
Architectural Museum, 232, 251
Armstrong, Lily, 218, 221
Mrs Kevill-Davies, née Lily Armstrong (Ruskin), 218, 219
Armytage, James Charles
“Archivolt in the Duomo of Murano” (after Ruskin), from The Stones of Venice, 55, 55, 66n35
“The Dryad’s Crown: Oak Leaves in Autumn” (after Ruskin), from Modern Painters V (Ruskin), 62–63, 67n63, 166, 166
“The Dryad’s Toil” (after Ruskin), from Modern Painters V (Ruskin), 62–63, 67n63
“Foreground Leafage” (after Ruskin), from Modern Painters III (Ruskin), 120, 121
“The Grass of the Field” (after Ruskin), from The Two Paths (Ruskin), 77–78, 77, 84n48
“Spandril Decoration” (after Ruskin), from The Stones of Venice (Ruskin), 143, 143
“Truth and Untruth of Stones” (with Thomas Lupton after J. M. W. Turner and Claude Lorrain), from Modern Painters IV (Ruskin), 190, 190
Arnold, Edward, 282
Ashbee, Charles Robert (1863–1942), 44, 282
An Endeavour Towards the Teaching of John Ruskin and William Morris, 282–83
See also Guild of Handicraft
Association for the Advancement of Truth in Art, 294–95, 295n4, 296
The New Path, no. 6, October 1863, 294–95
Assorted Mountain Sketches (Ruskin), 178
The Aiguille Charmoz from Window of the Union (Chamouni), 178, 179
Cleavages of Aiguille Bouchard, 178, 181, 181
Montagne de la Côte, Summit from Flank of Mont Blanc, 178, 179
Outlines of Aiguilles Ranges, Chamouni, 178, 179, 180
Side of the Breven, Chamouni, 178, 181
Unidentified Alpine Village, 178, 179, 180
Unidentified Mountain, 178, 181
Austin, Henry: Dwight Hall, Yale University, 296
Awful Protection against Midges (J. E. Millais), 164–65
B
Barringer, Tim, 6–7, 83n23, 90, 260
Barry, E. M., 228
Bell, Margaret Alexis, 218
Bentham, Jeremy, 16, 29n4
Berlin Painter: Red-Figure Neck-amphora with Twisted Handles (attrib.), 240–41
Birch, Samuel: History of Ancient Pottery, 220, 221n20
head of Athena, 220, 221n20
Blomstedt, Väinö Alfred, 306
Booth, E. C.: Roadside Spring, Yorkshire, 171n4
Bourke-White, Margaret: portrait of Mohandas Karamchand Gandhi, 304
Bowles, Thomas Gibson (Jehu Junior), 272
Boyce, Joanna Mary: Elgiva, 170, 170
Boys, Thomas Shotter (1803–1894)
The Ducal Palace, Twentieth Capital (with S. W. Reynolds Jr. after Ruskin) from Examples of the Architecture of Venice (Ruskin), 144–46, 155
“The Wall-Veil Decoration, Ca’ Trevisan, Ca’ Dario” (after Ruskin), from The Stones of Venice (Ruskin), 18, 139, 140
Brangwyn, Frank, 309
Brickhill, Miss: Ruskin’s Study at Brantwood, 198–200
British Museum, 20, 240, 241
British Museum, Natural History Museum, 226, 227n4
Catalogue of a Series of Specimens in the British Museum (Natural History) (Ruskin), 226–27
Colenso Diamond, 226, 227n3
mineralogical collections of, 107, 226–27, 227, 227n4
Ruskin’s donations to, 226–27, 227n3
Brontë, Charlotte, 101, 134
Bunney, John Wharlton, 151–52, 247n2
Study of Mosaic Floor, Basilica of San Marco, Venice, Italy, 152, 152
Western Facade of the Basilica of San Marco, Venice, 151–52, 152
Burgess, Arthur (1844?–1887), 246–47, 247n2, 290
The Greek Type of Athena, from Aratra Pentelici (Ruskin), 240, 240–41, 241n4
“Iron Lace of Verona” (after Ruskin), from Fors Clavigera (Ruskin), 72, 72
Proof, “Four Stages in the Young Life of a Primrose” (after Ruskin), 246–47
Proof, “Lapsana communis,” from Flora Danica, 246–47
Burke, Edmund (1749/30–1797), 112
Burke’s Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful: With an Introductory Discourse Concerning Taste (Edmund Burke), 112–13
Burne-Jones, Edward (1833–1898), 46n61, 152, 172, 277–80, 282
Cupid and Psyche, 277–78
A Dream of John Ball and A King’s Lesson (with William Morris), 279–81
frontispiece, 280, 281
friezes, Palace Green house, 277
Ruskin on, 172, 277–78
Sketches of Myrtle and a Head Crowned with Myrtle, 28
The Story of Cupid and Psyche: Cupid’s first Sight of Psyche, 278, 278
Butler, F. H.: label for “Stalactitic Barytes” from Ruskin’s collection, 222, 223
Byfield, Mary (1795–1871), 58, 67nn 52 and 54, 214
Figure 3 (after Ruskin), from Elements of Drawing (Ruskin), 52, 52
Figures 8 and 9 (probably after Ruskin), from Modern Painters III (Ruskin), 57, 57
illustration for Exercise VIII (after Ruskin), from Elements of Drawing (Ruskin), 216–17, 216
C
Canaletto (Giovanni Antonio Canal), 130, 131
Carlyle, Thomas, 21, 46n58, 198, 264, 272
on Ruskin, 218, 236, 262
Carpaccio, Vittore, 46n61
St. George and the Dragon, 43, 128
“St. George and the Dragon” after Carpaccio (Ruskin), 42, 43, 46n62, 128
“Catalogue of Minerals” (Ruskin), 107–8, 223
Catalogue of a Series of Specimens in the British Museum (Natural History), Illustrative of the More Common Forms of Native Silica Arranged and Described by John Ruskin, F.G.S. (Ruskin), 226–27
Cecioni, Adriano: “Men of the Day, No. 40. ‘The realization of the Ideal,’” from Vanity Fair, 272–73
Chamonix, 114–15, 134, 180–82
Aiguilles, 180–81, 183, 197
Chamonix, Les Aiguilles (Ruskin with John Hobbs), 182–83
Mer de Glace glacier, 180, 195–97
Mont Blanc, 180, 195
Ruskin’s photographs of, 182, 183, 197
Ruskin’s sketches of, 180–81
See also Assorted Mountain Sketches (Ruskin); Modern Painters IV: Of Mountain Beauty (Ruskin)
Chaucer, Geoffrey, 64, 85n68
Christian Million, The, 292
“Professor Ruskin” (unknown artist), 292–93
Church, Frederic Edwin, 15, 295
Church of Notre-Dame, St. Lô, 38, 45n23, 71, 73, 136–38
modern walls connecting the ruins, 138, 138
See also Study of Portal and Carved Pinnacles, Cathedral of St. Lô, Normandy (Ruskin); and under Seven Lamps of Architecture, The (Ruskin)
Clark, Kenneth, 44
Clémence, Jeanne (née Weil), 300
Cockerell, Sydney, 279, 281n1
Cole, Henry, 25, 92, 215, 256
Colenso, John William, Bishop of Natal, 226, 227n3
Collingwood, William Gershom (1854–1932), 65, 199, 232, 247n2, 254
gravestone of Ruskin, 254, 254
J.R. In Contemplation of a Medieval Town (Troyes), 254–55
Ruskin Relics, 199
Combe, Martha, 164
Contarini family, 147–48
Cook, Edward T., 9, 176, 209, 234, 236, 262, 290
on annotating proofs, 217
The Complete Works of John Ruskin (ed. with Alexander Wedderburn), 43, 108, 232, 234, 236
The Life of John Ruskin, 209
on Oxford Museum design, 74, 228
Cooper, J. D.: “An August Sky at Brantwood” and “A Sunset at Abbeville” (after Ruskin), from Storm-Cloud of the Nineteenth Century (Ruskin), 24, 202, 203
Couttet, Joseph, 122, 226
Cox, David, 168
Crane, Walter (1845–1915), 282, 286, 287, 288–89
Faerie Queene, 287
friezes for Palace Green house, 277
“A Garland for May Day 1895,” from Cartoons for the Cause: Designs and Verses for the Socialist and Labour Movement, 288–89
“John Ruskin,” 286
“National Union of Railwaymen, Wakefield, No. 2 Branch” (George Tutill and Co. after), 288
“The New Era,” frontispiece from The New Party Described by Some of Its Members, 287
“The New Party,” 287
The Triumph of Labour (Henry Scheu after), 284–86
Crawley, Frederick
Mer de Glace, Chamonix (with Ruskin), 197, 197
Rouen. Cathedral of Notre Dame, North Transept Door (with Ruskin), 251, 253
Crayon, The (ed. by W. J. Stillman and John Durand), 294–95
Crosthwaite Museum, Keswick, 108, 222
Cuff, Richard Parminter
“The Dryad’s Waywardness” (after Ruskin), from Modern Painters V (Ruskin), 60–61, 62–64
engravings after Ruskin for The Seven Lamps of Architecture (Ruskin), 66n33
“Ornaments at Rouen, St. Lô and Venice” (after Ruskin), 71
“Spirals of Thorn” (after George Allen), from Modern Painters V (Ruskin), 125
“Inlaid Bands of Murano” (after Ruskin), from The Stones of Venice (Ruskin), 56, 56
“Windows of the Early Gothic Palaces” (after Ruskin), from The Stones of Venice (Ruskin), 155, 155
Cupid and Psyche (Edward Burne-Jones), 277–78
D
Darwin, Charles, 37, 243n3, 248, 272
The Descent of Man, 163, 243
On the Origin of Species, 163, 229
Ruskin’s critique of, 17, 225, 243, 244
The Various Contrivances by Which British and Foreign Orchids are Fertilised by Insects, 244
Davis, Alexander Jackson: Alumni Hall, Yale University, 296
Day, Brian J., 90, 203
Deane, Thomas Newenham, 296
Deane, Woodward, and Deane
Museum Building, Trinity College, Oxford, 228
Museum of Natural History, Oxford, 228, 296
“Proposed University Museum, Oxford—Mssrs. Deane and Woodward, Architects,” from The Builder, 228, 228
“The University Museum, Oxford—Mssrs. Deane and Woodward, Architects” (W. E. Hodgkin after Benjamin Sly), 74, 74
Dearden, James, 53, 254
Dent, J. M., 264
Desai, Valji Govindji, 304
Ruskin, Unto this Last: A Paraphrase (trans. from M. K. Gandhi, Sarvodaya), 302–4
Deucalion: Collected Studies of the Lapse of Waves, and Life of Stones (Ruskin), 151, 214, 218, 224–25, 244
“Amethyst—Quartz with warped Faults in concentration” (George Allen after Ruskin), 224, 224
“Australian Opal” (Alexander MacDonald, formerly attributed to Ruskin), 224, 224
title of, 225
Devouassand, Michel, 122
De Witte, Jules: Élite des monuments céramographiques (with Charles Lenormant), 47n64, 240
Red-Figure Neck-amphora with Twisted Handles (after the Berlin Painter, attrib.), 240–41, 241n2
Diez, Julius, 306
“Serenissimuss in seinem Garten,” from Mir iskusstva, 306, 306
Distributed Monument 15, from The Ethics of Dust Series: Westminster Hall (Jorge Otero-Pailos), 310–12
Dodgson, Charles Lutwidge (Lewis Carroll), 221
Doge’s Palace (Ducal Palace), Venice, 23, 89, 94, 204
capitals and columns of, 140, 144, 155, 157
The Doge’s Palace (Ruskin with John Hobbs), 23
and The Ethics of Dust series (Jorge Otero-Pailos), 24, 89, 312
Exterior of the Ducal Palace, 19th century (Ruskin), 88, 89
loggia of, 158
“Palace Book” (Ruskin), 142–44, 143, 146
plaster casts of, 251, 253
Seventh Capital of Ducal Palace (unknown photographer), 157, 157
spandrel decorations of, 143, 143
See also Ducal Palace, Twentieth Capital, The (T. S. Boys and S. W. Reynolds Jr. after Ruskin); Venice Daguerreotypes (Ruskin and John Hobbs)
Doorhead of the Palazzo Contarini della Porta di Ferro (Ruskin), 147–48
Dream of John Ball and A King’s Lesson, A (William Morris with Edward Burne-Jones), 279–81
frontispiece (Edward Burne-Jones), 280, 281
Drucker, Johanna, 63
Ducal Palace, Venice. See Doge’s Palace, Venice
Ducal Palace, Twentieth Capital, The (T. S. Boys and S. W. Reynolds Jr. after Ruskin), from Examples of the Architecture of Venice (Ruskin), 140, 144–46, 155
Dudley Gallery, London: exhibiting Ruskin, 177
Dulwich Picture Gallery, 118, 290
Durand, Asher, 15, 294–95
“Letters on Landscape Painting,” in The Crayon, 294
Durand, John (1822–1908), 294–95
The Crayon (ed. with W. J. Stillman), 294–95
Dürer, Albrecht, 39, 211, 214, 216
E
Eagles, Rev. John, 116, 118nn 1 and 2
Edgeworth, Maria: Harry and Lucy Concluded ..., 52, 102
Edwardes, Herbert, 226
Elements of Drawing, The (Ruskin), 50, 57, 58, 110, 127, 168, 186, 213, 214–16
on banks of rivers and streams, 166, 188
on copying printed type, 52, 108
Figure 3 (Mary Byfield after Ruskin), 52, 52
Exercise X, 216
illustration for Exercise VIII (Mary Byfield after Ruskin), 216–17, 216
preface, 215
on Samuel Rogers’s illustrated books, 106
title page, 213
Elements of Drawing, The (Ruskin; printed proof), 50, 57, 58, 66n45, 214–17
Ellis, William, 258
Employment or Alms-Giving: Being an Account of the Plan of Relief Now Adopted in a District of Marylebone (Octavia Hill), 290–91
Endeavour Towards the Teaching of John Ruskin and William Morris, An: Being a Brief Account of the Work, the Aims, and the Principles of the Guild of Handicraft in East London (C. R. Ashbee), 282–83
Essex House Press, 282
Ethics of Dust, The: Trajan’s Column (Jorge Otero-Pailos), 25, 89, 89, 94, 310–13
Ethics of the Dust, Ten Lectures to Little Housewives on the Element of Crystallization, The (Ruskin), 24, 88–89, 95, 218–19, 221n12, 312
cover, publisher’s binding, 219, 220
Lecture IV, “The Crystal Orders,” 220
See also Manuscript of The Ethics of the Dust and Other Writings (Ruskin)
Etty, William, 129
Everyman’s Library series, 264–65, 265n13
and Unto this Last (Ruskin), 264
Examples of the Architecture of Venice (Ruskin), 140, 142, 144, 146, 147, 148, 158
“Door Heads from Ca Contarini Porta di Ferro; and in Campo S. Margarita” (Thomas Lupton after Ruskin), 147, 148
The Ducal Palace, Twentieth Capital (T. S. Boys and S. W. Reynolds Jr. after Ruskin), 144–46, 155
title page, 144
Eyamba V, King of Efik people, 80
“Iron Palace of King Eyambo,” from The Builder, 80, 80
Eyles, Henry: Chair, exhibited at the Great Exhibition, 20
Eyre, Edward John, 26
F
Fairbairn, Thomas, 91
Farrer, Thomas, 15
Fenollosa, Ernest, 308, 309n3
Ferry Hinksey Road, Ruskin construction project, 41–43, 46n58, 235, 238, 254, 283n1
See also “Amateur Navvies at Oxford” (Horace Harral after Joseph Nash)
Fielding, Anthony Vandyke Copley (1787–1855), 17, 32, 109, 193
“Between King’s House and Inveroran, Argyllshire,” 109n1
Mountainous Landscape with Lake and Stream, 32, 109
Fine Art Society, London, 174
Flaxman, John: Anatomical Studies of the Bones and Muscles, 260
Fletcher, Lazarus, 226
Flora Danica (multiple editors), 244
Lapsana communis L., 246, 246
Proof, “Lapsana communis,” from Flora Danica (Arthur Burgess), 246–47
Fluelen, Morning (Looking Towards the Lake) (J. M. W. Turner), 132–34
Forbes, James David, 197
Voyages in the Alps, 197n9
Forge, The (James Sharples), 83n23, 258, 260–61
Fors Clavigera: Letters to the Workmen and Labourers of Great Britain (Ruskin), 43, 46n58, 66nn 41 and 50, 82, 198, 206, 262–63, 269, 276
difficulty of reading, 50, 56, 66n9
The Greek Type of Athena (Arthur Burgess), 240, 240, 241n4
influence of, 282, 304
“Iron Lace of Verona” (Arthur Burgess after Ruskin), 72, 72
issues of, 262
on J. A. M. Whistler, 263, 269
“Letter 10,” 290
“Letter 41,” 251n3
“Letter 67,” 262–63
“Letter 78,” 157, 241n4
“Letter 79,” 263, 269, 278, 278n6
“Letter 86,” 250, 290
M. K. Gandhi on, 304
“Modern Iron-Work at Kirkby Lonsdale” (Ruskin), 81, 81
and photographs of Venice, sale of, 157
on photography, use of, 182
title, meaning of, 82, 85n83, 262, 263n4
Four Species of Grasses (Ruskin), 244–45
Fowke, Francis, 227n4, 258
Drawing of the Facade of the Lecture Theatre (with Godfrey Sykes), 259
Natural History Museum, South Kensington, designs for, 227n4
Fra Angelico, 118
France
“Les Doctrines de M. Ruskin,” from Revue Britannique, 298
Fontainebleau Forest, 33–34, 45n12, 114
Handbook for Travellers in France (John Murray), 45n23, 136
Ruskin’s reception in, 298, 300
See also Church of Notre-Dame, St. Lô; Rouen Cathedral; Troyes, France
Frost, Mark, 41, 250
Furnivall, Frederick James, 29n31, 215
G
Gallen-Kallela, Akseli, 306
Gandhi, Mohandas Karamchand (1869–1948), 26, 269, 302–4
Defense and Death of Socrates (trans. from Socrates, The Dialogues of Plato), 302, 304n4
Hind Swaraj, 304
Indian Opinion, 44, 302–4, 304n6
portrait of Mohandas Karamchand Gandhi (Margaret Bourke-White), 304
Ruskin, Unto this Last: A Paraphrase (trans. by V. G. Desai), 26, 267, 302–4, 304n3
Sarvodaya, 26, 302–4
The Story of My Experiments with Truth, 304
The Wheel of Fortune, 302–4
“Garland for May Day 1895, A” (Walter Crane), from Cartoons for the Cause: Designs and Verses for the Socialist and Labour Movement, 288–89
Garbett, Edward Lacy, 83n19
Garnett, Constance, 306n1
Geological Society, 182, 195
Gilman, Daniel Coit, 296
Giotto, 13, 46n58, 248
Goldman, Lawrence, 264
Goodall, Edward (1795–1870), 104
engravings after J. M. W. Turner for Italy, a Poem (Samuel Rogers), 105–6, 106
engravings after J. M. W. Turner for Poems (Samuel Rogers), 105, 271, 271
Goodspeed, Charles E., 181
Government Schools of Design, 27, 81, 211, 215
Graham, John, Laird of Claverhouse, 177
Gray, Euphemia, 129, 136, 140–42, 162
marriage to John Everett Millais, 140, 164
marriage to Ruskin, 140, 164
Great Exhibition of the Industry of All Nations, London (1851), 19, 21, 70, 91, 258
chair (Henry Eyles) exhibited at, 20
the Crystal Palace, 19, 70–71, 83nn 7, 13, 14, and 23
Dickinson’s Comprehensive Pictures of the Great Exhibition of 1851
“Sheffield Hardware,” 22
“Waiting for the Queen at Coalbrookdale Gates” (David Roberts), 70
The Opening of the Crystal Palace (Ruskin), 71, 73, 83nn 7 and 19
Great Square at Torcello, The (Ruskin), 149–50
Green Brothers of Grasmere, 199n6
Ruskin at Brantwood (T. A. and J. Green), 198–200
Guild of Handicraft
of C. R. Ashbee, 44, 282
of Frances Horne, 309
Guild of St. George, Sheffield, 27, 40–43, 250, 282, 290
Abstract of the Objects and Constitution of St. George’s Guild (Ruskin), 250
companions of, 41, 85n81, 206, 213, 250, 269
founding of, 40, 43, 85n81, 128, 211, 250
fund to save St. Mark’s, 152
goals of, 40, 230, 250, 262
projects of, 40–41, 46n47, 198, 250, 272
properties acquired by, 40, 46n46, 262
Ruskin teaching at, 232
schools of, 242
H
Hamada Shōji (1894–1978), 309
Plate, 307–9
Hand, Emma, 289
Hanson, Brian, 156
Harcourt family, 43
Harding, J. D., 17, 129, 186
Harker, Lizzie Allen, 212
Harral, Horace (1817–1905): “Amateur Navvies at Oxford—Undergraduates Making a Road as Suggested by Mr. Ruskin” (after Joseph Nash), 41–43, 42, 238–39, 285
Harris, Jose, 44
Harrison, W. H., 66n45, 123
“Harry and Lucy Concluded, Being the Last Part of Early Lessons, in Four Volumes with Copper Plates. Printed and Composed by a Little Boy and Also Drawn” (Ruskin), 52, 102–3, 107
Head of Athena, after a Greek Amphora (Ruskin), 240–41
Helsinger, Elizabeth, 53
Hewison, Robert, 46n42, 141nn 13 and 15, 149, 158, 236
Hill, Octavia (1838–1912), 290
Employment or Alms-Giving, 290–91
Hills and Sky (attrib. to Ruskin), 40, 192–94
Hilton, Tim, 41
Hobbema, Meindert: Wooded Landscape with a Water Mill (engraving after), from Modern Painters V (Ruskin), 63, 67n65
Hobbs, John (1825–1892), 136
Chamonix, Les Aiguilles (with Ruskin), 182–83
The Doge’s Palace (with Ruskin), 23
The Matterhorn and Reflection in Alpine Lake (with Ruskin), 182–83, 224
photography with Ruskin, 140, 155, 182
See also Venice Daguerreotypes (Ruskin and John Hobbs)
Hobson, John Atkinson, 46n53
Hollyer, Frederick, 270
illustrations after Francesca Alexander for Roadside Songs of Tuscany (Francesca Alexander, ed. by Ruskin), 270
John Ruskin (Datur Hora Quieti), 31–32, 31, 270–71
photograph of William Holman Hunt and John Ruskin, 271, 271
Horne, Frances, 309
Howard, George, 9th Earl of Carlisle, 277
Humières, Robert d’, 300
Hunt, William Henry (1790–1864), 173–74
Peach and Grapes, 173
Plums and Mulberries, 173–74
Hunt, William Holman, 270–71, 282
photograph of William Holman Hunt and John Ruskin (Frederick Hollyer), 271, 271
Huxley, Henry, 229
I
India
Indian collections, South Kensington Museum, 256
Indian Opinion, 44, 302–4, 304n4
Indian Uprising, 80, 169n4, 256
railways in, 69, 80, 85n61
Ruskin on, 65, 256
as self-sufficient state, 269
socialism in, 26
See also Gandhi, Mohandas Karamchand
In the Pass of Killiecrankie (Ruskin), 175–77
Italy, a Poem (Samuel Rogers; ill. by J. M. W. Turner and Thomas Stothard), 101, 104–6, 134
“Battle of Marengo” (Edward Goodall after J. M. W. Turner), 106, 106
“Venice” (Edward Goodall after J. M. W. Turner), 105
J
James, Henry, 276
Jameson, Robert, 107
Manual of Mineralogy, 108, 226
A System of Mineralogy, 108
Japan, 26, 307–9
Arts & Crafts movement, as Mingei, 269, 309, 309n14
Ruskin’s impression of, 307
Tokyo Fine Arts School, 308, 309n3
Tokyo Ruskin Society, 309
Järnefelt, Eero, 306
Jar with Lid (Bernard Leach), 307–9
Jason (Charles Turner after J. M. W. Turner), 126–28
John Ruskin (Datur Hora Quieti) (Frederick Hollyer), 31–32, 31, 270–71
John Ruskin’s Post Bag (unknown maker), 212
Joyce, Jeremiah: Scientific Dialogues, 102
J.R. In Contemplation of a Medieval Town (Troyes) (W. G. Collingwood), 254–55
K
Kagawa Toyohiko, 308
The Stones of Venice (trans. from Ruskin), 308
Keats, John: “The Eve of St. Agnes,” 249n4
Kelmscott Press, 63–64, 67nn 71 and 76, 141, 265, 279, 280
influence of, 264, 282
See also Nature of Gothic, The (William Morris with Ruskin); A Dream of John Ball and a King’s Lesson (William Morris with Edward Burne-Jones)
Kevill-Davies, William Trevelyan Somerset, 218
Kikuchi, Yuko, 308–9
Kitchin, George William, 43, 46n54, 238
Knowles, Reginald (1879–1951): designs for Everyman’s Library books, 264–65, 265
L
Ladies Guild, London, 290
Laing, J. J.: “Botany of 13th Century” (with Henry Shaw after unidentified artist), from Modern Painters III (Ruskin), 120, 120
Laing, Samuel, 70, 83n7
Landow, George P., 112, 121
Landscape with Rocks (Ruskin), 190–91
La Sizeranne, Robert de, 51–52, 300
Ruskin et la religion de la beauté, 51, 298–99, 298n4, 305
Ruskin and the Religion of Beauty (trans. by Countess of Galloway), 298n4
La Touche, Rose, 220, 221n17, 236, 249
Lausanne (attrib. to Ruskin), 40, 192–94
Laws of Fésole, The (Ruskin), 242–43
“Decorative Plumage: 1. Peacock” (George Allen after Ruskin), 242, 242
Leach, Bernard (1887–1979), 309
Jar with Lid, 307–9
Leach Pottery, 309
Le Keux, John Henry, 104, 228
and color in Modern Painters, 62
letters from Ruskin, 59, 59, 62, 66n10
“The Mountains of Villeneuve” (after Ruskin), from Modern Painters IV (Ruskin), 34, 35
“Ramification, according to Claude” (after Claude Lorrain), from Modern Painters III (Ruskin), 59–62, 59, 67nn 55 and 57
Lenormant, Charles: Élite des monuments céramographiques (with Jules De Witte), 47n64, 240
Red-Figure Neck-amphora with Twisted Handles (after the Berlin Painter, attrib.), 240–41, 241n2
Links, J. G., 138
Linton, W. J., 198
Looking across Lake Como (Arthur Severn), 201
Lorrain, Claude (Claude Gellée), 59, 67n55
Liber Veritatis, 67n56, 190, 190
“Ramification, according to Claude” (J. H. Le Keux after), from Modern Painters III (Ruskin), 59–62, 59, 67nn 56 and 57
Ludlow, J. M., 29n31
Lupton, Thomas, 62
“Door Heads from Ca Contarini Porta di Ferro; and in Campo S. Margarita” (after Ruskin), from Examples of the Architecture of Venice (Ruskin), 147, 148
“Truth and Untruth of Stones” (with J. C. Armytage after J. M. W. Turner and Claude Lorrain), from Modern Painters IV (Ruskin), 190, 190
Lyell, Charles: Principles of Geology, 163, 184
M
MacDonald, Alexander: “Australian Opal” (formerly Ruskin), from Deucalion (Ruskin), 224, 224
MacPherson, Robert: Forum of Trajan, 93
Macugnaga, Italy, 185
Mountain Landscape, Macugnaga (Ruskin), 126–27, 185–87
Manchester, England
art museum of, 92
lectures by Ruskin, 51, 65n2, 300
Manchester Art Treasures Exhibition, 1857, 91–92
“Manchester, Getting Up the Steam,” from The Builder, 90, 90
pollution from smokestacks, 23, 24, 40, 203
Manuscript of The Ethics of the Dust and Other Writings (Ruskin), 218–21, 312
sketch of head and “bead” formations, 220–21, 221
sketches of “bead” formations, 220, 221
Manuscript Notebook with Watercolors, Sketches, Drawings, 32, 33, 114–15
botanical drawing from, 32, 33
study of the Madonna, 115
Marieschi, Michele: L’Entrée du Grand Canal et l’église de la Salute à Venise, 130, 130
Marx, Karl, 22
Marxian socialism, 285, 309
Matterhorn and Reflection in Alpine Lake, The (Ruskin with John Hobbs), 182–83, 224
Maurice, Frederick Denison, 29n31, 215, 290, 292
McClelland, John: Collection of watercolours by J. M. W. Turner in John Ruskin’s bedroom, 174, 174
McGann, Jerome, 63
Meduna, Giovanni Battista, 151
“Men of the Day, No. 40. ‘The realization of the Ideal,’” from Vanity Fair (Adriano Cecioni), 272–73
Mer de Glace (Henry Moore), 195, 195–97
Merrill, Linda, 276
Meteorological Society of London, 192, 194nn 2 and 7
Miele, Chris, 90
Mikimoto Ryuzo, 309
Modern Painters (trans. from Ruskin), 309
Mill, John Stuart, 302
Millais, John Everett (1829–1896), 140, 164, 228, 272
Awful Protection against Midges, 164–65
John Ruskin, 13–14, 14, 164, 164, 168
marriage to Euphemia Gray, 140, 164
Millais, William Henry, 164
Miller, William: The Grand Canal, Venice (after J. M. W. Turner), 129, 130
Milsand, Joseph Antoine, 300
L’Esthétique anglaise: Étude sur M. John Ruskin, 298
“Une nouvelle théorie de l’art en Angleterre,” in Revue des deux Mondes, 298
Mineral Samples Collected by John Ruskin, 222–23
Miss Bell’s School for Girls, Cheshire, 218
mineral collection, gift of Ruskin, 223
Ruskin’s involvement with, 218, 220
Mitford, Mary Russell, 176
Mocenigo, Tommaso, Doge of Venice, 140
Modern Cast of Scrollwork on North Transept Door, Rouen Cathedral (Giust Gallery), 251–53
Modern Painters (Ruskin), five volumes, 13–15, 45n11, 46n53, 49–50, 57, 116–25, 134, 213, 294, 305
on A. V. C. Fielding, 109
color used in, 62–63, 120
design of, 66n8, 121
on Edmund Burke, 112
illustrations in, 18, 66n8, 58, 163
influence of, 15, 101, 290, 303, 308
proofs of, 50, 121
tissue guards in, 61, 63
on weather and the sky, 192–93
wood engravings in, 58–59, 63, 67n52, 120
Modern Painters I (Ruskin), 32, 116–18, 125, 160, 194n7
cover of, 26
as defense of J. M. W. Turner, 37, 101, 114, 116, 132
“go to Nature,” 13, 32, 45n3, 101, 116, 163, 168, 174, 305
illustrations of, 115
on Samuel Rogers’s Italy, 106
Modern Painters II: Of the Imaginative and Theoretic Faculties (Ruskin), 45n12, 115, 118–19, 127
Modern Painters III: Of Many Things (Ruskin), 31, 58, 67n62, 76, 84n49, 120–21, 122
“Botany of 13th Century” (Henry Shaw and J. J. Laing after unidentified artist), 120, 120
“Foreground Leafage” (J. C. Armytage after Ruskin), 120, 121
illustrations of, 58, 120
“Preface,” 54, 58, 66n54, 120
“Ramification, according to Claude” (J. H. Le Keux after Claude Lorrain), 59–62, 59, 67nn 56 and 57
Ruskin etchings after J. M. W. Turner, 58, 63, 67n67, 120
Modern Painters IV: Of Mountain Beauty (Ruskin), 58, 84nn 27 and 49, 122, 180, 184, 195, 308
“Cleavages of Aiguille Bouchard” (Ruskin), 180–81, 180
“Crest of La Côte” (Thomas Lupton after Ruskin), 62
Figures 8 and 9 (probably Mary Byfield after Ruskin), 57, 57
illustrations of, 35, 58–59, 180
on J. M. W. Turner, 190
“Junction of the Aiguille Pourri with the Augilles Rouges” (after Ruskin), 180, 180
“The Mountains of Villeneuve” (J. H. Le Keux after Ruskin), 34, 35
“Truth and Untruth of Stones” (J. C. Armytage with Thomas Lupton after J. M. W. Turner and Claude Lorrain), 190, 190
Modern Painters IV: Of Mountain Beauty, Annotated Page Proofs of (Ruskin), 35–36, 50, 123–24, 125
Modern Painters V: Of Leaf Beauty, Of Cloud Beauty, Of Ideas of Relation (Ruskin), 39, 46n37, 58, 125, 265
on clouds, 193, 194nn 6 and 7
“The Dryad’s Crown: Oak Leaves in Autumn” (J. C. Armytage after Ruskin), 62–63, 67n63, 166, 166
“The Dryad’s Toil” (J. C. Armytage after Ruskin), 62–63, 67n63
“The Dryad’s Waywardness” (R. P. Cuff after Ruskin), 60–61, 62–64
first edition of, 62, 125
illustrations of, 58, 62–63, 290
index of, 218, 221n6
and the “Law of Help,” 37–41, 46n54, 125
Rouen from St. Catherine’s Hill (after J. M. W. Turner), 193, 194, 194n6
“Spirals of Thorn” (R. P. Cuff after George Allen), 125
“Venga Medusa,” 193, 194
Moore, Albert, 276
Moore, Henry (1831–1895), 197n3
Mer de Glace, 195–97
Moore, James, 92
Moran, Thomas, 15
Morgan Library and Museum, New York: minerals from Ruskin’s collection, 222
Morris, William (1834–1896), 27, 67n72, 264, 277–78, 281, 282, 309
Beowulf (trans.), 64
death of, 282
A Dream of John Ball and A King’s Lesson (with Edward Burne-Jones), 279–81
The Earthly Paradise, 277
Kelmscott Manor, 282
The Nature of Gothic (with Ruskin), 64, 67n76, 141, 279–80, 281n10
News from Nowhere, 282
and preservation of monuments, 23–24, 135, 311
Ruskin on, 279
socialist politics of, 26–28, 265, 279, 281n1, 286
“The Story of Cupid and Psyche,” planned publication (with Edward Burne-Jones), 277
“Useful Work” versus “Useful Toil,” 281n11
See also Endeavour Towards the Teaching of John Ruskin and William Morris, An (C. R. Ashbee); Kelmscott Press
Morris, Marshall, Faulkner & Co., 280
Moses, Henry: Der Kampf mit dem Drachen (Friedrich Schiller; ill. after F. A. M. Retzsch), 126, 127
Mountain Landscape, Macugnaga (Ruskin), 126–27, 185–87
Mountainous Landscape (Ruskin, 1861), 184
Mountainous Landscape (Ruskin, n.d.), 185–87
Mountainous Landscape with Lake and Stream (A. V. C. Fielding), 32, 109
M2, Architectural Notebook (Ruskin), 142–43
Munro, Hugh Andrew Johnstone, 132
Murray, John: Handbook for Travellers in France, 45n23, 136
Museum of Natural History, Oxford, 74, 228–30, 296
carved capitals of, 74, 84n31, 228–29, 229
“Cast-Iron Bracket” (Ruskin), from The Oxford Museum (1860), 75
construction of, 84n32, 228–29, 233
debate on Darwin, 229
design of, 74–75, 228–30, 258, 296–97
Design for a Window, Oxford University Museum (Ruskin), 228, 230
iron spandrels for roof of, 75, 84n37
The Oxford Museum (Henry Acland and Ruskin), 228–30
“The Oxford University Museum: View in the Court,” from The Builder, 75
“Proposed University Museum, Oxford— Mssrs. Deane and Woodward, Architects,” from The Builder, 228, 228
“The University Museum, Oxford—Mssrs. Deane and Woodward, Architects” (W. E. Hodgkin after Benjamin Sly), 74, 74
wrought-iron capitals for Museum of Natural History, Oxford (F. A. Skidmore), 74, 84n32
N
Nash, Joseph (1809–1878): “Amateur Navvies at Oxford—Undergraduates Making a Road as Suggested by Mr. Ruskin” (Horace Harral after), 41–43, 42, 238–39, 285
National Gallery, London, 115, 118, 290
Catalogue of the Turner Sketches in the National Gallery (Ruskin), 133, 204
Italian collection of, 115
Turner Bequest, 204
National Trust, the, 290
“Nature of Gothic, The.” See under Stones of Venice, The, vol. II, The Sea Stories (Ruskin)
Nature of Gothic, The (Ruskin with William Morris), 64, 67n76, 141, 279–80, 281n10
“New Cast-Iron Balloon, The; Or a Trip to the Clouds,” from Cleave’s Penny Gazette of Variety and Amusement, 79, 79
“New Era, The” (Walter Crane), frontispiece from The New Party Described by Some of Its Members, 287
New Path, The (Association for the Advancement of Truth in Art), 294–95, 296
Nihon Fūkeiron (Shiga Shigetaka), 307–9
Nikiforov, L. P.: John Ruskin: His Life, Ideas, and Work, A Biographical Sketch, 305
Nordlinger, Marie, 300
Norton, Charles Eliot, 20, 308
American exhibition of Ruskin, 1879, 242
gifts from Ruskin, 114, 136–38, 236, 254
letters from Ruskin, 115, 236
and Ruskin’s self-portraits, 236
Notes on Some of the Principal Pictures Exhibited in the Rooms of the Royal Academy (Ruskin), 168, 170–71
Notes Taken at Ruskin’s Lectures (Alexander Wedderburn), 233–35, 254
O
O’Gorman, Francis, 262
Old Watercolour Society, 109
annual exhibitions, 109n1
O’Neill, Morna, 287, 288
O’Shea, James and John
carved capitals, Oxford Museum, 74, 74, 84n31, 228–29, 229
carved capitals, Trinity College museum, 228, 230
Otero-Pailos, Jorge (b. 1971)
The Ethics of Dust: Doge’s Palace, 24–25, 89, 312
The Ethics of Dust: Trajan’s Column, 25, 89, 89, 94, 310–13
installation, Victoria and Albert Museum, 89, 94, 312, 313
The Ethics of Dust at Westminster Hall, 89, 310, 312, 312
Distributed Monument 15, 310–13
The Ethics of Dust Series, 24–25, 88–95, 310–12
on pollution, 87–89, 94, 312
on preservation of monuments, 87–88
Scraping Ruskin, 310–13
Study for Trajan’s Column 1, 310–13
Ovid: Metamorphoses, 225n6
Owl, after an Attic Kantharos (Ruskin), 240–41
Oxford Botanic Gardens, 74, 229
Oxford Museum. See Museum of Natural History, Oxford
Oxford Museum, The (Henry Acland and Ruskin), 228–30
frontispiece, 75, 229, 229
Oxford University, 26–27, 229
Balliol College, 41, 223, 228
Christ Church, 233
Christ Church, Fox-Strangways collection, 115, 118
Educational Series, Ruskin’s, 127, 172, 174, 177
Edward Burne-Jones’s sketches, gift of Ruskin, 278
mineral collections, gift of Ruskin, 223
Ruskin as Slade Professor of Fine Art, 27, 41, 172, 211, 229, 233–34, 238, 240, 254
Ruskin as student, 26, 101, 114, 129, 153, 192, 233
Ruskin as teacher, 27, 41–43, 46n54, 125, 172, 233–34, 238, 262
students of, 41–43, 233–35, 238, 254, 279
teaching collection, Ruskin’s, 27, 47n64, 127
Trinity College, Museum Building, 228, 230
University Museum, 27, 75, 230
See also Ruskin School of Drawing
P
Paddle Steamer in a Storm (J. M. W. Turner), 204–5
Paradise Place, Marylebone, London, 290
Paton, Joseph Noel (1821–1901), 168, 169n4, 207n1
The Bluidie Tryste, 168, 169, 169n5
In Memoriam, 169n4
Study from Nature, Inveruglas, 168–69
Paton, Waller Hugh, 168
Wild Water, Inveruglas, 168
Paxton, Joseph: the Crystal Palace, 19, 70–71
Phoenix settlement, 44, 304
Plate (Hamada Shōji), 307–9
Plums and Mulberries (W. H. Hunt), 173–74
Poems (Samuel Rogers; ill. by J. M. W. Turner and Thomas Stothard), 104–6, 271
tailpiece, “Datur Hora Quieti” (Edward Goodall after J. M. W. Turner), 271, 271
Pointon, Marcia, 108, 220
Porch, St. Maclou, Rouen, The (Samuel Prout), 32, 110–11
Praeterita (Ruskin), 33, 45nn 11 and 12, 52, 114, 168, 173, 236, 254
on flowers, 248
“Harry and Lucy Concluded” (Ruskin), sections from, 52, 102
on Italy, a Poem (Samuel Rogers), 104
on J. M. W. Turner, 45n13, 104
on “Joanie” (Joan Severn), 212, 249
on Macugnaga, 185
on medieval manuscripts, 231
on mineralogy, 107, 226
“Ruskin’s Walk in the Garden at Denmark Hill” (H. S. Uhlrich), 248
on Troyes, 254
“Prerafaelitizm” (Ruskin, trans. by Olga Solovieva), in Mir iskusstva, nos. 17–22, 305–6
illustrations for, 305–6, 306
Pre-Raphaelitism, 163, 166, 170–71, 295
influence of Modern Painters I (Ruskin), 116, 163
Pre-Raphaelite artists, 163, 164, 168, 170–71, 140, 228, 247n4, 270, 278
Pre-Raphaelite Brotherhood, 116, 164, 168, 170, 171n1, 294
Ruskin on, 13, 168–71, 171nn 1 and 6, 174, 275–76
See also American Pre-Raphaelites; Ruskin, John, Pre-Raphaelitism
“Professor Ruskin” (unknown artist), from The Christian Million, 292–93
Proof, “Four Stages in the Young Life of a Primrose” (Arthur Burgess after Ruskin), 246–47
Proof, “Lapsana communis,” from Flora Danica (Arthur Burgess), 246–47
Proserpina: Studies of Wayside Flowers (Ruskin), 49, 65, 125, 214, 218, 244, 245n6
on flowers, 248
Figure 7 (Arthur Burgess after Ruskin), 246, 247
Figure 22 (Ruskin), 244, 245
illustrations for, 244–47
“Line-Study iv” (Arthur Burgess), 246, 247
Proust, Marcel (1871–1922), 300
La Bible d’Amiens (trans. from Ruskin), 300
Remembrance of Things Past, 300
Sésame et les lys: Des Trésors des rois, des Jardins des reines (trans. from Ruskin), 49, 300–301
Prout, Samuel (1783–1852), 32, 110
exhibition with W. H. Hunt (1879), 174
Facsimiles of Sketches Made in Flanders and Germany, 110
The Porch, St. Maclou, Rouen, 32, 110–11
porch of St. Mark’s, drawing of, 158
Ruskin on, 110, 110n5, 115, 131, 136, 148
Pugin, Augustus Welby Northmore, 45n31, 90
Contrasts, 90
“Catholic Town in 1440” contrasted with “The Same Town in 1840,” 90, 91
Punch, or the London Charivari, 28, 238, 274
“An Appeal to the Law” (E. L. Sambourne), 274–75
Awful Protection against Midges (J. E. Millais), 164, 165
“Lady of the Lake Loquitur,” 206–7, 207
“Poem by a Perfectly Furious Academician,” 171
R
Railways of the Lake District, The (Robert Somervell), 206–7
leaflet insert (Ruskin), 206, 207
Receipt for Minerals Purchased by John Ruskin (Richard Talling), 222–23
Redgrave, Richard, 215
“National Course of Instruction,” 215
Reid, Andrew
The New Party Described by Some of Its Members (ed.), 287
“The New Era” (Walter Crane), frontispiece, 287
Rendu, Louis Le Chanoine
Theory of the Glaciers of Savoy (trans. by Alfred Wills), 197
Retzsch, Friedrich August Moritz: Kampf mit dem Drachen (Friedrich Schiller; ill. for, Henry Moses after), 126, 127
Reynolds, Joshua: Discourses, 118
Reynolds, Samuel William Jr. (1794–1872): The Ducal Palace, Twentieth Capital (with T. S. Boys after Ruskin) from Examples of the Architecture of Venice (Ruskin), 144–46, 153–55
Rhys, Ernest, 264
Rio, A. F.: De la poésie Chrétienne, 118
Robbia, Luca della: The Nativity, 199
Roberts, David
Christmas Day at St. Peters, 171n4
“Waiting for the Queen at Coalbrookdale Gates,” 70
Robinson, William: Wild Garden, 198
Rocky Bank of a River, The (Ruskin), 34, 188–89
recto, 34–37, 34, 188, 189
verso, 35, 35, 188, 189
Rogers, Samuel (1763–1855), 104
Italy, a Poem (ill. by J. M. W. Turner and Thomas Stothard), 101, 104–6, 134
“Battle of Marengo” (Edward Goodall after J. M. W. Turner), 106, 106
“Venice” (Edward Goodall after J. M. W. Turner), 105
“The Pleasures of Memory,” 104
Poems (ill. by J. M. W. Turner and Thomas Stothard), 104–6, 271
tailpiece, “Datur Hora Quieti” (Edward Goodall after J. M. W. Turner), 271, 271
Rogers, William Harry: binding, The Seven Lamps of Architecture (Ruskin), 53–54, 54
Rooke, Thomas Matthew: drawings of St. Mark’s mosaics, 152
Rossetti, Dante Gabriel, 172, 228, 307
Rossetti, William Michael, 294, 307
Rouen Cathedral, 71, 193, 194, 251–53
Modern Cast of Scrollwork on North Transept Door, Rouen Cathedral (Giust Gallery), 251–53
North Transept Door, 251–53, 253n3
plaster casts, commissioned by Ruskin, 251–53
Rouen. Cathedral of Notre Dame, North Transept Door (Ruskin with Frederick Crawley), 251, 253
Spiral Relief North Transept Door, Rouen Cathedral (Ruskin), 251, 252
See also Seven Lamps of Architecture, The (Ruskin)
Royal Academy of Arts, 118, 170
exhibitions, 116, 126, 168, 248
Notes on Some of the Principal Pictures Exhibited in the Rooms of the Royal Academy (Ruskin), 168, 170–71
Royal Architectural Museum, Westminster, 251
plaster casts of Rouen Cathedral, gift of Ruskin, 251, 253n3
Ruskin, John (1819–1900)
Abstract of the Objects and Constitution of St. George’s Guild, 250
anonymous articles in Architectural Magazine, 201
The Art of England, 278
Assorted Mountain Sketches, 178–81
The Bible of Amiens, 214, 254, 300
Brantwood home and study, 31–32, 173, 198–99, 200, 201, 203, 212, 232, 236, 254, 270
Can Signorio Tomb: Ironwork, 73, 73
“Cast-Iron Bracket,” from The Oxford Museum (1860), 75
Catalogue of a Series of Specimens in the British Museum (Natural History), 226–27
Catalogue of the Turner Sketches in the National Gallery, 133, 204
The Cestus of Aglaia, 220
Chamonix, Les Aiguilles (with John Hobbs), 182–83
childhood of, 43, 52, 90, 101, 104
“Coeli Enarrant,” 194n5
collections of, 174, 199, 211, 222–23, 232, 247, 262, 278, 290
The Crown of Wild Olive, 220, 266, 282, 287
“The Crystal Hunter,” 108
and daguerreotypes (photography)
by Ruskin, 23, 136, 140, 153–56, 197
Ruskin on, 153–55, 182
Ruskin’s use of, 22–23, 37, 136, 144–46, 148, 153–56, 158, 182
death of, 201, 224, 232, 254, 264, 286
gravestone of (W. G. Collingwood), 254, 254
diaries and journals of, 32, 78, 114–15, 132, 181, 184, 188, 192, 202–3, 232, 236n1
Denmark Hill home, 173, 248, 249, 269
The Doge’s Palace (with John Hobbs), 23
Doorhead of the Palazzo Contarini della Porta di Ferro (Ruskin), 147–48
The Dryad’s Waywardness: Oak Spray in Winter, seen in Front, 62, 62, 64, 67n63
essay in Theory of the Glaciers of Savoy (Louis Le Chanoine Rendu), 197
Europe, travel through, 32, 114, 118, 185–86, 192, 201, 254 (see also specific cities and countries)
Examples of the Architecture of Venice, 140, 144–46, 147–48, 155
Four Species of Grasses, 244–45
Fragment of the Alps, 78, 79
The Great Square at Torcello, 149–50
The Harbours of England (after J. M. W. Turner), 204–5
“Harry and Lucy Concluded...,” 52, 102–3, 107
Head of Athena, after a Greek Amphora, 240–41
heirs of, 201, 212
Herne Hill home, 108, 109n1
In the Pass of Killiecrankie, 175–77
illness of, 212, 247
Ironwork: Sion, Valais, 73, 74
Landscape with Rocks, 190–91
lectures and speeches of (see also publications of collected lectures)
“The Aesthetic and Mathematic Schools of Art in Florence,” 233–35
“The Deteriorative Power of Conventional Art Over Nations,” 256
“Lecture on the Chough,” 225n6
at London Institute, 152
in Manchester, 51, 65n2, 300
at Meteorological Society of London, 192, 194nn 2 and 7
on mythology, 240
“Of Kings’ Treasuries,” 49–50, 51, 56–57, 300
“Of Queens’ Gardens,” 300
at Oxford, 46n54, 84n31, 127, 182, 233–35, 238, 240, 246–47
“The Political Economy of Art,” 256
“The Relation to Art of the Sciences of Organic Form,” 182, 182n4
at St. Martin’s School of Art, 32
“The Storm-Cloud of the Nineteenth Century,” 23–24, 89–90, 202
on war, to Royal Military Academy, 220
“The Work of Iron in Nature, Art, and Policy,” 76–80, 84nn 26 and 45
letter writing of, 212, 213, 221, 228, 294
library of, 52, 112
Love’s Meinie, 218, 242–43, 244
The Matterhorn and Reflection in Alpine Lake (with John Hobbs), 182–83, 224
mental breakdown of, 31, 198, 212, 236
Mer de Glace, Chamonix (with Frederick Crawley), 197, 197
Mrs Kevill-Davies, née Lily Armstrong, 218, 219
Mornings in Florence, 298
Mountain Landscape, Macugnaga, 126–27, 185–87
Mountainous Landscape (1861), 184
Mountainous Landscape (n.d.), 185–86
Munera Pulveris, 21
notebooks and sketchbooks of, 17, 40, 101, 107, 108n2, 140, 202
“Catalogue of Minerals,” 107–8, 223
“Catalogue of Sketches in the Neighbourhood of Mont Blanc,” 181
M2, Architectural Notebook, 142–43
Notebook M, 142
“Palace Book,” 142–43, 143, 146
for Venice research, 101, 140, 142
Notes by Mr. Ruskin…on His Drawings by the Late J.M.W. Turner, 133–34, 134nn 5 and 9
“Notes on Educational Series,” 172, 177
Notes on Some of the Principal Pictures Exhibited in the Rooms of the Royal Academy, 168, 170–71
On the Nature of Gothic Architecture: And Herein of the True Function of the Workman in Art, 279
The Opening of the Crystal Palace, 71, 73, 83nn 7 and 19
Owl, after an Attic Kantharos, 240–41
The Oxford Museum (with Henry Acland), 228–30
poems by, 112
“The Poetry of Architecture,” in The Crayon, 294
Pre-Raphaelitism, 170, 171n1, 174, 305–6
The Puppet Show, 47n63
Queen of the Air, 192
and religion, rejection of, 136, 141, 141n13, 218
The Rocky Bank of a River, 34, 34, 35, 188–89
Rouen. Cathedral of Notre Dame, North Transept Door (with Frederick Crawley), 253, 253
“St. George and the Dragon” after Carpaccio, 42, 43, 46n61, 128
Scotland, travels through, 164, 176, 188, 256
Self-Portrait, in Blue Neckcloth (Ruskin), 236–37
self-publishing, 50, 65nn 5 and 7
“Song,” 112
The South Side of the Basilica of St. Mark’s, from the Loggia of the Doge’s Palace, Venice, 158–59
Studies of a Flower, 244–45
Study of a Gneiss Rock, Glenfinlas, 14, 15, 176, 176, 188
Study of Leaves (attrib.), 214–17
Study of a Magnified Pheasant’s Feather, 32, 242–43
Study of an Oak Leaf, 166–67
Study of Portal and Carved Pinnacles, Cathedral of St. Lô, Normandy, 36, 37, 53, 136–38
Switzerland, travel through, 73, 84n49, 109, 132–34, 180, 184
Val D’Arno, 234
Venice Daguerreotypes (Ruskin and John Hobbs), 140, 153–56
See also illustrations by Ruskin under relevant publications; see photographs by Ruskin under relevant sites or buildings; see also Addresses on Decorative Colour; Aratra Pentelici; Deucalion; Elements of Drawing, The; Ethics of the Dust, The; Examples of the Architecture of Venice; Fors Clavigera; Laws of Fésole, The; Modern Painters (all volumes); Nature of Gothic, The (with William Morris); Oxford Museum, The (with Henry Acland); Praeterita; Proserpina; St. Mark’s Rest; Sesame and Lilies; Seven Lamps of Architecture, The; Stones of Venice, The; Unto this Last
Ruskin, John James (father of John), 65n5, 101, 104, 106n5, 108, 108n2, 110, 126, 130, 201, 218, 222, 244
art collection of, 101, 109, 173
family travel to Europe, 110, 114, 201
letters from Ruskin, 130, 153–55
Ruskin, Margaret Cox (mother of Ruskin), 46n47, 101, 109n1, 199, 201, 235, 292
Ruskin, Unto this Last: A Paraphrase (M. K. Gandhi, trans. by V. G. Desai), 26, 269, 302–4, 304n3
as Sarvodaya, 26, 302–4
Ruskin at Brantwood (T. A. and J. Green of Green Brothers of Grasmere), 198–200
Ruskin Bible (unknown scribe, English or Northern French), 52, 52, 231–32
capital initials of, 232, 232
wood engravings after drawings of initials, 232, 232n7, 233
Ruskin et la religion de la beauté (Robert de La Sizeranne), 51, 298–99, 298n4, 305
Ruskin-Library, Museum and Research Centre, University of Lancaster, 142
Ruskin Museum, Coniston, Cumbria, 254
Ruskin School of Art, Oxford University, 109, 172, 211
Educational Series and teaching collection, 174, 240, 247
Ruskin Society, Birmingham, periodical, 286
Ruskin’s Residence,“Brandtwood [sic]”, from Lake Coniston (Arthur Severn), 198–99
Ruskin’s Study at Brantwood (Miss Brickhill), 198–200
Russia, Ruskin’s reception in, 305–6, 306n1
S
St. George, 43–44, 47n63, 128, 207
St. George’s Fund, 250, 272
See also Guild of St. George
St. George’s Mill, 40
St. George’s Museum, Sheffield, 27–28, 40, 80–81, 157, 211
Interior of the Extension, St. George’s Museum, Walkley (unknown photographer), 27, 27, 253, 253
Liber Studiorum (J. M. W. Turner) material, gift of Ruskin, 127
mineral collection, gift of Ruskin, 223
plaster casts of Rouen Cathedral, gift of Ruskin, 253
St. Lô cathedral. See Church of Notre-Dame, St. Lô
St. Maclou, Rouen, 110
The Porch, St. Maclou, Rouen (Samuel Prout), 32, 110–11
St. Mark’s Basilica, Venice, 140, 157, 158
Doge’s chapel, 89
fragments of a peacock’s tail from a mosaic in San Marco, Venice, 151–52
mosaics of, 151–52
Pillars of Acre, 158
restorations of, 151–52, 158
Ruskin on, 89, 139, 151–52
St. Mark’s. South Facade. Upper Arcade (Ruskin with John Hobbs), 154, 155
The South Side of the Basilica of St. Mark’s, from the Loggia of the Doge’s Palace, Venice (Ruskin), 158–59
Study of Mosaic Floor, Basilica of San Marco, Venice, Italy (J. W. Bunney), 152, 152
Western Facade of the Basilica of San Marco, Venice (J. W. Bunney), 151–52, 152
See also St. Mark’s Rest (Ruskin)
St. Mark’s Rest (Ruskin), 140, 152, 204, 300
“A Letter to Count Zorzi,” 158
“The Place of Dragons” (J. R. Anderson, ed. by Ruskin), 128
Salviati and Co., 151–52
Sambourne, Edward Linley (1844–1910), 274
“An Appeal to the Law,” from Punch, 274–75
San Marco. See St. Mark’s Basilica
San Miniato al Monte, mosaic floor of, 53–54
Sano di Pietro, The Virgin and Child, with Six Saints, 115, 115
Sarvodaya (M. K. Gandhi). See Ruskin, Unto this Last: A Paraphrase
Saussure, Horace-Bénédict de (1740–1799), 122, 194nn 1 and 7
on the Mer de Glace, 197, 197n9
Voyages dans les Alpes, 107, 122, 180
Say, William: Near Blair Athol, Scotland (after J. M. W. Turner), from Liber Studiorum (J. M. W. Turner), 177, 177
Scheu, Henry: The Triumph of Labour (after Walter Crane), 284–86
Schiller, Friedrich: Der Kampf mit dem Drachen
illustration from (Henry Moses after F. A. M. Retzsch), 126, 127
Scotland
Blair Athol, 177
Brig o’Turk, 164, 168
Dunfermline, Fife, 166
Glenfinlas, 164
Glen Monadhmore, 169n5
Inveruglas, 168
Pass of Killiecrankie, 176–77
Ruskin on, 176, 256
Ruskin’s travel through, 164, 176, 188, 256
Scott, George Gilbert, 84n32
Scott, Walter, 269
“Bonnie Dundee,” 177
“Datur Hora Quieti,” 271
“Glenfinlas; or Lord Ronald’s Coronach,” 164
“Lady of the Lake,” 207
Scraping Ruskin (Jorge Otero-Pailos), 310–12
Selbin, Jesse Cordes, 50, 56, 66n9
Self-Portrait, in Blue Neckcloth (Ruskin), 236–37
Sesame and Lilies: Two Lectures Delivered at Manchester in 1864 (Ruskin), 51, 172, 300
“Of Kings’ Treasuries,” 49–51, 51, 56–57, 300
“Of Queens’ Gardens,” 300
red type in, 51–52
Sésame et les lys: Des Trésors des rois, des Jardins des reines (Ruskin, trans. by Marcel Proust), 49, 300–301
Settlement Movement, 283n1
Seven Lamps of Architecture, The (Ruskin), 37–38, 49–50, 101, 112, 134–36, 156, 254
on architectural restoration, 135, 311
binding of, first edition (W. H. Rogers), 53–54, 54
engravings by R. P. Cuff (after Ruskin), 66n33
on hand-cut stone, 94, 135
illustrations by Ruskin, 52–55, 66n24, 134–36
on iron architecture and ornament, 70–71, 75–76, 81–82, 135
“The Lamp of Beauty,” 53
“The Lamp of Memory,” 135, 311
“The Lamp of Truth,” 135–36
“Ornaments at Rouen, St. Lô and Venice” (after Ruskin), 71
“Part of the Cathedral of St. Lô Normandy” (Ruskin), 38, 53, 53, 136, 138
on power and beauty, 112
“Preface,” 1855 edition, 251
“Preface,” 1880 edition, 135–36
seven sections of, 134
“Traceries from Caen, Bayeaux, Rouen, and Beauvais” (Ruskin), 135, 135, 156
Seventh Capital of Ducal Palace (unknown photographer), 157, 157
Severn, Arthur (1842–1931), 198, 201
Looking across Lake Como, 201
Ruskin Cross, presented to Whitelands College May Queen, 288, 289
Ruskin’s Residence, “Brandtwood [sic]”, from Lake Coniston, 198–99
Severn, Joan (née Agnew), 198, 201, 212, 249
Severn, Joseph, 201
Sharples, James (1825–1893), 258, 260
brother of, 260
The Forge, 83n23, 258, 260–61
Shaw, Henry: “Botany of 13th Century” (with J. J. Laing after unidentified artist), from Modern Painters III (Ruskin), 120, 120
Sheffield, 40, 80–81, 157, 258
metalworking industry in, 21, 27–28, 80–81, 211, 258
knives and cutlery production, 85n68, 258
“Sheffield Hardware,” from Dickinson’s Comprehensive Pictures of the Great Exhibition of 1851, 22
“Sheffield Outrages,” 28
Sheffield School of Design, 258
“The School of Art,” from The Illustrated Guide to Sheffield, 258
Shelley, Mary: Frankenstein, 197
Shiga Shigetaka (1863–1927): Nihon Fūkeiron, 307–9
Simon, Daniel, 300
Sketches of Myrtle and a Head Crowned with Myrtle (Edmund Burne-Jones), 172
Skidmore, Francis A., 74, 84nn 32 and 37
wrought-iron capitals for Museum of Natural History, Oxford, 74, 84n32
Slade, Felix, 233
Slade School of Art, London, 254, 309
Smiles, Samuel, 70
Self-Help: With Illustrations of Character and Conduct, 260
Smith, Adam, 285
Smith, Elder, and Co., 64, 151
publishing Ruskin, 18, 50, 62–64, 65n7, 66n45, 217
Smith, George, 50, 62
Society for the Protection of Ancient Buildings, 23, 135, 311
Socrates, 302–4
The Dialogues of Plato (trans. by M. K. Gandhi), 302, 304n4
Solovieva, Olga (1865–1935)
“Prerafaelitizm” (Ruskin, trans. by Olga Solovieva), in Mir iskusstva, nos. 17–22, 305–6
in Severny vestnik, 305
translating Ruskin, 305–6
Somervell, Robert (1851–1893), 206
Extension of Railways in the Lake District, A Protest
“Preface” (Ruskin), 134
The Railways of the Lake District, 206–7
leaflet insert (Ruskin), 206, 207
South Kensington Museum (now the Victoria and Albert Museum), 25, 27, 92, 256, 258
Architectural Galleries, 92
cast collection, 92–94
Cast Courts, 25, 94
designs for, 258
Drawing of the Facade of the Lecture Theatre (Godfrey Sykes with Francis Fowke), 259
Ruskin’s lecture at, 256
See also Trajan’s Column, cast of; Victoria and Albert Museum
South Kensington Schools, 215, 256
South Side of the Basilica of St. Mark’s, from the Loggia of the Doge’s Palace, Venice, The (Ruskin), 158–59
Spottiswoode and Co., 66n45, 217
Spurgeon, Charles Haddon, 292
Stanfield, George Clarkson, 129, 131
Santa Maria della Salute, Venice, 132
Stillman, William James (1828–1901), 294–95
The Crayon, No. 1, January 3, 1855 (ed. with John Durand), 294–95
Stones of Venice, The, three volumes, 19–20, 37, 49–50, 53–58, 55, 101, 139–41, 144, 238, 294
appendix to, 83n19
chromolithographs, 18, 55–56, 66n36, 140
daguerreotypes for, 155
on the Doge’s chapel, St. Mark’s, 89
illustrations for, 54–55, 58, 140, 155
Japanese translation of, 308
Maria Edgeworth, on, 102
research for, 140, 141n2, 142, 155
Stones of Venice, The: vol. I, The Foundations, 54, 150
publication of, 19
“The Quarry,” 140
“Spandril Decoration” (J. C. Armytage after Ruskin), 143, 143
“Wall-Veil Decoration, Ca’ Trevisan and Ca’ Dario” (T. S. Boys after Ruskin), 18, 139, 140
Stones of Venice, The: vol. II, The Sea Stories, 20, 141, 157
“Archivolt in the Duomo of Murano” (J. C. Armytage after Ruskin), 55, 55, 66n35
diagram from page 41, 56, 56
“Inlaid Bands of Murano” (R. P. Cuff after Ruskin), 56, 56
“The Nature of Gothic,” 26, 38–39, 56, 64, 99, 141, 166, 209, 238, 279–80, 286 (see also Nature of Gothic, The [Ruskin with William Morris])
on St. Mark’s, 139
title of, 54
on Torcello island, 149–50
“Windows of the Early Gothic Palaces” (R. P. Cuff after Ruskin), 155, 155
Stones of Venice, The: vol. III, The Fall, 54
Storm-Cloud of the Nineteenth Century, The: Two Lectures Delivered at the London Institution, February 4th and 11th (Ruskin), 40, 95, 192, 194n7, 201, 202–3
“An August Sky at Brantwood” and “A Sunset at Abbeville” (J. D. Cooper after Ruskin), 24, 202, 202–3
Stothard, Thomas (1755–1834)
Italy, a Poem (Samuel Rogers; ill. with J. M. W. Turner), 101, 104–6, 134
Poems (Samuel Rogers; ill. with J. M. W. Turner), 104–6, 271
Street, Caroline Leffingwell, 296
Street, Augustus Russell, 296
Street Hall (The Yale School of the Fine Arts), Elevation from the Southeast (P. B. Wight), 296–97
Studies of a Flower (Ruskin), 244–45
Study for Trajan’s Column 1 (Jorge Otero-Pailos), 310–13
Study from Nature, Inveruglas (J. N. Paton), 168–69
Study of Leaves (attrib. to Ruskin), 214–17
Study of a Magnified Pheasant’s Feather (Ruskin), 32, 242–43
Study of an Oak Leaf (Ruskin), 166–67
Study of Portal and Carved Pinnacles, Cathedral of St. Lô, Normandy (Ruskin), 36, 37, 53, 136–38
Switzerland
Fluelen, 132–34
Geneva, 134, 184
Lake Geneva, 109
Lake Lucerne, 132, 134, 204
Lucerne, 134
Ruskin’s travel through, 73, 84n49, 109, 132–3, 180, 184
Sion, in Valais, 73, 84n27
See also Chamonix
Sykes, Godfrey (1824–1866), 258
Drawing of the Facade of the Lecture Theatre (with Francis Fowke), 259
Tilt Forge, 258–59
T
Talling, Richard (1820–1883), 222
Receipt for Minerals Purchased by John Ruskin, 222–23
Tarver, William, 292
Taylor, Brook: Principles of Linear Perspective, 260
Taylor, Tom, 274
Telford, Henry, 104–6
Thackeray, William Makepeace, 264
Thomson, John Gordon: “Playing with edged tools,” from Fun, 28, 28
Thyssen-Bornemisza Art Contemporary, 312
Tilt Forge (Godfrey Sykes), 258–59
Tintoretto, Jacopo, 13, 118
Tolstoy, Leo, 262–63
preface to John Ruskin: His Life, Ideas, and Work, A Biographical Sketch (L. P. Nikiforov), 305
Torcello, Italy, 149
The Great Square at Torcello (Ruskin), 149–50
Santa Fosca, church, 149–50
Santa Maria Assunta cathedral, 149–50, 150n6
Toynbee, Arnold, 43, 238, 283n1
Toynbee Hall, 282, 283n1
Trajan, emperor of Rome, 92–94
Trajan’s Column, 92–94
cast of, 25, 89, 92, 92–94, 312
Forum of Trajan (Robert MacPherson), 93
See also under Otero-Pailos, Jorge
Triumph of Labour, The (Henry Scheu after Walter Crane), 284–86
Troyes, France, 254, 255
cathedral of St. Urbain, 254
Tucker, Herbert F., 52
Turner, Charles (1774–1857)
Jason (after J. M. W. Turner), 126–28, 188
Turner, Joseph Mallord William (1775–1851), 6, 58–59, 63, 186, 216
Aesacus and Hesperie, 186, 187
Annual Tour 1834: Wanderings by the Seine, 194n6
Catalogue of the Turner Sketches in the National Gallery (Ruskin), 133, 204
and clouds, 192–93
Coblentz, 205n4
A Country Blacksmith ..., 73, 73
Fall of the Trees, Yorkshire, 45n13
Fluelen, Morning (Looking Towards the Lake), 132–34
Fluelen, Morning (Looking Towards the Lake of Lucerne), sample study, 133, 133
Fluelen (Ruskin after), 133–34, 134
Goldau, 122
The Harbours of England (Ruskin after), 204–5
Italy, a Poem (Samuel Rogers; ill. with Thomas Stothard), 101, 104–6, 134
“Battle of Marengo” (Edward Goodall after), 106, 106
Italy of the Olden Time, 134n9
Juliet and Her Nurse, 118n2
Jason, 126–28
Liber Studiorum, 126–27, 186, 188, 190
Ben Arthur, Scotland, 186, 187, 190, 190
Jason (Charles Turner after), 126–28, 188
Mer de Glace, 196, 197
Near Blair Athol, Scotland (William Say after), 177, 177
Mercury and Argus, 118n2
and Mer de Glace, 197
Mer de Glace, in the Valley of Chamouni, Switzerland, 196, 197
mountain views of, 34, 122, 182, 184, 188
Notes by Mr. Ruskin ...on His Drawings by the Late J.M.W. Turner (Ruskin), 133–34, 134nn 5 and 9
Paddle Steamer in a Storm, 204–5
The Pass of St. Gotthard, near Faido, 122, 122
Poems (Samuel Rogers; ill. with Thomas Stothard), 104–6
tailpiece, “Datur Hora Quieti” (Edward Goodall after), 271, 271
Rome, from Mount Aventine, 118n2
Rouen from St. Catherine’s Hill, from Modern Painters IV (Ruskin), 193, 194, 194n6
Ruskin’s admiration for, 17, 37, 43, 45nn 13 and 25, 101, 104, 118, 121, 122, 125, 129–32, 184, 190, 271
Ruskin’s collection of, 126, 129, 132, 173, 174, 211, 278
Ruskin’s defense of, 13, 101, 112, 114, 116, 292
The Source of Arveron (J. C. Armytage and Thomas Lupton after), from Modern Painters IV (Ruskin), 190, 190
Splügen, 122
Staffa, Fingal’s Cave, 204, 204
Turner Bequest, National Gallery, London, 204
Venice, depictions of, 101, 129–32
Venice, from the Porch of Madonna della Salute, 129–30
The Grand Canal, Venice (William Miller after), 129, 130
Venice, the Mouth of the Grand Canal, 131–2
Twig of Peach Bloom (Ruskin), 32, 248–49
Two Paths, The: Being Lectures on Art, and Its Application to Decoration and Manufacture (Ruskin), 72, 72, 76, 256–57
“The Grass of the Field” (J. C. Armytage after Ruskin), 77–78, 77, 84n48
iron railings of Bellinzona, 72–73, 72
Tyndall, John, 194n7
U
Uhlrich, Henry Sigismund: “Ruskin’s Walk in the Garden at Denmark Hill,” from Praeterita (Ruskin), 248
University of Edinburgh, 197
University of Lancaster, Ruskin-Library, Museum and Research Centre, 142
Unto this Last and Other Essays on Art and Political Economy (Ruskin), 16, 26, 95, 125, 264–65, 269, 302–4, 315
“Ad Valorem,” 16
in Cornhill Magazine, 16, 264
influence of, 26, 264, 269, 302
title of, 16, 264
See also Ruskin, Unto this Last: A Paraphrase (M. K. Gandhi)
Urano Shigekichi (Kenzan VI), 309
V
Vanity Fair, 272
“Men of the Day,” 272
“Men of the Day, No. 40. ‘The realization of the Ideal’” (Adriano Cecioni), 272–73
Vengerova, Zinaida, 305, 306n1
Venice, Italy
architecture of, 13, 19, 54–5, 101, 139–40, 152
Ca’ Dario, 18, 139, 140
Ca’ Trevisan, 18, 139, 140
history of, 139–41, 141nn 2 and 15, 150
J. M. W. Turner’s depictions of, 101, 129–32
Lagoon of, 132, 149–50, 158, 204
Palazzo Contarini della Porta di Ferro, 147–48, 147–48
Palazzo Contarini delle Figure, 148
plaster casts from, 253
preservation of, and Ruskin, 89, 150, 152, 158, 204, 311
Ruskin on, 89, 104, 130–32, 134, 139–41
Ruskin’s trips to, 43, 129–32, 140, 155, 157
St. Mark’s Place, 153–55, 158
studies of, 140, 141n2, 142–3
See also Doge’s Palace, Venice; Examples of the Architecture of Venice (Ruskin); Stones of Venice, The (Ruskin); St. Mark’s Basilica, Venice; Venice Daguerreotypes (Ruskin and John Hobbs)
Venice Daguerreotypes (Ruskin and John Hobbs), 140, 153–56
The Ducal Palace. Ruskin’s 20th Capital: Animal Heads, 155, 155
The Ducal Palace East Facade. “Canal Window” Tracery Looking Out towards the Prison, 155, 156
Palazzo Grandiben. Fifth-Order Windows with Ornamentation, 154, 155
St. Mark’s. South Facade. Upper Arcade, 154, 155
Venice, from the Porch of Madonna della Salute (J. M. W. Turner), 129–30
The Grand Canal, Venice (William Miller after J. M. W. Turner), 129, 130
Venice, the Mouth of the Grand Canal (J. M. W. Turner), 130–32
Verona, Italy
daguerreotypes by Ruskin, 140
ironwork in, 21, 72
“Verona marble” in Ruskin notebook, 143
Victoria and Albert Museum, London
All of This Belongs to You, 2015, 312
The Ethics of Dust: Trajan’s Column (Jorge Otero-Pailos), installation of, 89, 89, 94, 312–13, 313
See also South Kensington Museum
Viollet-le-Duc, Eugène Emmanuel, 135
W
Waithe, Marcus, 43
Walter Macfarlane & Company, 70
“Macfarlane’s Castings,” 70
Walton, Paul, 34
Ward, William, 106, 157, 241n4, 247n2
Watanabe, Toshio, 308
Water Colour Society (Society of Painters in Water-Colours), 174
Waterhouse, Alfred, 227n4
W. Dickes & Co., 55, 66n35
Wedderburn, Alexander (1854–1931), 233
The Complete Works of John Ruskin (ed. with E. T. Cook), 43, 108n2, 232, 234, 238
and Ferry Hinksey road project, 41–43, 235, 238, 254
Notes Taken at Ruskin’s Lectures, 233–35, 254
Weltman, Sharon Aronofsky, 220
Westleys and Co., 53
Westminster Hall, London, 94
east wall of, 89
new Palace of Westminster, 19
See also Otero-Pailos, Jorge, The Ethics of Dust Series: Westminster Hall
Wheel of Fortune, The (M. K. Gandhi), 302–4
Whelan, Edward, 74
Whistler, James Abbott McNeill (1834–1903), 274, 278
brown-paper pamphlets, 276
exhibition, Grosvenor Gallery, 1877, 278, 278n6
The Gentle Art of Making Enemies, 274
libel suit against Ruskin, 263, 269, 274–76
Whistler v. Ruskin: Art and Art Critics, 276
See also: “Appeal to the Law, An” (E. L. Sambourne)
Whistler v. Ruskin, Art and Art Critics (J. A. M. Whistler), 276
Whitaker, William, 195
Wight, Peter Bonnett (1838–1925)
National Academy building, New York, 296–97
Street Hall (The Yale School of the Fine Arts), 296–97, 297
Street Hall (The Yale School of the Fine Arts), Elevation from the Southeast, 296–97
Wilberforce, Samuel, 229
Wilde, Oscar, 238
Wildman, Stephen, 176
Williams (stone carver), 296
Woodward, Benjamin, 296
Museum of Natural History, Oxford, 74, 296
See also Deane, Woodward, and Deane
Wordsworth, William, 33, 45n11, 206
Working Men’s College, 29n31, 214–15, 279, 290
drawing lessons, and The Elements of Drawing (Ruskin), 214–17, 217n1
Ruskin teaching at, 27, 39, 41, 211, 213, 215, 232, 290
students of, 50, 106, 151, 211, 213, 246, 262
women’s classes, 290
Wren, Christopher, 71, 83n10
Y
Yale Center for British Art, 17
Yale University
Alumni Hall, 296
Beinecke Rare Book & Manuscript Library, 17, 50, 63, 104, 312
Dwight Hall, 296
Sheffield Scientific School, 296
Street Hall (The Yale School of the Fine Arts), 296–97, 297
Yale University Art Gallery, 296
Yanagi Sōetsu, 309
Z
Zeno, Carlo, 140
Zorzi, Alvise, 152
“A Letter to Count Zorzi” (Ruskin), 158