Save
Save chapter to my Bookmarks
Cite
Cite this book
Share
Share a link to this chapter

List of illustrations

  • John Ruskin
  • Study of a Gneiss Rock, Glenfinlas
  • Wall-Veil Decoration, Ca’ Trevisan and Ca’ Dario
  • Chair
  • Sheffield Hardware
  • The Doge’s Palace
  • The Storm-Cloud of the Nineteenth Century
  • Interior of Extension, St. George’s Museum, Walkley
  • Playing with edged tools
  • John Ruskin (Datur Hora Quieti)
  • Botanical drawing from manuscript notebook, detail
  • The Rocky Bank of a River (recto)
  • The Mountains of Villeneuve
  • The Rocky Bank of a River (verso)
  • Study of Portal and Carved Pinnacles, Cathedral of St. Lô, Normandy
  • Amateur Navvies at Oxford—Undergraduates Making a Road as Suggested by Mr. Ruskin
  • St. George and the Dragon after Carpaccio
  • Of Kings’ Treasuries
  • Ruskin Bible
  • Figure 3 from The Elements of Drawing
  • Part of the Cathedral of St. Lô, Normandy
  • Binding of The Seven Lamps of Architecture
  • The Stones of Venice: Volume I, The Foundations; Volume II, The Sea-Stories; Volume III, The Fall
  • Archivolt in the Duomo of Murano
  • Inlaid Bands of Murano
  • Letter diagram of the exterior marbles of the Church of Santa Maria e San Donato in Murano
  • Figures 8 and 9 from Modern Painters IV
  • Pages 116 and 117 from the printers' proof of The Elements of Drawing
  • Ramification, according to Claude
  • Letter to John Henry Le Keux, detail
  • The Dryad’s Waywardness
  • The Dryad’s Waywardness: Oak Spray in Winter, seen in Front
  • Macfarlane’s Castings
  • Waiting for the Queen at Coalbrookdale Gates
  • Ornaments at Rouen, St. Lô and Venice, detail
  • The Two Paths: Being Lectures on Art, and Its Application to Decoration and Manufacture, frontispiece, Ironwork of Bellinzona, and title page
  • Iron Lace of Verona
  • A Country Blacksmith Disputing upon the Price of Iron and the Price Charged to the Butcher for Shoeing His Poney, detail
  • Can Signorio Tomb: Ironwork
  • Ironwork: Sion, Valais
  • The University Museum, Oxford—Mssrs. Deane and Woodward, Architects
  • Frontispiece of The Oxford Museum, detail
  • The Oxford University Museum: View in the Court
  • Cast-Iron Bracket
  • The Grass of the Field
  • Fragment of the Alps
  • The New Cast-Iron Balloon; Or a Trip to the Clouds
  • Iron Palace of King Eyambo
  • Modern Iron-Work at Kirkby Lonsdale
  • Iron bench at Kirkby Lonsdale
  • Exterior of the Ducal Palace, 19th century
  • The Ethics of Dust: Trajan’s Column
  • Manchester, Getting Up the Steam
  • Catholic Town in 1440 (bottom) contrasted with The Same Town in 1840 (top)
  • Installation photograph of cast of Trajan’s Column
  • Forum of Trajan
  • 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, title page and froncispiece [sic]
  • 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, page 49 and Harry’s New Road
  • Italy, a Poem
  • Poems
  • Battle of Marengo
  • Catalogue of Minerals
  • Mountainous Landscape with Lake and Stream
  • The Porch, St. Maclou, Rouen
  • Burke’s Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful: With an Introductory Discourse Concerning Taste
  • Manuscript Notebook with Watercolors, Sketches, Drawings
  • Manuscript Notebook with Watercolors, Sketches, Drawings
  • The Virgin and Child, with Six Saints
  • Study of the Madonna, notebook page
  • Modern Painters I
  • Modern Painters II: Of the Imaginative and Theoretic Faculties
  • Modern Painters III: Of Many Things
  • Botany of 13th Century
  • Foreground Leafage
  • The Pass of St. Gotthard, near Faido
  • Annotated Page Proofs of Modern Painters IV: Of Mountain Beauty
  • Annotated Page Proofs of Modern Painters IV: Of Mountain Beauty
  • Annotated page proofs of Modern Painters IV: Of Mountain Beauty
  • Modern Painters V: Of Leaf Beauty, Of Cloud Beauty, Of Ideas of Relation
  • Jason
  • Illustration from Friedrich Schiller, Fight with the Dragon
  • St. George and the Dragon after Carpaccio
  • Venice, from the Porch of Madonna della Salute
  • The Grand Canal, Venice
  • L’Entrée du Grand Canal et l’église de la Salute à Venise
  • Venice, The Mouth of the Grand Canal
  • Santa Maria della Salute, Venice
  • Fluelen, Morning (Looking Towards the Lake)
  • Fluelen, Morning (Looking Towards the Lake of Lucerne), sample study
  • Fluelen
  • The Seven Lamps of Architecture
  • Study of Portal and Carved Pinnacles, Cathedral of St. Lô, Normandy
  • Part of the Cathedral of St. Lô, Normandy
  • Modern walls connecting the ruins of St. Lô’s Church of Notre-Dame
  • The Stones of Venice: vol. I, The Foundations; vol. II, The Sea-Stories; vol. III, The Fall
  • M2, Architectural Notebook
  • Palace Book
  • Spandril Decoration
  • The Ducal Palace, Twentieth Capital
  • Title page, Examples of the Architecture of Venice
  • Palace Book
  • Doorhead of the Palazzo Contarini della Porta di Ferro
  • Doorheads from Ca Contarini Porta di Ferro; and in Campo S. Margarita
  • Doorhead
  • The Great Square at Torcello
  • Fragments of a Peacock’s Tail from a Mosaic in San Marco, Venice
  • Western Facade of the Basilica of San Marco, Venice
  • Study of Mosaic Floor, Basilica of San Marco, Venice, Italy
  • St. Mark’s. South Facade. Upper Arcade
  • Palazzo Grandiben. Fifth-Order Windows with Ornamentation
  • The Ducal Palace. Ruskin’s 20th Capital: Animal Heads
  • The Ducal Palace East Facade. Canal Window Tracery Looking Out towards the Prison
  • Windows of the Early Gothic Palaces
  • Seventh Capital of Ducal Palace
  • The South Side of the Basilica of St. Mark’s, from the Loggia of the Doge’s Palace, Venice
  • Awful Protection against Midges
  • John Ruskin
  • Study of an Oak Leaf
  • The Dryad’s Crown: Oak Leaves in Autumn
  • Study from Nature, Inveruglas
  • The Bluidie Tryste
  • Notes on Some of the Principal Pictures Exhibited in the Rooms of the Royal Academy
  • Elgiva
  • Sketches of Myrtle and a Head Crowned with Myrtle
  • Plums and Mulberries
  • Collection of watercolors by J. M. W. Turner in John Ruskin’s bedroom
  • In the Pass of Killiecrankie
  • In the Pass of Killiecrankie, detail
  • Study of a Gneiss Rock, Glenfinlas
  • Near Blair Athol, Scotland
  • Unidentified Alpine Village
  • Montagne de la Côte, Summit from Flank of Mont Blanc
  • Outlines of Aiguilles Ranges, Chamouni
  • The Aiguille Charmoz from Window of the Union (Chamouni)
  • Side of the Breven, Chamouni
  • Unidentified Mountain
  • Cleavages of Aiguille Bouchard
  • Junction of the Aiguille Pourri with the Aiguilles Rouges
  • Cleavages of Aiguille Bouchard
  • The Matterhorn and Reflection in Alpine Lake
  • Chamonix, Les Aiguilles
  • Mountainous Landscape
  • Mountain Landscape, Macugnaga
  • Mountainous Landscape
  • Mountain Landscape, Macugnaga, detail
  • Aesacus and Hesperie, detail
  • Ben Arthur, Scotland
  • The Rocky Bank of a River (recto)
  • The Rocky Bank of a River (verso)
  • Landscape with Rocks
  • Truth and Untruth of Stones
  • Hills and Sky
  • Lausanne
  • Woodcut of sky
  • Venga Medusa
  • Mer de Glace
  • Mer de Glace
  • Mer de Glace, in the Valley of Chamouni, Switzerland
  • Mer de Glace, Chamonix
  • Ruskin’s Residence, Brandtwood [sic], from Lake Coniston
  • Ruskin at Brantwood
  • Ruskin’s Study at Brantwood
  • Looking across Lake Como
  • The Storm-Cloud of the Nineteenth Century: Two Lectures Delivered at the London Institution, February 4th and 11th
  • A Sunset at Abbeville
  • An August Sky at Brantwood
  • A Paddle-steamer in a Storm
  • Staffa, Fingal's Cave
  • The Railways of the Lake District
  • Leaflet insert
  • Lady of the Lake Loquitur
  • John Ruskin’s Post Bag
  • Apple Blossom
  • The Elements of Drawing, title page
  • The Elements of Drawing, pages 44–45 of printed proof
  • Studies of Leaves
  • The Ethics of the Dust, Ten Lectures to Little Housewives on the Element of Crystallization
  • Manuscript of The Ethics of the Dust and Other Writings
  • Mrs. Kevill-Davies, née Lily Armstrong
  • Sketches of “bead” formations
  • Sketch of head and “bead” formations
  • Mineral Samples Collected by John Ruskin
  • Receipt for Minerals Purchased by John Ruskin
  • Label for Stalactitic Barytes, from John Ruskin’s collection
  • Deucalion: Collected Studies of the Lapse of Waves, and Life of Stones, title page
  • Amethyst—Quartz with warped Faults in concentration
  • Australian Opal
  • 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., title page
  • Mineral Gallery of the British Museum
  • The Oxford Museum, frontispiece: British Ferns
  • Proposed University Museum, Oxford—Mssrs. Deane and Woodward, Architects
  • Design for a Window, Oxford University Museum
  • Capital intended for the Museum Building at Trinity College
  • Half-capitals intended for the Museum Building at Trinity College
  • Ruskin Bible
  • Ruskin Bible, detail of capital I
  • Ruskin Bible, detail of capital N
  • Capital I, after untraced large drawing found at Brantwood
  • Capital N, from untraced large drawing found at Brantwood
  • Notes Taken at Ruskin’s Lectures, November and December, 1874, Oxford
  • Notes Taken at Ruskin’s Lectures, November and December, 1874, Oxford
  • Self-Portrait, in Blue Neckcloth
  • Amateur Navvies at Oxford—Undergraduates Making a Road as Suggested by Mr. Ruskin
  • Head of Athena, after a Greek Amphora
  • Owl, after an Attic Kantharos
  • The Greek Type of Athena
  • Study of a Magnified Pheasant’s Feather
  • Decorative Plumage: 1. Peacock
  • Studies of a Flower
  • Four Species of Grasses
  • Figure 22 from Proserpina
  • Proof, Lapsana communis, from Flora Danica
  • Proof, Four Stages in the Young Life of a Primrose
  • Lapsana communis L.
  • Twig of Peach Bloom
  • Ruskin’s Walk in the Garden at Denmark Hill
  • Abstract of the Objects and Constitution of St. George’s Guild
  • Modern Cast of Scrollwork on North Transept Door, Rouen Cathedral
  • Spiral Relief North Transept Door, Rouen Cathedral
  • Rouen. Cathedral of Notre Dame, North Transept Door
  • Interior of Extension, St. George’s Museum, Walkley
  • J.R. in Contemplation of a Medieval Town (Troyes)
  • Gravestone of John Ruskin
  • The Two Paths: Being Lectures on Art, and Its Application to Decoration and Manufacture, frontispiece, Ironwork of Bellinzona, and title page
  • A Tilt Forge
  • The School of Art
  • Drawing of the Facade of the Lecture Theatre
  • The Forge
  • Fors Clavigera: Letters to the Workmen and Labourers of Great Britain, Letter the First
  • Unto this Last and Other Essays on Art and Political Economy
  • John Ruskin (Datur Hora Quieti)
  • William Holman Hunt and John Ruskin
  • Datur Hora Quieti
  • Men of the Day, No. 40. The realization of the Ideal
  • An Appeal to the Law
  • Whistler v. Ruskin: Art and Art Critics
  • Cupid and Psyche
  • The Story of Cupid and Psyche: Cupid’s First Sight of Psyche
  • The Nature of Gothic, title page
  • A Dream of John Ball and A King’s Lesson, frontispiece and title page
  • An Endeavour Towards the Teaching of John Ruskin and William Morris: Being a Brief Account of the Work, the Aims, and the Principles of the Guild of Handicraft in East London, opening pages
  • The Triumph of Labour
  • The Triumph of Labour, detail
  • The New Era, frontispiece from The New Party Described by Some of Its Members
  • A Garland for May Day 1895, from Cartoons for the Cause: Designs and Verses for the Socialist and Labour Movement
  • National Union of Railwaymen, Wakefield, No. 2 Branch
  • Colored gold Ruskin Cross and velvet case, presented to the Whitelands College May Queen
  • Employment or Alms-Giving: Being an Account of the Plan of Relief Now Adopted in a District of Marylebone
  • Professor Ruskin
  • The Crayon
  • The New Path
  • Street Hall (The Yale School of the Fine Arts), Elevation from the Southeast
  • Street Hall, Yale University
  • Ruskin et la religion de la beauté
  • Sésame et les lys: Des trésors des rois, des jardins des reines
  • Ruskin, Unto this Last: A Paraphrase
  • The Wheel of Fortune, front and back covers
  • Portrait of Mohandas Karamchand Gandhi
  • Prerafaelitizm
  • Prerafaelitizm
  • Prerafaelitizm
  • The Most Serene One in His Garden (Serenissimuss in seinem Garten)
  • Nihon Fūkeiron
  • Jar with Lid
  • Plate
  • Scraping Ruskin
  • Study for Trajan’s Column 1
  • Distributed Monument 15, from The Ethics of Dust Series: Westminster Hall
  • The Ethics of Dust: Trajan’s Column
  • The Ethics of Dust at Westminster Hall
Free
Description: Unto This Last: Two Hundred Years of John Ruskin
~The 200th anniversary of John Ruskin’s birth is a singularly fitting moment in which to mount an exhibition exploring the nature and legacy of his achievement as an artist, writer, critic, social theorist, and educator—a figure of worldwide importance. The first time Ruskin received serious consideration at the Yale Center for British Art...
PublisherYale Center for British Art
Free
Description: Unto This Last: Two Hundred Years of John Ruskin
~At the Yale Center for British Art, our sincere thanks go to Matthew Hargraves, Chief Curator of Art Collections, and Nathan Flis, Head of Exhibitions and Publications and Assistant Curator of Seventeenth-Century Paintings. We also thank Martina Droth, Deputy Director of Research, Exhibitions and Publications, and Curator of Sculpture; Elisabeth R. Fairman, Chief...
PublisherYale Center for British Art
Description: Unto This Last: Two Hundred Years of John Ruskin
John Ruskin remains perhaps the most eloquent of all writers on art in the English language. His passionate rhetoric, marrying the authoritative cadence of the King James Bible with the vivid imagery of the Romantic poets, introduced generations of Victorian readers to modern and historical art. His role in cementing the critical legacy of the work of Joseph Mallord William Turner, and in...
PublisherYale Center for British Art
Related print edition pages: pp.13-29
https://doi.org/10.37862/aaeportal.00234.001

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Unto This Last: Two Hundred Years of John Ruskin
Utterly alone against a shadowy background, the John Ruskin depicted in Frederick Hollyer’s portrait of 1894 gazes fixedly through an unseen window (cat. 69; fig. 10). The image suggests little of the frailty, madness, and despair that plagued Ruskin in his final years, presenting a resolute figure seated in the study of his...
PublisherYale Center for British Art
Related print edition pages: pp.31-47
https://doi.org/10.37862/aaeportal.00234.002

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Unto This Last: Two Hundred Years of John Ruskin
In the third chapter of his botanical study Proserpina (1875), titled “The Leaf,” John Ruskin turned to the “perennial leafage” of trees in the Garden of Eden. This, he explained, offered a potent symbol of an individual’s lasting significance within a larger system—the forest of interconnected humanity. He wrote:
PublisherYale Center for British Art
Related print edition pages: pp.49-67
https://doi.org/10.37862/aaeportal.00234.003

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Unto This Last: Two Hundred Years of John Ruskin
The Victorian era was an age of iron. By 1860, British trade delivered over half the world’s supply of crude and processed iron, with iron-hulled ships transporting pig iron to North America and continental Europe and ferrying wrought and cast iron to every corner of the world, from the Indian subcontinent to...
PublisherYale Center for British Art
Related print edition pages: pp.69-85
https://doi.org/10.37862/aaeportal.00234.004

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Unto This Last: Two Hundred Years of John Ruskin
“Pollution,” says contemporary artist and architectural preservationist Jorge Otero-Pailos, “is one of our most important products.”The author is...
PublisherYale Center for British Art
Related print edition pages: pp.87-95
https://doi.org/10.37862/aaeportal.00234.005

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Unto This Last: Two Hundred Years of John Ruskin
From his earliest childhood, John Ruskin combined wide-ranging curiosity with a capacity for intensely focused attention. His precocity was eagerly fostered by his evangelical mother and his father, a wealthy sherry merchant. They enrolled Ruskin in drawing lessons with leading artists of the day; purchased books, prints, and mineral collections for him to study; and catered to his desire for...
PublisherYale Center for British Art
Related print edition pages: pp.101-159
https://doi.org/10.37862/aaeportal.00234.006

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Unto This Last: Two Hundred Years of John Ruskin
In Modern Painters I, John Ruskin advised young artists to “go to Nature in all singleness of heart . . . rejecting nothing, selecting nothing, and scorning nothing.”John Ruskin, Modern Painters I, in Works, vol. 3, 624. The contemporary artists who heeded these words, most notably the...
PublisherYale Center for British Art
Related print edition pages: pp.163-207
https://doi.org/10.37862/aaeportal.00234.007

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Unto This Last: Two Hundred Years of John Ruskin
John Ruskin saw education as a radical tool for reshaping society and was adamant that his lessons should be accessible across social classes.For more information on Ruskin’s diverse interests as an educator, see Valerie Purton, ed., John Ruskin and Nineteenth- Century Education (London and New York: Anthem Press,...
PublisherYale Center for British Art
Related print edition pages: pp.211-265
https://doi.org/10.37862/aaeportal.00234.008

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Unto This Last: Two Hundred Years of John Ruskin
John Ruskin’s fervent belief that art and architecture should morally instruct through their design and mode of production inspired Arts and Crafts movements around the world, from Britain and the United States to Japan. His social and political theories, furthermore, have been mobilized globally in ways he...
PublisherYale Center for British Art
Related print edition pages: pp.269-313
https://doi.org/10.37862/aaeportal.00234.009

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Unto This Last: Two Hundred Years of John Ruskin
Next chapter