John RuskinEnglish, 1819–1900Architectural Sketch, Venice
Can I see it?
Not on view at present
Where is “Architectural Sketch, Venice” now? Collection: Harvard Art Museums, Cambridge. Not on view at present. Checked September 29, 2026.
Cambridge, United States
It belongs to the collection, but is not on display at present.
- Checked
- In this state since
- Source
- The museum
Details
- Accession number
- 1957.186
In the catalog
Sources
- Harvard Art Museums
- Image: Harvard Art Museums — © President and Fellows of Harvard College
In the life of John Ruskin
The whole life1834–1900 · Workplace
Great Britain
10 April 1848
Married: Effie Gray
1849
The Alps without Effie: beauty and the peasants' poverty
Effie is too unwell for the European tour of 1849, so Ruskin visits the Alps with his parents, gathering material for the third and fourth volumes of “Modern Painters”. The contrast between Alpine beauty and the poverty of the Alpine peasants stirs his increasingly sensitive social conscience.
November 1849
In Venice with Effie: the sketches behind “The Stones of Venice”
In November 1849 the couple stay at the Hotel Danieli: Effie looks for company, while Ruskin works alone and hurries to draw the Ca' d'Oro and the Doge's Palace, fearing that the occupying Austrian troops will destroy them. These sketches and notes will grow into “The Stones of Venice”.
May 1851
Letters to The Times defending the Pre-Raphaelites
Millais and his fellow artists approach Ruskin through their mutual friend Coventry Patmore; Millais's “Christ in the House of His Parents” (1849–50), which some considered blasphemous, at first fails to impress him, but in May 1851 he writes letters to The Times defending the Pre-Raphaelite Brotherhood.
1851–1853
The three-volume “Stones of Venice”
Growing from a technical history of Venetian architecture, from the Byzantine to the Renaissance, into a broad cultural history, the work is a warning to contemporary England about the moral and spiritual health of society: Ruskin explains the decline of Venice by the loss of true Christian faith. The chapter “The Nature of Gothic” from the second volume — a critique of the division of labour and industrial capitalism — will be published by William Morris as a separate book.
