• Turner and the sister arts
• Ruskin on Turner's Isolation
• Ruskin on Turner's Color
• Ruskin on Turner's "palpitating, perpetual change"
• Turner, Wordsworth, and the Sublime
• Turner and the Picturesque
• Turner and Pathetic Fallacy
• Ruskin's allegorical interpretations of Turner
• Ruskin on The Fall of Shaffhausen
• Ruskin on the Mercury and Argus
• Ruskin on the Slave Ship
• Ruskin on Snow Storm: Steamboat off a Harbour's Mouth

• Ruskin's Influence on the Pre-Raphaelite Brotherhood
• Portraits of the Artists and Their Critic: Ruskin's Relation with the Pre-Raphaelite Brotherhood
• The letters of Ruskin and W. Holman Hunt
• Pre-Raphaelite Approaches to Ut Pictura Poesis: Sister Arts or Sibling Rivalry?

• Gothic buildings in France Ruskin draws and discusses
• “There is no sacredness in round arches, nor in pointed”: Gothic Architecture and Religion
• Venetian Gothic
• A. W. N. Pugin
• The Oxford Natural History Museum

Music

• Ruskin's views of music [needed]
• Ruskin the inspiration for David Lang and Manuela Holterhof's opera, Modern Painters

Art Theory

• Interarts Theory
• The use and moral value of art
• Ruskin's conception of painting and poetry as expressive arts
• Ruskin's theory of Typical (Symbolical) Beauty
• Ruskin's theory of Vital Beauty
• Ruskin's theory of the sublime
• Two modes of the picturesque
• Ruskin and nineteenth-century attitudes toward allegory
• The Symbolical Grotesque — theories of allegory, artist, and imagination
• Ruskin's allegorical interpretations of Turner
• "Constant art" and the allegorical ideal
• Ruskin on fantasy in art

The Ruskin, University of Lancaster

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