He notes that 'the sketches we possess by his hand, from Carpaccio and Botticelli, are among the principal treasures we can boast at Oxford and Walkley' (
Works, 30, p. 72).
Despite his skill as a draughtsman, Murray was by the end of his life more famous as an art collector and dealer.
Ruskin on BotticelliRuskin considered Botticelli an artist of 'stupendous power' (
Works, 37, p. 138).
Botticelli had been trained firstly as a goldsmith and then as a painter under one of Ruskin's favourite artists, Filippo Lippi.
Ruskin considered this double training the source of Botticelli's singular capacity for design and the use of colour and light. He also believed that Lippi had given Botticelli at training in 'humility', 'love', 'joy' and 'gentleness' (
Works, 22, p. 428).
Ruskin's greatest admiration for Botticelli's work stemmed from the artist's knowledge of classical literature and of the works of Dante. He found that Botticelli 'understood the thoughts of Heathens and Christians equally and could in a measure paint both Aphrodite and the Madonna [...] So that he is, on the whole, the most universal of painters; and, take him all in all, the greatest Florentine workman.' (
Works, 27, p. 372). The word 'workman' recalls the artist's early training as a goldsmith of which Ruskin so approved.