Organizationally, the archive turns on these basic units,
as represented by a given workʼs Work Pages
and by a given manuscriptʼs Manuscript Pages
The fundamental relation between these two kinds of units is the manuscript as container and the work as contained.
, however, the separate integrity of these units often posed a creative tension.
He treated some manuscript notebooks as anthologies that assembled many separate works, but he also developed single works
into complex, lengthy composites that usurped the borders of their manuscript witness.
The archive aims to represent and preserve this creative tension through its editorial methodology (see
Editorial and Encoding Rationale and Methodology
A given work is typically represented by the following kinds of documents:
When a work is selected from the indicies (by title or first line), or from any other location in the archive,
the selection defaults to the Work Apparatus Page
From here, the reader may choose from the list of witnesses, and read the main body of commentary on the work.
This page is headed by the editorial title of the work,
a form of the title that is standardized according to rules given in
the System of Title Citation for Works
in order to insure consistent reference throughout the archive. (The Work Apparatus Page
a section, Title
, devoted to explaining Ruskin
ʼs own title or titles for the work, if any,
along with the often complex subsequent history of entitling the work.)
Work Apparatus Page
The Apparatus Page for each work is divided into seven sections, listed in a menu at the top of the page:
Witnesses, Title, Genre, Manuscripts, Date, Composition and Publication, Discussion.
- Witnesses. All available witnesses for a given work are listed, with each item hyperlinked
to an edited transcription. Clicking the item displays the transcript along with its associated facsimile in Showcase.
- Title. Declares the editorial title of the work,
followed by Ruskinʼs form(s) of the title, if any,
along with discussion of sources or other matters relevant to the entitling of the work by Ruskin
or by his editors.
- Genre. Declares the workʼs genre and provides additional relevant information, such as
(in the case of poems) a brief commentary on prosody.
- Manuscripts. All known physical manifestations of the work (e.g., drafts, fair copies, published versions) are listed,
with each item hyperlinked to the Apparatus Page of the manuscript in question (see
- Date. Contains the argument for the date assigned to the work.
- Composition and Publication. Analyzes the work‐s publication history, if any,
and reconstructs the compositional history, if materials are available to form such an argument.
- Discussion. This final section takes up contextual matters not previously covered,
such as evidence for a workʼs sources, the occasion of its
composition, and other topics suggested by the workʼs contents.
Work Text Pages and Showcase
From the Work Apparatus Page
, the reader may select available witnesses and corpora connected with the work,
each of which opens a Work Text Page in Showcase, consisting of an edited transcription paired with a corresponding facsimile of the physical witness.
At present, only edited transcriptions but not facsimiles are provided of commonly available printed witnesses, such as those in
Showcase is the display space for Text Pages. The controls in Showcase include the following functions, ordered from left to right atop the Showcase window.
- Arrows. Left and right arrows respectively reverse and advance the reader through a workʼs available facsimiles for a particular witness,
provided that witness occupies more than one facsimile. The reader may also select the available facsimiles
from the pull‐down menu between the arrows.
- Windowpane. A facsimile and its transcript for a particular witness are tied together, and by default they appear side by side in Showcase.
Using the windowpane control, however, the reader may fill the window with the facsimile alone,
or with the transcript alone, and then return to the divided window.
- Magnification. A pull‐down menu increases or decreases magnification of the facsimile.
- Font. A pull‐down menu increases or decreases font size of the transcript.
- Revision view toggle. Where possible without confusion to the reader, deletions and insertions are rendered in transcriptions
exactly as they appear in the manuscript witness—for example, with the deletion scored through, and the insertion
above the line. In such cases as overwriting, however, which are difficult to represent,
a toggle tool (shown as a curved arrow) advances the reader through the original text and then the overwritten text.
Three successive points on the toggle respresent, first, the original text (in gray); second, the overwritten text (in standard text color);
and third, the darker overwritten text and the gray underlying text simultaneously. Since the toggle suggests a timeline,
it is activated only by XML/TEI markup justifiably interpreting a sequence of actions, as in the case of overwriting and certain other substitutions.
- Hand toggle. Another toggle tool (shown as a pen) allows the user to filter multiple hands
in a witness. The default view exhibits all hands without descrimination. A pull-dowm menu allows the user to filter
only John Ruskinʼs hand, or only other hands that may be present, such as
Margaret Ruskinʼs, or
John James Ruskinʼs.
Witnesses and Commentary
Transcriptions carry metadiscursive information and editorial commentary tied to specific passages of text. Unlike Notes
which deal with global topics hyperlinked throughout the archive, and the Apparatus Page
which supplies general commentary on a work as a whole, these more specialized annotations are accessed primarily at the local level of the textual witness,
although this commentary is also searchable by keyword using the archiveʼs main Search tool.
- Glosses. These annotations are tied to specific passages in textual witnesses
by superscript characters (letters or numbers, colored blue to distinguish from the original text). The hyperlinked characters open
a separate window, with the desired commentary shaded for ease of reference. There are two types of glossses.
- Contextual glosses. Hyperlinked using Arabic numerals, these glosses annotate persons,
places, literary and mythical references, historical background, and other contextual information needed to appreciate
a particular passage. Also, annotations by Ruskinʼs earlier editors and by
Ruskin himself are included here. These are distinguished from the current editorʼs
glosses by a bracketed comment, such as [Ruskinʼs note].
- Textual glosses. Hyperlinked using lowercase alphabetical Latin characters, these glosses annotate
textual matters affecting a particular passage, which are too specific to be treated in the Apparatus Page.
- Page notations. A gray bar marks page breaks in the witness,
as reflected in the the corresponding facsimile.
- Line Numbers. For poems, line numbering is transcribed only from
Ruskinʼs own marginal numbering in a manuscript, since this information
can prove useful for textual analysis. At present, no additional editorial line numbering is provided.
Facsimile views, in the case of bound manuscripts, open to the page(s) containing the chosen witness of the work. At present, in most cases, this view will appear as a
two‐page spread. These views are identical to what the reader finds when opening the facsimile from the Manuscript Pages
For manuscripts that were formerly bound but now disassembled owing to damage, such as those comprised in MS IA
the facsimile view is often similar to a two‐page spread. Loose single‐sheet manuscripts are shown one side per view, recto followed by verso.
For some manuscripts, Manuscript Page logically consist only of the Manuscript Apparatus Page
and the Manuscript Facsmile
, since a manuscript transcription would amount to
the sum of the Text Pages constituing the work(s) contained within the manuscript. In some cases, however, ERM
—entire manuscripts or parts of manuscripts that Ruskin
appears to have regarded as coterminous with a composite work or anthology of works (see
Editorial and Encoding Rationale and Methodology
Manuscript Apparatus Page
The Manuscript Apparatus Page is the default destination for any hyperlinked occurrence of a manuscript title, whether accessed through the indices, Works Pages, or various forms of commentary.
The page is headed by the manuscriptʼs editorial title, as governed by rules given in the
System of Title Citation for Major Manuscripts
The Apparatus consists of seven sections: Title, Location, Provenance, Description, Contents, Discussion.
- Title. Declares the editorial title, and goes on to discuss the history of entitling the manuscript, including Ruskinʼs
own title, if any, and his editorsʼ titles.
- Location. Identifies where the manuscript is currently held, along with any helpful cataloging information.
- Provenance. Describes the history of ownership and transmission. For many manuscripts, which share a common provenance with others, this section consists simply of a
link to the appropriate section of the long note on Provenance. For some manuscripts, however, the Apparatus
requires this section in order to elaborate on a unique history.
- Description. Describes physical characteristics, such as size, color, and kind of binding materials. In many cases,
the description also includes what W. G. Collingwood, using a geological metaphor, termed the stratification
of a manuscript notebook. Somewhat like an account of the collation of a printed work, the aim is in part to describe
Ruskinʼs (and, sometimes, his and/or othersʼ) pagination of the manuscript,
whether applied to an originally blank, bound notebook or to a compilation of originally separate leaves, bound at a later time.
In the case of Ruskinʼs own page numbering, descriptions must often take account of some misnumbering of
pages and of missing pages. More analytical and historical than descriptive, however, descriptions must also undertake a reconstruction of
Ruskinʼs patterns of use of the manuscript. Some of this speculation may be reserved for the Discussion section.
- Contents. Lists simply sequentially the works contained in the manuscript. The titles in the list are active, hyperlinked to their respective Work Apparatus Page.
- Date. Provides the inclusive dates for use of the manuscript by Ruskin and sometimes by others.
- Discussion. Topics germane to particular manuscripts are discussed here, often continuing the analysis
of Ruskinʼs palimpsest‐like uses and reuses of an originally bound manuscript.
The complete facsimile of a manuscript—from cover to cover, if bound, viewed as a sequence usually of two‐page spreads—is the same as what a reader would view when selecting
sequentially the Work Facsimiles it contains. (The difference in the terms Manuscript Facsimile and Work Facsimile is merely one of convenience referring,
not to differing entities, but to viewing the same entity from different places in the archive—the Manuscript Pages and Works Pages, respectively.)
contain commentary, which can be hyperlinked from any point in the archive
which anchor commentary to particular passages in witnesses
Notes are grouped in four subtypes:
The Bibliography is the reference point for bibliographical citations of works, published and unpublished,
exclusive of the manuscripts and edited witnesses of works that comprise the archive itself. Througout the archive,
bibliographical citations are given in short‐title form, hyperlinked to full citations in the Bibliography.
Viewed as a full document, the Bibliography is divided into sections:
- Manuscript Sources
- Works in Manuscript by Ruskin and the Ruskin Family Other Than the Manuscripts Constituting This Edition
- Works in Manuscript by Authors Other Than the Ruskins
- Published Sources
- Works by Ruskin in Published Editions
- Secondary Sources, along with Primary Sources in Published Editions of Authors Other Than Ruskin