In citing Michelangelo, together with one work of Raphael, and some fragments of Greek sculpture, (including perhaps the Friezes of the Parthenon by Phidias, the Apollo Belvedere, and the Torso of the Vatican, all of which are mentioned in Modern Painters I) Ruskin appears here to be accepting Vasari on Michelangelo as having achieved perfection in art, an account which was influential until (and beyond) the nineteenth century, and one which underpins much the writings of Reynolds's account of Michelangelo. Ruskin on Michelangelo, particularly in his later writing, appears to challenge this view.