There is agreement between Ruskin and Reynolds that there was a significant change in art between Giovanni Bellini and Michelangelo. It is not the substance but the evaluation of the change which Reynolds saw between Bellini and Raphael which distinguishes Ruskin from Reynolds (see Reynolds on Giovanni Bellini).
For Ruskin, Giovanni Bellini, is the last of the 'pre-Raphaelite' painters, apart perhaps from Raphael himself in his early work. The point is illustrated in Modern Painters IV:
Giovanni Bellini knows the earth well, paints it to the full, and to the smallest fig-leaf and falling flower, - -blue hill and white-walled city, --glittering robe and golden hair; to each he will give its lustre and loveliness, and then, so far as with his poor human lips he may declare it, far beyond all these, he proclaims "that heaven is bright." ( Works, 6.53)
And for Ruskin:
Bellini precedes the change, meets, and resists it victoriously to his death. Nothing of flaw or failure is ever to be discerned in him. Then, Raphael, Michael Angelo, and Titian, together, bring about the deadly change -- Michael Angelo being the chief captain in evil; Titian in natural force. Then Tintoret, himself nearly as strong as all the three, stands up for a last fight, for Venice, and the old time. He all but wins it at first, but the three together are too strong for him. Michael Angelo strikes him down, and the arts are ended. "Il disegno di Michael Agnolo." That fatal motto was his death warrant. ( Works, 22.83)
See Ruskin and the Italian School.