In Seven Lamps of Architecture (1849), 'The Lamp of Beauty', Ruskin attacks the use of scrolls and ribands, derived from the Arabesques of Raffaelle in the Loggias of the Vatican, and one source of what became known in England as the Adam style:
I know what authority there is against me. I remember the scrolls of Perugino's angels, and the ribands of Raphael's arabesques and of Ghiberti's glorious bronze flowers: no matter; they are every one of them vices and uglinesses. ( Works, 8.149)
In writing about the ranks and kinds of the grotesque in Volume Three of Stones of Venice (1853), Ruskin observes:
Its highest condition is that which first developed itself among the enervated Romans, and which was brought to the highest perfection of which it was capable, by Raphael, in the arabesques of the Vatican. It may be generally described as an elaborate and luscious form of nonsense. Its lower conditions are to be found in the common upholstery and decorations which, over the whole of civilized Europe, have sprung from this poisonous root. ( Works, 11.161).