Ruskin makes a large number of references to the work of Albert Durer (Albrecht Dürer) warning his readers in Ariadne Florentina: 'Don't let anybody force Albert Dürer down your throats' ( Works, 22.378). The 'chief calamity of the German temper' is seen to be 'vanity', and for Ruskin this 'is the root of all Dürer's weakness' ( Works, 22.418). In Modern Painters III, he writes about 'the spirit of Grotesque idealism' in Dürer's work ( Works, 5.189) and in the Queen of the Air, Ruskin states that: 'all lovely art is rooted in virtue, so it bears fruit of virtue, and is didactic in its own nature. It is often didactic also in actually expressed thought, as Giotto's, Michael Angelo's, Dürer's' ( Works, 19.394). Dürer's work is described in Lectures on Art as being 'a morbid influence, abasing his skill more frequently than encouraging it, and sacrificing the greater part of his energies upon vain subjects' ( Works, 20.56). When writing about outline for the Catalogue of The Educational Series (1878), Ruskin notes that Dürer's line is 'always decisive and always right' (21. 146) and in Fors Clavigera, Letter 60 (December, 1875), he notes that his work for Love' s Meinie has involved 'a care in plume drawing which I learned in many a day's work form Albert Dürer' ( Works, 28.460). Ruskin advocated the copying of sections of Dürer's woodcuts as part of his drawing programme at the Working Men's College in the 1850s and deposited several in his Drawing Schools at Oxford during his tenure as Professor of Fine Art.