Turner, J. M. W. (Joseph Mallord William), 1775-1851. Walls of Rome with the Tomb of Caius Sestus

Scope and Contents: Ruskin advises Heaton on the market for drawings by J.M.W. Turner, recommending "the Walls of Rome or Parnassus as the sweetest drawings."

Scope and Contents: Ruskin notifies Heaton that he has acquired (for Heaton) Turner's Berne and his Waterloo, for 50 guineas each. "I think you will like better to look at the sweet river and the cloudy Alps than at the dead bodies of soldiers in the firelight." He conjectures that the Parnassus or Walls of Rome might be had for a similar price. Mentions Ruskin's Examples of the...

Scope and Contents: Ruskin has acquired Turner's Walls of Rome for Heaton, having "no hesitation in ranking this as among the nine or ten best vignettes which Turner ever executed." Ruskin comments on the qualities of the Walls of Rome and of the Berne. He recommends at once "to have these two vignettes framed so as not to touch the glass -- and pasted in at back to keep out Leeds smoke. The least yellowing in the ...

Scope and Contents: Ruskin writes that he cannot advise Heaton on matters of framing, as he has "never yet framed a picture to [his] liking." He offers further praise of Turner's Walls of Rome. He advises against the purchase of his "Venice folios." He concludes: "I am sorry to say I mean't & mean what I say of art to separate it from other pursuits. Music helps religious feelings in thousands. Politics ... are a part of Religion. Pictorial art is too often...

Scope and Contents: Ruskin remarks that it is necessary to devote time to art appreciation, noting that Heaton initially liked the sky of Turner's Berne which Ruskin states is "exactly the worst part of the drawing." Ruskin declares Caius Cestius "the finer vignette." Ruskin refers to "Mr Durham" (Joseph Durham, who sculpted a portrait bust of Heaton) but confesses that he doesn't "much care about sculpture."

Scope and Contents: Ruskin advises Heaton on the preservation of her recently acquired Turner pieces, stating that the Walls of Rome and St Angelo can be displayed, provided they are "securely pasted in at the back." He says that he would not expose the Parnassus at all, for fear of damage by gas. He tells Heaton that candlelight would not damage the works. Turner praises Elizabeth Barrett Browning's ...

Scope and Contents: Ruskin apologizes for not meeting Heaton when she was last in London. Ruskin describes the work he has being doing with regards to the National Gallery's Turner collection, saying he has been kept very busy. Ruskin says he will not prepare more than 1,000 for exhibition in the coming winter. Ruskin describes some of the works as "valueless in England -- but very valuable on the Continent in a few years." He tells Heaton he found "a very precious" sketch book containing...

Scope and Contents: "I carried off the Dream (Rossetti's Dante's Dream) from Chelsea only two day's before my father's death; so that my promise to Rossetti to photograph it was ... roughly hindered -- I shall be glad that you undertake it -- as I was afraid to take it out of the frame -- you shall have it in a week -- and never let it out of your power more" (Ruskin's father died 3 March 1864 and this letter has a mourning border.) Ruskin goes on to thank Heaton for her offer...