It seems to me you may keep your money and revel for ever and for nothing among Turner's Works." Among the quantities so recklessly thrown aside for dust, damp, soot, mice and worms to destroy--some 15,000 Ruskin reckoned at first, 19,000 later on--there were many fine drawings, which had been used by the engravers, and vast numbers of interesting and valuable studies in colour and in pencil.

Four hundred of these were extricated from the chaos, and with infinite pains cleaned, flattened, mounted, dated and described, and placed in sliding frames in cabinets devised by Ruskin, or else in swivel frames, to let both sides of the paper be seen.

The first results of the work were shown in an Exhibition at Marlborough House during the winter, for which he wrote another catalogue.

Of the whole collection he began a more complete account, which was too elaborate to be finished in that form; but in 1881 he published a "Catalogue of the Drawings and Sketches of J M.W.Turner, R.A., at present exhibited in the National Gallery," so that his plan was practically fulfilled.
During 1858 Ruskin continued to lecture at various places on subjects connected with his Manchester addresses--the relation of art to manufacture, and especially the dependence of all great architectural design upon sculpture or painting of organic form.

The first of the series was given at the opening of the Architectural Museum at South Kensington, January 13th, 1858, entitled "The Deteriorative Power of Conventional Art over Nations;" in which he showed that naturalism, as opposed to meaningless pattern-making, was always a sign of life.