Ruskin was one of the executors under the will; but, on finding that, though Turner's intention was plain, there were technical informalities which would make the administration anything but easy, he declined to act.

It was not until 1856 that the litigation was concluded, and Turner's pictures and sketches were handed to the Trustees of the National Gallery.

Ruskin, whose want of legal knowledge had made his services useless before, now felt that he could carry out the spirit of Turner's will by offering to arrange the sketches; which were in such a state of confusion that only some person with knowledge of the artist's habits of work and subjects could, so to speak, _edit_ them; and the editor would need no ordinary skill, patience and judgment, into the bargain.
Meanwhile, for that winter (1856-7) a preliminary exhibition was held of Turner's oil-paintings, with a few water-colours, at Marlborough House, then the headquarters of the Department of Science and Art, soon afterwards removed to South Kensington.

Ruskin wrote a catalogue, with analysis of Turner's periods of development and characteristics; which made the collection intelligible and interesting to curious sight-seers.
They showed their appreciation by taking up five editions in rapid succession.
Just before lecturing at Manchester, he wrote again on the subject to _The Times_; and in September his friend R.N.Wornum, Director of the National Gallery in succession to Eastlake and Uwins, wrote--as we saw--that he might arrange the sketches as he pleased.

He returned from Scotland, and set to work on October 7th.
It was strange employment for a man of his powers; almost as removed from the Epicurean Olympus of "cultured ease" popularly assigned to him, as night-school teaching and lecturing to workmen.