Collections : [Yale University -Yale Center for British Art]

"I wish these letters by John Ruskin, Esq. to be preserved, if they should any of them be though suitable to be published in a selection from his letters in some Life eventually written to commemorate him. I shall be glad that they should be used in that way. I hope my nieces and nephews may be interested in these letters, and preserve them."

Ruskin admits that time constraints mean that his letter is late and "hastily" written. He asks Heaton about the positioning of the proofs of the latest Bolton Abbey photographs and enquires after a bridge, mentioned in Heaton's last letter to him, which has apparently been built since Ruskin's last visit to the area. Ruskin asks Heaton to arrange for another two photographs to be taken, with a view from Holme Terrace. Ruskin says Heaton can return Rossetti's Francesca with the photographs but that there is no rush. [Date provided by Surtees: December 1855]

Ruskin stresses that he is not ungrateful for Heaton's help and wishes her a merry Christmas. He explains that he cannot give Heaton the reasons for his commissioning of the Bolton photographs because it is related to the fourth volume of Modern Painters, which will not be published for at least two months. Ruskin encourages Heaton to contemplate "Dante's riddle about Rachel and Matilda" and gives her hints about how she might "make it out." Ruskin recommends H.F. Cary's translation of Dante over that of C.B. Cayley. Ruskin says that he is delighted that Heaton's friends like Rossetti's Francesca and that Rossetti and that Rossetti will be too. Ruskin gives further instructions regarding the photographing of Bolton Abbey. [Date provided by Surtees: 23 December 1855]

Ruskin wishes Heaton a happy new year. Ruskin gives further hints to Heaton about "Dante's riddle,", expanding on the idea that Beatrice and Matilda represent the "Active and Contemplative faculties" and musing upon Dante's meaning. Ruskin tells Heaton that Rossetti's Francesca arrived with him safely and that he is glad that the work was well-received in Heaton's circle. Ruskin tells Heaton that she cannot yet commission any work from Elizabeth Siddall, who is too ill to draw. Ruskin has assisted Siddall to go to Nice for the winter and hopes that she will paint some works of the "blue sea & orange groves" for him. Ruskin asks Heaton to allow him to mentor Siddall further before purchasing any of her work and instead encourages Heaton to commission work from one of his pupils who, for financial reasons, is unable to work full-time as an artist. Ruskin apologizes for using foolscap for his letter instead of notepaper, admitting it is easier for him to write on the former. Ruskin sends his best wishes for the new year.

"I write in great haste to tell you to be sure not to have the pasteboard on which the vignettes are drawn, cut, as you would much diminish their market value by doing so … whatever you do -- do yourself -- on no account let them out of your house, or into the hands of any mounter or framemaker whatsoever."

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 separated from it -- or opposed to it." [Date provided by Surtees: ? Mid-February 1855]

Ruskin explains that he has not been able to get some photographs he desires. He advises Heaton that her friend may wish to commission work from Arthur Hughes, promising to send Heaton Hughes's address and suggesting that she keep him in mind for any future purchases. Ruskin recommends commissioning work from "one of Rossettis pupils -- a poor girl -- dying I am afraid -- of ineffable genius" [though unnamed in the letter, this is Elizabeth Eleanor Siddall] but that "there is no hurry as she don't [sic] work well enough yet."

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

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 architecture of Venice.