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Ruskin tells Heaton he will be glad for the loan of her Rossetti watercolor Dante's Dream after the Brownings (to whom Heaton was currently loaning the work) leave for Florence. Ruskin asks to borrow Turner's Castle St Angelo from Heaton as "there is more in these vignettes than I thought." Ruskin tells Heaton that, inspired by Heaton, he has bought two Turner vignettes. Ruskin debates the benefits of exhibiting at the Colnaghi gallery. Ruskin informs Heaton he might ask for her financial support for his "men who are to learn to engrave Turner.". Ruskin tells Heaton he will be happy to show her the works by Elizabeth Siddall in his possession and suggests a time she might visit him to view them. [Date given by postmark: 7 October 1856]

"I have not sent the drawing to Mr Richmonds because I can't bear to send it about till it is framed -- the surface is so delicate. I will get it framed ... I have kept your sketches -- I have no doubt you can easily have them when you come to town -- I am very busy -- bothered with woodcuts for my book for beginners [The Elements of Drawing] -- doing them in a hurry -- the etching having got spoiled in biting." [Date provided by Surtees: ? April 1857]

"I have been as naughty as usual -- which is saying much. Please bring St Angelo with you. -- To my horror & disappointment I find that ladies are not to be let in -- on the Society of Arts night [an exhibition of paintings by Thomas Seddon]. I am in a great passion thereat and would not have spoken at all if I had known it." [Date provided by Surtees: End of April 1857]

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 "the most lovely designs possible.". Ruskin tells Heaton he continues to enjoy her vignettes and drawings on blue paper and that her Parnassus and Cestius are the most beautiful vignettes he knows. Ruskin says he has sent letter to the Brownings but that they had not replied and so must not have received his letters. Ruskin asks that if Heaton meets them to apologize to them on his behalf. [Date provided by Surtees: 7th December 1857]

Ruskin opens by saying he is going to ask Heaton to help him "in a way which may at first be a little disagreeable to yourself - at least I hope so!" He explains that he has been asked to catologue, "or do what [he] liked in arrangement of the hundred [he was] to frame", all the Turner sketches in the National Gallery. He says he does not want his "enemies" to criticize him for sending Turner sketches to Heaton and so he will not be sending the sketches. He also asks Heaton to send him her "beautiful Calais posts.". He claims that, in return, he will procure finished works for her. In a postscript, Ruskin apologizes for the hastiness of the letter writing and gives Heaton instructions on how to send and package the work for sending.

Ruskin tells Heaton he is uncomfortable with her having purchased "those two Calais's", as he finds the subjects of the works very similar. Ruskin proclaims "the one with the posts" "magnificent" and worth at least 100 guineas but admits that the more he reflected on the other, the less he liked it. Ruskin tells Heaton if she sends him £26.10 he can exchange the second for two drawings on blue paper, one of Ehrenbreitstein and one of Genoa. Ruskin says that drawings on blue paper are rare and that, if Heaton allowed him to make an engraving from the Ehrenbreitstein, it would double its value. Ruskin says if she agrees to the exchange, she must send the Calais by the next post or (if the next post is near) by the post after that. Heaton may send the money "at [her] leisure." Ruskin draws a line across the page, moving from A to B, stating that the width of the drawings is an inch broader than the line [the line measures 3.25 x 4.6 in., suggesting the drawings measure around 3.25 x 5.6 in.]. Ruskin notes that the drawings are worth 40 guineas each. [Date provided by Surtees: First half of February 1857]

Ruskin tells Heaton he has received the money for the drawings and expresses his regret that he cannot send them straight away, assuring Heaton that they will not be sold to anyone else. Ruskin says that the Turner sketches may be sent back to her if "the whole course of negotiation between Mr Griffith & his French employer" becomes apparent. However, Ruskin is unsure "what is likely to come of them" because he does not know to whom they previously belonged. Ruskin says he expects Heaton's Calais to arrive that day. In a postscript, Ruskin admits that the "scruple" [presumably between Griffith and his employer] was originated by Ruskin's father and appeals to Heaton, saying: "[Ruskin] would not have acted by [Heaton] in this ungenerous way unless [he] was forced." [Date provided by Surtees: Latter half of February 1857]

Ruskin says he enjoys looking at the Calais Heaton sent him as well as the two "blues" [the drawings on blue paper mentioned in Ruskin's previous letter], saying he will keep the latter for a week or two before exchanging them on Heaton's behalf. He asks if a "fine, late, finished [Turner] work" will be acceptable to Heaton in an exchange. Ruskin asks Heaton about her arrangements to have a Rossetti exhibition in Leeds and expresses his dismay that Rossetti was not admitted into the Watercolor Society. Ruskin tells Heaton he can have her Aldborough sent to her, remarking "I really have too much of your property by me just now - and I want you to have some pleasure out of it yourself." [Date provided by Surtees: Latter half of February 1857]

Ruskin approves that Heaton proposes to continue acquiring Turners, for the moment. Ruskin says he has never used Heaton's money for personal gain but concedes that Heaton's brother has grounds to suspect Ruskin might be leading her "astray" in her purchases, not being assured of the value of the Turners and Rossettis. Ruskin says it is unlikely that he will have to sell his Rossetti and that he wouldn't want to prevent Heaton from purchasing other works by convincing her to buy the Rossetti. He tells Heaton he has secured the Turner works in the "great purchase" but that the Scotts are still in question, as the owner will not agree to sell them. Ruskin asks Heaton if she has engravings from Turner's Rivers of France series. He sketches one of the works from the series saying "it is this Rouen and I'm in such a state of excitement I don't know what to do." [Date provided by Surtees: Probably Monday, February 2nd 1857]

"What a capital worker you are. Best thanks. But we must find out what that old vagabond of a Turner meant by that bit of brown assassination [Lochmaben Harper vignette]." In a postscript, "I was excited merely by securing and having always near me that drawing [the Rouen referred to in his previous letter to Heaton]." [Date provided by Surtees: Wednesday ? February 4th 1857]