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"Great purchase is going on: but not settled yet. It may involve various sacrifices on my part and among others, that of my beautiful Rossetti. Supposing I were obliged to let it go -- would you like to have it at 40[...]?[...]I hope you will not find your Turner sketches quite so unacceptable to the multitude as you seem to think. I consider the one with the children quite a drawing. I will most certainly relieve you of them in a little while if you don't like them." In a postscript Ruskin lists the following works as those he is hoping to acquire in the "great purchase": Melrose (frontispiece), Coriskin (frontispiece) and Fort Augustus (title-page) from Walter Scott's works; Turner's Rouen from St. Catherine's Hill and Dinant. [Date provided by Surtees: Saturday (January 31st 1857)]

Ruskin gives Heaton some advice on what to see at the Manchester Art Treasures Exhibition, praising works by Paul Veroneses, Joshua Reynolds, William Hogarth, Anthony van Dyck and Thomas Gainsborough. Ruskin thanks Heaton for "all [her] notes.". [Date provided by Surtees: Mid-July 1857]

"I have the notes (both halves) all right and your kind letter. I don't mean to let the sketches go -- I think you will like Ehrenbreitstein it is very wonderful. -- Keep Griffiths receipt -- please, I should lose it. -- They are fraternizing with me at the School of design too -- so I have enough on my hands just now --" [Date provided by Surtees: Friday ? March 1857]

"I meant, by sketches, the Post's at Sunset -- and the rock on the coast of Genoa -- & the Ehrenbreitstein all of which are safely yours. The latter are nearly drawings but still hasty : very fine. -- I will have them framed for you -- as well as Aldborough. I am trying various experiments in framing & hope to get them prettily done. -- Nothing can be better than the subject you have chosen of Inchbolds." [Date provided by Surtees: ? March 1857]

Ruskin tells Heaton that White has agreed to exchange Heaton's vignette, with an additional 10 guineas, for Turner's vignette of Rhymer's Glen, or Heaton's vignette, plus an additional 40 guineas, for Turner's Dryburgh Abbey vignette. Ruskin advises to only give an additional 20 guineas if she takes the Dryburgh. Ruskin states that the Rhymer's Glen is exquisite and likely to always have high value but that he is less sure about the Dryburgh as he "suspect[s] the colours a little". Ruskin ends by saying that if she doesn't like the exchange she should wait for a better one but to let White know whether she will accept the offer by the next Monday. [Date provided by Surtees: May or June 1857]

"I am not going to let you charge me with inconstancy to some purpose. I don't like the St Angelo, now I have it by me. -- I think nature of some sort is pleasanter though there is magnificent work in the St Angelo. I would offer the St Angelo and Lochmaben to White, if I were you -- for the two vignettes of trees he has had by him so long. Both those are pretty and different from what you have. Write to R. [Rossetti] about St John whenever you like: -- it ought to have been done long ago" In a postscript: "Just call on White. He knows the vignettes, ask him if he'll change. Don't hear of any advance in value but if you could take something else, it might facilitate matters." [Date provided by Surtees: May 1857]

Ruskin says he had hoped to come into town but couldn't manage it. Ruskin says he can't believe that Heaton has returned home and is preparing to travel again in the time since they last met. Ruskin expresses his envy that Heaton was able to see the Brownings, remarking that he had sent a letter to Elizabeth Barrett Browning a month ago but that he has no time to write letters at the moment. He asks Heaton to send his love to the Brownings and to tell them that he will write to them soon, asking Heaton to send him a letter when she sees them to tell them how they are. Ruskin asks Heaton if he can take charge of her Turners. Ruskin says the last volume of Modern Painters is taking shape and that he is contemplating writing an essay on how to distinguish good poetry from bad and muses that Robert Browning might have some ideas that would be useful on the matter. Ruskin gives his best wishes for Heaton's journey and tells her that he has been reading some of her writing lately. He says he has not seen the Richmonds since he has been home and asks Heaton to pass on his love to them. [Date provided by Surtees: November 1858]

Ruskin tells Heaton to go to Griffiths at Norwood and look at the "body colour drawings" in his collection. Ruskin says he had not exchanged Heaton's drawings, believing better drawing to be in Griffith's collection. Ruskin suggests she wait a while before buying anything as Griffith has been raising his prices. Ruskin tells her not to worry if she does not receive this letter while still in London as the drawings will not sell quickly due to a "depression in the Turner market." Ruskin thanks Heaton for "the ultramarine" and for her help. Ruskin says that he has visited Rome, travelling via Brussels, not Paris. Ruskin admits he is only writing in order to try to catch Heaton in London but that, generally, he has given up writing letters.

"Just read enclosed, and if you can call tomorrow to look at Drawing -- and give Hunt [i.e. William Henry Hunt?] my love and say I hope to get places at theatre directly for next week. -- Beautiful photographs. I shall choose the leaf cave and another not cascatelles with best thanks - - Love to Mr & Mrs Richmond & children -- I hope I shall hear all are well." [Date provided by Surtees: ? Mid-April 1860]

"I like Hughes Picture exceedingly -- It is not Auroro Leigh in the least but you cannot expect a young man -- happy in wife & family -- & full of exceeding tenderness -- to understand the fiery depths of stormy Sunrise. This picture is a charming one of two people in love. It has its faults of course -- but you are fortunate in possessing it. Your Mystery is Arles, on the Rhone." [Date provided by postmark: 14 December 1860]