"I saw in Turner's Rooms, _Geo. Morlands_ and _Wilsons_ and _Claudes_ and _portraits_ in various stiles _all by Turner._ He copied every man, was every man first, and took up his own style, casting all others away. 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. For example, the strength of the Greek, Florentine and Venetian art arose out of the search for truth, not, as it is often supposed, out of striving after an ideal of beauty; and as soon as nature was superseded by recipe, the greatest schools hastened to their fall. From which he concluded that modern design should always be founded on natural form, rather than upon the traditional patterns of the east or of the mediævals. On February 16th he spoke on "The Work of Iron, in Nature, Art and Policy," at Tunbridge Wells; a subject similar to that of his address to the St. Martin's School of the year before, but amplified into a plea for the use of wrought-iron ornament, as in the new Oxford Museum, then building, and on April 25th he again addressed St. Martin's School.