On March 4th, the Turner Exhibition opened, and day by day the bulletins from Brantwood announcing his condition were read by multitudes of visitors with eager and sorrowful interest. Newspapers all the world over copied the daily reports: in the Far West of America the same telegrams were posted, and they say even a more demonstrative sympathy was shown. Nor was the feeling confined to the English speaking public. The Oxford Proctor in Convocation of April 24th, when the patient, after the first burst of the storm was slowly drifting back into calmer waters, thought it worth while, in the course of his speech, to mention that in Italy, where he had lately been on an Easter vacation tour, he had witnessed a widespread anxiety about Ruskin, and prayers put up for his recovery. By May 10th he was so much better that he could complete the catalogue with some gossip about those Alpine drawings of 1842 which he regarded as the climax of Turner's work. The first--and best in some ways--of the series was the Splügen. Without any word to him, the diligence of kind friends and the help of a wide circle of admirers traced the drawing, and subscribed its price--1,000 guineas, to which Mr. Agnew generously added his commission--and it was presented to Mr. Ruskin as a token of sympathy and respect. He was not insensible to the personal compliment implied, and by way of some answer he spent the first few days of his convalescence in arranging and annotating a series of drawings by himself, and engravings, illustrating the Turners, to add to his show during the remainder of the season. When they were sent off (early in June) to Bond Street, he left home with the Severns to complete his recovery at Malham.