Ruskin frequently refers to engravings after Turner in Modern Painters I. Turner's work was most widely known during the nineteenth century through the engravings after his work and Ruskin could, therefore, safely assume a familiarity with the engravings among his readers. Hindsight lends additional validity to Ruskin's practice, for Turner's engravings possess a special artistic significance due to Turner's careful supervision of their production.
Despite his enthusiasm for the engravings after Turner used in illustration to Rogers's Italy (1830) and Rogers's Poems (1834), Ruskin was In general very critical of the engraved work produced from Turner's designs. For a detailed discussion of Ruskin's views on engraving see Davis, 'Job's Iron Pen'.