Ralph Nicholson Wornum, the Gallery's Keeper and Secretary, worked with John Ruskin to bring the bequest together. The stipulation in Turner's will that two of his paintings be displayed alongside works by Claude is still honoured in Room 15 of the Gallery, but his bequest has never been adequately displayed in its entirety; today the works are divided between Trafalgar Square and the Clore Gallery, a small purpose-built extension to Tate Britain completed in 1985. The third director, Sir Frederick William Burton, laid the foundations of the collection of 18th-century art and made several outstanding purchases from English private collections. The acquisition in 1885 of two paintings from Blenheim Palace, Raphael's "Ansidei Madonna" and Van Dyck's "Equestrian Portrait of Charles I", with a record-setting grant of £87,500 from the Treasury, brought the Gallery's "golden age of collecting" to an end, as its annual purchase grant was suspended for several years thereafter. When the Gallery purchased Holbein's "Ambassadors" from the Earl of Radnor in 1890, it did so with the aid of private individuals for the first time in its history. In 1897 the formation of the National Gallery of British Art, known unofficially from early in its history as the Tate Gallery, allowed some British works to be moved off-site, following the precedent set by the Vernon collection and the Turner Bequest. Works by artists born after 1790 were moved to the new gallery on Millbank, which allowed Hogarth, Turner and Constable to remain in Trafalgar Square. The agricultural crisis at the turn of the 20th century caused many aristocratic families to sell their paintings, but the British national collections were priced out of the market by American plutocrats. This prompted the foundation of the National Art Collections Fund, a society of subscribers dedicated to stemming the flow of artworks to the United States. Their first acquisition for the National Gallery was Velázquez's "Rokeby Venus" in 1906, followed by Holbein's "Portrait of Christina of Denmark" in 1909. However, despite the crisis in aristocratic fortunes, the following decade was one of several great bequests from private collectors. In 1909 the industrialist Dr Ludwig Mond gave 42 Italian renaissance paintings, including the "Mond Crucifixion" by Raphael, to the Gallery. Other bequests of note were those of George Salting in 1910, Austen Henry Layard in 1916 and Sir Hugh Lane in 1917.