Illl :'^;•:•' Pif^i?;:'^ .mf ¦.u,Mi:^ ¦•/¦!;'^ ii»: fn.i,: Sl' "!' 1;'"" V :>>rwiv'Hh- I S '#^MW »{;;;': ;' YALE UNIVERSITY LIBRARY MILLAIS And His Works [Sir John Everett Millais, Eart., P. R.A. (iSSo) {From the Anli'^rafh Portrait in the UffiziCallcry., Florence.') MILLAIS And His Works \\ I 1 H SPECIAL KKKEKINCK IO nil': EXHIBITION AT THE KOV.VI, ACADEMY 1S9S M. H. SPIELMAXX F.niTOR OF "the ma<;azine of art" AUTHOR OF ''THR Hlsr>l,V OF ' Tl NCH ','' *' HENRIE T TE RONNER " With a Chapter " THOUGHTS OX OUR ART OF TO-DAY " BY Sir j. E. MILLAIS, Bart., P. R.A. x^ ^ ^ f ^ /r> ^ ^' ^ ^ ( ' WILLIAM ]!L.'\(K\VOOU AND SON.S KDINBURGH .\i\ll LONDON 1898 Jl2 TO TWO FRIEXDS WILLIAM MICHAEL ROSSETTI FREDERIC GEORGE STEPHENS, LITERARY PRE-KAPH.\ELITE BRETHREN AND FELLOW-WORKERS OF JOHN EVERETT MILLAIS, I DEDIC.\TE THIS BOOK. CONTENTS PAGE I. INTRODUCTORY ... II 2. "THOUGHTS ON OUR ART OF TO-DAY." BY SIR J. E. MILLAIS . I3 3. SIR JOHN 1:. MILLAIS, BART., P.R.A. : A SKETCH. . 19 4. THE PORTRAITS OF MILLAIS . . . 46 5. CHRONOLOGY . . 53 6. THE EXHIBITION AT THE ROYAL ACADEMY, 189S 54 7. NOTES ON THE PICTURES EXHIBITED AT THE ROYAL ACADEMY, 189S . . . . 70 8. NOTES ON THE ITCTURES NOT EXHIBITED AT TIIE ROYAL ACADEMY, 189S ... . . . . . 144 9. CHRONOLOGICAL LIST OF SIR JOHN MILLAIS's OIL PAINTINGS 166 10. LIST OF PAINTINGS BY MILLAIS WHICH HAVE BEEX ENGRAVED , 179 II. IN THE SALE-ROOM . . 182 INDEX . . . . .... 185 LIST OF ILLUSTRATIONS PAGE I. SIR JOHN EVERETT MILLAIS, BART., P.R.A Frontispiece 2. LORENZO AND ISABELLA 23 3. CHRIST IN THE HOUSE OF HIS PARENTS 28 4. OPHELIA . . . . ... .... . 33 5. THE HUGUENOT -39 6. THE ORDER OF RELEASE . . ... . -44 7. SIR J. E. MILLAIS. FROM THE PORTRAIT BY G. F. WATTS, R.A. . 47 8. SIR J. E. MILLAIS. ,, ,, FRANK HOLE, R.A. . 49 9. SIR J. E. MILLAIS. ,, BUST BY E. O.NSLOW FORD, R.A. . 50 10. JOHN RUSKIN, ESQ. . . -59 II. THE BUND GIRL ... .68 12. AUTUMN LEAVES ... 73 13. LEISURE HOURS . . . . 77 14. JOAN OF ARC . . . . . . 83 15. THE MINUET . 9I 16. JUST AWAKE ("waking") . • ¦ 95 17. A FLOOD ... . . . 100 18. THE NORTH-WEST PASSAGE . . . I09 19. HALCYON WEATHER . .... . I17 20. "BLOW, BLOW, THOU WINTER WIND." . . 123 21. A FORERUNNER . . . I35 22. CHILDHOOD .... I45 23. YOUTH . . 145 24. MANHOOD 147 25. AGE . 147 26. MUSIC 149 27. ART 149 28. STUDY for SPRING, OR "APPLE-BLOSSOMS" 153 29. THE PARABLE OF THE LOST PIECE OF MONEY . . 155 30. GEORGE DU MAURIER . . . . . . , . 157 31. THE CAPTIVE . ...... . . 159 32. RT. HON. W. E. GLADSTO.NE 161 33. CALLER HERRIN' .... . . 163 INTRODUCTORY Produced in some haste for the use of visitors to the Millais Exhibition at the Royal Academy, and for the information and consolation of those persons who stayed away, this book makes no pretence to set before the reader a " Life '' of the great painter who is gone, or even an exhaustive criticism on his work. His art career is noticed and his works 'are criticised from the point of view rather of the public than of the professional painter, and interesting facts in connection with the pictures are set on record. These facts and stories include, not only those which I have had from Sir John Millais during the long period of our acquaintance, but others also which were recorded by Mr. F. G. Stephens in his Grosvenor Gallery Catalogue. In Sir John Millais's crisp and suggestive essay — "Thoughts on Our Art of To-day " — which he wTote at my suggestion for the pages of "The Magazine of Art" will be found most of tlie opinions he entertained and expressed upon the subject, set forth with his own breezy emphasis and downright good-humour. The oil-paintings in the list here included amount to no fewer than 351; those catalogued at the Grosvenor Ciallery numbered only 131, and those at the Royal .Xcademy not more than i.S(;. The list is doubtless not )'et complete ; some collectors hoard their treasures and are silent as to the works they may possess, even though — as in certain cases that have come under my notice — they do not expressly conceal their ownership. lUit I may state 12 INTRODUCTORV that as it stands it is as I completed it with the help of Sir John Millais himself, with the addition of several scores of newly remembered and newly discovered works. One of the difficulties attending this sort of compilation is that of determining where to draw the line between a picture and a sketch, a work and a study. I have attempted throughout to maintain, or at least to indicate, the original titles of the works. The habit of successive owners to trifle with the names which the artist conferred upon the children of his brush, is an extremely inconvenient one for collector and art-historian alike : confusion arises and identification becomes difficult and works are lost sight of in all indexes alphabetically arranged. In the first section of the running comments upon the pictures comprised in the Royal Academy Exhibition, I have strictly followed the order of the official catalogue, using the numbers on the frames for the convenience of the visitor and foi? the sake of record. In the second section — consisting of works not in cluded in the Exhibition — I have adopted an alphabetical arrangement for the simplification of reference. I have most cordially to thank those owners of pictures, collectors and print publishers alike, who, by according permis sion to reproduce the pictures illustrated in this volume, have made it possible to give, even within so restricted a space, so fair a representation of Millais's best and most interesthig work. The courtesy of Mr. John Guille Millais, Mr. F. G. Stephens, Mr. \y. Roberts, and Mr. AVhitworth AVallis, I desire specially to acknowledge. M. H. Spielmann. /ti/ii/itrj', 1 898. THOUGHTS OX OUR ART OF TO-DAV I AM emphatically of opinion that the hcsl .\rt of modern limes is as good as any of its kind that has gone before, and further more, that the best Art of England can hold its own against the world. It is manifestly impossible to make just comparisons between the widely divergent styles of the .Vncient and Modern Masters, or to attempt to strike a balance between, say, Rubens and Hogarth ; but to say that the old alone is good betrays great lack of judgment, and is .an ingratitude to the living. Ability and talent are more abundant than ever ; but in forming an opinion of them the critic falls into two great errors — the first, in forgetting that the form and demands of Art have changed and expanded with the advance of time ; and the second, in failing — unconsciously, of course — to judge of the great works of the past, with which he compares those of the present, in a fair and proper manner. He makes no allowances for the charm of mutilation or the fascination of decay. The only way to judge of the treasures which the Old Masters of whatever age have left us — whether in architecture, sculpture, or painting — with any hope of sound deduction, is to look at the work and ask oneself — " AVhat was that like when it was new ? " The Elgin Marbles are allowed by common consent to be the perfection of art. But how much of our feeling of reverence is inspired by Time ? Imagine the Parthenon as it must have looked with the frieze of the mighty Phidias fresh from the chisel. Could one behold it in all its pristine beauty and splendour we should see a white marble building, blinding in the dazzling brightness of a southern sun, the figures of the excjuisite frieze in all probabihty painted — there is more than a suspicion of that — and the whole standing against the intense blue sky ; and many of us, I venture to think, would cry at once, " How excessively crude !" 14 MILLAIS AND HIS WORKS No : Time and Varnish are two of the greatest of Old Masters, and their merits and virtues are too often attributed by critics — 1 do not of course allude to the professional art-critics — to the painters of the pictures they have toned and mellowed. The great artists all painted in hrigfif colours, such as it is the fashion nowadays for men to decry as crude and vulgar, never suspecting that what they applaud in those works is merely the result of what they condemn in their contemporaries. Take a case in point — the " Bacchus and Ariadne " in the National Gallery, with its splendid red robe and its rich brown grass. You may rest assured that the painter of that bright red robe never painted the grass brown. He saw the colour as it was, and painted it as it was — distinctly green ; only it has faded with time to its present beautiful mellow colour. Yet many men, nowadays, will not have a picture with green in it ; there are even buyers, who, when giving a commission to an artist, will stipulate that the canvas shall contain none of it. But God Almighty has given us green, and you may depend upon it it's a fine colour. There is, and has -been for a century or so, this growing cry for " subdued colour ; " and what is the result ? The case of Sir Joshua Reynolds is a sufficiently notorious example. It was his custom — well knowing what he did — to paint in clear and true colours. We have it from AA'alpole, after a visit to Reynolds's studio, that he found the ^^^aldegrave picture, which now com mands so much admiration for its mellowness of tone, "dreadfully white and pinky." But Sir George Beaumont, the connoisseurs, and patrons, were for ever urging him to give them in his pictures what time alone can effect : " tone — like the Old Masters." And at length, to satisfy their reiterated demands, he made use of the pigment that would most readily give the rich, soft brown they wanted — asphaltum. And now ever)- picture that contains that villainous colour is in every stage of decomposition and ruin — and the chief responsibility for that lies heavily on his critics. I began by expressing my faith in our English school of paint ing and its performance. A hundred years hence, when Time THOUGHTS ON OUR .\RT of TOD.W 15 has done its work, that school will receive the approval of posterity. It must be remembered, however, that .\rl li.'is muimcI with the age, not only in the matter of its subject ami the spirit which pervades it, but also in knowkxige and Urhnical skill. The still-life painting of the .Vncicnls is even now held up to us as a wonder. We are told of the grajies of Zeuxis, which the birds came to peck at, and of P.-irrhasius's curtain that deceived Zeuxis, and so on. But what of that ? That is mere imitation, and I could place m\ hand on half a dozen men who could do as much. Not that I underrate imitative painting for a moment — it is a necessary part of an artist's business, and a high achievement in itself, this representing, on the flat, of the colour, texture, and chiaroscuro of a solid object in such a way as to deceive the eye. But it is hardly necessary to say that nowadays art demands much more than that. I imagine that Greek painting was little more than tinted outline, no doubt, as far as it went, not less remarkable in its excellence than the sculpture of the day, but necjjssarily primitive, from their ignorance of the pigments since 'discovered. Only through the introduction of oil-painting has it been possible to arrive at the subtlety and mystery that are connected with fine workmanship — such execution as we enjoy in Rembrandt or in Titian, in Sir Joshua or Turner. I will add that if you place a first-class Rembrandt, a first-class Reynolds, and, say, a first- class latter-day example, side by side, and judge them on the basis I have named — that is to say, making due allowances for the effects of time, and, of course, for the different styles and temperaments of the painters — you will find little cause to bewail the " decadence of art." On the contrary, there will be plenty of reason to be proud of your art of to-day, and to be confident for your art of the future. But while we look around and congratulate ourselves on the number of young men whose brilliant talents hold out such bright promise of worthily upholding the English school, we must not forget that only by insistance upon their iiidividiiality of conception and expression can they hope to advance to the first i5 MILLAIS AND HIS WORKS rank. There is among us a band of young men, who, though English, persist in painting with a broken French accent, all of them much alike, and seemingly content to lose their identity in their imitation of French masters, whom they are constitutionally, absolutely, and in the nature of things, unable to copy with justice either to themselves or to their models. Imitation, however, is pardonable in young men — and only in young men — and sooner or later their ability will inevitably lead them to assert their individuality, if they have any. Any artist can be a follower without sacrificing one jot of his independence. Sir Edwin Landseer, for example, stands perfectly alone in his own sphere ; yet as an anirrial painter he was a follower of Snyder, but in no sense an imitator. Sir Frederick Leighton, again, though his grace, dignity, the beauty of flowing line are plainly inspired by the ideal Greek sculpture, works, if I may so express it, his own bicycle ; everything he does is his and his alone. On the other hand, we see in the English sculpture of an era now, happily, just gone by, the result of what mere imitation had brought us to. Founded on the same type of Greek statue, Venuses, Dianas, the Three Graces, and all the Virtues followed each other till they flooded the land, each as characterless as the last, and with no more individuality or vigour than if they had been turned out by machinery from a single mould. But the influence of Carpeaux, who was one of the leaders of the great French school of Sculpture and placed it above the rest of the modern world — strongly supported in the present day by M. Dalou — has at length reached us \ and this department of art now augurs every whit as well for the future as that of painting. So fine is some of the work our modern sculptors ha-\'e given us, that I firmly believe that were it dug up from under oyster- shells in Rome or out of Athenian sands with the cachet of partial dismemberment about it, all Europe would fall straightway into ecstasy and give forth their plaintive wail — "We can do nothing like that now." Verily the great handicapper and chief offending of modern art is its unavoidable modernity. But individuality is not all that should be looked to : a varied THOUGHTS ON OUR ART OF TO-D.\V 17 manner must be cultivated as well. I believe that howev.i ad mirably he may paint in a certain method, or however perfectly he may render a certain class of subject, the artist should not be content to adhere to a speciality of manner or method. A fine style is good, but it is not everything— it is not absolutely necessary. Sir Joshua was much superior to Gainsborough in that regard ; but who will give the palm between first-rate examples of these two masters ? One loaded his can\as, the other painted as with water-colour. The incomparable ch.arm the latter imparted to his ladies makes one forget and forgi\ c the want of body in his work, and we feel they are sufficiently delightful as they are. Of course, delicacy and energy, breath or refinement of touch, may be varied with the mood and the character of the picture. The commonest error into which a critic can fall is the remark we so often hear that such and such an artist's work is " careless " and " would be better had more labour been spent upon it." As often as not this is wholly untrue. As soon as the spectator can see that " more labour has been spent upon it " he may be sure that the picture is to that extent incomplete and unfinished, while the look of freshness that is inseparable from a really successful picture would of necessity be absent. If the high finish of a picture is so apparent as immediately to force itself upon the spectator, he may kno\v that it is not as it should be ; and from the moment that the artist feels his work is becoming a labour, he may depend upon it, it will be without freshness, and to that extent without the merit of a true work of art. Work should always look as though it had been done with ease, however elaborate ; what we see should appear to have been done without effort, whatever may be the agonies beneath the surface. M. Meissonier surpasses all his predecessors, as well as all his contemporaries, in the quality of high finish, but what you see is evidently done easily and without labour. I remember Thackeray saying to me, concerning a certain chapter in one of his books, that the critics agreed in accusing him of carelessness, "Careless? If I've written that chapter once I've written it a dozen times, and each time worse than the last ! " — a 11 i8 MILLAIS AND HIS WORKS proof that labour did not assist in his case. When an artist fails it is not so much from carelessness ; to do his best is not only profitable to him, but a joy. But it is not given to every man- not, indeed, to any — to succeed whenever, and however, he tries. The best painter that ever lived never entirely succeeded more than four or five times ; that is to say, no artist ever painted more than four or five masterpieces, however high his general average may have been ; for such success depends on the coincidence, not only of genius and inspiration, but- of health and mood and a hundred other mysterious contingencies. For my own part I have often been laboured, but whatever I am I am never careless. I may honestly say that I never consciously placed an idle touch up on canvas ; and that I have always been earnest and hard-work ing ; yet the worst pictures I ever painted in my life are those into which I threw most trouble and labour, and I confess I should not grieve were half my works to go to the bottom of the Atlantic — if I might choose the half to go. Sometimes as I paint I may find my work becoming laborious ; but as soon as I detect any evidence of that labour I paint the whole thing out without more ado. It will be remembered that Rembrandt, in his first period, was very careful and minute in detail, and there is evidence of stip- pHng in his flesh painting ; but when he grew older and in the fulness of his power, all appearance of such manipulation and minuteness vanished in the breath and facility of his brush, though the advantage of his early manner remained. The latter manner is, of course, much the finer and really the more finished of the two. I have closely examined his pictures at the National Gallery, and have actually seen, beneath that grand veil of breath, the early work that his art conceals from untrained eyes — the whole science of painting. And herein lies his superiority to Velasquez, who, with all his mighty power and magnificent execution, never rose to the perfection which, above all with painters, consists in Ars celare artem. John Everett Millais. SIR JOHN E. .MILLAIS, B.\rt., P.R.A. .\ SKETCH It was in the summer of 189(1 that the fatal truth of the hopelessness of his malady burst with terrible suddenness upon the new President of the Roy.al Academy. He bore the verdict, nevertheless, with the courage, almost with the good-humour, that distinguished his fine and lofty character ; and a brilliant life was snatched away leading English art depri\ed of its brightest, if not its greatest, ornament. " I always said," were his whispered words to me as I left him for the last time, " that Watts would outlive us both." He was speaking of Lord Leighton's death. His words came true, sooner than we thought. John Everett Millais was born on the 8th June, 1829, in Portland Place, Southampton, where his parents were temporarily residing. His father's was an old Jersey family that had been resident in the island for many generations — since the Conqueror's time, he said ; and he added, with a genealogist's interest and with a touch of pride, that his own family and that of the French Millet — a name not uncommon on the mainland hard by — could be traced to a common ancestor.* And he cherished the patriotic conviction — though he would give expression to it with a laugh — that, so far from Jersey being a British possession, Jersey originally annexed England. Nevertheless, there was nothing French in either his demeanour, his person, or his mode of thought ; indeed, to the last he knew nothing, if he ever knew aught, of the language, and when in company with French artists he would address them heartily in his own tongue, in the characteristically British hope that he would certainly make himself intelligible. " I don't understand you and you don't understand me," he cried jovially to Monsieur Emile * See The Lineage and Pedigree of tlie Faiiiily of Millais, recording; its History froin 1331 to 1865. ByJ. Bertrand Payne. London, 1865. n 2 20 MILLAIS AND HIS WORKS Wauters on being introduced to him, " but I'm very glad indeed to make your acquaintance ! " And the two men grasped hands, and their expressive smiles, accentuated by oft-repeated nods — and what a delightful thing was Millais's smile! — were more eloquent than spoken words. He was, in fact, an uncompromising Englishman — a point on which I would insist in view of the contention urged by foreign critics that his attitude towards art was essentially a " Latin " one : by which is roughly meant, that the painter's business is to paint, exclusive of all considerations of its subject and its interest and morality. In 1835 *l^s t)°yi while still in frocks, was taken with the rest of his family to live in Dinan in Brittany, and there his infantile talent for drawing, already strikingly revealed, exercised itself upon the romantic medieval architecture of the place, and more especially upon the uniforms of the military officers. Precocious talent has distinguished many of our great artists. Sir Thomas Lawrence was accounted a "phenomenon," and astonished no one more than Sir Joshua Reynolds himself. But the genius of Millais had already declared itself at an age when the young Lawrence was a mere bungler with the pencil. No such youthful promise had ever been seen in England ; in its juvenile perfection it might not inaptly be compared with that of the child Mozart. He was not more than six when his sketches were made the subject of mess-room bets — and won them ; and when he was eight he gained the silver medal of the Society of Arts, to the astonishment of the Duke of Sussex, who distributed the prizes. According to the well-known story, his gratified and happy parents deemed it right to come to London and submit the child to the judgment of the President of the Royal Academy, Sir Martin Archer Shee, whose first unconsidered advice, " Rather make him a chimney-sweep than an artist," was quickly changed by a glance at the boy's work. When, not without difficulty, the President was persuaded that the drawings really were from the childish hand, he was struck with amazement, and warmly declared that the parents' plain duty was to bring young Millais SIR JOHN E. MILLAIS, BART., I'.R.A. ji up to the vocation for which Nature had evidently intended him. The boy was accordingly placed in the best preparatory art school of the period — Mr. Sass's academy in Bloonisbury, afterwards Carey's — and two years later, during which time he had been diligently drawing from the cast in the British Museum, being now eleven years old, he was admitted a student of the Ro>al Academy. The six years that followed were passed in its schools, and there the boy carried off every prize for which he competed. He was recognised as a marvel, and all stood astonished at his work — just as C^hirlandaio was amazed at the extraordinary skill of the young M ichaelangelo, and Verrocchio at the power of Lionardo da Vinci. In 1S46, the seventeenth year of his age, he contributed his first picture to the Royal Academy exhibition, " Pizarro Seizing the Inca of Peru," which was selected by an eminent French critic as one of the two best historical works of the year. The canvas subsequently passed into the possession of the late Mr. H. Hodgkinson, and then into the hands of his widow. It rests, for the time, in the South Kensington Museum. In the following year he so far justified the Frenchman's belief in his powers as to carry off the gold medal for his torical painting offered by the British Institution, with "The Young Men of the Destroyed Tribe of Benjamin Seizing their Destined Brides in the ^'ineyards," or, as it became better known, "The Tribe of Benjamin Seizing the Daughters of Shiloh." Other works of the same year were " Elgiva Seized by Order of Archbishop Odo," an ambitious picture full of movement ; and the first painting which he executed under the title of " The Widow's ]\Iite,'' a cartoon of vast size sent to the famous Westminster Hall competition of 1847, to which Mr. Watts, Sir John Tenniel, Sir Noel Baton, Armitage, Cope, William Linton, Mr. Horsley, and others were successful contributors. One of his first productions, "The Widow's Mite " is peculiarly interesting, for it shows how early appeared the religious vein, which, at intervals, the painter loved to work. It was intel lectually inadequate ; for in spite of the happy arrangement 22 MILLAIS AND HIS WORKS and composition of the work, the figure of Christ was lacking in divine dignity, -just as in his latest picture, "The Fore runner" (1896), the figure of St. John was, as a creative work, intellectually deficient. There was always that impressiveness in these religious or Biblical works which belongs to manly sincerity and devotion ; but they lacked the note of grandeur, when Millais was left to himself. Greatness is equally to be denied to the " Enemy Sowing Tares," for even that is strong rather from his dramatic power than from any ability to realise upon canvas the deepest passion of true religious or philosophic thought. Yet with all his genius, with all his academical success, with all the recognition of his talents which was at last freely accorded him from many quarters, Millais's career now passed into a sombre period — an interval of ceaseless struggle, of neglect, and, when neglect was no longer possible to the public, of scorn and derision, which we who look back over his progress through a stretch of nearly half a century are apt to forget. In the dazzling brilliancy of that career we are liable to overlook the black spot which fills the vista of the past. It was an upward fight against adverse circumstances in which none ungifted with Millais's moral courage, pertinacity, and self-confidence could ever hope to win. Could he have doubted in all these trials and disappointments of the success that awaited him at last ? I hardly think so, though he himself has told me that he was not sure. His indomitable spirit and energy and his power of concentration were such as to render him famous in most walks of life. At this period he was glad enough to make drawings of actors at ten shillings apiece, and to turn out portraits at from JQ2 to ;^3 a head. Nevertheless, the training was a good one for the crusade of the Pre-Raphaelite Brotherhood that was to follow; though even " The Carpenter's Shop " was commissioned for only ;^iSo, and the "Ferdinand lured by Ariel" for ;^ioo (and returned to the painter by the dissatisfied "patron"), while all the time these works were shaking the art world of England to its basis, and the Times was hurling thunderbolts of denunciation 24 MILLAIS AND HIS WORKS and contumely upon the head of the pachydermatous artist and his associates. Pachydermatous, perhaps ; but not insensible or unconscious : courage and resolution, not indifference to attack, were his armour. "The Huguenot," too, one of his finest works, was esteemed as such by the painter ; yet he was glad to sell it for ;^2oo, payable in small instalments. "This youth will be such, to judge from what we here see, that if he lives, and should go on as he has begun, he will carry his art to the skies." These words, which Raphael spoke of Jacopo da Pontormo, might well have been uttered of Millais at this time ; indeed, we know that they were so applied by men who under stood and applauded, though the public only scoffed. It was at this time that Millais joined with his friends Rossetti, Mr. Holman Hunt, and others of lesser artistic importance, half in fun, but really in earnest, to found, in protest against the debased generalisation of the day, that Pre-Raphaelite Brotherhood of which John Ruskin wrote {Times, 13th May, 1851) that he could not compliment them on comrr.on sense in the choice of a nom de guerre, as the principles were neither Pre- nor Post-Raphaelite, but Everlasting. This is no time to examine the principles and the bearings of this oft-discussed mission of eclectics ; but it may at least be pointed out how clear a proof of what can be done by co-operation, even in art, are the achievements of the school. Millais's great pictures of that period — in many qualities really great — are certainly the combination of the influence of others' powers besides his own. His is the wonderful execution, the fine composition, the brilliant drawing; but Dante Rossetti's perfervid imagination was on one side of him, and Holman Hunt's power ful intellect and resolution were on the other ; while perhaps the analytical mind of Mr. William Rossetti and the Hterary outlook of Mr. F. G. Stephens were not without influence upon his work. In a few short years these supports were withdrawn from Millais's art, in which we find the execution still, but where — at least in the same degree — the intellect or the imagination ? In Holman Hunt we see a complementary effect : Dante Rossetti inspired him too, but SIR JOHN E. MILL.MS, BART., P.R..\. 25 in a lesser degree; his intellect strengthened the inspiration ; and Millais's advice was there to help the execution of all thrte. Rossetti, on his part, had the assistance of the others' enthusiasm, but his own poetic sense was so dominant — further coloured as it was by Ford Madox Brown's personality and quaint sense of style — that there was less reflection from the others' talent in his ease than in that of his friends. Though Hunt's deliberateness of mind was perhaps of some restraining influence, Millais's pre eminence in dexterity, being a manual and material rather than an intellectual or emotional excellence, had less effect than was exerted by the others. Yet, even in Rossetti — at least in his single figures and heads — we see how he gradually emerged from the influence of Madox Brown, and passed in a measure under that of Holman Hunt. The " Brotherhood " — which neither smoked, nor drank, nor swore, at a period when all Bohemianism was saturated with tobacco, spirits, and quaint oaths, but directed its intense enthusiasm towards things artistic and pure (though curiously enough with little sense of music) — this Brotherhood, I say, had been profoundly moved by the publication about this time of two books : the first, the set of engravings in the Campo Santo in Pisa ; and the second, the superb \vork on costume by M. Bonnard, a collection of fine etchings by Mercuri in two volumes, which inspired the little band with immense enthusiasm. Certain of the most telling costumes in " Lorenzo and Isabella," and a little of the stiffness, too, were obtained from it. Although himself a ringleader in this Pre-Raphaelite Brother hood revolution, Millais was extremely intolerant of agitation for agitation's sake. When the matter of Mr. Tate's splendid offer to the nation was forming the subject of outrageous personal attacks on the intending donor and hostile agitation against the gift, Millais was recovering from influenza in Perthshire ; but on the day of his return, I saw him and told him of what had been passing. He was extremely indignant. " It was here in my dining-room," he exclaimed, " that Mr. Tate, Leighton, and Lord Carlisle met, and we talked it over and settled it as far as we 26 MILLAIS. AND HIS WORKS could. You see the utter hopelessness of establishing anything, even for the good of the nation, when there are insolent disturbers abroad !" — an opinion he repeated in a letter later on. On another occasion when he was hotly denouncing " agitation " and revo lutionary preachers of reform, Mr. Holman Hunt, who was of the party, quietly reminded him that Christ himself had been an agitator. "Yes," answered Millais, warmly, "and He got stoned.! And quite right, too, from the point of view of people who saw nothing of His divinity — only His agitation. That's all I'd have seen if I'd been there ; I'm afraid I'd have thrown stones, too I " Here we have a glimpse of that intense realism and vivid common-sense that made Millais so remarkable an indi viduality among the most illustrious of his associates. Millais's " Lorenzo and Isabella " (1849) was the first earnest performance by this rollicking novice with the brand-new creed, which, with its realistic portraits of the artist's friends, was held to be the prime joke of the year by a dullard public, insensible alike to the astounding ability and the noble novelty of the work. It was received with even greater ridicule than Holman Hunt's " Rienzi " in the same exhibition. But in the following year ridicule turned to violent opprobrium when "The Carpenter's Shop," otherwise known as "Christ in the House of His Parents," was exhibited under the title of the text: "And one shall say unto him, AVhat are these wounds in thine hands ? Then he shall answer. Those with which I was wounded in the house of my friends. (Zechariah xiii. 6.) " The Times — the vigorous representative of popular opinion — loudly protested. " That morbid infatuation," it declared, " which sacrifices truth, beauty, and genuine feeling to mere eccentricity deserves no quarter at the hands of the pubKc ; " and the responsive public in general revolted against what they held to be fantastic in con ception, outrageous in realisation, and repulsive as a whole. There were some who could appreciate the religious symbolism which was one of the principles of the Brotherhood ; ' others, though fewer, who forgave the artist for the sake of his sincere SIR JOHN E. MILL.VIS. I'.AkT., l'.K..\. 27 and careful elaboration of detail ; but fewest of all could see, eye to eye with the "painter, how "The Carpenter's Shop '' should be made like a carpenter's shop, and how realism, with eloquent symboHsm enforced, could make as pious and passionate a piece of painting as the idealised grace, the picturing, and attitudinising of any of the Old Masters one may choose to name. In these hard times of struggle, when notoriety rather than fame was his portion, when his name was on many lips, for condemnation and scorn rather than for praise or honour, Millais stiffened his back, pursued his chosen path, and deserved the glory that he knew would come. "Thackeray sympathised with me and spurred me on," he would say, in recalling his early days, " when I was so dreadfully bullied." With unsurpassable courage and with the most pathetic patience he stood against the abuse and contempt of the whole world, unmoved ahke by the torrents of ridicule and the withering vituperation that were rained upon the daring innovators. Ruskin's burning championship was one of his first encourage ments ; the second, he told me once, was a certain bitter disappointment. He was elected an Associate of the Royal Academy, which institution, as a body, was never entirely insensible to his extraordinary merits ; but when it was found that the artist had not yet arrived at the proper age for qualification, the election was quashed, and not renewed until the year 1853, when he was received into the fold — the youngest Associate, except Sir Thomas Lawrence, ever elected into the Royal Academy. But the mortification he had long endured was not complete, for he had to wait not fewer than ten years for promotion to full membership, and more than once the idea of resignation flashed across his mind; for he resented the unmerited indifference to his claims although his pictures, perhaps more than any one else's, had come to be regarded by the public as of the very first importance in the annual exhibitions they adorned. Not till 1859, when the "Vale of Rest " appeared, did Millais forswear the tenets of the Brotherhood ; or, as he called it, '¦^p^ C„K>ST m T„E House of H,s_Pakents. ("The Caki-entee's Shop.-) (,Sso) a-,y /onutsstono/Kt,: C. F M.Quoa,, Owner of tite co/.rfight, and hy eon.ent of Mr. F A. Boor.) SIR JOHN K. >tILLAIS, B.\RT., I'.R.V 2n "emerge from his artistic puberty.' It is to be noted ~-as has already been suggested — that when, with the independence- characteristic of his vigorous temperament, he east off the influence of his great companions in art, Millais became, general!) speaking, less of the poet and the thinker, and more of the painter and technician. But his sympathies, like his art, widened out, his range broadened in harmony with his more comprehensive interest in Ufe ; and what he lost for a time, if not altogether, in pure passion, he gained in scope. Ruskin roundly denounced his defection, which to him amounted to artistic apostasy ; but Millais went calmly on amid the growing applause — for which in truth, in spite of all its sweetness, he cared not overmuch — and took the praise much as he had taken the blame that had been his portion heretofore. He had conquered his public with a concession, and was fast becoming its painter-hero. Yet never was it truer than in his case that the child is father to the man ; so completely was his later success based upon the stern self-training both of hand and mind. For this reason, hardly one of his pictures of that period should be passed over. "Ferdinand lured by Ariel" (1850) was perhaps, with its metal gold ornament, more quattrocento than anything he had done. Then came " Mariana in the Moated Grange," suggested by Tennyson's poem — an example of the artist's dependence for his inventive imagination upon others, his artistic receptivity be ing at the same time more keenly sensitive to the emotional class of our nobler written poetry than, perhaps, any other painter of his eminence who ever appeared in England. In the same year there came the " Return of the Dove to the .Ark," which was exhibited in Paris in 1855, and was bequeathed by Mr. Combe to the University of Oxford; and "The Woodman's Daughter," suggested by the poem of Coventry Patmore. In the following year " The Angel in the House " was exhibited frankly as the portrait of Mrs. Coventry K. Patmore, together with the famous and ever- popular picture of "The Huguenot.'' The year 1853 was rendered notable by "The Order of Release, 1746," accompanied 30 -MILLAIS AND HIS WORKS as it was by the hostile comment that the hero, as in the " Huguenot," appears, awkwardly enough, to possess only one leg. Moreover, it might equally have been objected that the former picture is illogical in its drama, inasmuch as the warder has set his prisoner free before the order of release has been actually delivered and read. But in such petty objections the critics entirely missed the superlative quality of flesh-painting in this brilliant work, as well as the supreme achievement in the rendering of expression and emotion. Then there were "The Proscribed Royalist, 1651," and, above all, " Ophelia," the model for which was Miss Siddal, afterwards Dante Rossetti's wife. In 1854 came the magnificent little portrait of Professor Ruskin standing beside the waterfall of Glenfinlas, and in the following year the portrait of Mrs. John Leech, and " The Rescue," which Ruskin declared to be " the only great picture exhibited this year ; " excusing the somewhat un-Pre-Raphaelite summariness of the handling on the ground that there is a true sympathy between the impetuousness of execution and the haste of the action repre sented. In " Peace Concluded, 1856" — (which appeared in that year, and of which Ruskin enthusiastically exclaimed : " Titian himself could hardly head him now. This picture is as brilliant in invention as consummate in executive power ; both this and ' Autumn Leaves ' will rank in future among the world's best masterpieces ") — in this canvas there is the symbolism, a little puerile perhaps, dear at that time to the Pre-Raphaelite heart ; for in the very toys with which the children play, the lion, the cock, and the bear, in their respective attitudes, we are given a sort of political resume of the Crimean War. " Autumn Leaves," which was originally painted for Mr. Eden, was rightly declared by the great critic to be the first instance existing of perfectly painted twilight. In addition to these, there were " L'Enfant du Regi ment," now called " The Random Shot," another httle piece of tender drama ; " Pot Pourri," for which Mrs. Stibbard, the artist's sister-in-law, when Miss Gray, sat for the principal of the two little giris ; and " The Blind Giri," in which the scene, by the SIR JOHN E. MILLAIS. H.\RT., P.R..\, 31 way, is a Winchilsea landscape, with the quaint episode of the double rainbow (to emphasise thereby, together with the gorgeous death's-head butterfly, the full affliction of loss of sight and the supreme consolation of the Divine promise) ; and the reader who acquaints himself with the extreme conscientiousness of finish lavished upon these works will form a conception of the feverish industry of the painter. Then, in 1857, there came " A Dream of the Past — Sir Isumbras at the Ford," " News from Home,'' and " The Escape of a Heretic, 1559," suggested by official documents in Valladolid relating to the Inquisition. This, so far as the Pre-Raphaelite Brotherhood was concerned, was the beginning of the end. Ruskin detected in " Sir Isumbras " faults of fact, of sentiment, and of art ; while in " The Escape " he saw the everlasting seal placed by Pre-Raphaelite hands themselves upon their acceptance of the charge of a special love for ugliness which had always been flung at them by the public, and for which the wTiter could, for once, find no excuse. The fact was that Millais, who would listen to no public, now proclaimed by his brush that he would listen to no adviser, not even to Ruskin ; and since that time he declared more than once in my hearing that, let his judges think what they might, his decade of Pre-Raphaelitism rather hindered than helped his development and his art. The year 1858 was a fallow season, for which Ruskin duly scolded, while Mr. Frith's "Derby Day" drew the town. But the following year was rendered notable by the great transition. The " Apple-blossoms," exhibited under the name of " Spring," offended by its " fierce and rigid orchard " and by " the angry blooming " of its marvellously painted flowers ; while " The Love of James I. of Scotland " was little noticed under the tumult of criticism and protest which met the " Vale of Rest." The last-named picture I have always felt to be one of the greatest and most impressive ever painted in England ; one in which the sentiment is not mawkish nor the tragedy melodramatic — a picture, indeed, to look at with hushedivoice and bowed head ; in which the execution is not overwhelmed by the story ; nor the 32 MILLAIS AND HIS WORKS story otherwise than emphasised by the composition ; and in which the composition is worthy of the handling. " Year Mr. Millais gave forth those terrible nuns in the graveyard" — thus "Mr. Punch" characterised the year 1859. Even Ruskin, denouncing the methods, and admitting, unjustly, as it now appears after the re-painting, the ugliness and " frightfulness " of the figures, was constrained to allow it nobility of horror if horror it was, and the greatness and profundity of the touching sentiment. His charge of crudeness in the painting no longer holds good. Time — that great Old Master to which Millais did homage in act and word — has accomplished the work the artist intended him to do, and it may truly be said that in the new National Gallery of British Art there hangs no more impressive, no more powerful, work than that which shocked the art world of 1859, and proclaimed the secession of the painter from the sectarianism of a few — that Millais had done with the persecution of an unappreciative majority. I have dwelt at so great a length upon the early period of Millais's career because, as I have said, I beheve that the attempt to avoid the affectations of more sophisticated artistic times — a movement which, by the way, had already in a manner been attempted in Germany — and to establish a Protestant artistic creed, not only permitted him to display his liberty of conscience, his hatred of conventionalism, his originality of thought, and, above all, the consciousness of his power, but also to form his character while it trained his hand. Even opponents admitted his inherent sense of style, and respected his incomparable ability, and came at last to see that the school of which he was recognised as a fountain-head and leader was influencing for good the young artistic generation, and, furthermore, was educating the general public who had not yet the wit to appreciate. To follow the artist through his works would in this chapter be unnecessary. To select even the most notable for special mention would be difficult enough ; for during a long series of years Millais's painting maintained an astonishing consistency of excel- 34 MILLAIS AND HIS WORKS lence, and the circumstance of its occasional failure is almost as interesting, noteworthy, and instructive as the oft-repeated success. Nor is it the high level of attainment which constitutes his only, or, indeed, his chief claim to the position he conquered ; it was the universality of his genius in every section of the pictorial arts. He was a dramatist, with the true artist's instinct of leaving his story unfinished, though usually suggested ; his management of colour was unsurpassed in England ; his drawing was irreproachable — subtle, and suggestive, as well as correct and firm ; his line and composition were almost inspired ; his black-and-white has never been excelled ; and his water-colour — in the skilful use of wash, at least — was adequate. Of his hand and materials he was the accomplished master. But more than this must be accorded him. In portraiture, in the representation of landscape, in flower painting, as well as in simple drama — for his tragedy, as in " Mercy : St. Bartholomew's Day," has almost been knowai to descend to melodrama, if not to bathos — in all four he has been supreme. Sympathy with the sea was almost wholly lacking : not that he could not paint water, as, if proof were needed, "A Flood" (1870), " The Sound of Many Waters" (1877), and "Flowing to the Sea" (1872) would testify. The female nude he painted once, and only once, in " The Knight-Errant " (1870), but well enough to give reason for regret that he restrained his brush in this direction. Religious or Biblical painting he indulged in from time to time with originality and sincerity, if not with the high poetical and intellectual insight we demand in such work. But Millais's imagination and invention were not equal to his transcendent powers of brilliant execution, though they could aspire to the illustration of poems in which deUcacy, grace, sweetness, and even passion were required ; as in "The Eve of St. Agnes" (1863), after Keats; "Swallow! Swallow!" (1865), after Tennyson's "Princess;" "Oh, that a dream so long enjoyed" (1872), suggested by " Lalla Rookh ; " and "Pippa" (1885), it may be said with less certainty, after Browning's " Pippa Passes." Still more noticeable is this talent SIR JOHN E. MILLAIS, B.\.RT., P.R..\. 35 when the poem deals with landscape rather than witli incident, as in "Scotch Firs" (1874), which is illustrative of Wordsworth's line, "The silence that is in the lonely wood;" or, "The Deserted Garden" (1875), of Campbell's verse beginning, " \'et wandering, I found in my ruinous walk " -a picture that extortc'd some of Ruskin's most eloquent denunciation, and which, in the rendering of flower and weed and undergrowth, challenges in the most amazingly different manner the " Ophelia," for example, of twenty odd years before. As a landscape-painter — that is to say, as the portrait-painter of landscape — Millais can assuredly be compared, with loss neither of dignity nor place, with the great masters, li\ing and dead. I do not mean to compare him with Turner in the combined glory of artistic knowledge and science of landscape, as I would call it, as well as in the magic of the romantic palette, or \vith the artist-poet who dips at will into Xature's secrets, and reveals her emotions to the world. But as a respectful translator of an actual view, painted simply as it stands — as the mournful " Chill October," or " Murthly Moss, a joyous, luminous rendering of a scene not less difficult to handle — Millais has had no superior in this country. So great, indeed, was his first landscape that those who remembered the manner of his earlier works, and forgot the poetry of others such as "Autumn Leaves," set down the senti ment of "Chill October" to lucky chance. Millais, so to say, could paint the time of day ; he could, moreover, draw a tree as few of his contemporaries could do it; and sky and grass and dew- drenched heather, luminous screen of cloud and tangled under growth — he painted them all not only with love, but with an enthusiasm which he had the happy faculty of imparting to the spectator. It is not only subtlety of eye that made Millais a great colourist ; it was the skill with which, as in the " Yeoman of the Guard " (1877), he would accomplish a tour de force with a blaze of red and gold as if it were the most natural thing in the world ; harmonise the lake and scarlet of a college gown, as in the second c 2 36 MILLAIS AND HIS WORKS Gladstone portrait (1885), now at Christ Church, Oxford; or place spots of violent colour in the middle of a relatively sober picture, as in "The Ornithologist" (1885), so that they quietly take their place and delight the grateful eye. He was a colourist, not so much by selection as by his power of forcing the colours before him into harmony. In estimating the place of Millais in the roll of England's painters, in judging of the services he has rendered to her art, appreciation must beaccorded to theforemost position he took in the creation of that great black-and-white art which to-day satisfies the picture-hunger of the nation more completely and thoroughly than the more elaborate arts of painting and sculpture could hope to do, or ever did. He it was who demanded, and obtained, that finer wood cutting which enabled Mr. Holman Hunt, Fred Walker, Rossetti, Houghton, Charles Keene, and the rest of their fellows, to draw their masterpieces more as they chose upon the block ; so that not only did he, the greatest of them all, head the band of the newly-emanci pated school of wood-draughtsmen of the 'Sixties (for his draughts manship was more brilhant and suggestive than even that of Fred Walker himself), but by the force of his genius and his persistent individuality he helped to revolutionise the art and craft of wood cutting. It was he who drew attention to the fine work being accomplished abroad by Menzel, Meissonier, and a little later, by Alphonse de Neuville ; he who by his work in Once a Week and in the Cornhill (especially " Orley Farm "), seta noble example nobly followed ; he who pleaded with the Royal Commission for a recommendation to the Royal Academy to admit workers in black-and-white to Academical honours. It was justice he pleaded for; the cause was very near his heart, for — a thing somewhat unusual in a born colourist — his love for black-and-white was deep; and had he lived he would, as he told me, have striven hard to bring the Academy to his own enlightened view. The Academy, it may thus be seen, is not alone in having bitter cause to mourn his death. As a portraitist Millais was in his own line supreme. He had SIR JOHN E. MILL. MS, B.VRT., P.R.A. 37 not, perhaps, the mere technical dexterity of a few whom I - ! But some fine things mind voul" He was not a\vare that " vulgarity " was perhaps the worst-chosen word of any to apply to his work, whatever his failure might be. When on the same occasion he declared — what he after wards printed — that he would like half his pictures to go to the bottom of the .Atlantic " if he might choose the half to go," he referred to those which had given him the most worry in their production ; for it is undoubtedly the fact that his ad mitted failures since his Pre-Raphaelite period are precisely those on which he spent most time and trouble. He has told me so a dozen times. " I've painted good pictures and bad ones, too ; but the bad ones ha\e invariably cost me more time and pains than the good ones. I have never knowingly left a picture as finished which I thought I could improve by more work. If only people would remember that to the painter who knows his business there are few things easier than to impart an appearance of high finish and truthfulness of imitation ! " No artist I have known — not even M. Gerome, who, nevertheless, can be very correctly hard upon himself — could judge more freshly and dispassionately of his own work, and speak of it more frankly, whether for good or evil. But not just when it was painted — a little time had to elapse. So he would call in Mr. Wells, R.A., or some other of the painter-friends whom he called his " artistic father-confessors," to point out the faults that might exist in his newly-painted pictures. Such faults are usually only too apparent, though in some cases almost lost in the brilliancy of the merits about them. 42 MILLAIS AND HIS WORKS In Leighton's case it is hard to foretell the verdict of the future — whether his artistic place will be higher or lower than we are now disposed to fix it. In Millais's, I think, there need be little doubt ; for when, in time to come, men of a future generation stand in the Cathedral of St. Paul's beside these two life-long friends whose graves are head to foot, they will point to them, the one as the greatest President, the other as the greatest painter, with whom Britain'' has been endowed since their mighty neighbour and predecessor — the master of them both. Sir Joshua Reynolds — lived and worked and died. Such was Sir John Millais — heartiest, honestest, kindliest among all English gentlemen of his day. He was the big man with the warm heart, which he wore upon his sleeve; plain spoken, straightforward, genial, and affectionate, who rarely said a cruel thing and never did a harsh one ; without a grain of affectation and without a touch of jealousy. Almost to the end his life upon the moors seemed to have kept him for ever young, and their winds to have blown the cobwebs of prejudice from his mind, and every morbid and paltry feeling from his heart. Unspoilt by the extraordinary measure of the well-merited success that attended the development of his genius, he maintained to the last the hearty innocence of a youth, and the high hopes and sanguine optimism of a man at the beginning of life rather than one in the prime and vigour of his later manhood, in the heyday of his fame. The death of Leighton overpowered the nation in the intellectual love they bore him ; the death of Millais plunged us into still profounder grief. We have not had in his case, as in Leighton's, to wait until he died to know how much we loved him. To all he thought worthy of his friendship he gave it unasked, freely and heartily, and something more than friendship came in that warm clasp of the hand, so quick to grip, so slow to loosen. So thoroughly did the greatness of the man match the greatness of the artist — such was his simplicity — that those who knew him mourned in him rather the friend whom they loved than the painter they honoured and admired. SIR JOHN E. MILLAIS, BART., P.R.A. 43 There is little need here to recall the splendid [xrsonality of the artist — the keen sportsman, whose prowess with the gun, tlu' rod, and the long putting deck, and whose spirits, whetlier in the saddle or on foot, commanded the admiration of the many for whom the triumphs of art are a lesser achievement. But as I write, his figure seems to rise before me, shedding that magnetic pleasure round him his presence always brought. He turns to look at me, as he has done a score of times, from his round- backed chair before the great fireplace of the studio. He has discussed the pictures on the easels, ranged twice across the room, in his half-halting, half-explosive, wholly delightful way. His pipe is between his teeth — the beloved briar, more precious than the finest cigar Havana ever rolled. The travelling-cap of tweed, at first raised once or twice as if to ventilate the head, then carelessly replaced, rakishly on one side, is finally thrown on to the table close at hand, and reveals the silver fringing to the splendid head — a hairy nimbus, like a laurel-wreath, lovingly placed by the crowning hand of Time. The strong voice — that was to become, alas, weazened, husky, and inaudible at last — sounds loud and fresh and hearty in my ears ; the powerful, kindly hand is placed with genial roughness on my shoulder ; the smile, so full of charm; the untutored, halting eloquence; the bright, happy, infectious roguery of^the accentuating wink ; the enthusiastic talk on art, now optimistic, now denunciatory of fads and foolishness ; a great jolly Englishman, unaffected as a schoolboy, and as unconscious as a man of genius. I see him as he turns, Anglo- Saxon from skin to core ; sixty and more by the almanack, but fifty by himself ; vigorous and bluff, full of healthy power of body and of mind. I see him, true, straightforward, honest ; staunch as a friend ; hearty, but not vindictive, as a hater ; generous in his blame as in his praise, glowing with enthusiasm for a young painter's success, or flushed with anger at a folly or a wrong. And then he smiles again — that smile of extraordinary sweetness and significance, which ever and anon lights up the handsome face, and strikes the key-note to all that is tender in his Inr Order oi Rrir\^i (iS:, ) {By permissioit of Messrs. Graves and Co.) SIR JOHN E. MILLAIS, BART., P.R.A. 45 work, all that is graceful and lovable in his pictures of passion or of beauty, in woman, man, or child. And then again I see him : little changed ; the kindness of his manner what it ever was, the geniality of his friendship as gentle and cordial as before the cloud had gathered. But it is difficult to hear him now, and the strain of talking is great. He stops in the course of a sentence, and pointing in apology to his throat, he laughingly rounds off the conversational fragment with a knowing side-shake of the head. Once more I see him, forgetful of his dying self, striding off to the hospital to cheer a member of the Academy lying ill — for he is now the President, and father of his flock. Then, he vanishes from sight — to his room of sickness, agony, and death. And word comes out to us of his heroism, his gentleness, his patient suffering, whispered tales of the old white- bearded man, wasted, worn, and dumb, but bright and handsome still — who yet has a warm and lusty grip for the one or two who may say good-bye, and a faint smile of happy greeting that shows he is the old Millais still. And then We are spared the rest. And this is the end of a bright and sunny life — the cruel lining to a cloud of purple and of gold. THE PORTRAITS OF MILLAIS It is curious that of Millais no original portrait exists that can be considered entirely worthy of him, physically and intellectually. He was wholly satisfied with that which he executed of himself on the invitation of the authorities of the great Uffizi Gallery of Florence, and which hangs there now, holding its own with singular power among the auto-portraits of the great masters of the world, from the mighty painters of Italy down to the present day. This likeness is, perhaps, somewhat over-refined in modelling and expression — a little too much the ideal and delicate, rather than the real and robust Millais ; the intellectual side rather than the physical has been insisted on. But apart from this minor objection, the fine self-likeness must be accepted as the most satisfactory of his portraits extant. There is a good copy of it in the Garrick Club. It was executed in 1880 — the year which brought forth from him the portraits of John Bright, Mr. Luther Holden, Bishop Fraser, and Mrs. Perugini. The earliest likeness that we have from a competent hand is that by John Phillip, R.A., as "A Highland Page," executed when the sitter was thirteen years old ; it was disposed of by auction at the Barlow sale a few years ago. This picture was intended as a study for the greater work, " Bruce about to receive the Sacrament on the morning previous to the battle of Bannock- burn" (R.A. 1843). Millais would teU how Phillip (not yet a member of the Royal Academy) entered the life school of the Academy and, looking about among the students, asked the little fellow with the golden head if he would come and sit to him ; which, of course, Millais was delighted to do. A copy of this head in the picture (of which the original is now in the Mechanics' THE PORTRAITS OE MILLAIS 47 Institute at Brechin) was made by Sir George Reid, P.R.S.A., for Millais at his request. Then, in 1850, comes the extjuisite pencil drawing by Charles CoUins, son of Wilkie Collins and son-in-law of Charles^ Dickens, who was elected a Pre-Raphaelite Brother in succession to James Col- linson, but who is best re membered by the public as the author of " A Cruise upon Wheels." It is a full-face portrait, strength ened with a touch of sepia, and admirably drawn. It is included in the Combe Bequest, and has its per manent home in the Uni versity Gallery of Oxford. In the same case there is exhibited Millais's little portrait of Collins, exe cuted in the same year — pure pencil work, and drawn in a manner simi lar to that by Collins, only perhaps with a somewhat firmer touch. In 1853, when Millais had reached the age of twenty-four, Mr. Holman Hunt produced the pencil drawing which appeared in the "Magazine of Art" in 1896. It is a pencil drawing, three- quarters to the right — a little too dark, perhaps, in the eyes and somewhat heavy about the nose — but a striking little head full of energy. In the following year, the sculptor, A. Munro, who was among the brilliant little band who made the famous attempt to embellish the Oxford Union (his work being, naturally, of a sculptural character), exhibited in the Royal Academy a portrait of Millais in bas-relief. John Phillip painted him once more in 1859, a serious work ; and in 1863 Sir Edgar Boehm, R.A. Sir j. E. Millais in 1871. (From the painting by G. F. Watts, R.A.) 48 MILLAIS AND HIS WORKS modelled the statuette which is regarded in some measure as a companion to that which he wrought of Thackeray. In the " Billiard room scene " of the Garrick Club, now hang ing in that institution, Henry O'Neil, A.R.A., has included a head of Millais, which the sitter declared " a thundering good likeness.'' For the well-known collection of portraits of celebrities which Mr. Rudolf Lehmann has devoted a life-time to producing, and which has been published under the title of "Men and Women of the Century," that artist executed, in 1868, a pencil drawing which shows the forehead, always high, now advancing to premature baldness. We have here the Millais of " Stella" and " Vanessa," of " Sisters " and "A Souvenir of Velasquez," just entering into the full maturity of his powers. In 1871, the year of " 'Yes' or 'No'?" and "George Grote," Mr. Watts painted the noble portrait of him here reproduced, which was that selected to represent the sitter in the exhibition of his works at the Grosvenor Gallery in 1886. This portrait, several times seen in public, is perhaps not so much appreciated as it should be, mainly because it is of the Millais of an earlier day rather than of him whom the later generation knew and loved. Then in 1880 came Millais's portrait of himself to which allusion has already been made, and, later on, in 1883, the other little full-face autograph likeness which he executed for the late Mr. Alexander Macdonald, and which is still comprised in the beautiful Kepplestone Collection now belonging to Mrs. Macdonald. For this same collection, but a Httle earher (1880), Sir George Reid painted a small profile portrait-study of his distinguished fellow-artist, which is held by some to be the better likeness. This portrait, which was the initial head in the extensive Kepplestone collection, is the result of two short sittings, when Millais visited Sir George's studio that stood opposite Mr. Macdonald's house, in order to smoke his after-breakfast pipe ; and it bears the initials of the two men, painter and sitter, who made the presentation to their friend. In 1 88 1, or thereabouts, Mr. LesHe Ward made a careful draw ing (for the " Graphic ") of Sir John Millais, which was pubHshed Sir Jnii\ E. Millais, liAni-, P.R.A. (ei.-.r.) (From the Picture iy Frank Holl. R.A., in the /^//¦lom,, Cnlloiy of the A'.mw/ Acntteniy. l:tirj„-.'o,l hy P. .Witiiit.iHii.) 11 50 MILLAIS AND HIS WORKS in that journal; and in 1883 Sir Edgar Boehm modelled the bust vvhich in the Royal Academy Exhibition was selected to dominate the principal room. It was executed at the time when Millais was in the fulness of vigorous activity — when he was at work upon his "John Bright," "J. C. Hook, R.A.," and "Marquis of Salisbury ; " a nd although it is not an altogether satisfactory portrait of the great painter, it is a fine work, doubly welcomed by the Academy when the sculptor deposited it as his contribution to its Diploma Gallery. In .1886 appeared the portrait by Frank Holl, R.A., which was undertaken as that painter's diploma work. It is a fine painting, but has been regarded as showing neither the whole nor the finer side of the master's character. Millais's own words expressed the general feeling : " I know I look a bit of a farmer ; but then I'm also a bit of a poet. And Holl has made me all farmer and no poet ! " Holl himself readily admitted the partial failure of the portrait, even as regards resemblance, for, nervous artist as he was, he felt himself paralysed when painting, under the eye and criticism of the greater man, a picture that was to become historical. It was under a similar disadvan tage that he laboured — an intense self-consciousness — when at Hawarden Castle, in 1888, he painted the portrait of Mr. Glad stone, and felt, as he expressed it to me, " as if I were performing on the slack wire in the sight of the whole world ! " Finally, among leading portraits, there is the superb bust by Mr. Onslow Ford, R.A., the head of which is reproduced in these pages. It is a splendidly decorative work, showing the President in the robes of his office, with the chain and medal across his shoulders, and the Prussian Order, "Pour le Merite,'' about his neck. Although, as may be seen, it was wrought when the shadow of death was already enveloping the painter so that the geniality of the man has given way in some measure to the suggestion of suffering, dominated by the strenuousness of life — it remains, in its finely-observed and lovingly-modelled head, one of the three principal works left to show what manner of man he was. In the Exhibition it was accorded a position in a room by itself, so Tin; i'(5RTK.\!TS OV MU.L.MS ^| placed that it might meet the eye of tlie \iMlor with Its k,vn ,iiul saddened look, as he passed from the contempkUion .if iho master's works. Sir John K. .Millai'-, Lajm., I'.I;..\. (i8ed Sheep" were afterwards worked out, the last-named in water colour. This Fagin-like figure — an enemy, no doubt, but more in the nature of a malignant satyr — malevolent, malefieent, hateful than the Enemy of Man : a malicious rascal who, from want of dignit) , is contemptible and despicable. Tlierefore, although almost a great picture, it falls short of being grand. The landsca|)e, with its saffron gleam of sky through the noisome cloud, is extremely fine; and, with the personification of cunning and malignity in wolf and snake, a work of true imagination. Millais painted this picture and offered it as his Diploma work ; but the Council of the Academy, bUnd to its merits, rejected it : it is said that some saw in it some resemblance to one of the members. Not for three years after did Millais send in the other. (See No. 123.) 15. Stitch, Stitch, Stitch! (1876). .An illustration of Thomas Hood's poem, realizing its pathos, if not aU its misery, in the piteous expression of the face and in the eyelids red with strain of work and wakefulness. The grey scheme of colour well fits the subject, and the silvery quality that pervades it gives it independent artistic value. The model who sat for this figure is the same whom, two years earher, Millais painted in " The North-^^'est Passage.'' 16. Joan of Arc (1865). Of course, a pure anachronism, whether in respect of the type of model or of the armour she wears. Joan is unmistakably a \'ictorian young woman, clothed in a red skirt and a half-suit of steel and chain-mail. But the spirit is eternal — a world of faith, devotion, and strength of purpose is in the face and attitude in this figure kneeling before some shrine as she vows herself to France. The quiet force, the masculine handling, and finely painted flesh claim attention not less than the tenderness of the whole. In the skirt referred to we see the love of solid red skilfully managed in which Millais revelled about this time — beginning with "The White Cockade" (1862 — No. 60) and ending with "The Minuet" (1866 — No. 34). 17. Miss Alcyone Stepney (1880) — first exhibited as "Miss 8o MILLAIS AND HIS WORKS Catherine Muriel Cowell Stepney." Another proof of the painter's comprehension of child-thought, attitude, and expression, and of sympathy with its wondering simplicity and unconscious individuality. A charming figure admirably placed on the canvas ; but the flesh-painting is not in MiUais's better manner, even at the same period. 18. The Martyr of the Solway. Margaret WUson was martyred for her Protestantism in 1680. She was bound to a stake in the Solway Firth and left to die in the rising tide, her agony — which here seems to have resolved itself into resignation — increased by the sight of her fellow-victim, Margaret MacLauchlan. They had been offered their lives, Macaulay tells us, if they would abjure the cause of the insurgent Covenanters and attend Episcopal worship. Her companion, an aged woman of eighty, was placed nearer to the sea, that Margaret Wilson might see her die ; and when this young girl of eighteen was well-nigh drowned, the rising waters choking her as she sang her psalms aloud, she was rescued and offered her life if she would recant. This she indignantly refused to do, and she was taken again into the water and left to die at her stake, in King James the Second's name. Her epitaph is to be seen in Wigton Churchyard, ending thus — " Within the Sea, tied to a Stake, She suffered for Christ Jesus' sake." C. B. Birch, A.R.A., modelled a statue of the same martyr and exhibited it in the Royal Academy, 1889. This picture was presented to the Liverpool Corporation Gallery (the Walker Art Gallery) by Mr. George Holt, in 1895. 19. "Charlie is my Darling" (1864). The spirited and im perious, yet rather uninteresting Scottish lassie, is supposed to be humming the Jacobite song while waiting for her horse. Since MiUais's first visit to Scotland in the early 'Fifties, and subsequent marriage there, he was never tired of painting purely Scottish legends and Scottish landscape. The country lore pleased his taste as well as the Scottish light suited his painting. NOTES ON THE PICTURES IN THE EXHIBITION ,Sl 20. " My Second Sermon " (1863). Supplementary, of course, to "My First Sermon" (No. 26). ^Vhen this picture was brought before the Committee sitting at the Ro\al .Academy in 1S64, it was at first unanimously rejected, on the groui-nl that it was a palpable imitation of " My First Sermon '' that had achieved success the year before — a plagiarism that must be sternly re pressed; for it was not recognized at the time that the picture was the work of the same artist. Miss Effie Millais, now Mrs. James, sat for this work. 21. The Black Brunswicker (1S60). A leave-taking before Waterloo, typifying the love of life and glory of death. The girl strives, ineffectuaUy, to hinder or at least delay the departure of her lover ; he, impatient, is in a hurry to be gone, sharing the grim determination of his cross-and-skullbones regiment to be revenged upon the French for their conduct when in occupation of Brunswick. An admitted pendant to "The Huguenot,'' which had been painted eight years before, but was much inferior to it in dignity and general elevation of conception, it completed Millais's reconciliation with the public — perhaps the more readily for that. Love of imitative detail still distinguished the artist's work — in the green paper that has " crinkled " away from the wall, and in the painting of the white satin dress, which was rapturously received as being the equal of any that Terburg ever wrought; and the skilfulness with which the little dog is rendered, that adds its supplications to its mistress's, helped to set upon the work the seal of popular approval. The bold colours — the green of the wall, the purple of the man's cloak, the brown of the door, and the red in the velvet bows of the lady's dress fall into a powerful harmony. Mrs. C. E. Perugini — Charles Dickens's younger daughter Kate, still welcomed on the walls of the Royal Academy — sat for the girl ; the man, whose big head and small face are not altogether pleasing, even as a type of a Black Brunswicker, was a professional model. 22. Asleep (1867). (Correct title "Sleeping.") Remarkable 82 MILLAIS AND HIS WORKS not only for the charmingly painted study of a pretty child's face, but chiefly for the triumphantly executed exercise in tone and texture in the white coverings of the bed. It is a portrait of the artist's daughter. Miss Alice Caroline MiUais. 23. Lorenzo and Isabella (1849). (Commonly known as " Isabella," and more famUiarly as " The Kick.") Suddenly leaving aside the canvases which he had upon the easel in 1848 — when the Pre-Raphaelite Brotherhood was established — Millais planned this work in November and carried it on, in Mr. Holman Hunt's words, " at a pace beyond all calculation.'' This picture, founded upon Keats's poetical paraphrase of Boccaccios's story, is a landmark in English Art, and the visible foundation and starting point of a movement which ended in revolution. Mr. Hunt calls it " the most wonderful picture in the world " for any lad under twenty. When it was exhibited the following quotation from the ist and the 2 ist stanzas of "Isabella, or the Pot of Basil" appeared in the catalogue — " Fair Isabel, poor simple Isabel ! Lorenzo, a young palmer in Love's eye ! They could not in the self-same mansion dwell Without some stir of heart, some malady ; They could not sit at meals but feel how well It soothed each to be the other by ; * * * * ' ' These brethren having found by many signs What love Lorenzo for their sister had. And how she loved him too, each unconfines His bitter thoughts to other, well-nigh mad That he, the servant of their trade designs, Should in their sister's love be blithe and glad When 'twas their plan to coax her by degrees To some high noble and his olive-trees." The plaintive story which, under the influence of Rossetti, Millais selected for his first trumpet-blast, illustrates the enthusiasm with which he threw himself into the spirit of this Anglo-Italian renais sance and showed British art of the 'Forties how ascetic and Joan of Akl. ('1865) {Bv peritiissio'i of Sir Cuthberl Qitiitcr, Bart., M.I'.) 84 MILLAIS AND HIS WORKS , gothic an Englishman could be. We see the ill-fated loves of Isabella and the trade-assistant of her brothers, who, fitting opposite, watch with rage how tenderly she takes the orange — the symbolically blood-red orange — that Lorenzo has cut for her. The one in his idle rage cracks a nut as he willingly would crack Lorenzo's head, upsets the salt, and viciously kicks at the gentle greyhound that his sister fondles. The other looks with treacherous smile across his wine-glass, a man to whom the " serpent's whine " is natural ; and the third watches too, with well-restrained anger; while the nurse — "an aged dame" — observes with apprehension and foreboding the violence of the eldest and most demonstrative " money-bag.'' The ingenious composition, recalling in a measure one of Veronese's " Feasts,'' is supported by the excellence of colour, fine execution, and extraordinary finish, which attains its highest perfection, perhaps, in the head of Isabella. The drawing is as certain and as pure as Holbein's, and far less hard than at first sight appears. There are passages of colour — such as the green cover to the kicker's chair — worthy of Van Eyck. The characteristic at which the painter expressly aimed was precisely that which most offended the public of the day : the heads, in accordance with the tenets of Pre-Raphaelitism, were actual portraits, and not models selected and adapted, Post- Raphaelite fashion, to the characters represented. Yet there was not blind imitation, absolute transcription of the model with all his peculiarities : for example, the portrait of Dante Rossetti, the furthest figure on the right, is given with black hair to suit the picture ; but he was reaUy fair. Yet the portraits are all striking. Isabella is a likeness of Mrs. Hodgkinson (who died recently — the wife of MiUais's half-brother) ; Lorenzo is partly Mr. William Rossetti and partly C. Compton ; the man wiping his lips is MiUais's father ; he peeUng an apple is W. Hugh Fenn (see No. 4); he in the act of drinking, Dante Rossetti; the kicking " money-bag " is John Harris, then a student at the Royal Academy ; his brother has been said to be Mr. F. G. Stephens, NOTES ON THE PICTURES IN THE EXHIBITION 85 P.-R.B., and for many years art-critic of the '' Athenteum," but this, I believe, is an error ; his neighbour is William Bell Scott ; while the serving-man is Mr. A\' right, an architect he, probably, who contributed to the Academy of 1854. It looks, no doubt, a little odd in the composition that the line of guests on the right-hand of the table should be so extended, and on the left so restricted. For further symbolism the hawk tearing the feather on the back of the " money-bag's " chair may be observed ; and for skill in painting, the maiolica of the dessert plates on the table. Isabella's figure and especially her head and head-dress, as well as other of the costumes in this picture and the general suggestion of stiffness of pose, are based, as has already been said, on the plates by Mercuri in Bonnard's book of Costume — the publication of which aroused so much enthusiasm among the Brotherhood. IsabeUa is the Beatrix d'Este (Plate 55) just as that of the Contessa di Cellari, in Luini's picture in the Church of S. Maurizio gave Rossetti his superb figure of the chief lady in his " Borgia Family." The critics said that the Millais picture looked as if it had been "passed through a mangle" — with what result will be seen when " The Carpenter's Shop " is discussed. 24. Just Awake (1867). (Correct title " Waking.") Companion picture to No. 22, and a portrait of Miss Mary Millais; and in respect to the figure not nearly so good a work, although the study of whites and of texture is hardly less remarkable. 25. The Order of Release, 1746 (1853). (Not " 1745 " as in Official Catalogue ; in the original catalogue the date was mis printed 165 1.) The picture which, after " The Vale of Rest" and " The Eve of St. Agnes," was Millais's own favourite. This drama deeply stirred many even of those who could not enjoy the technique ; but the critics would have none of it, for they objected to the photographic realism they could not understand the motive for, although some admitted that the picture was saved by its colour. Yet the painting of the legs of the ill- favoured — yet, as Mr. Andrew Lang bears witness, charac- 86 MILLAIS AND HIS WORKS teristic — " Hieland " chUd, of the steel keys with the rust upon them, and of the faded primroses that the child lets fall, and above all the fine rendering of the exultant collie, could not be denied. What most troubled them was the fact that the gaoler, who so suspiciously examines the order of release, has let his prisoner out before the paper is delivered to him, and that in the ugly child there was no concession to public sentiment ; and these con siderations left no room for admiration for the quiet smile of intense triumph so finely rendered on the face of the woman — an undemonstrative yet profound joy, in sharp contrast with her husband's unstrung outburst. Lady Millais, who was two years afterwards to become his wife, good-naturedly stood for the woman, and it is one of the best portraits ever executed of her. So great was Millais's passion for accuracy that he obtained a genuine order of release signed by Sir Hildegrave Turner when during the war he was Governor of Elizabeth Castle in Jersey, and so faith fully did he copy it that the late Colonel Turner, the Governor's son, who knew nothing of the matter, recognized with surprise his father's signature in the picture as he walked through the gallery in which it was exhibited. For this picture the artist was paid ;^4oo at the Royal Academy — at that time considered one of the highest prices given for a modern painting. 26. My First Sermon (1863). Portrait of Miss Effie Millais (Mrs. James). Here Millais was in entire concord with the public taste, and the picture, along with " The Eve of St. Agnes," secured his election as full Academician seven months later. The feeling for child life, charmingly convincing though it is, even^the tact with which the artist has avoided the commonplace, are not so striking a feature as the treatment of the strong colour with force yet with characteristic restraint. This is another of the red-dress pictures to which allusion has been made under No. 16. 27. The Love of James I. of Scotland (1859). When, in 1406, King James was being sent while yet a child to the Court of France where he was to receive his education, he was captured, and imprisoned in England for nearly twenty years. Jane NOTES ON THE PICTURES IN THE EXHIBITION S7 Beaufort, the Earl of Somerset's daughter and cousin to Henry \'., fell in love with him and sought to lighten with her affection the days of his captivity. It is open to doubt whether James, who was so brUliantly educated during his incarceration in this country, was ever confined so like a criminal in a broken-down gaol as to be approachable only in the manner depicted by Sir John. The colour — the pure blue of the lady's dress the dominant note — is as strong, and the handling as incisive as ever ; but the picture can hardly he considered among Millais's most successful efforts. In spite of passages of great beauty, the picture is not an attractive one. 28. Head of a Girl (1S57). Fine execution and incisive draughtsmanship, closer perhaps to the workmanship of Mr. Holman Hunt than any other picture in the gallery. It is a portrait of the painter's sister-in-law. Miss Gray, afterwards Mrs. Stibbard. 29. The Conjuror (1864). A sketch made in the year of his Academicianship for a picture never carried out. Extremely facile in composition, revealing a new side to the artist's character ; but the colour is hot and disagreeable. 30. The Ranso-m (1862). One of the few elaborate figure compositions of the painter. The story is manifest enough, but except in the touching attitudes and figures of the two little girls the drama is unmoving and unconvincing : almost as much of a " costume-piece " as the " Mercy " stiU at Millbank. More over the figures seem too big for the frame, so that they appear like actors on a drawing-room stage. But the painting is superb, with just as much Pre-Raphaelitism left in as may fill it with the interest which otherwise, save for the children, we might not feel for it. There is a suggestion about it of the work of Baron Leys which is extremely agreeable. Millais did not care for it ; he referred to it as " the picture with the dreadful blue-and-white page in the corner." 32. Portrait of a Gentleman and His Grandchild (1849). The infinite patience and imitative skill in draughtsmanship, the 88 MILLAIS AND HIS WORKS brilliancy of execution and the power of reproducing the bright ness of sunlight have manifestly been acquired before the lesson had been learned of harmonious effect and of subordinating the parts to the whole. This portrait of Mr. Wyatt, the print- and picture-dealer and frame-maker of Oxford, who died in 1853, is unflinchingly true, and as matter-of-fact, despite its character, as the flowers in the room and in the garden, or the family china in the case behind him. It has all been set down with pitiless and remorseless solicitude. The quaint little Dutch doll-like child has received the painter's most earnest attention, and the head of Mr. Wyatt has been stippled up as carefully as that of Mt. Combe, at Oxford. G.VLLERY II 33. The Woodman's Daughter (185 i). This charming illustration of the earlier verses of Coventry Patmore in his story of Gerald the Woodman and "poor Maud" his daughter, gives no hint of the climax of the poem, that points the moral of the incompatibility of class and class. But the picture, like so many others, was received with derision and none would buy until the late Mr. Hodgkinson acquired it, and in the end bequeathed it to Sir John Millais for an heirloom in his family. It is unnecessary to draw attention to the exquisite quality of the painting, to the extreme industry, loving care, truth, and delicacy that pervade it. In the drawing and modelling of every leaf, each has character of its own ; even the strawberries painted conscien tiously from fruit which was purchased from Covent Garden at some fabulous price in the month of March, and, after first serv ing as models, was then eaten with proper respect and due grati tude and devotion. Throughout the canvas we have actual fact prettily seen and tenderly and passionately, if not profoundly, recorded ; no Fleming or Dutchman ever surpassed it. For symbolism we have the bird's feathers at the boy's foot to compare with the hawk tearing a feather in " IsabeUa," and the cat with the bird in Mr. Holman Hunt's "Awakening Conscience." The landscape is the finest Millais had yet executed, and with its thoroughly understood trees and bold glimpse of sky and cloud added emphasis to the painter's indi viduality in his -view of nature. The head of the girl (at one time voted "ugly") was unfortunately re-painted by the artist in 1886 — after an interval of thirty-five years — as well as the arm, boots, and parts of the frock, which also has been lengthened behind ; with what disastrous consequence all may see. This picture was begun while "The Carpenter's Shop" was on the easel. go MILLAIS AND HIS WORKS 34. The Minuet (1866). A portrait of Miss Effie Millais (Mrs. James). A little girl in red — a colour more subdued than in red-dress series (see No. 16) — in gown of the Queen Anne period, is prepared with a full sense of responsibility to step the stately measure which, according to Adam Smith was introduced from the Moors, or, in the opinion of Hawkins, from the Poitevins. One of the painter's " prettiest " pictures, it is also among his best. 35. Esther (1865). The most modernly treated of Millais's early works. The queen, who has "put on her royal apparel" appears to have donned an Oriental robe, more consonant in its strong harmony with the audacious brilliancy in vogue at the present day than with the more solid strength of forty years ago : a dress evidently painted rather for the sake of its glory of colour than for that of the woman it decks. 36. "Swallow! Swallow !" (1864). It may well be doubted whether the artist was as much interested in painting this picture as in making the water-colour (see No. 207) from which it was wrought. There is a heaviness about it which, it must be ad mitted, is to be seen in other paintings of this year (but not in the " Leisure Hours "), and not apparent in Millais's other work immediately before and after. To the line from Tennyson's " Princess," "TeU her — teU her — that I foUow thee" (which is the motto of the picture), excellent point is given by showing that the maiden's love is not more patient than the lover's. Mrs. Stibbard, when Miss Gray, the painter's sister-in-law, sat for this figure. 37. John Hare, Esq. (1893). Friend of the painter. Though brown in the flesh-tints and not quite true in the lines of the face, it is nevertheless a good likeness of the distinguished actor — thanks to the subtlety of the expression. It was the best picture of a bad year. 38. Autumn Leaves (1856). In most respects Millais's chief early masterpiece. Even before it was finished Ford Madox Brown pronounced it " the finest in painting and colour he has yet done, but the subject somewhat without purpose and looking like portraits," and when it was exhibited Ruskin declared, what Till MiM hi (i t'.y /¦o'lttti^ion of .\loti^r>t. ( ', t : anil Co.) •92 MILLAIS AND HIS WORKS aU have since endorsed — "it wiU rank in the future among the world's masterpieces." Mr. Lang has expressed the truth that most wUl feel when he says that " you can hear the whisper of nature in the twilight." This burning of autumn leaves and piling on of more, is in the •completest poetical harmony with the scene, the landscape, and the evening time. MiUais has shown here how he can paint the time of day and render it to perfection. Those who ought to have known better objected that the picture told them no story, as if poetry, colour, sentiment, and composition were not enough. It ¦shows us the effect of the poetry of landscape upon this simply yet ¦exquisitely placed group of rather plain children — the solemnity that is upon them as much as on the scene — even while the painter •draws and models every leaf with perfect truth and beauty, and places it there, a subdued glory. If all this be not story enough, there is the contrast between these young children in the spring of life burning at sundown the sere and yellow leaf, while " the glow within the darkness that all can see adds a significance which all must feel." This picture, which was painted at Annat Lodge, Perth, was the fount of inspiration of Mason and Fred Walker. It was ex- •ecuted, strange to say, in the same year as the wholly unpoetical " Peace Concluded," and in both of them may be seen some failure of medium or pigment (? violet-madder) in the shadows. In " Autumn Leaves " this is unfortunately most noticeable in the face of the right-hand child. The two taller girls were Millais's little sisters-in-law, afterwards Mrs. Stibbard and Mrs. Caird ; the others were the gardener's children. Mr. Stuart Taylor tells the following story of the disposal of the painting : " When the picture reached Mr. Eden of Lytham he 'disliked it and asked the painter to take it back ; but his mother, Mrs. Millais, said this was impossible. He was then told to sit opposite to it when at dinner for some months. and he would learn to like it. He tried this, but, alas, disliked it more and more. One day a friend — I think Mr. Miller of Preston " [this is possibly NOTES OX THE PICTURES IN TIIE EXHIBITION 93. a mistake for Mr. J. Leathart] "called, saw the picture, w;is enchanted, and said : ' Eden, I will give you any three of my pictures for " Autumn Leaves." ' ' .\s you are a great friend,' said Eden, 'you shall have it ;' and so the picture changed hands." 39. A Widow's Mite (1870). Painted when Millais was living at Cromwell Place South, not far from the Hospital for Con sumption, in honour of which institution, in some degree, this picture was produced. The same model sat in the previous year for "The Gambler's Wife.'' Lord Leighton said that this was the best female head Millais ever painted. 40. Mrs. Charles Stuart Wortley (1887). Portrait of the artist's daughter Alice Caroline, painted on the occasion of her marriage. A picture notable for its appearance of brilliant summariness. 43. "The little speedwell's darling blue" (1892). The title in the Official Catalogue would suggest that the child's name was " Little Speedwell." The title has reference only to the flower as in the Hne in " In Memoriam " from which it is quoted : " Bring orchis, bring the foxglove spire. The little speedwell's darling blue, Deep tulips fljished with fiery dew. Laburnums, dripping-wells of fire." MiUais was hard put to it to find a title for the picture. " Not ' Forget-me-not,' " he said hurriedly ; " I don't care for it. Be sides, I've named one picture so already." It is for the grace and delicacy of the drawing and the silveriness of the colour that this picture is so highly esteemed among admirers of the artist's latest work. 44. Olivia (1882). The sentiment of sadness has been well conveyed in this fancy-portrait of Goldsmith's heroine. The picture is vigorously drawn ; but it is somewhat heavy and is certainly not among the painter's successful presentments of female beauty. 45. The Proscribed Royalist, 1651 (1853). This drama admits of several interpretations. It is the daughter succouring 94 MILLAIS AND HIS WORKS the father — the mistress her lover — the sister her brother — in that reign of terror when to harbour a Cavalier meant condemnation, when every rustle of leaf or squirrel sounded like a footfall, and the shadow of every branch seemed like that of a man — of a spy. The wonderful strength of light and justness of the shadow, the grey and mossy bark of the tree, the carpet of last . year's leaves that strew the ground, the woe-begone countenance ofthe grateful Royalist in hiding, the natural attitude of the brave yet timid girl as she turns in anxious dread, and the rich enamel-like colour of her stiff satin dress, all testify to the strength of the painter. Mr. Arthur Hughes, the artist and what I may call the Pre-Raphaelite Foster-brother, sat for the man on whose head a price is set ; and Miss Ryan, a pro fessional model, who appears also in "The Huguenot," posed for the lady. The scene is in Hayes Common, Kent, close to the Vidler's Arms for which Millais painted his signboard. His other picture of the same year was " The Order of Release." 46. Bishop Fraser (1880). A finely-painted portrait of the Bishop, presented to him by his friends on the occasion of his marriage. It was exhibited in the following year. 47. Sir Isumbras at the Ford (1857). (Originally exhibited with, as first title, the no-w supplementary one, " A Dream of the Past.") The picture represents an aged knight in gilded armour who has shown the true chivalry of kindness and pity by carrying the woodman's children across the ford upon his charger. The storm that the picture raised differed from all the other storms, inasmuch as Ruskin was now among the severest ofthe critics. It was objected that the picture was essentially insincere and sought to consecrate bogus romance because the quoted verses that accompanied the title in the catalogue did not form jDart of the genuine metrical romance as they pretended, being written for the occasion by Tom Taylor. As Ruskin put it : " it is not merely FaU — it is Catastrophe ; not merely a loss of power but a reversal of principle ; " while the verses are, " a clever mystification by one of the artist's friends Just Aw.m-: i- ( > -> (i>r " tl'ci/.'in^.' By feriiiission of Mc 96 MILLAIS AND HIS WORKS written chiefly with the view of guarding the awkward horse against criticism ... I am not sure whether the bitterest enemies of Pre-Raphaelitism have yet accused it of expecting to cover its errors by describing them in bad English.'' And there are other objections. The head is not so much that of a warrior as of a modern tradesman, kindly and garrulous, for all the bright intelligence in the eyes. The horse is still too small, although the neck was greatly widened, and too much of a silhouette ; there is no for ward motion, no splashing and no movement of the hind leg to correspond with that of the forward one. There is twUight behind and broad daylight in front, and the light reflected in the water, even after the re-painting, is brighter than that in the sky. And the result of it all ? The picture remains one of the most splendid, imaginative, and impressive works that Millais ever painted, and yet with a fine appreciation of "values." It is, I think, the most decorative of them all, with a more formal sense of design than any other. In this respect it answers at once half the objections advanced against it. As for the horse, Millais re-painted it when the picture came back from the Academy, and again at the time of its exhibiton at the Grosvenor Gallery, and added also the heavy trappings on it in order to please the owner, Mr. Benson, so that its faults are now relatively unnoticeable. " Ruskin said it was not a failure but a fiasco," said Millais once ; " so I kicked it over in a passion. The hole is there now." There can be no question that the landscape-background in this picture excels that of every other in the gaUery, with the possible exception of that much less ambitious one in " Autumn Leaves." It is perhaps his finest landscape. It .was painted at Annat Lodge, close to Waukmill Ferry, on the Tay, about four miles below Perth. The boy who holds on behind is the artist's son, and the girl who looks up in wondering awe, is Miss Gray, afterwards Mrs. Stibbard. 48. The Duchess of Westminster (1882). The second Duchess of Westminster whom MiUais painted. This picture is in the front rank of his female portraits — elegant, in excellent taste. NOTES ON THE PICTURES IN THE EXIIIBITIOX 97 dignified, and graceful, the portrait of this lady is shown as one of the ittiy ievi grandes dames who have been created by his brush. It is full of life and sweetness, and is as well and delicately painted as it is charmingly presented. 49. The Esc-\pe of a Heretic, 1559 (1857). The powerful drama is injured by the ijuality of ugliness already referred to. A lover to save his mistress from the terrors of the Inquisitional stake, has disguised himself as a monk, bound and gagged the friar with his own cord and beads, ready to stab him if need be, and throwing the cloak which he has brought over the hideous gaberdine of the aiito-defi with a portentous " Hush ! " hurries her towards the free and open country that we see through the window. But his attitude, the spread of his legs, like the facial expression, are exaggerated, and we resent the indiscretion, intro duced for story-telUng purpose, of allowing so many inches of embroidered doublet-sleeve and lace to appear below his monk's frock. Yet, had there been all beauty instead of this flavouring of ugliness, the picture might have sunk into a mere genre picture without vigour. In this work — for which the artist's brother sat for the rescuer — there is plainly visible the influence of Ford Madox Brown. 51. Sketch for the Eve of St. Agnes (1863). A sketch almost as beautiful (except in quaHty of moonlight colour) as the figure in the picture (see No. 132), more simple and quite as dignified. 53. The Girlhood of St. Theresa (1893). The Hnes in " Middlemarch " showing how the little girl walked forth one morn ing with her smaller brother, intent on seeking martyrdom in the country of the Moors, were not fitted to the picture ; they sug gested it. The child here is clearly afflicted with religious mania, while her brother is indifferent to everything but the merits of his orange. One of the poor pictures of an uninspired year. 54. The Gambler's Wife (1869). A masterpiece, painted with extraordinary success. This tall woman, now passk, handles the cards wearily, with a reserved curiosity at the fascination G 98 MILLAIS AND HIS WORKS they exert, or perhaps with an interest in the chances of com bination which she half seems to be calculating or guessing. One of MiUais's finest examples of technique and, especially, of breadth. The same model sat for " The Widow's Mite " (39). 55. John Ruskin, Esq. (1854). This portrait of the great art-critic and political economist standing by the Fall of Glenfinlas was painted when the young author had gone to Scotland to deliver his " Lectures on Architecture and Painting." He stands bare-headed, reverently before nature, by the little cataract that rushes and dances down the " grey-white valley " to Loch Lomond. With rare conscientiousness Millais has rendered every detail in the scene, so that the geologist cannot find a flaw in his rocks, or a botanist mistake lichen, plant, or flower. This is almost the last of the more accentuated P.-R.B. pictures, and shows perhaps the highest point to which his manual dexterity and subtlety attained ; and proves, moreover, in its condition, how pure painting can defy Time itself. Ruskin himself made a similarly elaborate water-colour drawing of the background, which was of service to Millais in working out the picture. 56. The Blind Girl (1856). The most luminous with bright golden light of all Millais's works, and for that reason the more deeply pathetic in relation to the subject. Madox Brown was right when he called it "a religious picture and a glorious one," for God's bow is in the sky, doubly, a sign of divine promise specially significant to the blind. Rossetti called it " one of the most touching and perfect things I know," and the Liverpool Academy endorsed his opinion by awarding to it their annual prize, although the public generally favoured Abraham Solomon's "Waiting for the Verdict.'' The scene here depicted is Winchilsea, little changed even now through forty years. Sunlight seems to issue from the picture, and bathes the blind girl, blind alike to its glow, to the beauties of the symbolic butterfly that has settled upon her, and to the token in the sky. The main rainbow is doubtless too strong and solid. Millais himself told the story of how, not knowing that the second rainbow is not really a "double " NOTES ON THE PICTURES IN THE EXHIBITION 99 one, but only a reflection of the first, he did not reverse the order of its colours as he should have done, and how, when it was pointed out to him, he put the matter right, and was duly feed for so doing. But the error is a common one ; I have seen it in pictures by Troyon and others, students of nature all their lives, who yet never had accurately observed. The precision of handling is as remarkable as ever, and the surrounding collection of birds and beasts evince extraordinary draughtsmanship. 67. Christ in the House of His Parents (1849), better known as "The Carpenter's Shop," was exhibited in 1850 with no other title than the quotation — " And one shall say unto him, ' What are these wounds in thine hands ' ? Then shall he answer, 'Those with which I was wounded in the house of my friends.' Zechariah xiii. 6." On the appearance of this picture the adverse criticism which had been so abundantly meted out the year before to " Isabella," was repeated with vigour intensified by the charge of outrage and almost of blasphemy that was brought against it. Even Charles Dickens (whose exquisite profile after death — the truest and most sympathetic portrait ever done of him — appears in the Exhibition, No. 193) — denounced it in a leading article in " Household Words," as mean, odious, revolting, and repulsive ; and what was worse, he ridiculed it. But the time came when his opinion changed, and he became one of Millais's chief admirers and most cordial friends. The revolt was at the conception that Christ's parents should be represented in a carpenter's shop — St. Joseph working like a com mon artizan at a bench; and the Virgin depicted otherwise than as the traditional lady of ideal beauty so violated the feelings of public and critics alike, that the beauty of the art passed unrecog nised and unapplauded. The Virgin was twenty years too old, and St. Anne was an old ill-favoured woman ; so that neither the expression and the beauty of St. John nor the winsome innocence of the face and attitude of Christ made any appeal to the feelings of the angry public. The significance of the symbols passed undetected : the flock g 2 100 MILLAIS xVND HIS WORKS without a shepherd advancing to the house to look for such a one, the dove brooding over the family, St. Anne advancing with pincers in the vain hope of withdrawing the ill-omened nail, the drop of blood that has fallen from the Child's hand to the foot, A Flood. (1870) (By permission of Jlfr. Art/ini Lucas.) especially the anguish of the Mother in the agony of prescience — these things were all ignored. And the picture was attacked as no other picture in the century has been attacked — for M. Verestchagin's persecution in 1886 bore no resemblance, save in motif, to that to which Millais was exposed. The wonderful imitative realism in the painting of the accessories, the shavings on the floor, the waterbowl, the apprentice's w-aist-cloth, the triumphant draughtsmanship, and above all, the earnest view, if quaint and novel, that Millais took of the Great Tragedy can now NOTES ON THE PICTURES IN TIIE EXHIBITION loi be appreciated. But it is to be noted that while defending the picture at the time of its exhibition, Ruskin considered it but an elementary work in the great artistic revival that was proceeding. MUlais has here forestalled Fritz von Uhde and Tissot in the revival of the attempt to bring the essential idea of sacred subjects before modern spectators in present-day garb, or at least in the modern, as opposed to the traditional and conventional, spirit of his own day. The principle has since been adopted -with various intentions by others, among whom some, such as M. B^raud, seem to have done their best to discredit it. The charge of " flatness — as though it had been passed through a mangle'' which had been brought against "Lorenzo and Isabella," had so stirred Millais that he resolved to produce in his next work — that now under consideration- — a picture in which light and shade and pronounced projection should confound his critics. This was the motive — so Rossetti told Mr. J. R. Clayton, who was for a time in the " Circle " — of Millais's sudden change of manner. The picture was commissioned by a dealer for .:^2 5o, and, being so heartily damned by the critics, remained unsold in his possession for a considerable period. This Mr. Farrar had pro found confidence in Millais and in his picture, and defiantly pasted? on 'to the back of the canvas all the hostile criticisms on which he could lay hands. About the year 1878 it was retouched and added to by the painter in some important, though minor particulars. There is a small replica of the work executed by Mrs. Solomon and touched upon by Millais in the Bethnal Green Museum. 58. Ferdinand lured BY Ariel (1849). This is as original an interpretation of Shakespeare as is "The Carpenter's Shop "of the Gospel. Ferdinand hears the music of Ariel, who pushes back his hat the better to sing into his ear, and of his attendant band of goblin-bats on whose backs he flies and with whom he fills the island with its voices— and the young prince steadies his hat upon his head. The little gossamer sprites hover in the air Hke dragon flies, and like them (and chameleons) assume the pre- 102 MILLAIS AND HIS WORKS vailing colour — in this case that of the green-wood glade — in -which they flit about. It is not exactly an illustration of Shakespeare's text as most of us realise it, but it may be considered a poetic distortion, or even an amplification, of the bard's conception. Ferdinand is a portrait of Mr. F. G. Stephens, the P.-R. Brother. The head was actually painted in a single sitting (helped by a preliminary pencil sketch upon paper) ; and it is remembered that, exhausted as were the two men after an absolutely silent sitting of five hours, strong tea was the only restorative. The picture and its execution are interesting throughout : the gold on the collar that reminds one of the practice of Perugino and the quattrocentists ; the extreme observation and care in the design and rendering of the bewildering maze of interlacing boughs, the modelling and painting of the leaves and grass everywhere drawn with keen inteUigence ; the exquisite study of the robin on the left, and of the two basking lizards among the fungus-growth on the right — these are precious details that demand close examination. The scheme of colour is cool ; Millais gives here no idea of the forceful palette of " Mariana " and " The Woodman's Daughter " of two years later. Humiliating disappointment attended the completion of the picture. The dealer who commissioned it on the understanding that " he would take it if he liked it," declined to accept it : a grave occurrence for the Millais family ; but a friend brought Mr. Richard Ellison to see it-^he who presented his great collection of water-colours to the South Kensington Museum — and he generously acquired it for .;^iSo, being more than the sum that was asked. 59. A Random Shot (1855), originally caUed "L'Enfant du Regiment.'' If Dante Rossetti was not mistaken the picture was designed at first as a " Church beseiged in Cromwell's time." If so, the subject was altered to an incident of the French Revolution, when the injured child, struck by a chance shot has sobbed herself to sleep, covered by a soldier's coat, on the alabaster tomb of the Knight Gervaise Allard. The picture was painted at Winchilsea, where " The Blind Girl " was worked out NOTES ON THE PICTURES IN TIIE EXHIBITION 103 the following year, and where Thackeray joined the artist and occupied the time by writing " Denis Duval." 60. The White Cockade (1862). For grace and elegance unsurpassed by Millais at this period; and in colour, "like molten jewels," one of his most brilliant works. This is one of the several pictures in which Millais declared his sympathy — romantic, of course, not therefore political — with the Jacobites, " The Order of Release," " Charlie is my Darling," and " Diana Vernon." 61. The Huguenot (1852). The title and e.xplanatory quota tion first appearing in the catalogue, are as follows : " A Huguenot, on St. Bartholomew's Day, refusing to shield himself from danger by wearing the Roman Catholic badge." — (See The Protestant Reformation in France, Vol II. , p. 352). " When the clock of the Palais de Justice shall sound upon the great bell at daybreak, then each good Catholic must bind a strip of white linen round his arm, and place a fair white cross in his cap." {The Order of the Due de Guise.) This intellectual achievement, the exquisite tenderness on the girl's face of pleading solicitude, and on the man's, of grateful reassurance and noble self-confidence — even this work, now and for years past so profoundly popular, did not at first please the public or its representatives. " It was received with condem nation," said Millais : "Tom Taylor was an exception — he gave me a splendid notice in 'Punch'." (This tribute of boldly en thusiastic praise may be read in "Punch," ist vol. for 1852, pp. 216-217.) Ignorant of the symboHsm ofthe nasturtium, .some critics objected to it, as " nasturtiums do not blossom in August " — which they do ; and others complained that there was not enough aerial perspective to show tbe figures in relief against the wall. To these Ruskin scornfully pointed out (in " The Stones of Venice ") that " had it been correctly given (as indeed I believe it was) it would have amounted to the -y^soooth, or less than the 15,000th part of the depth of any given colour " — so short was the distance. The extraordinary detail, yet masterly breadth, with which the old 104 MILLAIS AND HIS WORKS wall and its growths are painted, and the accurate drawing of the background of leaves (Hke those in Madox Brown's " Stages of Cruelty ") militate in no way against the general effect. General Lemprifere of Roselle in Jersey, whose family was always extremely intimate with that of the Millais, sat for the lover, while for the girl. Miss Ryan (the professional model of the " Proscribed Royalist ") was employed ; but the face was considera bly modified in the painting. The picture was painted for D. T. White, the dealer, for ;^i5o, who paid off the debt in instalments, adding ^^50 in consideration of the success of the engraving.. Mr. QuUter states ("Preferences," p. 50), that according to Mr. Holman Hunt, Millais at first thought of making these two lovers represent the Wars of the Roses, one plucking a red and the other a white flower ; but that a visit to the opera to hear " The Huguenots," modified his plan. Tennyson declared that he greatly preferred this picture to the " Ophelia " of the same year. 62. Mariana in the Moated Grange (1851). This is a triumph of technique and beautiful colour, but not of passion — it is a Rossettian subject without the Rossettian emotion. The general quotation from Tennyson attached to it was : She only said " My life is dreary — He cometh not," she said ; She said, " I am aweary, aweary — I would that I were dead ! " There is sensuousness of form and pose : and it is difficult to say how sickening weariness of heart, or the aching of a long-bent back, can be more suggestively and completely expressed. Imag ination is here in plenty, but not feeling ; besides, the colour is surely too strong and gay to be quite in harmony with the subject. The lines specially illustrated are these : All day within the dreamy house. The doors upo'n their hinges creak'd ; The blue fly sung in the pane ; the mouse Behind the mouldering wainscot shriek'd, Or from the crevice peer'd about. NOTES ON THE PICTURES IN THE EXHIBITION 105 .... but most .she loathed the hour When the Ihick-moted sunbeam lay Athwart the chanibers, and the da)- \Vas sloping toward his western licnvor. It is curious to see, in a picture revealing such wonderful drawing and observation — as in the miraculous bit of natural history in the pose and character of the mouse on the floor — in the significance of the armorial bearings in the window (a snow drop with "/';/ catlo quies"), that the light cast upon the rather uninteresting up-turned face is wholly unmodified white falling from above, though it is supposed to filter through the stained- glass. Ruskin was glad to see ("Times," May 13th, 1851) that "his lady in blue is heartily tired of her painted window and idolatrous toilet-table " [in reality, an embroidery frame], but maintained generally that since the days of Diirer, as studies of drapery and details, nothing so earnest and complete had been achieved in art. That judgment as regards execution will hardly be reversed to-day. And afterwards he added, with delighful in consequence, that had Millais " painted Mariana at work in an unmoated grange instead of idle in a moated one, it had been more to the purpose, whether of Art or Life." But how, then, as to the poem ? It should be added that in 1857 Millais produced a design of the same subject, but utterly different in every respect, for Moxon's lUustrated edition of Tennyson's poems. WATER-COLOUR ROOM 64. The Earl of Shaftesbury, K.G. (1877). A dignified portrait of a man who has been saddened by a life passed in the contemplation of poverty and misery. It is one of the most con spicuous examples of Millais's occasionally deep insight into character, and one of his most successful portraits — on a level with Frank Holl's masterpiece, "Lord Spencer." The picture was commissioned by private subscriptions and presented to the British and Foreign Bible Society, over which Lord Shaftesbury presided from 1851 to 1885. 65. Effie Deans (1877). This is not an illustration from any particular episode in " The Heart of Midlothian," but an original and intelligent suggestion of a scene that must have occurred. Jeanie Deans (whose original, by the way, was the heroic Helen Walker) watched Effie and her lover, Staunton (" gentle Geordie Robertson ") as they parted in King's Park, Edinburgh : this scene represents the interview the artist imagines to have taken place. There is fine expression, of very different sort, on each face, even if that of Staunton is not as powerful as we would expect ; but it sufficiently reveals the character of both actors in the drama. The rich harvest of berries in the background suggests hardship and rigour to come. The keen expectant collie is one of Millais's fine examples of animal-painting. The name of " Effie," it may be remembered, was a favourite one in the artist's family. This picture was first exhibited in a private gallery for the benefit of the Artists' General Benevolent Institution, of which Millais was, until his death, the honorary secretary. 66. Daniel Thwaites, Esq. A characteristic portrait of the ovifner of " The Deserted Garden." (See No. 112.) 68. Cupid Crowned with Flowers (1841). Said to be the first oil-painting executed by the painter, when he was twelve NOTES ON THE PICTURES IN THE EXHIBITION 167 years old. This is hardly possible : such comparative facility in handling the colour could not have been united to such power of expression and composition at so early an age. As a matter of fact, I beheve that oil-paintings of an anterior date do exist, even if they are not so complete. 69. The Bridesmaid (1879). Two other pictures with the same title have come from Millais's hand : that at the Fitzwilliam Museum, Cambridge (see further on), and the " Bridesmaid throw ing the lucky slipper," of 1865. This picture is of totally different treatment and composition. 70. Lilly, Daughter of J. Noble, Esq. (1864). An imitation of — and probably a commission through — " My First Sermon " of the year before. The Httle girl sits up stiffly against a tapestry background, apparently brought to the studio to be represented after the manner of the child in the other picture. The colour is vigorous and well-managed — the portrait is one of the red- dress series — but the subject seems not to have interested the painter, who much more enjoyed painting the little dog on the right than the little model and the commonplace arrangement before him. The picture is relatively poor and unimaginative. 71. Mrs. Jopling (1879). -^ portrait of great power, strong in character, perfect in resemblance, masterly in colour and arrangement, as well as in flesh-painting and drawing. The sitter and the art are here well suited to one another. The costume itself, painted with much brilliancy, is a valuable record of the times. The lady, Mrs. Jopling-Rowe, is well-known as a portrait- painter, the mistress of an art-school, and niece of Mark Lemon. 72. The Romans Leaving Britain (1865). The quotation from Holinshed's " Chronicles " explains the subject : " The Romans bade the Britaynes farewell, as not minding to retum thither agayne." This composition, more ambitious than any the artist had attempted for some years, is not entirely successful The passion of the woman expresses sullen anger rather than sorrow or regret ; and the figures appear too big for the landscape, which is handled with a timidity not visible in the artist's work io8 MILLAIS AND HIS WORKS either immediately preceding or succeeding. It is a picture of his transition, but fuU of fine passages. The modelling of, the woman's neck is particularly admirable. The picture appears (to me, at least) less a drama than a tableau vivant. 73. Mrs. Perugini (1880). A masterly portrait of Charles Dickens's younger daughter Kate who had sat for the artist twenty years before as the bride in " The Black Brunswicker." It -was a wedding-gift to the lady from the painter. 74. Lilacs (1886). The portrait — one of the artist's pretty grandchildren — is painted with great delicacy. 75. A Good Resolve (1877). Said to represent a Scottish custom of opening the Bible haphazard, placing a finger on the page, and forming a resolution to act up to any worthy behest that might be indicated. The picture is painted with verve and strength, and makes a better impression than it did on the occasion of its last exhibition. 76. Eveline, Daughter of T. Evans Lees, Esq. (1875). Inexplicably hard and unsympathetic ; it appears as though the painter preferred the ferns and foliage, and had not succeeded in investing even them with charm. It is not by any means the only unsatisfactory picture of that year. 77. "No! "(1875). A sequel to the "'Yes' or 'No'?" of five years before. This picture, sympathetic ahke in conception and execution, is a portrait of Miss Dorothy Tennant (afterwards Mrs. H. M. Stanley); 78. " Blow, Blow, thou Winter Wind '' (1892). " It's a scene near my place in Perth " the artist told the writer, " painted about the time when my wife and I were burnt out of house and home, just as we were recovering from the influenza. I thought the stone walls and the whole composition came so well." It is, as he intended it to be, just such a scene as was described by Mrs. Humphry Ward — whose word-painting MUlais admired prodigiously —in "The History of David Grieve." The chief artistic motive. Sir John added, was the painting of the branches of the fir trees blown back with such violence that uo MILLAIS AND HIS WORKS they are turned up and the sky is seen through them — " an extra ordinary effect in nature, that, and one which I believe never to have been represented before." The sentimental motive is to be found in the succeeding lines in " As You Like It," which the spectator is left to continue for himself — " Thou art not so unkind As man's ingratitude. " The man has abandoned to themselves in the snowstorm of life the woman and her child — his child ; and the very dog howls a melancholy accompaniment to the scene of desolation. 79. "Yes or No?" (187 1). This lady, weighing weU her reply to the question of a suitor, is a portrait of Mrs. Stibbard, the painter's sister-in-law. 80. Gracia, Daughter of T. Evans Lees, Esq. (See No. 76). 81. Mrs. Stibbard (1878). An altogether admirable and sympathetic portrait of the artist's sister-in-law, who, whether as Miss Gray or after her marriage, had sat to him so often : in "Apple Blossoms," "Yes or No?", "Swallow! Swallow!", and many more. 82. Glen Birnam (1891). The second of Millais's later snow- pictures, painted near his Perthshire home. 83. Portrait of a Lady (1876). Mrs. Sebastian Schlesinger. The lady stands in a rich dark-blue dress — not black, as stated in the official catalogue — and a glowing growth of azaleas is behind her. A strong and a fine work. 84. The Picture of Health (1874). The portrait of Miss Alice Caroline Millais (Mrs. Charles Stuart Wortley). It belongs to the same notable year as "The North-West Passage" and " Miss Eveleen Tennant." 86. Diana Vernon (1880). Surely, a perfect reaHzation of the strong and solid character, yet charming and not unfeminine, in spite of her mascuHne education, that distinguishes the Di Vernon of Walter Scott's invention. The heroine of " Rob Roy " is shown NOTES ON THE PICTURES IN THE EXHIBITION iii on her native heather with blue-bells by her side — as beautiful as she is clever, and a good, well-born, and enthusiastic Jacobite. 87. Little Miss Muffett (1884). In order to obtain the proper expression of startled fear, Millais told his little model weird stories of delightful horror, of giants and ogres, and creepy tales of slimy things, till the little eyes were wide open with fasci nating terror and shrinking wonder. Doubtless, a real spider would not have done so well. The artist " thoroughly enjoyed " the painting of this picture, in spite of its difficulties. 88. Halcyon Weather (1892). Exhibited with Joan of Arc's line from Henry VI. ist part, as sub-title " Expect St. Martin's Suinmer, halcyon days ; " but the picture must not be confounded with the " St. Martin's Summer," exhibited with the same quotation, in 1878. Millais, in fact, was hard put to it for a name : he would have called the picture " Mirrored in the Lake " but that the title was too hack neyed. He said that finding a title was " as much bother as painting a picture — and took nearly as long." In this painting he took especial pride in the Kingfisher in the "fore-water." The spot, he told me, is close by Stobhall. 89. In Perfect Bliss (1884) — properly called "Perfect BHss " — one of the most strongly painted of all the later child-pictures, if not by any means the most charming. 90. A Jersey Lily (1878). A portrait of Mrs. Langtry, at that time an oft-painted lady. In the same year she sat to Sir Edward Poynter, P.R.A., to Mr. Henry \\^eigall, and in 1880 to Mr. Watts, whose picture, under the name of " A Dean's Daughter " is well known. The sitter naturally appealed to the artist's sym pathy, as she came from his country. She is represented with a Jersey lily at her throat. It is a solidly painted portrait, but dark in the flesh. 94. A Forerunner (1896). St. John the Baptist is depicted with deep feeling, tying together the symbol of Christianity, while the sun sets in a lurid sky and glints upon the dagger lying on the 112 MILLAIS AND HIS WORKS rock-table before him. It is a matter for individual judgment whether the conception is as grand as the occasion demands ; but there is no question of the sincerity with which Millais returned in the latest years of his life to subjects of a solemn character, and strove with all his might to render them with due dignity. 95. The Last Rose of Summer (1888). This picture was a great favourite with the painter, who considered it one of the finest things, artistically considered, he had ever done. It was painted from his daughter with astonishing rapidity, occupying no more than four days : which is the explanation of the direct ness of the work, the freshness of the colour, and the firmness of the touch. GALLERY No. III. 96. Cardinal New.man (1881). In this portrait, executed for the Duke of Norfolk, the characteristics of the features are well given, bui hardly with that force of character that might have been expected. Compared with the portrait of Mrs. Heugh (No. 99), this is not age that has been depicted, but the semblance of age, and, as it appears to me, the character is not strong or marked enough for the man who wrote " Apologia pro vita mesl." Nevertheless, the subject has been superbly handled in its arrangement, pose, and colour, and the drawing of head and hands is altogether admirable. If the reader would know how difficult is the treatment of this hue, let him look at the portrait, say, of the ChevaHer Tron, by Pietro Longhi, in the National Gallery ; he will then appreciate the broader treatment and finer colour in the Cardinal Newman. 97. Dew-Drenched Furze (1890). The colour of this picture will doubtless appear inexplicable to those who have never seen at sunrise the play of Hght among the autumn tints, "twinkling in the gossamer." Millais congratulated himself that he had here done what, so far as he knew, had never been attempted before — the furze heavy with dew, while the hot sun lights up with a yellow golden haze the air of an early summer morning. As a sportsman, MUlais knew and loved the spot well — the place of all others for pheasants and capercailzie : this he has, unfortunately for the dignity of the picture, illustrated by the two birds in the foreground. 98. Jephthah (1867). "Alas, my daughter, thou hast brought me verv low, and thou art of them that trouble me, for I have opened my mouth unto the Lord, and I cannot go back." — Judges xi. 36. This carefully built-up picture of well thought-out parts, has force of a conventional kind, with a touch of pathos in the saddened figure of the daughter, and in the remorse of her father. H 114 MILLAIS AND HIS WORKS But the feeling appears hardly deep enough for the tragedy; neither of the chief actors is really overwhelmed by the situation, and there is an air besides of unreaHty in the modern occidental features of the girl who looks so sad and disappointed, but hardly overwhelmed. The figure of Jephthah recaUs that of King Lear in Madox Brown's masterpiece, and the maidens leaving the hall after the cruel interruption to their joyous song and dance, were clearly produced under the influence of Lord Leighton. . For the figure of Jephthah, Colonel the Hon. Charles Lindsay sat. 99. Mrs. Heugh (1872). Perhaps the most vigorous and ¦virile of all Millais's portraits ; indeed, it may be doubtful whether so powerful a representation of old age is permissible when dealing with women. There is here a delineation of character, imperious rather than tender, allied to a texture and colour of aged skin that are remorseless in their triumphant truth. There is an intensity about this realism which may deUght the world, but must assuredly have been painful both to the lady who sat and to those for whom it was wrought. This splendid portrait, with which for force only that of Mr. George Grote (No. 174) is comparable in this exhibition, is a subject worthy of comparison with Rembrandt himself. Mrs. Heugh was in her 94th year. 100. An Idyll, 1745 (1884). The English troops are making for CuUoden, and the little Scottish girls " fleet and strong That down the rocks can leap along Like rivulets in May " sit captivated in rapt admiration for the drummer-boy demurely and complacently conscious of the effect he is producing. His companion stands by amused at the children's unsophisticated delight that is too deep for words. This picture has greatly im proved in tone since it was first exhibited. 101. Sir John Fowler, Bart., CE. (1868). Painted five years after the opening of the Metropolitan Railway, the plans for which are spread about the sitter. The portrait was produced for the Institution of Civil Engineers whose President Sir John NOTES ON THE PICTURES IN TIIE EXHIBITION 115 Fowler had been from 1866 to 1868, and it was presented by his professional friends. 102. Rosalind and Celia (1868). The delightful lines which the picture illustrates, seem hardly to justify the painter's view of the incident, for Rosalind's words — " I could find in my heart to disgrace my man's apparel " — are hardly borne out by the treat ment. Adopting the disguise of a boy, Rosalind would hardly have donned a lady's bodice, and let down her back hair. This is rather the dress of an actress wishing her audience to remember the character she represents, conscious that her fellow-players have agreed to ignore it. Celia, on the other hand, fits the words exactly : " I pray you, bear with me ; I can go no further." Mr. Swinburne bitterly complained that the woman, and the man as well, are not Shakespeare's, and that they have none of " the laughters as of April." Touchstone, here of the woeful visage, has not the lips that rallied Corin and wooed Audrey. It is generally assumed that this Touchstone was painted from Mr. Lionel Brough ; but at the time it was produced the actor had not yet played the part. 103. Scotch Firs (1873). Although it expresses well the sentiment of Wordsworth's line by which, when it was exhibited, its title was accompanied — " The silence that is in the lonely woods " — this is hardly a landscape picture ; but rather a forcible bit of Nature, with fine drawing of the trees, whose sombre tones contrast with peculiar effect with the luminous sky. 104. A Flood (1870). The scene represents an incident in the inundations near Sheffield in 1864, which Charles Reade introduced with striking effect into " Put yourself in his Place." The cradle, with the child and kitten that had been sleeping on it, had been swept out of a cottage by the flood. The baby wakes to a scene of hitherto unexperienced marvel and splendour, and raises its hands in delight towards the goldfinch and the raindrops sparkling in the boughs above it. The drawing of h 2 ii6 MILLAIS AND HIS WORKS the half-drenched kitten as it mews miserably in its despondency is a triumph of animal painting that neither Gottfried Mind, nor Lambert, nor Madame Ronner, with all their life-long observation, have ever surpassed. The baby, the drawing and painting of whose little expressive face and infantile flesh are of high excellence, is the artist's daughter Miss Sophie MUlais (now the wife of Captain Douglas McEwen of the 79th Cameron Highlanders). The kitten, at one time belonging to the Millais household, became the predatory possession of Fred Walker, by whom it is mentioned in his " Life " under the expressive name of " Eel-eye." Its faults of temperament were forgotten in the halo of art by which it was held to be invested. Some years ago Sir John re-touched the picture extensively with the view to restoring to it some of the sparkle of which Time had robbed it : but he was persuaded subsequently to remove some of his new work. But not all : where the jug now floats there was at first a pig. The brilliancy of the original is admirably retained in the mezzotint which Mr. Gilbert Hester has made of it. 105. Lady Peggy Primrose (1884). This picture of Lord Rosebery's daughter was painted as a companion to that of Lady Sybil Primrose, and hung as a pendant to it in the Royal Academy Exhibition of that year. It is one of the pictures of children which MUlais said should be blown, not painted, on to the canvas. " Out of compliment to Lord Rosebery " the artist introduced the Scotch thistles that grow beside the pretty child, so daintily posed and so tenderly painted. 106. The Marquess of Salisbury (1883). Commissioned by the late Rt. Hon. W. H. Smith, at a time when though out of office Lord Salisbury was in great political activity, preparing his suc cessful opposition to the County Franchise BUI that was thrown out in the foUowing year. A worthy portrait of a distinguished statesman, the picture is not only a likeness, but a strong bit of character briUiantly painted, for the sake of history. Halcyon WKA'iiri' h- ('-'.¦ji) (By permission oJ I.ady Millais.) ii8 ¦ MILLAIS AND HIS "WORKS 107. The Children of Octavius Moulton Barrett, Esq. (1881). A somewhat hard and unsympathetic group, but notable for the evidence of unusuaUy felicitous selection in the colour. 108. Chill October (1870). The fine and tender sentiment of this landscape took the town by storm when it was exhibited ; yet many grudged the triumph and maintained it was a " fluke." It is a fine and pure bit of landscape which Ulustrates Millais's saying that there is more significance and feeling in one day of a Scotch autumn than in a whole half-year of spring and summer in Italy. There is pathetic desolation throughout the whole marshy expanse, and the reeds whistle sadly as though Syrinx herself were among them. The spot is known as Sedgy Denn, a backwater of the Tay, looking south-west across the river close by Kinfauns station. On the stretcher of the picture Millais has himself recorded how every touch upon it was painted on the spot from nature — as indeed any one may see, alike from the characteristic merits of the picture as from its defects as a "grand composition." There was, as the painter says, danger on either side, as he sat at the edge of the railway line : the rising tide in front which once carried away his platform, and behind the passing trains that threatened to blow his canvas into the water. There was no preliminary sketch ; and the whole work was carried out in wind and rain ; and only the " effect " was dealt with in the studio. It is an interesting fact — as regards the impression made by English art upon the foreign mind — that when a party of distin guished Chinese visitors examined Lord Armstrong's great collec tion of paintings, " Chill October " was the one before which they crowded, and which delighted them the most. 109. A Yeoman of the Guard (1876). It was this picture which caused the French artists to exclaim at the Paris Exhibi tion of 1878, and opened Meissonier's eyes, as he himself said, to the fact that England had a .great school and a great painter. This management of scarlet, gold, and blue — a striking yet not forced harmony — is among the fine things in modern art. The NOTES ON THE PICTURES IN TIIE EXHIBITION 119 subject, too, is a touching one — the " Yeoman of the Guard," the old Beefeater of the Tower, waiting at his post for that last roll- call that wiU dismiss him for eternity. There is fine chanieter in the head — the dignity and sense of duty that absorbs all his intel lectual faculty — and a daring, not to say audacit)-, that docs not shock because of the power of the painter. The effect of the flesh, neither executed by recipe nor concealed by over- painting, is not produced by that savant handling we commonly expect from a great master of the brush ; there is such conspicuous absence of show of dexterity that some are prepared in this picture to deny to the painter the capacity for cleverness which he did not choose to exert. The " Yeoman of the Guard " was one of MiUais's chief favourites. It is understood that it was meant as a preliminary picture for a great work never carried out — if it were really in tended — " Searching of the two Houses by the Yeomen of t he Guard before the opening of Parliament.'' 110. Speak! Speak! (1895). The man — a youth no longer — has been reading through the night the well-worn letters of his lady love and at the break of dawn he raises his eyes and beholds her — so material a spirit to his ardent and excited fancy that he cries to it to speak that he may know the truth — whether it be she indeed, or the creation of his tortured imagination. The artist has purposely not made the meaning too clear. When I re marked that I could not tell whether the luminous apparition were a spirit or a woman he was pleased : " That's just what I want," he said ; " I don't know either, nor," he added, pointing to the picture, " does he." Indeed, thus leaving the final solution uncertain, is in accordance with the principle that has governed all his dramatic pieces. The figure is painted strongly enough to appear a living creature, and shadowy enough to be intended for a ghost. As to the latter species, Millais left the spectator in no sort of doubt when he chose to paint one, as may be seen in his " Grey Lady " — not in the present exhibition. Sir John told me that he had had this picture in his mind for five- 120 MILLAIS AND HIS WORKS and-twenty years ; and that not until he took it up at last had he felt disposed to face it. The man was painted from an Italian model whose throat he much admired ; indeed, he gave me to under stand that, but for the sight of that throat he might never have painted the picture. The scene is the turret-room in Murthly Castle. " Speak ! Speak ! "— (he altered the title twice) — was purchased for the Chantrey Bequest Collection in 1895 for ;^2,ooo. It is perhaps too large for its subject. 111. Nina, Daughter of Frederick Lehmann, Esq. (1869). The first of this class of child-portrait, the charming likeness of the lady who fifteen years later became Lady Campbell, is a beautiful arrangement of a white figure in a well-harmonised scheme of blues and greens, relieved with the touches of red roses. The picture seems to have lost some of its colour, especially in its flesh tints, and become whiter than it appeared at its last exhibition ; but it is a brilliant work still. 112. The Deserted Garden (1875). A touching view, typifying sUence and neglect. Millais illustrated it with Camp bell's verse, "Written on visiting a scene in Argyleshire," ' Yet wandering, I found on my ruinous walk, By the dial-stone aged and green, One rose of the wilderness left on its stalk. To mark where the garden had been. Piteous as such a scene must be to most of us who love a fair garden and grieve to see it fall into decay and degradation — for neglected cultivation does not readily turn back into the lovely wilderness of nature from which it was born — the emotion is as nothing to that which it stirred in the breast of Ruskin. He denounced with despairing vigour the " (soi-disant) landscape" in which Millais gave scrubble instead of growth — " his finding on his ' ruinous walk ' over the diabolic Tom Tiddler's ground of Manchester and Salford;" and loudly lamented that the man who had painted "Ophelia" and "Autumn Leaves" had turned to that summariness which is antipodean to Pre-Raphaelitism, careless and incomplete. But the rest of the world hailed in it a NOTES ON THE PICTURES IN THE EXHIBITION 121 work of real poetry: a verdict which to-day will generally hr modified to not more than distinction and suggestiveness. Here the hare, like the pheasants in " Dew-Drenched l''ur/e," and the attenuated squirrel in " Rosalind and Celia," enetimhers, rather than helps, the work. 113. Mrs. Bischoffsheim (1873). The grandest of all Millais's female portraits, already an "Old Master,' Which for style, dignity, and sumptuous yet reticent colour, will hold its own in almost any company. It is the production of a brilliant colourist, firm and incisive in handling, with a breadth which one often misses from his less successful work. It was led up to by his other master pieces of the year before, '• Mrs. Heugh " and " Hearts are Trumps," and is wrought with a self-confidence and an originality that, despite a little fussiness in the design, combine to produce great art. The complexion has become what the Italians call olivastro ; and the character of the face and pose of the figure are rendered with equal brilliancy and certainty. It is interesting to compare the lost contour of the face with the hard outline that almost silhouettes the girl's profile in " Yes ! " (No. 116) close by. 114. The Rt. Hon. John Bright (1880). A fine portrait at the time when he had just been re-appointed Chancellor of the Duchy of Lancaster. There is perhaps some of that self-con sciousness which afflicts a sitter ; but it is in all respects a strong and successful canvas. Frank Holl mistrusted himself when he was painting the same statesman ; the smallness of whose nose, he told me, was a terrible trial to the portrait-painter who " looks chiefly to that feature to hang his portrait on" — and "John Bright, pictorially speaking, had no nose ! " Millais evidentl}' was not. incommoded by this characteristic of the face. 115. Mrs. Caird (1880). Portrait of the sister, now dead, of the late Lady Millais and Mrs. Stibbard, sister-in-law of the artist, and mother of Miss Beatrice Caird (No. 156). 116. "Yes !" (1877). lUustrative ofthe answer to a question, uttered by the young lover who is about to embark on his journey — " Will you wait ? " This picture is understood to have been 122 MILLAIS AND HIS WORKS painted in response to sentimental objections that " Yes or No ? " of 1 87 1 should have been answered by the " No " of 1875. With this picture the painter recalled the dernier mot and gave a happy ending — and a touch of coquetry — to the little three-cornered comedy. 117. For the Squire (1882). An admirable study of childish expression — the character and sense of responsibility, yet native timidity of the girl. It is finely painted with the same certainty and success as the portrait of Mr. Hook, of the same year, beside which it hangs in the exhibition. 118. J. C. Hook, R.A. This superb picture of character and perfect likeness of the great sea-painter belongs to the front rank of Millais's male portraits : it is almost the equal of the Sir Gilbert Greenall of the previous year — unfortunately not in this exhibition. Mr. Hook — who to a former generation was known equaUy as a figure-, history-, and landscape-painter — presented to the artist in exchange for this portrait an important picture of his own. 119. "Sweetest eyes were ever seen"(i88i). This title, adapted from the line in Mrs. Barrett-Browning's " Catarina to Camoens " (which she borrowed in expression from Camoens's own writing) was substituted for its original bald yet sufficient name — " A Girl with Violets." It is a portrait of Miss Beatrice Buck- stone — daughter of the comedian and sister of the late Miss Lucy Buckstone — who sat also for "Cinderella" (No. 182) and for " Caller Herrin'," not here exhibited. (See illustration.) 120. H.R.H. THE Princess Marie of Edinburgh (1882) now Crown Princess of Roumania. The portrait was painted by command, for the Queen. By its nature a popular picture arranged in a popular manner ; but not one of the artist's better works. The handHng is constrained, and the painter appears for once to have been nervous. 121. "Forget-me-not" (1883). An admirable portrait of the artist's daughter — firmly drawn with a masculine hand, more vigorous than the family portraits of seven years before, shown in Gallery IV. NdTKS OX Till'. liClllRrs l\ Till-; LAIIIHrrioN iJi 122. Sir John- I ). .\siik\, 1!\kt. (iSSi). .\ siurdy and highly intelligent portrait (if the po|)til,ir s]Miilsnian : hut, r\ccllenl as it is, not I think to he placed on a le\el. as sonu- projiose, wilh tlie "Hook" or the "Greenall." Tin- picture was ]iresrnte(l lo tlu- sitter by his political friends of \onli l.iiu-olnsliin- on the o. ( a ' I'-L' 'W. l;i.o\v, Til \ i\ [ i.K w r. (C..)^) (By pomission oJ Messrs. .Arthur T.'.'th ait. I .^oits. an,l Iy coitsent of .M.t jor foh. y .) sion of his losing his seat for that division of the county at the General Election of i8So. 123. -\ Sou\'i;.\iR oi- \'ei,.\s(ji-j,z. Sir John Millais's lliploiim Picture, as such presented to the Royal .\cademy. .\ child more comely far than Velasquez usually had the good fortune to paint is rendered in a manner which in reality affords only a distant souvenir of the real manner of the Spanish master. I!ul the 124 MILLAIS AND HIS WORKS colour is pure and briUiant, and the brush is manipulated with a dash amounting in parts to bravura — swift, skilful, and robust, and full of life and vigour. It is interesting to observe that this picture was presented as much as five years after the artist's election, owing to the rejection by the Academy of " The Parable of the Tares " (see No. 14) which was not at the time appreciated. 125. Twin Daughters of Thomas Rolls Hoare, Esq. OriginaUy entitled " Twins." A fine dignified portrait of typical English maidens, strong and well-grown — and the painting in every way in character, in respect both to the ladies and their dog. 126. The Boyhood of Raleigh (1870). This fresh and sympathetic conception of the hero's chUdhood was inspired by the reading of Froude's " English Worthies." The Genoese saUor (as he appears to be) who, landed on the Devonshire coast and pointing with vigorous and characteristic gesture across the sea, fires the imagination of the boys with his narrative of far-off con tinents, entrancing and inspiring at least one of them, is a figure unusually well presented. The boys are the sons of Sir John Millais. The sea is one of the extremely few examples of marine- painting from the painter's brush : he did not care for moving things, whether sea, or cloud, or horse. 127. Murthly Moss (1887). By Carnleeth Moss, Birnam. If not a "great landscape " in the conventional sense, it is a very great transcript from nature — full of the light peculiar to the Scottish marshes, and full of atmosphere — an exquisitely true portrait of the scene on a late September afternoon. It must be admitted that the picture does not look its best in the Academy ; seen in its own home its more delicate beauties become apparent, and the more it is gazed at and the longer it is known, the more does it grow upon and delight the spectator. Every bit of the landscape is truthfuUy rendered — the sedgy foreground, the middle distance of trees, and the distant hills, all as carefully and lovingly measured and drawn, said Millais, as if he had been working and stippling from the cast in the Academy schools. There is a unity NOTES ON THE PICTURES IN THi: EXHIBITION 125 of conception and a harmony of sentiment that compensate for the lack of deliberate composition ; and the charm of the silvery- golden tones adds to the grace of the whole. The picture was painted in a hut upon the spot, in front of the scene specially endeared to the painter for its reputation as a snipe- and duck-shooting ground. 128. The Rt. Hon. \V. E. Gladstone (1879). "When Millais was painting this portrait," said a lady, an intimate friend of the ex-Premier, "Mr. Gladstone was thinking what a terrible sin would be committed if England was to go to war for the Turks." These words, set on record by Sir Wemyss Reid, remind one that it was in the midst of the Bulgarian Horrors agitation that Mr. Gladstone found time to give sittings to the artist for the first of the series of portraits he made of him. He said that it was most enjoyable to sit to Millais, " not because he talks ; but to see him at his work is a delight, for the way he throws his heart and soul into it." The picture shows Mr. Gladstone not in a combative, but in one of his tenderer and more sympathetic moods, when pity rather than fight seems to fill his mind. It is a superb work, as a portrait pure and simple equal to nearly anything Millais ever did, except, perhaps, the Tennyson. It was painted for the Duke of Westminster, and then passed into the collection of Sir Charles Tennant. 129. The North-West Passage (1874). This picture, perhaps the best known of all Millais's works, was painted when arctic exploration and the safety of explorers were filling all men's minds, including Millais's. It is a picture of the Rule-Britannia kind, but of a very high order — more elevated in imagination than the other patriotic work, "Greenwich Pensioners" (see No. 175) ; its senti ment, the Union Jack, and the determined old mariner inspired by genuine patriotism (his grog is still untouched), combine in a picture to inspire respect and even admiration for the subject, apart from the artistic quality. This quality is, indeed, the real triumph of the canvas : executed with an ardour and enthusiasm, 126 MILLAIS AND HIS WORKS and with a dashing brilliancy and boldness that well befit the sentiment, it is popular for its greater merits as well as for its minor ones. Trelawny, the friend of Byron, SheUey, and Odysseus the Greek Chief (with whom Landor converses in " Imaginary Conversations "), sat for the mariner, and, said Millais, " he only cared to know me because I was a great friend of the man [John Leech] he admired so much." The same model sat for the daughter as appeared two years afterwards in " Stitch ! Stitch! Stitch!" (No. 15.) 130. Alfred, First Lord Tennyson (1881). Millais's master piece in this section of his art. He knew the poet well and had stayed with him, first in November, 1854, when he was writing " Maud ; " and with others he illustrated " Poems by Alfred Tennyson " for Moxon, the publisher. In later life he painted him — but the man, not the poet : the latter was reserved to Mr. Watts to achieve. Yet he did his best and greatest to act up to the whole duty of the portrait-painter as set forth by Tennyson, who put into verse (in "Elaine") the chief qualities and aims of such an artist that Mr. Watts enumerated to him — As when a painter, poring on a face, Divinely through all hindrance finds the man Behind it, and so paints him that his face, The shape and colour, of a mind and life, Lives for his children, ever at its best, And fullest. And the result, even though it be the man rather than the poet, is one of MiUais's claims to immortality. The artist declared to the present Lord Tennyson that he considered it the finest portrait he had ever painted. 131. Flowing TO THE River (187 1). Painted near A¥aukmiU Ferry, four miles below Perth. Strong execution and warm colour, this landscape, following immediately on " Chill October," is one of the most vigorous he ever wrought. I am told by Mr. Woodroffe, ofthe "Daily News," that when a short-sighted lady saw the picture in the artist's studio on "Show Sunday,'' she pointed NOTES ON THE PICTURES IN THE EXHIBITION 127 to the miller's son fishing in the middle of the stream and asked, "Why does he put a statue there?" Millais, overhear ing the criticism and recognising its truth, left the group who were loading him with uncared-for praises, seized his palette and quickly painting in the red scarf that now appears, turned to his young critic and said, with his jovial affectation of egoism — "There ! now you can say that you made Millais alter one of his pictures ! " 132. The Eve of St. Agxes (1S63). How far this exquisite work is an illustration of Keats's poem every reader must determine for himself. The quotation attached to it runs thus : Full on this casement shone the wintry moon, her vespers done, Of all its « reathed pearls her hair she frees ; Unclasps her wanned jewels one by one ; Loosens her fragrant bodice ; by degrees Her rich attire creeps rustling to her knees : Half-hidden, like a mermaid in sea-weed. Pensive awhile she dreams awake, and sees, In fancy, fair St. Agnes in her bed, But dares not look behind, or all the charm is fled. But in spite of whatever faults may be urged against it on the score of interpretation, there can be no doubt that the picture is hardly less a poem than the poet's own. It is, indeed, not so much an illustration as a paraphrase, more poetic perhaps in the rendering of the moonlight and of the general design, than in its realisation of Keats's Madeline. But in the girl there is a dainty, almost a pathetic, grace, and in the poise of the head an exquisite turn, so that, with the lines of the figure and of the draperies that have fallen to her feet, there is a rhythmic charm of composition rarely enough found in Millais's works. Compared with this painted poem such a picture as "The Black Brunswicker" is but an anecdote. There is originality and skill throughout as well as delicate and subtle feeling. With this picture — the third of Millais's four favourites — the 128 MILLAIS AND HIS WORKS painter bade good-bye to Pre-Raphaelitism and obtained his promotion to the rank of full membership of the Academy. Thereafter he floundered for two or three years before adopting a new style, which proclaimed itself at last in " Stella " and " Vanessa," in the freedom of technique and in the devotion to the charm of facial beauty. I have been told how the artist, in order to add the glamour of romance to his half-draped figure, sent out for a few yards of some cheap lace with the decorative purpose that appears in the picture. Later on, the painter would have his costumes made by the theatrical costumier : in striking contrast to Mr. Holman Hunt, who in his early days would be content to fashion his Shakespearean costume out of an old round hat and coloured paper ingeniously adapted. The scene here depicted is in Knole House, Kent — in the very room, according to Fred Walker, in which King James was wont to sleep, an apartment which is said to be kept to this day just in the same condition and state of readiness as it was at the last royal visit. It may be added that Millais made two other designs of a subject of the same name in pen and ink; one in 1857 to illustrate Tennyson's poem, and the other, apparently identical (only reversed) with that in this Exhibition (No. 223), published in Leslie's " Songs for Little Folks." GALLl'.RY I\- 134. Sir Robert PuLLAR (1896). Portrait of the magnate of Perth, painted at the request of the Lord Provost, to hang in the Sandeman Library in the "Fair City." This is the last picture which MiUais completed. 135. Time (1895) — originally called "Time the Reaper" when exhibited at the New Gallery. Time enters the House of Life, alight with its artificial glow that gleams through the opening door and contrasting with the cold stern gleam of death and eternity without. This picture, produced years after it seemed that the artist had abandoned ideal or thoughtful subjects, reminds one irresistibly of Mr. \\"atts's " U'hen Poverty comes in at the door. Love flies out at the window ! " The door here being pushed open is that at Bowerswell. 137. Master Anthony de Rothschild (1892). The head is brightly and sympathetically rendered ; but, even without the inevitable comparison with Gainsborough's " Blue Boy," the experiment of the pale blue costume could not under any circumstances be accounted a success. 138. Getting Better (1876). A picture that suffers through the style of the visitor's dress, now out of all fashion. In the invalid herself will be recognised a wonderfully truthful rendering— not only the appearance of slow recovery, but also the observation that has caught that timidity with which a young convalescent usually first receives visitors. The study of heads in relation to light has been carefully studied. 139. Sir Henry Thompson, F.R.C.S. (1881). Few of Millais's portraits are so fine and characteristic as this of the distinguished surgeon and amateur artist — pupil of O'Neil and of Mr. Alma Tadema. The keenness and incisive insight, decision and masterfulness, of the original are perfectly suggested, and with a hand as firm to paint as was the eye to see. As in many other I 130 MILLAIS AND HIS WORKS works of the kind, the artist has omitted all background of a de corative character, desiring to let the head claim the full attentidn it deserves. But the arrangement of " Sir James Paget " (No 162) — like the superb "Sir WiUiam Jenner " of Frank Holl — proves (if proof were needed) the pictorial value and artistic significance of suitable surroundings in portraiture. 140. Over the Hills and Far Away (1875). A view near Birnam, Perth, with Strath Tay in the distance, and Ben-y-glow in the direction of Dunkeld. The picture comes nearer, perhaps, to the traditional view of landscape composition than any in this section of Millais's art. It is frequently supposed, because he did not " compose " his landscapes — (I say nothing now as to sentiment) — that he was therefore ignorant of the practice and the views of the Old Masters. Millais was always looking at the Old Masters ; and I see no reason to suppose that he who could appreciate and understand ancient and modern art as he did, lacked the power to see what is evident to everybody else. The only conclusion to come to is that Millais was as individual and inde pendent in his views on landscape in his later middle life as he had been in other respects in his Pre-Raphaelitic days ; so that Time, which takes delight in revenges, may come in the future to accept as a permissible view of landscape that which Millais chose to adopt after a painting-life of a quarter of a century. The almost stereoscopic effect of the foreground up to the point where it dips away and allows the bright distance to be focused, comes as a surprise to the spectator ; indeed, but for the extra ordinarily unmistakable out-of-door quality, that effect might be resented as theatrical. Millais here asserts once more his power, beyond that of any contemporary painter, of painting sedgy, marshy ground, and rank grass, bathed in light and air ; but the sky is somewhat weak. The spot was one of his favourite shooting- grounds for grouse. 141. Sir Richard Quain, Bart., M.D. (1896). An extra ordinary instance of how Millais recovered himself in the last two years of his life. This is one of the finest and most facile and NOTES ON THE PICTURES IX THE EXHIBITION iji learned portraits that he ever painted. It is a perfect likeness of his old friend and physician, the President of the General Council of Medical Education, and Physician Extraordinary to the Queen, and was completed just before the artist's death. 142. Sisters (i868). This picture, belonging to the year of "Stella" and " Vanessa," was the first to display Millais's power of combining figures, simply yet effectively placed ; and prepared the ground for " Hearts are Trumps " (see No. 149) of four years later. Although the colour appears a little "chalky ' in quality, the unaffected dignity of these three girls helps the group and stamps the work as one of real importance not only in the painter's career, but on its own account and merits. These sisters, the artist's eldest daughters, comprise, on the left. Miss Mary Millais, in the middle Miss Effie Millais (Mrs. James), and Miss Alice Caroline MUlais (Mrs. Stuart Wortley). 143. "Sweet E.mma Moreland" (1892). The lady whose desire for candour scared Edward Gray away. A type of beauty much appreciated by Millais (compare " The Last Rose of Summer," No. 95). Swiftly and strongly painted. 144. "Model" (A B.\sset Houxd) (1875). An e.xample, in a brilliant sketch, of Sir John's taste for a finely-bred dog. The late Sir Everett Millais, the painter's eldest son, was one of the leading breeders in England of Basset hounds, and was honorary secretary to the Basset Hound Club, and judge at popular shows held under Kennel Club rules. 145. The Pilgrim's Progress. Evidently a very early work. It is known that when Millais was still a youth he engaged him self at one time to a well-known Sergeant-at-Law — clearly a man of keen business instinct — who made an agreement with the young artist that he should paint all day long for him for the sum of J^^ a-day. The lawyer would bring little canvases to the painter who would sometimes complete two or even three in the course of the day— until, at last, the lad's parents stepped in and put a stop to the unequal arrangement on the ground of minority. It seems probable that this picture belongs to that early period. I 2 132 MILLAIS AND HIS WORKS 147. The Fringe of the Moor (1874). This is perhaps the best proof of Millais's wonderful ability in painting the country without greatly troubling himself about landscape-composition- The picture — which represents a spot in Perthshire famous for black game, and which was beloved by the painter accordingly — is not so much a landscape, as a mighty sketch for a landscape : a sketch . of prodigious ability and striking verisimilitude. A triumph of technique, of drawing, light, and atmosphere; it differs from Millais's other works of the kind by the successful introduction of a sky with rolling, cumulos cloud in movement. Painted with great solidity and impressiveness, the picture has been severely described, not without some reason, as " motiveless veracity, except for the natural history class." But, as has been said before, MiUais did not care for tradition ; if a bit of nature pleased him, he just sat down before it and painted it with all the vigour and earnestness of which he was capable. 148. Princess Elizabeth in Prison at St. James's (1879). One of Millais's tenderest and most pathetic pictures of child-life. The poor little Princess is represented, before she was removed to Carisbrooke Castle to die, composing her touching letter to the Parliamentary Commissioners, begging that her own loved servants should not be taken from her as was ordered, and that she might be allowed to join her sister, the Princess of Orange. In accordance with her request the more cruel policy was reversed — her servants were left to her, but soon afterwards, on Sept. 8th, 1650, this little daughter of Charles I., who had spent more than half her brief life of fifteen years in prison, was released by death, " with her pale cheek resting on the Holy Book." The exquisite rendering of the pathos of the subject, the beautiful realisation of the sweet, wistful face and entirely charac teristic and child-like pose, as well as the fine painting of the head raise this picture far above the rank of genre or anecdote, and award it a dignified place as a work of history. The cabinet in the background was originally introduced only as a suitable accessory of the period ; but strangely enough an NOTES ON THE PICTURES IN TIIE EXHIBITION ijj engraving of this very piece (vvhich Millais had bought in Bond Street) was found in Atkinson's " Furniture of England," and identified as that which had been removed from Theobalds, the favourite dwelling-place of James I., where it is more than likely that his little grand-daughter, this Princess Elizabeth, had often seen it. The silver figures are additions which Sir John had had made in accordance with those shown in the engraving, as the original ornaments, things of value, had proved too strong a temptation to those through whose hands the cabinet had passed. 149. "Hearts are Trumps" (1872). Portraits of the Misses Elizabeth, Diana, and Mary Armstrong, daughters of the late Mr. W. Armstrong (and sisters of the present distinguished Director of the National Gallery of Ireland) — now Mrs. Tennant-Dunlop, Mrs." Seeker, and Mrs. Ponsonby Blennerhassett. This masterpiece of MUlais's group-portraiture is sufficient to bear the reputation of his great middle period. He was then at the height of his power, and in the same year produced " Mrs. Heugh " and " Sir James Paget." This canvas contains the elements of immortal achieve ment ; it is conceived in a far more elevated vein than the generality of his work and displays a greater sense of " style " than he ordinarily attained. The science of the arrangement, the variety in the faces (which are severally presented as full, three-quarter, and profile) not in character and expression only but in tone and light-and-shade, the masterly handling and bravura of the whole thing, carry off a difficult subject with brilhant eclat. The picture was exhibited at Paris in 1878 under the title of " Whist k Trois " (or " Dummy Whist ") and achieved a startling success. The maiden on the right shows to the spectator (who is of the party) her hand of cards, and her partner is not dis satisfied in her quiet way. Their adversary, who is playing " dummy," and is fully prepared for the worst, looks with courage to her sister to begin. It has been objected that there is too much fussiness in the conscientious working-out of the dresses ; 134 MILLAIS AND HIS WORKS but it must be observed, in the first place, that the swirl of line is extremely essential to the decorative effect of the design, and, in the second, that this attention to fashion was to Millais a matter of importance, for he regarded it as an aspect of the history of manners and customs of the highest value to posterity. Mr. Walter Armstrong writes that it was the painter who " designed the grey dresses, with their pink ribbons and yellow lace;" just as M. Wauters requires his lady-sitters to attire themselves in costumes by Worth of his own designing. The general resemblance of this picture to " The Ladies Walde grave " has already been dealt with. Mr. Walter Armstrong states that the late Lady Waldegrave used to have a small reproduction of Sir John's picture hung close to that of Sir Joshua at Straw- ¦ berry Hill in order to show how much less, when they were in juxtaposition, they are like one another than is generally supposed. The picture appears to have somewhat changed in colour since it was last exhibited, and the figures to have sunk into their sur roundings. But it remains a noble canvas, and by itself fills the room in which it hangs. 150. The Princes in the Tower (1878). The two Princes, Edward and Richard, sons of Edward IV. — humorously called " The Tower Hamlets " — are represented as standing close to the spot where, two hundred years later, their skeletons were discovered ; they are listening with instinctive fear to the tread of their approaching murderers. The picture is a companion to the " Princess Elizabeth," in the representation of the persecution of Royal children, innocent and unoffending, with jealous cruelty. It is understood that the "Princes" were painted from the two chUdren of Mr. DaUas Yorke of Walmsgate in Lincolnshire, sister and brother (the elder of whom is now the Duchess of Portland), whom the artist saw thus arrayed when playing in tableaux vivants. The picturesqueness of the costumes must be held to excuse the anachronistic liberty. The background was of course studied in the Tower of London. A FuKHKUNMJ;. {i-'^'><') {By permission of Sir Ciiaria Tennant, Bart.) 136 MILLAIS AND HIS WORKS 151. Lingering Autumn (1890). This picture, painted near Murthly Moss is supposed to illustrate, or to be illustrated by, Donne's couplet — No spring nor summer beauty hath such grace As I have seen in one autumnall face. With its broken ground, the picture has not been so completely " brought together '' as we are used to expect in thought-out landscape ; but it is an almost irreproachable study of a joyous and inteUigent rendering of a spot he loved to tread. 152-3. George Millais, Esq., and Everett Millais, Esq. (1876). Two sons of the painter, both of whom are now dead. The former, a youth of high and conspicuous intelligence, sat with his brother for the lads in " The Boyhood of Raleigh " (see No. 126) ; the first-named is he with fair hair. 154. Lady Campbell (1884). Painted at the time of her marriage. Sir John Millais had painted her fifteen years before as a little girl attired in white. (See No. in.) 155. Miss Effie Millais (1876). Portrait of the artist's eldest daughter (Mrs. James) who has figured so often in his pictures, from her early childhood down to the period of her marriage, as duly noted herein. This head is worthy of Gains borough's brush. 156. Miss Beatrice Caird (1879). Niece of Sir John MUlais, and daughter of the late Mrs. Caird (No. 115). A beautifully-drawn and sympathetically wrought portrait of a pretty child, now dead. 157. Bubbles (i886). This world-famous picture, so happy in inspiration (and so keenly adopted for commercial purposes), spread over the world by the mUlion by illustrated newspaper, print-dealer, and soap-manufacturer, is a far higher class of painting than it has become the fashion to assume. It has fre quently been called a "pot-boiler;" but it is forgotten that "pot boilers," whatever the motive of production, are usually better and more freely-painted pictures than those which are more deliber- NOTES ON THE PICTURES IN THE EXHIBITION 137 ately thought out and more restrainedly executed. In this case the painting of the head is pure, rapid, and sweet in touch, with out any torturing of the colours ; and at least it may be said that it introduced, through one man's initiative (and he not Millais), a revolution in favour of "artistic advertisement." "Bubbles" is a portrait of Sir John's grandson, Master Willie James, now (1898) a midshipman on the flagship of the Australian station. 159-160. Miss Millais and Miss Alice Caroline Millais (1876). The daughters of the artist. The former, Miss Mary Millais whose portrait appears in "Sisters" and "Waking," and the latter, Mrs. Stuart Wortley, who also appears in " Sisters " and in the picture {minted of her (No. 40) at the time of her marriage. 161. New Laid Eggs (1873). This graceful and elegant farm- girl is Miss Effie MiUais, now Mrs. James, represented in the taste of a hundred years ago, as a " fancy-character." 162. Sir James Paget, Bart. (1872). The great surgeon is in the act of lecturing to the students of St. Bartholomew's Hospital to which institution the picture was presented by his pupils and friends. This is one of Millais's finest portraits, superb in character, strong and natural, -with a workmanship that appeals powerfully to the admiration of artists ; and moreover, set in a background with excellent effect — a rather rare proceeding on the part of the painter. 163. The Ruling Passion (1885) (originally called "The Ornithologist," but altered out of deference to a not too literate public). Mr. Ruskin, who wrote " I have never seen any work of modern art with more deUght and admiration than this," once told me that he thought it the finest of its kind painted in modern times, whether for sentiment or for management of colour. In this respect Millais certainly improved it by taking the hint of a friend, when it was hanging at the Fine Art Society's GaUery, and reducing the staring white pUlow against which the invalid reclines to the present dull brown-pink hue. The ornithologist is his 138 MILLAIS AND HIS WORKS friend Mr. T. O. Barlow, R. A., when — as may almost be guessed — the distinguished engraver of nearly a score of Millais's pictures was in the grip of his mortal iUness ; and the two listening boys are the Masters James, the painter's grandsons. The " piled up '' arrangement of the figures unquestionably militates against the effect of the composition, but the "placing" of the brilliantly coloured birds and the elaborate study of the heads in varying degrees of illumination have been very carefully worked out. 164. Mrs. Chamberlain (1891). An example of feminine grace that might in its way be compared with that of " The Duchess of Westminster " (see No. 48). A charming harmony in grey and flesh-pink that gave the artist the utmost pleasure to paint, and, as he said, reconciled him to the troubles and trammels of portrait-painting. GALLERY \' 166. Luther Holden, Esq. (1880). An extremely refined and inteUectual rendering of a refined and intellectual head. This portrait of the President of the Royal College of Surgeons, as may almost be seen from its technique, was painted in the same year as the " John Bright " and " Bishop Fraser." It was presented by friends and pupils to St. Bartholomew's Hospital, of which Mr. Holden was at that time the senior surgeon. 167. Penseroso (1887). A curiously incorrectly-titled picture of a lady who, besides, has little in common with Milton's thoughtful character. The lady is less pensieroso than misero, and has little in common with the nightingale of the poem. 168. Murthly Water (1888). In spite of the light with which the picture is filled, this is perhaps Sir John's poorest landscape. It has a personal interest, however, in representing his fishing on the Tay. 169. Cherry Ripe (1879). The litde lady from whom this picture was painted was Miss Edie Ramage, who was the belle of the fancy-dress ball given by the " Graphic " in the year the work was produced. She impersonated Sir Joshua Reynolds' " Penelope Boothby," and was thought to be so charming that she was again dressed in the character the next morning and carried off to the artist's studio. He was so delighted with his little model that it was agreed upon the spot that he should paint a portrait of the child and that the price should be a thousand guineas. The picture was produced in a week, and the result, in the painter's own opinion — unaffected and candid in his estimation of him.self — was that it was as fine a thing as the original, if not a finer — "and," with a nod and a nudge, " they will recognise it one of these days." So popular was the picture, it is said, that of the coloured repro duction which appeared in the "Graphic," in 1880, 600,000 copies 140 MILLAIS AND HIS WORKS were sold, and that had the unsatisfied orders been met the issue would have reached a miUion ; indeed, the pubHsher had to return several thousand pounds in cash and sustain actions at law for damages for non-deHvery. Miss Blanche Barette, a pro fessional model, is said also to have sat for the figure. The picture, painted with a sureness of touch and richness of palette to be found only in Sir John's best work, with a setting, singularly felicitous in design, seems to be a good deal darker than it was. More than any other of his pictures it contains a dash of that espitglerie which is one of the principal charms of Sir Joshua's representations of fascinating childhood. 170. Christmas Eve (1888 — not 1867, as in the official cata logue). This extremely effective, if somewhat theatrical, landscape represents Old Murthly Castle — not to be confounded with the Elizabethan structure which Gillespie Graham designed for Sir A. Douglas Stewart. There is a touch of poetry in the air, as the setting sun lights up the windows of the castle and leaves the snow cool in colour, varied with a hundred tints. But as an example of tree-drawing it is probable that Millais never did anything so bad. There is no care for structure, and the branches look more like waving eels or a gigantic sea-anemone than solid, naturally- developed wood and twig. 171. A Message from the Deep (1884). Originally called " A Message from the Sea,'' this picture was received as one of the best and most seriously-painted of the series of pretty children to which Millais was devoting himself. Although there is a studio air about the sea, which, however, is perhaps the best in quality that the artist ever painted, the main interest lies necessarily in. the dramatic contrast between this Aberdeen-capped lassie and her occupation — between the happy innocence of the child and the probably tragic import of the message. 172. "The Moon is up and yet it is not Night" (1890). The poetic scene to which Millais fitted this line of Byron's is another of those which had a sporting interest for the painter ; for it represents a favourite spot for roe at Murthly. NOTES ON THE PICTURES IN THE EXHIBITION 141 173. Allegro (1887). The companion to No. 167, and equally ill-fitted with a title. This " I'olie " of the Carnival has nought in her of MiUon's lark, unless the "dawn " has reference lo the hour at which the lady returns from the ball. It is a gay and pleasing picture enough, but comes nowhere near the first rank of the artist's work. 174. George Grote, Esq. (1871). P'ew heads indeed in all the galleries compare with this masterly portrait, which is powerful in its strength, and at the same time learned and vigorous in handHng and singularly fine in modelling. It was painted for the Members of the Convocation of the University of London, of which Dr. Grote was \'ice-ChanceUor from 1862 to 1871. 175. Greenwich Pensioners at the Tomb of Nelson (1868). The text for this picture was from Canning's "Ulm and Trafalgar, 1806 " — .... before that hallowed tomb Frequent in solemn pilgrimage they stand — and the title then given was " Pilgrims to St. Paul's." This natural, sincere, and patriotic scene at Nelson's tomb, sympathetic and vigorous though it is, lacks a certain artistic and agreeable pictorial charm. And although it is impressive, by reason of its simplicity and honesty, and the skill with which a difficult problem has been solved, one finds one's-self objecting to the last to the strong and ruddy glow from a relatively poor illuminant. 176. St. Stephen (1895). " He feU asleep." — Acts vii. 60. The solemnity and earnestness with which Sir John devised and approached his subjects in the last two years of his life are well illustrated here. The martyr, according to Eastern custom, has been led outside the city to be stoned, and in the first ray of the cold dawn those who loved him— after watching through the night until it is at last safe to approach — timidly advance in order to bear off the poor stoned body. But the painter has striven to place before the spectator not so much the martyrdom of the victim as 142 MILLAIS AND HIS WORKS the gentle death-sleep of the saint. The landscape here so tenderly indicated is painted from the Quarry at KinnouU. 177. Sir William Sterndale Bennett (1873). An incisive portrait of the great composer, painted two years before his death. 179. T. Oldham Barlow, Esq., R.A. (1884). The wonder ful vivacity of this distinguished engraver, who reproduced in his own "mixed method" of mezzotint, etching, &c., so many of MiUais's works, and was to his friend much what John Raphael Smith was to Reynolds, or Bartolozzi to Angelica Kauffman, has been reproduced with perfect simiHtude in this portrait. In respect to execution it probably comes among the first in the second rank of men's portraits executed by MUlais. The picture has been presented to the town of Oldham by Mr. J. J. Jones of Abberley Hall, Worcestershire. 181. The Old Garden (1889), first called "A Green Old Age." A garden near Birnam, recalling a good deal of the senti ment of the landscape in " The Vale of Rest " of thirty years before. It is a work of quiet power and poetry, dependent for its effect upon that pathos which was the sentiment in Millais which corresponded to passion in Rossetti. It is an eloquent comment on the uncertainty of Millais's power at the time, that this beautiful and touching work was produced in the same year as Murthly Water (see No. 168). 182. Cinderella (1881). One of the three fancy-portraits of Miss Beatrice Buckstone (see " Sweetest Eyes" No. 119), painted with a firm skilful brush, but apparently without much interest on the painter's part. The mice are wonderfully true little studies of nature. 183. Urquhart Castle, ON LocH Ness (1870). The only title when this picture was exhibited were the lines from " Maud " — The Tower of Strength which stood Four-square to all the winds that blew. This old castle, built by the engineers of Edward I.'s army after they had overthrown the older structure of the twelfth NOTES ON THE PICTURES IN TIIE EXHIBITION 143 century, is now, after passing through the hands of the Chisholms, the property of the Clan Grant. The picture is said to be a satisfactory likeness ; but there, except for a few good passages, its higher merit may be held to stop. The sea is like that which Creswick painted in his period of decay, and not much better than that which Millais drew for " Locksley H.iU." The picture seems to me one of the artist's completest failures. 184. Charles J. Wertheimer, Esq. (1888). A powerful and well-painted, if rather summary, portrait of one through whose hands have passed many of the Master's pictures, and who has done much to make them appreciated at their fullest value by collectors. No fewer than ten works in this Room belong to him. 186. Miss Eveleen Tennant (1874). A magnificent portrait of Mrs. F. \\'. Myers, powerful in character, superb alike in colour and design, it is one of the very few pictures by Millais of an extremely decorative character. The beauty of the lady (the youngest daughter of the late Mr. Charles Tennant of Cadoxton Lodge, Glamorganshire), the brilliancy of the costume, the masterly rendering of the whole, unite to include this picture among the painter's masterpieces. Four years later, Mrs. Myers was painted by Mr. ^\¦atts with at least equal success. Not many sitters have been so brilliantly immortalized by two such distin guished masters. NOTES ON THE PICTURES NOT EXHIBITED AT THE ROYAL ACADEMY, 1898. {Arranged Alphabetically) Afternoon Tea (1889) — originally caUed by the artist " Gossips" — is a daintily-painted picture of a family group of little girls " playing at tea " in a garden. The nearest chUd has her back turned to the spectator ; and it was for the sake of " that sweet little back," said Sir John, that he painted the group. Apple Blossoms (1859) exhibited as " Spring.'' The upper zone of the picture is occupied by the nobly flowering trees ; the lower, by the group of girls who, standing, kneeling, and reclining, typify the Spring of Life. Ruskin protested against " this fierce and rigid orchard," while acknowledging the " mighty painting." The picture was painted at Annat Lodge. Mrs. Stibbard sat for the kneeling girl in the middle; the late. Mrs. Caird for the child on the extreme left. The other pretty child is said to be the Dowager Countess of Dudley when Miss Moncrieffe. Baptism of Guthren the Dane (about 1846). Millais was at this time, as he himself expressed it, "rather gone on the Danes," and intended to paint " a really good Alfred the Great picture ; " but the rise of the Pre-Raphaelite Brotherhood intervened. Beaconsfield, Benjamin Disraeli, Lord (1881). A briUiant but somewhat painful portrait of the statesman, painted at the time when death was upon him. Only a few hours before his fatal illness he wrote to his " Dear Apelles " as to the next sitting. By command of the Queen the unfinished work was exhibited on a screen at the Academy — the exhibition being already hung ; the I Illl D. (I U~) \LxMI001.. (I CIr /¦oniii.si.itt .f IhoC. r/......: ot A I ¦ i I 148 MILLAIS AND HIS WORKS Carlyle, Thomas (i88o). A sketch ofthe figure, seated, kit- kat size, executed the year before the death of the Sage, sup posed by some to suggest an air of " peevish decrepitude." It was painted for the late Mr. Reginald Cholmondeley of Condover, " and now belongs to the National Portrait Gallery. Clarissa (1887). Richardson's unfortunate heroine. A "Souvenir of Gainsborough " so closely designed after the " Hon. Mrs. Graham " in the National Gallery of. Edinburgh, that pose, head dress, and arrangement of costume are even confusing in their likeness. An experiment, and on the whole a fairly successful one. Combe, T., Esq. (1850). Portrait ofthe Superintendent ofthe Clarendon Press, Oxford, who was so sturdy a supporter of the Pre-Raphaelite movement, of Millais, and more particularly of Mr. Holman Hunt. The picture represents a jolly, typical English face, fringed with white hair, and full of character, which the painter has stippled in with much force, in miniature manner. The sitter nurses a cat on his knees. Convalescent, The (1875). A little girl sitting up with a blanket about her — the same child as appears in " Getting Better." Its fine drawing and delicate colour give this picture more interest than others of similar " minor importance." Crown of Love, The (1875). A romantic hero bears his lady-love up a steep slope — the curious effect, remarked at the time, being that the princess has a head without a body, and the knight a body without a head. The subject, of course, is based on Mr. George Meredith's poem. Departure OF the Crusaders, The. This extremely interest ing early work of Millais has never been exhibited, nor publicly seen save for a short while at the Fine Art Society's Gallery in 1889, when the price asked was five hundred guineas. Mrs. Rossetti, the mother of Dante Gabriel Rossetti, sat for one of the principal heads. Digging out the Otter in the Valley of the T-vy. A joint work of Sir Edwin Landseer and Sir John Millais. It is said that Landseer, recognising his desperate condition, remarked Misic. (1:4 Akt. (1847) (By permission of he Cor/,orat!nn of 1. 00, Is ) 150 MILLAIS AND HIS WORKS to MiUais who was with him—" I'll never live to finish it, Millais ; you'll have to finish it for me." This his friend afterwards did, inserting the figures. Ducklings (1889). A little maiden clad, a la Kate Greenaway, in subdued green, stands facing the spectator at a pond's side, looking in wonder at three ducklings floating on it — she herself, the artist would have us know, being the fourth. There is here a quiet harmony of colour, but not that brilliancy characteristic of the painter. The picture has gone to the United States. Du Maurier, George. A highly finished and masterly portrait, something more than a sketch, of the satirical artist and author, and one of the broadest and finest of all the heads in the Kepplestone Collection. Elgiva (1847). MiUais's second exhibited picture. It bore the explanatory quotation : " Archbishop Odo, to avenge the banishment of Dunstan, dissolved Edwy's marriage with Elgiva on the plea of kinship, and sent a party of soldiers into the palace, who seized the Queen, and, after branding her face, in order to destroy that fatal beauty which had seduced Edwy, forcibly con veyed her to Ireland." This picture, ambitious and full of movement, was skied at the Royal Academy, but found a pur chaser in Mr. J. H. Mann, for ^120. "Equestrian Portrait" see Nell Gwynne. Fenn, W. Hugh (c. 1845). An early oil portrait, destroyed by MiUais himself, on completing the existing portrait (see No. 4). Flowing to the Sea (1871). Painted at Waukmill Ferry, four miles below Perth. The Tay in autumn time is in the distance, and two soldiers — Highlanders — are at the river side gossiping with a mUkmaid. The picture is not so strong as its companion, " Flowing to the River." Found. A joint work with Sir Edwin Landseer. A stag, run down, has been tracked by the hounds. At Landseer's dying request Millais painted in the landscape ; but he left the sky hastily brushed in. The picture was exhibited in Bond Street. GL.4DST0NE, Rt. Hon. W. E. (1885). This picture, repre- NOTES ON PICTURES NOT IX THE KXIHBITIOX 151 senting the statesman in his Doctor's robes, was i)ainteil towards the close of his second premiership, at the eve of the ilisniption of the united Liberal Party. Here, in striking contrast with the portrait of 1879, we h.ive the Fighting Gladstone, combative and alert. The management of the crimson and lake of the robes is admirable. Gladstone, Rt. Hon. A\'. E., .wn hls Gk.wdchii.d (1889). A golden wedding-gift to Mr. and Mrs. Gladstone from the women-members of the Liberal Party-— English, Scottish, Irish, and Welsh — the subscriptions being from one penn\- upwards. The child is the eldest son of Mr. H. \\. Gladstone. The picture is leathery in colour, being painted at Millais's worst period. Grey Lady, The (1883). A "nocturne " — a pictorial definition, by the way, invented by Mr. F. Leyland — representing a spirit (perhaps) gliding wearily up a depressing staircase : a ghost story not convincingly, though suggestively, told. Highland Lassie, A (1854). A portrait of Lady Millais, and a study for " Waiting " (or '" A Girl at a Stile ") in the possession of Mr. Nettlefold of Birmingham. An exquisitely painted Httle work, corresponding in quality with the Miss Siddal and others of the time. Irving, Henry, Sir (1884). Sir John Millais painted this portrait for presentation to the Garrick Club, where he was wont to pass such leisure hours as he chose to devote to whist. I'he picture, which is fixed in its frame in the Strangers' Dining-room, gave singular pleasure to the artist to paint ; but, judged as a Hke ness, it is not the most successful portrait that has been produced of the great actor. IsMAV, Thomas H., Esq. (1883). This portrait was presented to the sitter by the shareholders of the " White Star " Line. Italian Girl, An (1876). A favourite picture of Ludy Millais's and never offered for sale, until Mr. James Dunnachie acquired it in 1885 and carried it off to Scotland. It was called for a time " Pippa," after Browning's heroine — and, indeed, the hands show signs of work. Contrary circumstances prevented 152 IIILLAIS AND HIS WORKS Browning from seeing the picture, although he tried to do so ; but there is little doubt that he would have discouraged the title. The principal charm of this picture is in the colour. James, Capt. (1880), of the Scots Greys — afterwards Major James, now dead. The son-in-law of the artist and husband of Miss Effie Millais. The young soldier, who saw much service in India, is represented in undress uniform. Knight-Errant, The (1870). This picture, Millais's only painting of the nude, occupied him not less than six weeks. When he had finished it, he was so dissatisfied that he intended to destroy it, or cut out the head of the lady who had been stripped by robbers and bound to a tree, and was at last rescued by a chivalrous knight. The girl's head, turned towards the spectator, seemed to strike a wrong note — apart from any question of modesty : the sentiment was injured. He made the experiment of repainting the head turned away and the picture became more satisfactory. But the female figure remains a life study while the Knight is more pictorial. It is good, if not fine flesh-painting ; and shows to what excellence the artist might have attained in this direction. The flying figures of the robbers are not convincing — the less so perhaps for having left the lady's valuable draperies at her feet ; and the circumference of the half-moon is altogether too great for its phase. When it was exhibited at the Royal Academy the picture was hung as a pendant to Mr. Watts's "Fata Morgana." Millais used to say that it gave him more trouble than any picture he ever painted, except, in later years, the " Mercy." The subject was explained by the sentence : " The order of Knights was instituted to protect widows and orphans, and to succour maidens in distress.'' It was said at one time that the first head of the lady was used for " The Martyr of the Solway." Landscape Study of a Waterfall (1854). Painted at Glenfinlas Waterfall as a study for the background of the portrait of Mr. John Ruskin. A female figure sits close by the wonderfully painted rocks with their lichenous growth. " Leeds Panels, The" (1847). Under this title are grouped the 154 MILLAIS AND HIS WORKS six lunettes which Millais executed in what are now known as the Judges' Chambers at Leeds, and which were lately removed to the Art Museum. In 1847, Mr Atkinson, having added a wing to his house, had his haU tesselated by Owen Jones, who also, in his design for the walls and dome, left these lunettes for independent decoration. On the recommendation of Charles Cope, R.A., Mr. Atkinson invited young Millais, still a student at the Academy, to his house to carry out the decorations (July and August, 1847). In the six weeks he remained there with the family he produced the six canvases, which were in due course affixed to the plaster. They are painted in sepia upon a blue background. The four pictures round the hall were (i) Childhood ; (2) Youth, making love ; (3) Manhood, being armed ; and (4) Age — a philosopher instructing youth. For the upper lunettes were (5) Music, with singing, human and divine ; and (6) Art, including Poetry, Painting, and the Drama. The designs are rather severe in them selves — erring on the side of simplicity — but they were admirably adapted to the places they were intended to occupy. It is inter esting to note that the attitude of the lovers in the study for " Youth ' recalls, in the position of their arms, the curious attitude so remarkable in " The Huguenot." Lorne, Marquess of (1884). The Princess Louise, when the Marquess was Viceroy of Canada, begged a sketch from Millais for the Canadian Art Gallery, which was just then being organised. He felicitously responded by painting this portrait, which was his contribution to the collection. Manners, Hon. J. Nevile (1896). Interesting only for the comparison it challenges with Lawrence's " Master Lambton.'' The result is not to Millais's advantage, hard and "tinny" though is the other picture. Mercy : St. Bartholomew's Day, 1572 (1887). An ambitious, melodramatic, and inteUigible rendering of a weU-chosen incident, but missing its mark whether in respect to sentiment or artistic effect. From another painter it might pass ; but from him who wrought "The Huguenot" a variant relatively so poor is not to ¦J'lil-: r.\K m;i.I'. Ml. ¦] 111, L. SI I'li.Li' Ol .Ml {T/ie Destro\ed J'ittittY. B^y ft . mission of M,s:.r 156 MILLAIS AND HIS WORKS be accepted as representative of his work. It is satisfactory, therefore, that the painting has not been brought to the Royal Academy from the National GaUery of British Art. That Millais desired to convey a love romance as well as a sterner story in this picture of a beautiful nun staying the advance of the man who is going forth to slay, is shown by the withered passion-flowers at his side. Lady Granby gave sittings for the nun. Millais, Lady, wife of the artist. A forcible and charming picture, dainty in sentiment, and of beautiful quality, it was seen in the Exhibition of the Society of Portrait Painters "at the Grafton Gallery in 1896. The lady is represented holding the " Cornhill Magazine." At first Sir John painted his youngest son, Mr. John Guille Millais, sitting on her lap, but he afterwards scraped him out. Millais, Sir John (1880). The portraits of himself, now at the Uffizi Gallery, Florence, and in the Kepplestone Collection, respectively, are dealt with in the pages herein devoted to the Portraits of MiUais. Nell Gwynne (1882). Painted in conjunction with Sir Edwin Landseer. The actress is represented as passing through an arch way on a white palfrey. Landseer made this design in pen-and- ink many years ago, and then began the work as a portrait of the Queen issuing from Windsor Castle. He painted and exhibited a smaUer version, but dwelt on the fact that for that portrait " Her Majesty did not sit." Upon his leaving this great canvas un finished, Millais took it up ; upon the horse he painted Nell Gwynne — for which the artist's daughter sat — as well as the page and dog, re-touching here and there. In 1897 the picture was presented by an anonymous donor, through Sir William Agnew, to the National Gallery of British Art. (No. 1503.) News from Home (1857). A Highlander sitting in a trench during the Crimean War, reading a letter. It was objected, not without reason, that the soldier is altogether too clean and too well-groomed in his newest uniform, for such a position. The picture crossed to the United States twenty-five years ago. (In the Kepplestone Colli, tion. Ily /¦»¦ ;i.|.. Ill .Mmuii k. on .f .Mis. .T/,i,,lon,ill. I:iit;i ,„ otl Iy .11. K litlLi, hi .) 158 MILLAIS AND HIS WORKS Oh, that a dream so sweet, so long enjoy'd. Should be so sadly, cruelly destroy'd (1873). This couplet from " Lalla Rookh " illustrates a pathetic portrait of a girl who has awakened to disillusionment. Parable of the Lost Piece of Money (1865). In 1863, Millais had made a series of drawings for Messrs. Dalziel and Routledge for '^The Parables of Our Lord." Of two of these he subsequently painted oU-pictures — the "Enemy sowing Tares," and this. On its completion it was engraved by Mr. Simmons for Messrs. Graves, but hardly had it been delivered to Baron Marochetti, R.A., who had acquired it, than in a gas explosion that occurred in his house the picture was utterly destroyed. Pippa (1876). Suggested by Robert Browning's Italian drama, "Pippa Passes."- (See An Italian Girl.) Pizarro Seizing the Inca of Peru (1846). Millais's first exhibited oil picture. " Pizarro himself advanced towards the Emperor, whom he had taken prisoner, while his soldiers, incited by Vincent de Valverde, massacred all that surrounded the Monarch." The spirit with which the boy of sixteen realised this passage from Luffman's Chronology was the wonder of all his friends, and the declaration of a French critic that this was one of the two best historical pictures in the Academy certainly did not shake the self-confidence of the young painter. It now hangs in the South Kensington Museum, to which it was bequeathed by Mr. Hodgkinson, where the reader may see the vigour of hand and independence of treatment showing through the school work. Pot-Pourri (1856). Of the two girls in this charming little picture of rose-shredding the elder chUd is Miss Gray (Mrs. Stibbard) the artist's sister-in-law. Her younger sister is at her side. .Return of the Dove to the Ark (1851). One of the pictures bequeathed by Mr. Combe to the Oxford University Gallery. The faces of the girls are ugly, but in all else the picture is exquisite — in colour, technique, quality of paint, and in the wonderful drawing, especially of the hands, and even in grace ' Cr /¦¦ i6o MILLAIS AND HIS WORKS of pose. But the type of the principal of the two girls who caress the weary dove and seem to contend for it is certainly below that of the average of humanity, even among peasants. This picture is also spoken of as " The Daughters of Noah," and " The Wives of the sons of Noah." Siddal, Miss,(i854). This delightful little picture of Rossetti's beautiful and sweet-minded wife (to whom full reference is made elsewhere) had never been publicly seen until it was shown at the Society of Portrait Painters' Exhibition in 1897. This is true Pre- Raphaelitic painting, but, as in several pictures of the time, some what changed in colour here and there. St. George and the Dragon (1853). The sign-board of the Vidler's Arms at Keston, by Hayes Common, Kent, where Millais wentin 1852-3 in order to paint the background to "The Proscribed Royalist." It was re-painted by Millais in a characteristic fit of good nature ; and is said to have been taken down by the shrewd innkeeper, framed, and sold. It wUl be remembered that Mr. Leslie, R.A., similarly painted a sign-board having St. George for its emblazonment, for an inn at Wargrave. St. Martin's Summer : Halcyon Days (1878). Painted from the scene close by Dunkeld and Murthly, during the splendid St. Martin's Summer weather (Oct. 9th to Nov. nth) which is supposed to come at the end of autumn. In adapting as a title these words of Joan of Arc (i Henry VL, i. 3) but simply reversing the two parts, to the picture executed in 1892 (see No. 88), Millais has created confusion in some people's minds in regard to the identity of the two pictures. Shelling Peas (1889). The picture which Sir John Millais presented to Lord Leighton in acknowledgment of the latter's gift of his beautiful statuette called " Idle Fears " — one of the very first, if not quite the first, ever cast in this country by the waste- wax process. A very delicate and sketchy work. Sound of Many Waters, The (1877). The lovely spot, much visited by tourists, known as the Rumbling Brig, above the fall of the river Braan, that runs into the Tay. It is a fine Rt. ,H(JN. W. ].. CIlmjstom:. (roils) {By fcrtiiission of the Covcrnini; /U'dy of Christ Chnrth, Oxford .) i62 illLLAIS AND HIS WORKS representation of the scene after a heavy fall of rain, when the torrent fusses noisily amongst the old red-sandstone rocks. There is no great attempt at formal composition here, but the picture is extremely fine in effect, and would be finer still but for the un interesting white sky above, which robs it of proper balance and full impressiveness. Was it not of this picture, together with "Autumn Leaves" and "Apple Blossoms," that Mr. Alfred Austin was thinking when he wrote in his tender and apprecia tive memorial verses ? — His, too, the wizard power to bring, When city-pent we be. Slow mellowing Autumn, maiden Spring, Bracken and birchen tree. Look ! twixt grey boulders fringed with fern. The tawny torrents chafe and churn, And, lined with light, the amber burn Goes bounding to the Sea. "TwA Bairns" (1888-9). The portraits of Frederick and Mary Stuart Phillips, aged respectively ten and eight years ; children of Mr. Frederick Phillips of GodshUl Park, Isle of Wight, and Philadelphia, U.S.A. The two handsome children, in Scotch dress, stand side by side, and form one of the most attractive groups ever painted by the artist. To insure accuracy in the tartan. Sir John borrowed from the Stuart Exhibition, then in progress, one of Prince Charlie's own to paint from. The date on the picture (1888) seems to be an error, as it was not finished till the following year, and sent home the year after. The artist was highly pleased with this performance. "Victory, O Lord ! " (1871). Commonly known as "Moses," this picture was originally exhibited with the loth, nth, and 12th verses ofthe 17th chapter of Exodus as a title. It is one of his most earnest works — one into which he threw all the energy and aU the passion of which he was capable. " But Moses' hands were heavy, and they took a stone and put it under him, and he sat thereon ; and Aaron and Hur stayed up his hands, the one on the one side and the other on the other side." The spirit has M)Ti;,s ( IN ii("ri'ki:.s m n i\ i m.; i-\ iiii;ri h i\ been caught and realized as Miil.iis caui;!,! .nul n-ali.id ilu- 1,1!! spirit (if few -real themes the Rsiilt, n,il n| i.,| ,„ ih wi n k,d .ml design, but nf years (if skady llimi-lu and lali,u:r, lh,,iiMl, ih,- labour is not apparent. \r[ in Liter \,,ir.s he . f tho Fine .-{rt Ao,iely.) months too much for " Mi ri \ : St. li.irtholunn-w's l)a\-," and a month "enough for any |)ictnri-." 'I'ln- llcsli painting; in this work is unusually fine. "Waiting" (1854). In this pieturr ul a lady sitting at tin- foot of a fligl. t of steps leadii-ig to a \'-stile, we ha\i- a liknujss ol i64 MILLAIS AND HIS WORKS Lady Millais in a Victorian bonnet (before her marriage with the artist), 'painted the year after the portrait in the "Order of Release." The "Highland Lassie," to which reference has already been made, is a highly finished study of the upper part of the figure for this picture. Westminster, The Duchess of (1876). A portrait of Lady Constance Leveson-Gower, daughter of the Duke of Sutherland, who married the Duke of Westminster in 1852, and died in 1880. A work of great beauty and dignity, which was presented by the Duke of Westminster's tenantry to Earl Grosvenor on his coming of age. Westminster, The Duchess of (1881). A finished replica of the head and bust of the afore-mentioned portrait, oval in shape, painted by the artist the year after the Diichess died, and by him presented to her brother. Lord Ronald Gower. It is a head of singularly refined beauty. Westminster, Hugh Lupus Grosvenor, Duke of (1872). This portrait was a presentation to the Duchess (then Marchioness) of Westminster by friends and citizens of Chester, " in testimony of the high respect and esteem entertained by them for her hus band, who was for twenty-one years Member of Parliament for the City ;" indeed, it was on his elevation to the peerage in 1869 that the painting of the portrait was first broached. Widow's Mite, The (1847). A great design contributed to the celebrated Westminster Hall Competition, which after many years' exhibition in the Pantheon in Oxford Street was finally cut into two parts by an enterprising dealer. One of these sec tions is now at Tynemouth, and the other in the United States. The work measured 10 feet 7 in. by 14 feet 3, and was painted in oil. The amusing story of this " Cartoon " and its production has already been told by Mr. Holman Hunt. Christ and His disciples are upon the right. He addresses Himself to St. John, and calls attention to the widow, who is the prominent figure in an extremely well-designed group upon the left. But the fact that she holds by the hand a little nude child set critics of the NOTES ON PICTURES NOT IN TIIE EXHIHITON 165 day somewhat against a work guilty of .such " b.id taste." The composition as a whole was considered a clever and dignified one — marvellous for a youth of sevei-iteen. But the prizes and the public favour went to stronger men, to .Mr. G. I''. Watts, Mr. Cope, Mr. Armitage, Sir John Tenniel, and others. WiMBORNE, Lord (1881). .-V present.ation portrait offered to Mr. Ivor Bertie Guest, their " lost political leader," by the Conservatives of Bristol, on his elevation to the peerage in 1880. Winter Fuel (1873). Painted in the woods by the Tay — " Bare ruined choiis, where once the sweet birds sang. '' A timber-cart is on the road, and upon it a child in a red hood. It is one of Millais's stronger pictures, painted at the time of "The North-West Passage" and '"Mrs. Bi.schoffsheim." It was presented to the Manchester Corporation Gallery by Mr. G. B. Worthington. Wolf's Den, The (1863). The artist's four children at play — the boy who plays the wolf has a fur rug thrown over him. There is forcible, brilliant, and solid painting, with a quaint harmony of contrasted scarlet and crimson. But there is an air of make- believe about the picture : the children are not really enjoying their game, and there is no such charm in it as pervades Millais's other picture of children playing on the floor — " Leisure Hours." Young Men of the Tribe of Benjamin seizing their Destined Brides in the \'iney.\rds, The (1848). This picture, by which Millais gained the gold medal in the Royal Academy Schools, was exhibited at the British Institution in 1848. It showed a power of composition, a freedom of drawing, and a bigness of design — a capacity to use the human form in the " grand manner " — which the artist hardly ever tried or cared to exert again. A short while afterwards the painting was engraved on wood by W. J. Linton. The handling of the subject has much affinity with the early style of Mr. Watts, and is finer than that of Etty, as seen in his easel pictures. The picture was painted to prove the artist's knowledge in the rendering of flesh and the figure. CHRONOLOGICAL LIST OF MILLAIS'S OIL PAINTINGS Tliis List tias been compiled to sho-w as far as possible— (i) The titles of all Sir John Millais's pictures in oil. (2) Those comprised in the Royal Academy Collected Exhibition of his Works of 1898 ; these titles are printed in ordinary type. (3) Those not comprised in that Exhibition ; these titles are printed in Italics. (4) The date of execution signed upon the Work. (S) The date of first exhibition. (6) The place of first exhibition. (7) The place of important subsequent exhibition. (See below). (8) The names of present or recent owners, the names in parentheses being those of former owners. In the column wherein is indicated the place of subsequent exhibition, the following are the abbreviations employed, and their signification — ¦ R.A. denotes Special Millais Exhibition at the Royal Academy 1898 B. ,, Brussels International Exhibition 1897 C. ,, Chicago International Exhibition 1893 Bm ,, Birmingham Pre-Raphaelite Exhibition 1891 M. ,, Manchester Art Treasures Exhibition 1857 & 1887 G.G. ,, Special Millais Exhibition at the Grosvenor Gallery 1886 F.A.S. ,, Special Millais Exhibition attheFineArt Society's Gallery. i88r L. ,, London International Exhibition 1871 P. ,, Paris : the Avenue Montaigne Exhibition 1855 And the International Exhibitions of 1867, 1878, & 1889 Of those pictures placed at the end of tlie list I tiave not been able, witliin the time at viy disposal, to obtain the dates of execittion or exhibition. LIST OF OIL PAINTINGS Cupid crowned with | Flowers I Williafn Hugh Fenn\ (Destroyed picture) / Baptism of Guthren the Dane Pizarro seizing the \ Inca of Peru ( Elgiva The Widow's Mite Study of an Indian's\ Head \ Childhood Youth Manhood Age j" Music I AH J Cymon (study for Cy-I nion and Iphigenia.. J The Tribe of Benjaniin\ Seizing the Daugh'i ters oJ Sliiloh / W, Hugh Fenn [•S4O UsW Isabella (Lorenzo and) Isabella) \ Portrait of a Gentleman^ ¦ and bis Grandchild) 1849 (Mr. Wyatt) / Ferdinand Ariel .... lured by) Christ in the House oft his Parents } (The Carpenter's Shop) ) Thomas Combe ._ Cymon and Iphigenia.... The -Woodman's \ • Daughter | 1847 .847 1S43 1849 1849 1849185018511850 1846 1847.8471847 FIRSTEXHIB. R.A. R.A.R.A. i W'estm'r "I Hall ) British llnbtitutn. 51 IISK- QUENT I EXHIB. 1896 Leeds 1848 1849 185018501850i38618981851 R.A. R.A. R.A. R.A. G.G. R.A. R.A. OWNER. PRESENT OR FORMER. R.A. Mi.^i, Millais. (Mr. Fredk. Crisp. l(Mr. Honghton.) /S. Kensington Museum. UMrs. Hodgkinson). (Mr. J. H. Mann. ) [Cut in two ; half now in I j Tynemouth, half inXJ.S. (H.M.'s Commissioners) (A set of Panels for lunettes formerly in the Judges' Lodgings, Leeds ; now removed to the Leeds Art Gallery. Mr. Fred Arnold. - I / British (Institutn. F.A.S. Fenn. (F.A.S.j„,.,V.W. 1 ^ '^-A- (Liverpool Art Gallery, ( F.A.S. I(B. G. Windus). G.G. I | ist, 1651 ( The Proscribed Royalist Si. George and ilu Dra-\ gon (signboard) | Waiting (or A Girl at\ aStile / A Highland Lassie (ot\ Head of a Scotch} Girl / John Ruskin Landscape Study of\ Waterfall j Miss Siddal The Rescue The Random Shot (ori-^ ginally "L'Enfant} du Regiment.") / The Conclusion of Peace, 1856 (cor. rect title " Peace Concluded") Autumn Leaves.. 1851 1851 1851 1852 18521852 185318531853 T854 1854 185418341854 1855i8ss1856 1856 1851 1851 1852 1852 1852 1853 1853 1853 18841886 1897 185s1856 1856 FIRST EXHIB. R.A. R.A.R.A. R.A.R.A. F.A.S. G.G. (Soc. Por. \ Painters R.A. R.A. R.A. R.A. SUBSE QUENT EXHIB. (G.G. Bm (R.A. / P. '55 I G.G R.A. ' P- '55 G.G. . R.A. G.G.R.A.Bm G.G. •P-'ss F.A.S, .R.A. G.G. BmR.A. OWNER, PRESENT OR FORMER. G.G. Bm R.A. G.G. /G.G.\R.A. /G.G.I R.A. R.A. M. '57 F.A.S. G.G.R.A. (Mr. H. F. Makins. (Mr. B. G. Windus). ((Mr. J. M. Dunlop). lOxford Univ. Gallery. ((Mr. Combe). (Fitzwilliam Museum, Cambridge. (Mr. Knight.) (Mr. T. R. Harding.) Marquess of Ripon. Nat. Gall, of British Art. (Mr. Farrar). (Mr. B. G. Windus). (Mrs. Fuller-Maitland). \(Mr. Henry Tate). [Mr. T. H. Miller. J. Pierpoint Morgan. Mr. A. Wood. /Mrs. Coventry K. Pat- ) more. (Executors, Mr. James 1 Renton. iMr. James Ogston. (Mr. T. E. Flint). i(Sir J. Pender). Mr. Joseph Arden. (Mr B. G. Windus). (Mr. Edward Nettlefold. KMr. Joseph Arden. Mr. Henry -Willett. 'Sir Henry .'^cland, Bart. /Mr. Hodgson. KMr. D. Bates). Mr. James Orrock. /Mr. Holbrook Gaskell. )(Mr. Joseph Arden). Mr. T. H. Miller. Mr. T. H. Miller. 1 Corporation of Man- I Chester. ((Mr. Kden). /(Mr. James Leathart). LIST OF OIL PAINTINCS it)t) 48 49 50 51 56 57 • - S8 59 6a61 626364 6566 676869 707172 7374757677 The Blind Girl " Portrait of a GenttgA man " (or " The Pic- J ture-book ") / Pat Pourri 1856 1856 Head of a Girl Head of a Girl Sir Isumbras at the) Ford (** A Dream of the Past") I The Escape of a ( Heretic, 1559 1 : The Eseapt of a \ Heretic, 1559 (small oil version) ' News from Home Wedding Cards 1856 1856 18571857.857 • 857 «857 The Vale of Rest ; 1858 The Love of Tames T. I ,(..,_ of Scotland ( "59 Appte-btossoms \ ("Spring") V Children Gat/uring Grapes... Head of a Lady (cut-\ ting a locit of /tair)l Meditation Head of a Woman The Black Brunswicker The Rivals The Ringlet (see 1859) The Ransom The White Cockade.. Mrs. Cliarles Freeman " Trust me !" Parable of tlie Lost Piece of Money ...' The Bride Lady in a Garden A Pastoral Head of a Girt Wandering Thoughts.. The Music Mistress 1856 1857 .857 18571859 18591859 — 1859 i860 i860 _ i860 — I86I 1862 1862 1862 1862 - 1862 1862 — 1862 1862 1862 1862 1862 18621862 FIRST KMIIn. R.A.R.A. R..-V. R.A. R.A. R.A. R.A. R.A. ( French I Gallery R.A. R.A. QUENT EXHIQ. rUFSKNT DUMI.U. i, ,, jl.-orpii. itf HiriuiiiKliaMi. ';'", '(Mr. -r. Miller). ' '^-^- ((Mr. Guihani). I F.A.S. I Mr. H. G. Chetwynd \G.G. I Slapylton. . , ( Mr. John Pritchard. , '^'-"'- ,l(Mr. B G. Windus). ' R.A. .Mrs. Wilfrid H.-idley. j R.A. Mr. H. T. Wells, R.A. , ,, f, /Mr. R. H. Benson jlR.A. ( M. '871 Sir -Wm. |)R.A. I Bart. UMr. Charles Reade). ['(Mr. John Graham). Houldswortb, , M.P. I Bm I R.A. R.A, G.G. / French / ^^'^' (Gallery y"^ ^ R.A. 1 — R.A. R.A. (In .\merica. \(Mr. Arthur J. Lewis). WMr. Grindlay. IHMr. Peter Miller). P. '62 [1 National Gallery of M. '87 I British Art. ((Mr. W. Graham). ((Mr. Henry Tate). /Mr. C. Churchill. |(Mr. Bolckow). {Mr. Clarke. (Mr. Burnett). (Mr. Graham). (Mr. D. Price). /(Mr. B. G. Windus). l(Mr. Gambart). I T> A (E.xors. Mr. J. Renton. [f:-^- . (Mr. T. E. Flint). ' '^¦^- l(.Mr. James Price). /Mr. Gambart. l(Mr. Hart). /Alderman Kenrick.JI.P. l(Mr. C. P. JIatthews). ' Mr. Stuart M. Samuel. i(Mr. W. Webster). (Mr. F. W. Cosens). Destroyed in explosion in Baron Marro- ' chetti's house. (Mr. B. G. Windus). (Mr. B. G. Windus). Lord Lansdowne. I70 MILLAIS AND HIS "WORKS 7879 80 8182 83 85 8687 90 91 92 93 949S969798 99 100101 My First Sermon .... My Second Sermon . The Eve of St. Agnes... The Eve of Si. Agnes] (small version) / The Eve of St. Agnes] (small version) / The Eve of St. Agnes) (oil sketch) / Henry Manners (Mar-l quess of Granby) .../ Suspense , The Wolf s Den ..... Brides77taid throwing] the Lucky Slipper ] Leisure Hours "Charlie is my Dar-1 ling" J " S-wallow I Swallow ! ' Master Wyclif Taylor] (son of Mr. Tom Taylor) J Lilly (daughter of J.i Noble, Esq.) J Harold (son of the^ Dowager Countess > of Winchilsea) / The Conjuror Tbe Parable of the) Tares (or the Enemy > sowing Tares) ) Joan of Arc Esther The Romans leaving) Britain The Greek Slave A iiention Diverted . Red R iding Hood. . . . The Minuet Asleep (correct title") "Sleeping") / JustAwake (correct title-) " Waking") / Jephthah 1863 1863 18631863 1864186, 186s 1864 1867 1863 1864 1863 186s 18641886 18651865 18651865 18651865 18671867 18671867 FIRST EXHIB. R.A. R.A. R.A. R.A. Crystal Palace G.G.R.A.R.A. G.G. R.A. R.A P. '67 R.A. French Gallery French Gallery R.A.R.A. R.A.R.A. SUBSE QUENT EXHIB. OWNER. PRESENT OR FORMER. G.G.R.A. /G.G.IR.A. (G.G. \R.A. R.A. R.A. F.A.S.G.G.R.A. G.G. R.A. /G.G.iR.A. G.G. R.A.R.A. fG.G.[R.A. P. '67 G.G.R.A. 'G.G. R.A. G.G. R.A.R.A. G.G. f F.A.S.G.G. [R.A.fM. '87 G.G. iR.-A..'M. '87 G.G. .R.A. G.G.R.A. IMr. C. Gassiot. /(Mr. Fleming). JMr. C. Gassiot. )Mr. Val Prinsep, R.A. [(Mr. C. Lucas). KMr. F. Leyland). /The late Philip Rath- \ bone of Liverpool. /Mr. A. Wood of Con- \ way. Lady Millais. (Mr. C. Brinsley-Mar- \ lay. (Mr. G. R. Burnett). (Mr. Brocklebank). ((Mr. T. E. Flint). l(Mr. Moore). )Lady des Voeux. (Sir J. Pender, M.P.) \Mr. James Reiss. /(Mr. T. Turner). \ Sir John Kelk, Bart. /(Mr. Sam Mendel). Mrs. T. Taylor. (Mrs. Neston Diggle. \(Mr. Noble). /Dowager Countess of I Winchilsea. )Mrs. J. L. Daniel. /(Major-Gen. Bythesea). \Mr. E. M. Denny. /(Sir J. Pender). iSir Cnthbert Quilter, Bt. /Mr. F. T. Turner). ) Mr. Alex. Henderson). /(Mr. Eustace Smith). /Sir I. Lowthian Bell, Bt. \(Mr. F. T. Turner). /(Mr. Kitzpatrick). \(Mr. Cox). /Rt. Hon. G. Cubitt, t M.P. Isir John Kelk, Bart. [Mr. C. J. Shaw. ((Mr. J. C. Harter). [Mr. Holbrook Gaskell. (Lord Armstrong, C.B. {(Mr. S. Mendel). I l(Mr. W. Armstrong). LIST OF OIL I'AINTINCS 171 HATK. SIG. KXmit l--iusr 1:XMIU. 106 107 108 109 112 "3 Master Cayloy Stella Vanessa Sir John Fowler. Bart., C.li 1 368 1868 Rosalind and Celia 1 1868 A Souvenir of Velasquez' 1868 1 363 "5116117iiS "9 121122 123124 126 127128129 130 Sisters Greenwich Pensioners at the Tomb of ^ Nelson (originally 1 1 " Pilgrims to St. ) Paul's") Greenwich Pensioners\ at the Tomb ofi' Nelson (small oil ( | version) ' \ TlieBride Head 0/ a Girt Excelsior Milking Time The Gambler's Wife .. Nina, daughter of F. | Lehmann, Esq. .../ A Dream of Dawn The Etid of tlie Chapter A Widow's Mite A Flood 1869 1870 R.A.R.A. R.A.R.A.R.A. R.A.R.A. ¦ BmR.A. 1869186918691870 1870 Chill October The Boyhood of Raleigh Sir John Kelk, Bart. ... The Knight-Errant ... Marchioness of Hnntly "Yes" or " No?" Flowing to the River ... 1870 1 1871 iI 1870 1870 1870 I 1870 1870 1870 - 1870 I87I I87I I87I 1872 R.A. R.A.R.A.R.A.R.A. R.A.R.A.R.A. R.A. R.A. (C.G, \R A. (C.G.(U.A. '(G.C. /R.A. (G.G.(R A. R A iL. -71 I P. -73 |G G. Ir a (Mr. Iliiiii|.liri-y Kiil.irK. ((Mr. |-.. 1-. I'l.llL-r). l.Mi-s. Huh. (Mr. G. Holl). UMr K.C. Poller). llnslitulioM uf Civil En- I giiiccrs. .Mr. I. C. U.inten. l(Mr.'A, W Kurtz). I (Mr. J. C. Burton of I Cried). Royal Academy. I Mrs. C. E. Lees, |(.Mr. C. P. Matthews). /M. '87 ) Mr. Humphrey Roberts. Ir.A. /(Mr. McConnel). R.A. (P. '78 Im. '87 ¦|G G. Ira. IG.G. IRA. (Bm IR.A. (G.G. (R.A. (P. '78 I F.A.S. iG.G.I R.A. (M. '87 If.a.s.iG.fJ.Ir.a. R.A. |L. '7. G.G. Ira. (P. '78 G.G. i Ir.a. ) R.A. (Mr. Humphrey Roberts. \(Mr. J. Heugh). (Mr. Albert Grant). I Mr. Humphrey Roberts. [(Mr. J. Farnworth). I Mr Frederick Leh iCorpn. of Birmingham. 1 Corpn. of Manchester. /(Mr. C. P. Matthews.) I Lord Armstrong, C.B. /(Mr. S. Mendel). .Mr. James Reiss. Sir John Kelk, Bart. (Nat. Gall, of British Art |(Mr. Albert Grant). |(Mr.C.H.Wilson,M.P.).l(Mr Henry Tate). Mrs. Moir. (Mr. Samuel Lewis. (Mr. E. L. Bellzon). l(Mr. Kurtz). 172 MILLAIS AND HIS 'WORKS 134135 136 138 139140 142143144145 ISO 151152 153154155 ¦156 157158 159 George Grote.. " Victory, O Lord I A Soninajnbulist . . . Mrs. Heugh " Hearts are Trumps ". Sir James Paget Flowing io the Sea.. Master Liddett Marguess of Westmin ster " Oh ! that a Dream so long enjoyed, ^'e." Hon. Walter Rothschild Early Days Scotch Firs Mrs. Bischoffsheim . New Laid Eggs Sir William Sterndale) Benr.ett / The Picture of Health The North-WestPassage The Fringe of the Moor Miss Eveleen Tennant) (Mrs. F. H. Myers)/ Stilt for a Moment WinterFuet A Day-Dream Forbidden Fruit Eveline, daughter of T. | Evans Lees, Esq. ...' Gracia, daughter of T. 1 Evans Lees, Esq. ...f "No!" The Deserted Garden ... 1871 1872 18721872 1S721873 187318731873 r8731874 1874 187418741873 1875 187s 1875187s1875 1 871 1871 1871187318721872 187218721872 1873187418731874 1873 18731873 18741874 1875 187s1874187418741876 1875 1875 18751875 FIRST EXHIB. R.A. R.A. R.A.R.A. R.A.R.A.R.A. R.A.R.A. R.A.R.A.R.A. R.A. R.A. R.A. R.A. R.A.R.A. R.A.R.A.R.A.R.A.R.A.R.A.R.A.R.A. R.A. SUBSE QUENT EXHIB. (M. '87 G.G. Ir.a. /G.G.IM. '87 M. '87 R.A. G.G. Ir.a.(M. '87 G.G. Ir.a. G.G. fp. '78 G.G. [r.a. R.A. /G.G.IR.A. /P. '78 {G.G. Ir.a./G.G. (R.A. /G.G. ¦(R.A. /G.G.Ir.a. p. '78 M. '87 G.G. R.A. |M. '87 G.G. IR.A.fG.G.iR.A. G.G. fG.G.iM. '87 fG.G.;R.A. R.A.R.A. G.G. .R.A. G.G. RA. OWNER. PRESENT OR FORMER. JUniversity of London. (Corpn. of Manchester. J(Mrs. Leopold Reiss). |(Mr. Albert Grant). KMr. R. Brocklebank). /Mr. J. Orrock. KMr. J. Heugh). >Mr. J. Herbert Seeker. )St. Bartholomew's Hos pital. ) Sir James Joicey, Bart. KMr. A. -W. Kurtz). Mr. C. Liddell. jDuke of Westminster. Lord Rothschild. (Mr. C. P. Matthews). )Mr. James Mason. ((Mr. Albert Grant). JMr. H. L.Bischoffsheim. JMr. Peter Reid. IProfessor T. Case. ) Mrs. C. E. Lees. /(Mr. Hilton Philipson). 1 National Gallery of Brit- I ish Art. f(Mr. C. F. H. Bolckow). /(Mr. Henry Tate). JMr. T. H. Ismay. J-Mrs. Tennant. Mr. J. S. Morgan. /Corpn. of Manchester. {(Mr..G. B. Worthington) ((Mr. Albert Grant). ¦Lady Millais. Mrs. Lees. Mrs. Lees. I Mrs. H. Brassey. (Mr. H. A. Brassey, M.F.). /Mrs. Thwaites. KMr. E. Hermon, M.F.). LIST OF OIL I'.UNTINGS '7J i6o 162163 164 165 166 167 169170171172¦73 175 176 177178 180 182 183 I ¦84 I 185 186 I .87 ¦• "Over the Hills andl Far Away" j "Model," a Basset) Hound / The Convalescent The Crown of Lvi'e "Stitch! Stitch! Stitch!'' Mrs. Sebastian Scbles I inger ( "'*'¦ I-IRST SIC. |l-:xiini! UXHID. 1875 1875187s 1876 1876 A Yeoman of the Guardj 1876 Twin daughters of T.-j i R. Hoare, Esq. (" Twins") I Getting Better I 1876 1876 18751877 1S77 1S7S 1876 : 1876 George Millais i 1S76 ] — Everett MiUais Mi.ss Effie Millais Miss Mary Millais Miss ^ Alice Caroline, Millais Italian Girt, An (for al time known as } "Pippa") / Lord Lytlon Duchess 0/ Westminster Countess Grosvenor LadyBeatriccGrosvenor Lord Ronald Gotver ... The Earl of Shaftesbury Efhe Deans.. (iS7« (¦676) (1876)(1876) 1S76 R.A. R.A. G.G.R.A. R.A. G.G.R.A. I 18761877 1877 A Good Resolve 1877 'Yes!" 1877 Puss-in-Boots 1877 The Sound of .Many\ _ , Waters / "^76 Bright Eyes 1877 Marchioness ofOrtnottde — 188 I Thomas Carlyle 189 Mrs. Stibbard igo A Jersey Lily 191 The Princes in the Tower 192 St. Martin's Summer ¦ ; 1877 878 1878 187618761877 1877 1877 1877 R.A.R.A.G.G. G.G. F.A.S. R.A. J King St. t Gallery 1878 G.G. 1877 I R.A. ,o„ I /.McLean ' '"'' I Gallery- R.A. 18771877 1879 18781878 I '878 G.G. G.G. R.A.R.A. R.A. ! 1-xiiln. tk.A. R..\. HWNI-.K. {¦Rlisi. N r OR I'UUMI-.K. I Mr. I. (.-. Williams, }(Mr. G. !¦;. Clayton). f(.Mr. Kayc Knowlcs). I. ally Millais. Mr. CeorgL- Belliss. K..\. ic.i;.IK. A. ]Mr. G. F. Walts, R.A. (i;.G.IR.A. J.Mr, Hy. Schlesinger. If.a.s.Ir...\. 1 National Gallery. r(Mr. H. Hodgkinson). /G.G. \R.A. -Mrs. Hoare. R.A.R.A.R.A. R.A. R.A. J.Mr. Humphrey Roberts. UMr. E. Hermon, M.P.}. Lady Millais. Lady Millais. Lady Millais. Lady Millai:^. R.A. Lady Millais. /G.G. (R.A. /G.G. IR.A. /G.G. IR.A. R.A. G.G. G.G. G.G. (G.G. IR.A. /G.G. IR.A. /F.A.S, G.G. IR.A. /Mr. J. -.Dunnachie of ( Glenboig. Earl Grosvenor. Duke of Westminster. Duke of Westminster. {Shakespeare Museum, Stratford -on- Avon. (Lord Ronald Gower). British and Foreign Bi- [ ble Society. (Sir Edmund Loder, Bart. '/(Mr. Arbuthnot). |(Mr. Bischoffsheim.) UMr,RobertLoder,M.P.). Mr. Julius Reiss. Exors. Mr James Renton /Sir W.OgilvyDalgleish, I Bart. (Mr. David Price). Mrs. Macdonald. Duke of Westminster. j Nat. Port. Gallery '(Mr. ReKin.ild Cholmon- l deley). 'Mr. G. T. Stibbard. Mr, H, M. Kenn.ard. / RoyalHolloway College, ((Mr. HoUoway). ((Mr. Lee). /(Mr. Bullock). 174 -MILLAIS AND HIS WORKS 193IQ4 195 196 201 202 204 205 206 207208209 214 215 217 218219220 221222 Countess of Carysfovt Bride of Lammermoor Miss Hermione Schenley The Bridesmaid Mrs. Jopling Mrs. S. H. Beddington. Rt. Hon. W. E. GIad-\ stone / The Princess Elizabeth. Miss Beatrice Caird Cherry Ripe Urquhart Castle Mrs. Arthur Kennard. A Moorish Chief -¦¦ Miss Catherine MurieP Cowell Stepney (ori ginally ''Portrait of "a Child," not "Alcyone" as in Official Catalogue), Bishop Fraser Mrs. Perugini Diana Vernon Rt. Hon. John Bright . Mrs. Caird "Cuckoo !" LutherHolden.P.RCS. Miss Evelyn Otzuay ... Sir John. E. Millau,\ Bart \ Girlwith Violets (small\ picture) / Girl at the Stile (small! picture) ( D. Thwaites Cardinal Newman Children of Octavius^ Moulton Barrett, \ Esq / " Sweetest Eyes werel ever Seen "... / Rev. John Caird., D.D 18791879 187918971879 1879 1879 1879 18751879 1880 1880) I88I 18791879 18791879 I88I I 1882 SUBSE FIRST QUENT EXHIB. EXHIB. R.A. /King St. t Gallery }m. '87 R.A. /G.G. \R.A. — R.A. /G.G. G.G. B. (R.A. R.A. R.A. (M. '87 R.A. 1 P. '89 1 G.G. Ir.a. ( F.A.S F.A.S. G.G. ( R.A. (G.G. IR.A. 1 P.'89 1 R.A. R.A. /G.G. \R.A. R.A. = R.A, R.A. R,A. 1 M. '87 (R.A. G.G. R.A. — R.A. R,A. / M. -87 /R.A — R.A. R,A. /GG.\R.A. R.A. ( G.G. ( R.A. — G.G. R.A. R.A. R.A. R.A. 1 M. '87 I R.A. G.G. 1 G.G. \ R.A. G.G. , G.G. 1 R.A. R.A. G.G. OWNER, PRESENT OR FORMER. /Mr. Angus Holden. ((Mr. W. H. Vanderbilt). vMrs. Schenley. ( Mr. J W. Knight. UMr. T. E. Plint). (Mr. Lindsay M. Jopling. '(Mrs. Louise Jopling- I Rowe). Mr. S. H. Beddington. \ Sir Charles Tennant, I Bart. /(Duke of Westminster, I K.G.) ) Royal HoUoway Col- > lege. )(Mr. T. HoUoway). I Mr. G. D. Stibbard. ((Mrs. Gray). \U.T. C. J. Wertheimer. /(The Graphic]. [Exors. Mr. J. Renton. Mr. A. Kennard. (Hon. Lady / Stepney. Cowell /Corpn, of Manchester. l(Dr. Fraser). Mr. C. E. Perugini. Mr. G. Gurney. (Sir Cuthbert Quilter, .1 Bart., M.P. |(Sir Wm. Agnew, Bart., \ M.P.). Exors. late Lady Millais. [Mrs. Bloomfield Moore. (Mr. Lees), l(Mr. Heath). (St. Bartholomew's Hos- / pital. Sir Arthur Otway, Bart. Uifizi Gallery, Florence. Mrs. Thwaites. '^^ i^Duke of Norfolk, K.G. iMr. O. M. Barrett. ilMrs. Sandars. j/(Mr. Everett Gray). University of Glasgow. LIST OF OIL I'.MNTINC.S 175 223 224225326227 228 229 230231232 233 234 235 236 237238239240241 242 243 244 245 246 247 248 249 250 riKsr iKxiiiii 1- \iiin. Sir J. D. .\stley, Bart. ! 1881 , 1881 ' U..\. Alfred, Lord Tennyson . ' 1881 ' 1881 F..\.S. Sir Henry Thompson ...1 18 j Little Mrs Gamp 18 Cinderella 18 iSSi Captain /rtw/cf (Royal | Scots Greys) ( Mrs James (see Mi-.s| Effie Millais) ( Sir Gilbert Greenall ... (1880) Caller Herrin ; iSSi Duchess of Westminster! (Lady Constance - Leveson-Gower) ...I Lord JVimborrie — The Earl of Beacons- \ field .( Non Angli sed Angeli.. — Pomona iSS^ Mrs. James Stem f 1882 Olivia '¦¦ 1882 Duchess of We.st-( .-o minster ( »^^ '* For the Squire " j 1882 J. C. Hook, R.A ! 1882 1882 K..\. i8Si i K,.\. tSSi K,.\. iSSi R.A. iSSa F.A.S. ;882 I H.R.H. the Princess] Marie of Edin-I burgh ("A Littlej', Duchess") ' The Stowaway , 1882 Nell Gwynne (called ini Official Catalogue! ^^^g " An Equestrian! ^ Portrait" ) Dorothy Thorpe — Mrs. Riciiard Budge tt — Mrs. Garrow-Whitby — Love Birds (originally. " Une Grande — Dame") V The Captive — Dropped from the Nesi 1 (incorrectly called 1 1 "Fallen, &c." in Of I j ficial Catalogue) .. ' I 251 I Marquess of Salisbury . 1883 1885 R.A. D.G. R,.v :{ 1881 ) R.A. i35i i83i ,88= (^r^f^ (Gallery. 1883 R.A. 00 (Tooth's •883 tGaller>-. 1883 ; G.G. i J883 R.A. l.U'l.-NT I OWNI-K, l.xiiin, I'lvi'si. N-r nn i.ui^Mi'.K', G.i;, ISii J.,mc-. .Vsiliy Cor K..\ I I..11, ll.ui. F.A.S, 1 i;,(;. Mr, l.imc^ Klin«lg<, KA I \' ;¦"' I .. ti.ti. .sir Henry T honipson. K..\, / R..\, T. Aancu & Sun,, J," .--' .Mr, t.- J. Wertheimer. G G. (Major J^imc). (-..c,. Sir Gilbert Greenall, Bl G.t;. .Mr. Walter Dunlop. Lord Ronald (iower. )Lord Wimborne. l(Rt. Hon.W. H.Smith, M.P. Mr. Tonge. Rt. Hon. the Lord f .Mayor (1898). i(Mr. C. Neck). iMr. J. Stern. M. '87 G.G, / G.G. I RA, /G.G. ( R.A. /G.G. \ R.A. /G.G.1 R.A. / G.G. I R.A. I P- '89 G.G. I R.A.R.A, RA. 'M, J. Orrock. Poole). Westminster, •397 ^,11 )\ i88j : R.A. 1882 i R.A. 1882 : G.G. l(.Mr. E. J. I Duke of ( K.G. {.Mr, H, F. Making. fiMr. J. C. Hook, R,A. H..M. tbe Queen. /.Mrs. Bloom/ield Moore. l(Mr, E. Fox-White). / National Gallery of I British Art. (Mr, I. Dyson Pcrrins). Mr. R. Hudgctt. 1883 1882 R.A,F.A.S, 1883 I F.A.S. 1883 R.A. ! /G.-illrry ol New South I "" I Wales. ' i/Mrs. l-:rM..st Hills, ( G,G JlSir Cnllil.erl yuiller, I K,A, 1 M,I',) l(Mr, R, lir.ieklehanl:) / -M '87 lHii,W,F,ll,Sm;ili,M,l', G G, (Kl, Hm, W. H, Smilli, \ R,A I M,l',), 1/6 MILLAIS AND HIS 'WORKS 252253 254 255 256257258 259 260 261 262 263 265 266267268269 270 271272273 274 275 276277278 281282 283284285 286 287 Forget-Me-Not The Grey Lady ... T. H. Ismay Charles Waring ... Master Freeman... Sir fohn E. Millais,] Bart., P.R.A / Little Miss Mu/fett Perfect Bliss (not " In- Perfect Bliss " ; in Official Cat; logue) An Idyll, 1745 Lady Peggy Primrose.. Lady Campbell A Message from the) Sea (not "Deep")/ The Mistletoe-Gatherer. Sir Henry Irving Fleetwood Wilson Lady Gilbert Greenall.. Miss Scott (of Phila-] delphid) / Marijuess of Lome The Ruling Passion-J (or "The Ornitho-J logist") / Orphans A Waif Simon Fraser .'.... Found (landscape and\ figures in the picture] by Landseer) / Miss Margaret Millais Rt. Hon. W. E. Glad stone Lilacs Bubbles T. O. Barlow, R.A Rjiddier tiian the] Cherry / Lord Eslier Pippa (now "An \ Italian Girl ") / Portia H.R.H. the Princess] of Wales / Mrs. Charles Stuart \ Wortley / The Nest Murthly Moss, Perth-) shire / 18R3 18861886 FIRST EXHIB. R.A.R.A.R.A.R.A. /M'Lean's ( Gallery ,'M'Lean's I Gallery R.A.R.A.G.G. /M'Lean-s1 Gallery (M'Lean's \ Gallery R.A.R.A.R.A.G.G. R.A.R.A. R.A. G.G. G.G. RA. f Tooth's [ Gallery M. '87 R.A. fM'Lean'sL Gallery G.G (M'Lean'i \ Gallery G.G. R.A.R.A. SUBSE QUENT EXHIB. R.A.G.G. I G.G. /R.A. I R.A. /G.G.\R.A. R.A. /G.G. /R.A. Ir.a. G.G.G.G.G.G. C. G.G.R.A.G.G. /Do'des \ wells G.G. R.A. B. R.A. R.A. R.A.R.A. R.A. OWNER, PRESENT OR FORMER. Exors. late Lady Millais. Messrs. Agnew. Mr. T. H. Ismay. Mrs. Macdonald. iMr. J. M. Keiller. /Mr. G. McCulloch. /(Mr. C. Wertheimer). ¦Sir F. Wigan, Bart. Earl of Rosebery, K.G. ¦Mrs. Fredk. Lehmann. Mr. C. J. Wertheimer. Mr. C. J. Wertheimer. Garrick Club. Mr. Fleetwood Wilson. Sir Gilbert Greenall, Bt. Mr. Freeman. (National Gallery of \ Canada. >Lady Millais. Mr. J. S. Forbes. j-Mr. Ed. Fox-White. Mr. Fraser. (Mr. G. Nathan). Mr. W. H. Millais. Christ Church, Oxford. Lord Iveagh. Messrs. A. & F. Pears. Corporation of Oldham. (Mr. M'Lean). Mr. J. Dunnachie. (Mr. M'Lean). /Corporation of Man- ( Chester. (Rt. Hon. C. Stuart \ Wortley, M.P. Mr. W. H. Lever. (Sir Cuthbert Quilter, > Rart, M.P. LIST OF OIL PAINTINGS 177 388 S90 S91 392 393 294 295 296197 298 299300 301 302 303 30s 306307 308 309 3" 312313314 3153-6317318 319320 321 Penseroso .\llegro Mercy. Si. Barilwlo- ( mew's Day, 1572 ...I Eart of Rosebery Marquessof H artington Clarissa Rttddier than th, \ Cherry I Mrs. Paul Hardy The Last Rose ofi Summer ( Murthly Water The Old Garden C. J. Wertheimer Christmas Eve SUiisI-,- DATE. |.I«ST o\\ M rt. SIG. ( EXHtlt EXHin. i.\-|iin. TRI'SKN 1 OR I'ORMl'K. 1887 1887 (M'I.e.uis 1 Gallery 1 R.A. Mr. C. J. W.-rllieimer. 1887 1887 (M'l,c.m'>\ (-..illery 1 R.A. Mr. C. 1. Wertheimer. (Nat. G.ill. u|- llrit. Art. 1886 1887 R..\. — ( (.Mr, Henry Tate,) 1887 R.A. — 1687 R.A, — 1SS7 ,3S7 (M'Lean > ( Gallery 1 ( (.Mr. J. S Forbes). — 1887 - - 1888 18S9 R.A. R.A, ,P'89 .Mr. Paul Hardy. (Executors Late Lady J Millais. 1 388 1888 N G. ( R.A. 1 888 1 1889 R..\. R.A Mr. Pandelli Ralli. 1888 < 1889 : R..\. , R.A. Mr. C. J. Wertheimer. iSSS 1888 G.G. i R.A. Mr. C. J. Wertheimer. 1888 1533 (M'Lean ;. 1 Gallery }R.... , Mr. C. J. Wertheimer. T7ua 5a/r^« (Frederick and Mary Stewart Phillips, children of Frederick Phillips, Esq., of Godsbill, Isle-of-Wighl) Sir Arthur Sullivan ... Forlorn Shelling Peas -Mr. Fredk. Phillips. Ducklings Afternoon Tea (by the» artist called '-Gos-J sips'-) / Dew Drenched Furze ... Lingering Autumn " The Moon is up and yet it is not night"... Ri. Hon. W. E. Glad--, stone, M.P., and his Grandson 1 Porirait of a Lady Master Ranken Hon. Mrs. Herbert I Gibbs / Glen Birnam Grace Mrs. Joseph Chamber lain Mrs. Charles Wer-1 theimer / Dorothy, daughter oj Mrs. Harry Lawson "The Little Speed--) well's Darling) Blue" ¦• ¦•) "Blow, blow,^^ thoul winter wind 1 " / Halcyon Weather 1888 i6831888 1 .889 G.G. 1 NG. GG. C. /Mr. J. Orrock. KLord Leighton, P.R.A.) 1889 \ 1889 (M'I,.ean-.-.1 Gallery - - (.Vow in United States). 1889 j 1890 l8qo 1890 (M'Lean-s( Gallery N.G. 1 ~ R.A. / C. 1 R.A. Mrs. Sandars. 1890 ' 1891 R.A ^Mr. G. McCulloch. 1890 1890 R.A. R.A. Mr. J, Ogston. — 1890 R.A. - /Rt. Hon. W. E. Glad- l stone. - 1890 1880 N.G. G.G, — tSgi 1891 R.A. R.A. Hon. Herbert Gibbs. 1891 1891 1891 18911891 1891 R.A. R.A.R.A. R.A. R.A. R.A. Mrs. Rylands. _ Mr. Julian Senior. Rt. Hon. Joseph Cham- 1 berlain, M.P. 1891 - - R.A. Mr. C. J. Wertheimer. 1892 1891 1892 R.A. R.A R.A. /Mr. W. H. Lever. l(Sir Julian Goldsmid). 1892 1892 R.-^. R.A. Major Joicey. 1892 1892 R,A. ( c. 1 R.A. l|Lady Millais. 178 MILLAIS AND HIS WORKS 324325 326327 328 329 330 331 332 334335 336 337 33B 34034^ 342343 344 345 346 347 348 349 350 ' Master Anthony de Rothschild / "Sweet Emma More-) land" / John Hare The Girlhood of St Theresa Pe?isive {or Sad) Merry "Speak ! Speak ! " ... . Time, the Reaper St. Stephen The Empty Cage Ada.^danghtcrof Robei't Rintonl Simon, Esq. A Disciple A Forerunner Sir Robert Pullar Sir Richard Quain,Eart. Stanley Leighton, M.P. The Hon. John Neville\ Planners / The Marchioness oJ Tweeddale J. G. Millais (unfinished) Bride, lite Bright Eyes Collins, Wilkie Digging out the Otter in the Valley of the \ Tay. (Landscape, sky, and figures by ; Millais) Du Mauiie?-f George ... Good K7iight, The Hunt, IV Martyr of the Solway ... School Teacher., The ... Romeo and Juliet \ (last scene) / Winter Garden 18951895 1895 FIRST F.XHIB. 896 N.GR.A.R.A. R.A.R.A. R.A. N.G. R.A N.G. R.A. R.A.R.A.R.A. R..A.. R.A. R.A. SUBSEQUENT EXHIB. OWNER, PRESENT OR FORMER. 1848 ' R.A. R.AR.A.R.A. R.A.R.A. R.A. R.A. R.A.R.A. R.A. R.A. l/iMr. Leopold de Roths- : I child. j Mr. Stephen T. Gooden. j Mr. John Hare. 1 Mr. E. M. Denny. I Mrs. Cameron. \ Mrs. Cameron. I Nat. Gall, of Brit. Art. Lady Millais. . Nat. Gall, of Brit, Art. /Nat. Gall, of Brit. Art. |(Mr. Henry Tate.) Sir Charles Tennant. Sir Robert Pullar. Sir Richard Quain. /Mr. A. D. Grimmond, \ Dundee. ((Mr. G. B. Windus.) (National Port. Gallery. /Mr. Saunders. /(Mr. Coleman.) Mrs. Macdonald. Corpn. of Liverpool. Mr. A. Campbell Blair. Mr. Tankard. THE ENGRAVED PICTURES OF SIR J. E. MILLAIS, BART., P.R.A. NOTE. — Engraving in Mezzotint orin the " Mixed " manner (of mezzotint and etching combined) are entered in this list as Mezzotints. TITLE. ENGRAVER. METHOD. Etching Mezzotint ... Etching Mezzotint ... Mezzotint ... Mezzotint ... Etching Mezzotint ... Photogravure PhotogravureMezzotint ... Mezzotint .. Mezzotint .. Mezzotint ... Mezzotint ... Mezzotint ... Line Mezzotint .. Etching Etching Etching PhotogravureEtching HeliogravurePhotogravureMixed Mezzotint ... Mezzotint ... Etching Etching and Mezzotint .. Etching Mezzotint ... PUBLISHER. DATE F. A. Laguillermie .,, T. O. Barlow, R..\..., J. Dobie T. O. Barlow, R.A. ... H. Herkomer, R.A..., T. 0. Barlow, R.A..,. C. Waltner 18901868189618681882 Asleep Henry Graves & Co... Magazine of Art Henry Graves & Co... Fine Art Society E. S. Palmer Awake Beaconsfield, The Earl of Bennett, Sir W. Stem- dale 1875 L'An Black Brunswicker, The Henry Graves & Co... Magazine of Art Magazine of Art T. Agnew & Sons T. Agnew & Sons Arthur Tooth & Sons. Fine Art Society Fine Art Society Moore, Mc(3«een & Co. Art Journal T McLean 1864 Blind Girl, The Bride, The Bride of Lammermoor Bright, Rt. Hon. John Bubbles C^Ier Herrin' Captive, The — T. O. Barlow, R.A..., T. O. Barlow, R.A... G. H. Every H. Herkomer, R.A.. G. H. Every Prof. L. L. Gruner, of Dresden Thomas Brown Samuel Cousins, R.A, Brunet Debaines C. Waltner 18931896t88i1882188718821885 Carpenter's Shop, The Carpenter's Shop, The Cherry Ripe Chill October 1868 1883 1881 T. Agnew & Sons ^m¦^ Chin October R.W.Macbeih,A.R.A. F. A. Laguillcrmie ... Dujardin T. 0. Barlow, R.A. ... T L Atkinson . . 1889 1884 T. McLean 1889 Convalescent, The Dropped from the Nest Effie Deans Magazine of Art Fine Art Society 'V. Agnew & Sons Fine Art Society T. Agnew & Sons Hriiiiih and Foreign Artists' Assoriaiion. 1 888 28847878 1887 Fallen from the Ncsl, (see "Dropped") For the Squire G. H. Every i88=> Ch. Waltner Flood, A E. Gilbert Hester Ch Waltner 1881 18971879 Gambler's Wife, The ... Gladstone, Rt. Hon, W. E.(i879) T. Agnew & Son-! T. Agnew St Sons T, 0. Barlow, R.A. ... 188: M 2 j8o MILLAIS AND HIS WORKS Gladstone, Rt. Hon, W. E. (1885) Gladstone, Rt. Hon, W.E. and Grandson.., Gower, Lord Ronald.., Greenall, Sir Gilbert... Greenwich Pensioners Hook, R.A., J. C Hook, R.A., J. C. . Huguenot, The .... Huguenot, The .. Huguenot, The .. Idyll of 1745, An.. Irving, Henry ENGRAVER. D. A. Wehrschmidt . P. A. Rajon PhotogravureMezzotint ... Etching Mixed Etching ... Dry Point PUBLISHER. Isabella ' Jephthah's Daughter.. I Jersey Lily, A Just Awake {see Awake) Lilacs Lingering Autumn Little Duchess, A (H. R H. Princess Marie of Edinburgh, Crown Princess of Roumania.) Little Mi.ss Muffett ...j Love Birds , Manchester, Bishop Fraser of I Minuet, The Moorish Chief, A Murthly Moss My First Sermon My Second Sermon ... Nest, The New Laid Eggs Newman, Cardinal Nol ¦ North-west Passage ... I Old Garden, An Olivia Ophelia Order of Release, The I Ormonde, Marchioness] of ' Orphans Over the Hills and Far] Away Paget, Sir James, Bart. Parable of the Lost Piece of Money Picture of Health, The Pomona princes in the Tower, ,The T. O. Barlow, R.A. ... H. Macbeth-Raeburn. Otto Leyde, R.S.A.... A. H. Palmer Mezzotint ... T. O. Barlow, R.A. ...' Mezzotint ... G. Zobel ' Stipple and Etching ... R. B. Parkes i Mixed W. Hole, R.S.A ! Etching T. O. Barlow, R.A. ...j Mezzotint and ' Etching ... H. Bourne , Line — i Photogravure T. O. Barlow, R.A. ... Mixed G. H. Every Mezzotint Th. Chauvel Etching .. G. H. Every | Mezzotint T. L. Atkinson and SarauelCousins,R.A. T. L. Atkinson T. L. Atkinson Samuel Cousins, R.A. C. Goodeve Brunet Debaines T. O. Barlow, R.A. ... T. O. Barlow, R.A. ... G. PL Every Samuel Cousin.s, R.A. T. O. Barlow, R.A. ... Samuel Cousins, R.A. A. Mongin R.W.Macbeth,A.R.A J. Stephenson J. Stephenson Samuel Cousins, R.A, C. Waltner Brunet Debaines T. O. Barlow W.H.Simmons Samuel Cousins, R.A. Samuel Cousins, R.A. Samuel Cousins, R.A. MezzotintMezzotintMezzotint MezzotintLine Etching .., MezzotintMezzotintMezzotintMezzotintMezzotint Mezzotint Etching .., Etching ... MezzotintMezzotint Mezzotint Etchins; ... Etching .., Mixed MezzotintMezzotint MezzotintMezzotint Magazine of Art T. Agnew & Sons Lord R. Gower's Remin iscences Private Plate Magazine of Art British and Foreign Artists' Association, Portfolio D. T. White, and H. Graves & Co j B. Brookes & Son B. Brookes & Son Virtue & Co Arthur Lucas Art Journal Magazine of Art H. B. Ansdell T. Agnew & Sons Arthur Tooth & Sons. T. Agnew & Sons T. McLean I Arthur Tooth & Sons. T. Agnew & Sons Henry Graves & Co.. Art Journal 'f. Agnew & Sons Henry Graves & Co... Henry Graves & Co... T. Agnew & Sons.. T. Agnew & Sons.. T. Agnew & Sons.. T. Agnew is. Sons.. British and Foreign Artists' Association. T. McLean Henry Graves & Co. Henry Graves & Co. T. McLean T. Agnew & Sons Henry Graves & Co... T. Agnew & Sons Arthur Tooth & Sons. Fine Art Society 1890 187718961884 1888 185618691880 389718851882 189118811S881892 1884 18S4 18791890 1865 1865 18901875 18S4 1877 1866 1856 187618S21879 ENGRAVED PICTURES i8l Princes in the Tower, The Proscribed Royalist. The Princess Elizabeth (see "Elizabeth") Primrose, Lady Peggy Puss in Boots Reverie, A Rosalind and Celia Ruskin, John Salisbury, The Marquis of Shaftesbury, the Earl of Sleeping {see Asleep) ... Stella Still fora Moment Stowaway, The Souvenir of Velasquez. . Souvenir of Velasquez.. Tenny.son,.A.lfred Lord, D.C.L Vale of Rest Vale of Rest Vanessa WaifjA Wakmg (see Awake) Westminster, Duke of.- White Cockade, ITie ... Widow's Mite, The Yeoman of the Guard ... "Yes!" "Yes" or "No"? Luinb Stocks, R..\., W. H. Simmons ..., METHOD. I'UDLISIIK.II DA-n-: LineMixd .'Vrt lourii.il. Iv C'i.nnbart &l llcni-y Graves i,,and .>;. t o 18B41868 K. Gaujean T. L. Atkinson ami Samuel Cousins, K . .\. C. Jeans W. H. Simmons Etching T. .V.l; c-w & .Sons.. T. O. Barlow, R..\. Richard Josey ... T. L. Atkinson George Zobel T. O. Barlow, R.A. . G. McCulloch Lumb Stocks, R.A. T. O. Barlow, R.A. C. O. Murray T. L. Atkinson Mc«oiini T. McLean Line M.Tjj.i/ine of An Mezzotint ,,, Henry (Iravcs iS. C\ Photogravure Mag.i/ine of .\n .. Mezzotint>te2Zotint Mezzotint Mezzotint Line an Mezzotint. Mezzotint Line Fine .\r[ Society Henry Gra\es ^ Co.. T. Agnew iS: Sons, T. .Agnew & Sons, K. F. \yhiie Art Union ... Portfolio Mezzotint ... Fine Art Society ... Etching Art Journal Photogravure Berlin Photog. Co. MezEotint ... T. Agnew & Sons... Photogravure' Dowdeswell T. O. Barlow, R.A. ... George Zobel C. ^^4It^e^ C. Waltner Samuel Cousins, R.A. Samuel Cousins^ R.A. Mixed I H.B. Ansdell i Mixed Arthur Tooth & Sons.i Etching T. Agnew & Sons Etching L'Art Mezzotint ... T. Agnew & Sons Mezzotint T. Agnew & Sons 1886 18961870 1887 1878 1876 1876 1886 18931876 1885 18771878z88o 18781873 IN THE SALE ROOM No complete idea could be formed of the popularity of Millais's works — measured by something more concrete than sentiment — ¦ without some account of the money-appreciation which they have met with in the " open market." The following list must not be thought to represent more than a fraction of the changes of hands in the ownership of the works of Millais. Pictures are always passing from hand to hand, and from collection to col lection, but not necessarily by way of the auction-room ; the dealers, as often as not, form the ordinary intermediary channel, when the pictures are not disposed of simply a I'amialite. There are here printed, in alphabetical order, the principal pict).ires that have been offered at Christie's. PURCHASER. Apple-Blossoms .. (''Spring") Asleep Blind Girl I Baptism of Guthren the\| Dane ..,.. /l Black Brunswicker ¦•{1 Bride, The (1857) Bridesmaid, The 1 Bridesmaid throwing the\! Lucky Slipper h Bridesmaid, The("All-i Hallows E'en") .../j Carlyle, Thomas 1 " Charlie is my Darling "l Gambart J. Burnett W. Graham D. Price J. C. Harter Houghton , T. E. Plint, of Leeds T. Miller W. Graham B.G. Windus T. E. Plint N.N Knight F. T. Turner Crofts Watkins .... Deschamps . Clarke Lucas NathanGraves . . Agnew . . Bt. in .. Moore .. Bt. in .. Shepherd National Port. Gallery., YEAR. amo't. 1861 A83 1876 «,459 l33£i /• 1,050 1892 ¦ 693 1890 »,470 1890 105 1862 819 1858 3'5 1886 871 1862 54 1862 126 1865 236 1888 no 1885 525 1878 99 IN TIIE SALE KOOM >«J I'l KCIIASGH. Chill October | Christ in the House of/ His Parents ("Theji Carpenter's Shop*')l Cuckoo Departure of the Cru-| ' saders /, Deserted Garden, The ... Digging out the(!)iter inV the Valley of the Tay ] ; (by Landseer & Millais. )j[ Dropped from the Nest .. Early Days Effie Deans Elgiva Empty Cage Escape of a Heretic) (small version) I Eve of St. Agnes Ferdinand lured by Ariel I Flood Flowing to the River ¦jl Forerunner Gambler's Wife, The Getting Better ' (Girlhood of St. Theresa... ¦ Girl seated, holding ) flowers / Good Knight, The Greek Slave, The Greenwich Pensioners ... ,, (small version) y Hearts are Trumps Huguenot, The (a sketch) Isabella (Lorenzo and I ; Isabella) I Jephthah Joan of Arc Snight-Errant, The Little Mrs. Gamp | Little Speedwell's Darl-I ing Blue, The /, Love of James L ofli Scotland I Mariana in the Moatedi Grange \ Martyr of the Solway . . . MilkingTime Mrs, Heugh. ("Age : l Portrait of a Lady in | 94th year ") / Murthly Water Music Mistress, The | My First Sermon I My Second Sermon { Nest, The ¦ S. Mendel T. E. Plint J. Heugh Lees C, E. Hermon, M P Coleman C. P. Matthews ... Arbuthnot J. H, Mann Millais Leyland ... . fc,lli-son T. Woolner... C. P. Matthews E. L. BenjMjn .^ rs. E. L. Benson MillaU J. FarBworih E. Hermon, MP.. Millais Newall.„ John Morlcy Fitzpatrick McConnel J. Heugh W. Armstrong Morley B. G. Windus B. G. Windus T. Woolner N. N. S. Mendel F. T. Turner Albert Grant Graphic Graphic Sir Julian Goldsmid Bolckow B. G. Windus J. M. Dunlop A. G. Kurtz Albert Grant Lord Lansdowne ... Fleming Snowdon Henry ... Wertheimer .\gnfw T^ C.I ill IU. in .\};iicu 1S751 30 J 1878 ¦ 880 18841867 1882 111. ill 1893 IVkoth 1891 UisLholTsh 31. 63, 97, 169, 183 ; Esther, 90, 170; Eve of St. Agnes, The, 34, 56, 69, 85, 86, 127, 170, 183— Sketch, 97, 170— Pen and Ink. Drawings, 128 — small version, 170; Excelsior, 171 ; Ferdinand lured by Ariel, 22, 29, 67, lOi, 167, 183; Flood, A, 34, 67, ITS, 171, 179, 183 ; Flowing to the River, 126, 150, 171, 183 ; Flowing to the Sea, 34, 150, 172; Forbidden Fruit, ^%, 78, 172, 179; Forget- me-not, 122, I76j Forlorn, 177; For the Squire, 122, 175, 179 ; Forerunner, A, 22, 11 1, 178, 183; Found, 150, 176; Fringe of the Moor, The, 57, 132, 172; Gambler's Wife, The, 93, 97, 171, 179) 183; Getting Better, 129, 148, I73> 183; Girl at a Stile (small picture), 174; Girlhood of St. Tiieresa, The, 97, 178, 183; Girl INDEX 187 Pictures {continued) — Seated holding Flowers, 1 83 ; Girl with Violets (small picture), 174 ; Glen Birnam, 58, no, 177; Good Knight, The, 178, 183 ; Good Resolve, A, 108, 173 ; Grac, 177 ; Greek Slave, The, 170, 183; Greenwich Pensioners at the Tomb of Nelson {Pilgrims to St. Paul's), 125, 141, 171, 180, 183 ; small version, 171, 183 ; Grey Lady, The, 119, 151, 176; Halcyon t Veal her, III, 177 ; Hampstead Heath, 71 ; Head of a Girl, 87, 169, 171 ; Head of a Lady, 169 ; Head of a Woman, 169 ; Hearts are Trumps (Whist h Trois), 65, 121, 131, 133, 172, 183; Highland Lassie, .4, (Head of a Scotch Girl), 151, 164, 168 ; Huguenot, The, 81, 94, 103, 146, 154, i68, 180— Sketch for 168, 183— Study for, 168; /« Perfect Bliss {Perfect Bliss), III, 176 ; Italian Girl, An (Pippa), 34, 151, 158, 173, 176 ; Jephthah, 62, 113, 170, 180, 183; Jersey Lily, A, III, 173, 180; Joan of Arc, 79, 170, 183 ; Knight Errant, The, 34, 152, 171, 183 ; Lady in u Garden, 169 ; Landscape Sttidy of a Waterfall, 152, 168 ; Last Rose of Summer, The, 38, 62, 112, I3i> 177; Leeds Panels, The, 152, 167; Leisure Hours, 64, 71, 90, 165, 170; Lilacs, 108, 176, 180; Lingering Autumn, 57, 136, 177, 180 ; 'Little Miss Muffett, 65, in, 176, 180 ; Little Mrs. Gamp, 175, 183 ; Locksley Hall, 143 ; Lorenzo arid Isabella (Isabella, The Kick), 25, 26, 67, 70, 71, 82,89, 99, loi, 167, 180, 183; Love Birds (Une GrandeDame), 65, 175, 180 ; Love of James I. of Scotland, 31, 86, 169, 183 ; Mariana in the Moated Grange, 29, 67, 102, 104, 146, 168, 183 ; Martyr of the Solway, The, 80, 152, 178, 183 ; Medita tion, 169 ; Memory, 70, 168 ; Mercy: St. Bartholomew's Day, 34, 63, 152, 154, 163, 177 ; Merry, 178; Message from the Deep, A, (.4 Message from the Sea), 140, PiCTURis (eoiiliiiiitd)— 176; Milking 'lime, 1 7 1, 183; .Minuet, The, 38, 64, 79, 90, 170, 180; .Mistlcltic Gatherer, The, 58, 176 ; Model, a Hiuscl Hound, 131, 173 ; .Moorifi Chief, A, 174, iSo; .Murthly .)/...!., 35', 57, 124, 1 76, 180; .itnrthly Water, 139, 177, 183; Music Miitrc.M, The, 169, 183 ; My First Sermon, 38, 64, 81, 86, '107, 170, 180, 183; My Second Sermon, 38, 64, 81, 170, 180, 183 ; A'cll Gwynne (Eques trian Portrait), 150, ,156, 175 ; Nest, The, 176. 180, 183; New Laid Eggs, 38, 137, 172, 180 ; News from Home, 31, 156, 169; No! 48, 108, 172, 180 ; Non Angli sed Angeli, 175; North-West Passage, The, 79, no, 125, 165, 172, 180, 184; Oh ! that a Dream so sweet, so long enjoy'd, Should be so sadly, cruelty destroy'd, 34, 158, 172 ; Old Garden, Tlie (.4 Green Old Age), 142, 177, 180; Olivia, 93, 17s, 180, 184; Ophelia, 30, 35, 76, 104, 120, 168, 180, 184; Head of, 168; Order of Release, The, 29, 63, 64, 67, 85, 94, 103, 164, 168, 180, 184; Orley Farm, { Comhilt) 36 ; Orphans, 176, 180 ; Over the Hills and Far Away, 57, 130, 173, 180, 184 ; Parable of the Lost Piece of Money, 78, 158, 169, 180; Par able of the Strayed Sheep, 79 ; Parable of the Tares (see Enemy Sowing Tares) ; Pastoral, A, 169 ; Peace Concluded 1836, 30, 64, 67, 72, 92, 168; Penseroso, 139, 177 ; Pensive, (or Sad), 178 ; Picture of Health, The, 38, no, 172, 180, 184 ; Pilgrim's Progress, The, 131 ; Pitarro seising the Inca af Peru, 21, 158, 167 ; Pomona, 175, 180; Portia, 176; Pot Pourri, 30, 64, 158, 169, 184 ; Princess Elizabeth in Prison at St. James's 132, 134, 174, 179; Piintcs ill the Tower, The, 134, 173, 180, 181, 184 ; Proscribed Royalist /6jr, The, 30, 93, 104, 160, 168, 181, 184; Puss-in-Boots, 67, 173, 181 ; INDEX Pictures (continued) — Random Shot, Tlie, (L'Enfant du RSgiment), 30, 64, 102, 168 ; Ransom, The, 62, 64, 67, 87, 169, 184; Red Riding Hood, 170; Rescue, The, 30, 74, 168, 184 ; Return of the Dove to the Ark ( The Daughters of Noah, or The Wives of the Sons of Noah), 29, 63, 64, 158, 168 ; Reverie, A, 181 ; Ringlet, The, 169 ; Rivals, Tlie, 169; Romeo and Juliet (l^ast Scene), 178; Romans leaving Britain, The, 107, 170, 184; Rosalind and Celia, 72, 115, 121, 171, 181 ; Ruddier than the Cherry, 176, 1 77 \ Ruling Passion , The, (The Ornittiologist), 36, 137, 176, 184; St. George and the Dragon (Signboard), 160, 168 ; St. Martin's Summer: Halcyon Days, in, 160, 173, 184; St. Stephen, 141, lyi; School Teacher, The, 178, 184; Scotch Firs, 35, 115, 172, 184; Shelling Peas, 160, 177, 184 ; Sir Isumbras (see Dream cf the Past, A) ; Sisters, 38,48, 131, 137, 171, 184; Sleep ing (Asleep), 38, 64, 81, 170, 179, 181, 182 ; Somnambulist, A, 172; Sound of Many Waters, The, 34, 57, 160, 173, 184; Souvenir of Velasquez, 48, 65, 123, 171, 181 ; Speak! Speak! 119, 178; Stella, 48, 71, 128, 131, 171, 181, 184; Still for a Moment, 172, 181; Stitch! Stitch! Stitch! 79, 126, 173 ; Stowaway, The, 175,. 181 ; Study of an Indian's Head, 167; Suspense, 1 70, 1 84 ; Swallow ! Swallow ! T,i„ cy2, no, 170, 184; Sweetest Eyes were Ever Seen (A Girl with Violets), 38, 122, 174 ; Sweet Emma Moreland, 131, 178, 184; The Little Speedwelts Darling Blue, 93, 177, 183; The Moon is up and yet it is not Night, 140, 177, 184; Time (Time the Reaper), 65, 129, 178, 184; Trust Me, 169, 184 ; Twa Bairns, 162, 177; Urquhart Castle, onLocliNess, 142, 174; Vale of Rest, The, 27, 31, 57, 63, 69, 72, 85, 142, 169, Pictures (continued)— 181, 184; Vanessa, 48, 71, 78, 128, 131, 171, 181, 184; Victory, O Lord! (Moses), 162, 172, 184 ; Waif, A, 176, 181 ; Waiting(A Girl at a Stile), 151, 163, 168 ; Waking (Just Awake), 38, 64, 85, 170, 179, 181 ; Wandering- Thoughts, 169, 184 ; Wedding Cards, 169, 184 ; White Cockade, The, 79, 103, 169, 181, , 184 ; Widow's Mite, A (1870), 93, 171, 181, 184 ; Widow's Mite, ¦ The (Westminster Hall Competition Cartoon), 21, 164, 167 ; Winter Fuel, 165, 172, 184; Winter Garden, 178, 184; Wolf's Den, The, 64, 165, 170, 184; Wooct- vian's Daughter, The, 29, 63, 89, 102, 167,184; Yes! 121, 173, 181 ; Yes, or No? 48, 108, no, 122, 171, 181 ; Yeoman of the Guard, A, 35, 118, 181; The Young Men of the Destroyed Tribe of Benjamin seizing their Destined Brides in.ithe Vineyards, (or The Tribe of Benjamin seizing the Daughters of Shiloh), 21, 165, 167. Portraitsof Millais, 46 «/jcy., 174, 176 Portraits by Millais : — "Astley, Sir John D., Bart.," 123, 17s ; "Barlow, T. Oldham, R.A." 142, 176; "Barrett, Octavius Moulton, Esq., Children of," 118, 174; "Beaconsfield, Benjamin Disraeli, Lord," 144, 175, 179 ; " Beddington, Mrs. S. H."i74; " Bennett, Sir William Stern dale," 142, 172, 179; "Bischoff sheim, Mrs.," 37, 60, 121,' 165, 172, 179 ; "Bright, The Rt. Hon. John," 46, SO, 121, 139, 174, 179; "Budgett, Mrs. Richard," 175; "Caird, Dr. John," 146, 174; "Caird, Miss Beatrice," 136, 174; "Caird, Mrs.," 121, 174; "Campbell, Lady," 136, 176; "Carlyle, Thomas," 148, 173, 182; " Carysfort, Countess of," 174 ; " Cayley, Master," 171 ; "Chamberlain, Mrs.," 138, 177 ; "Dickens, Charles," 99; "Combe, Thomas," 167; " du Maurier, INDEX 189 Portraits by Millais (continued)— George,'' 150, 178; " Esher, Lord," 176 ; "Fenn, W. Hugh,'' (1st Portrait) 150, 167; 2nd, 71, 167; "Fowler, Sir John, Btirt., C.E.," 114, 171 ; "Fraser, Bishop," 46, 94, 139, 174, 180; "Fraser, Simon," 176; "Free man, Mrs. Charles," 169 ; " Free man, Master," 176; "Garrow- Whitby, Mrs.," 1 7S;," Gibbs, Hon. Mrs. Herbert,'' I77; "Gladstone, Rt. Hon. W. E." 36, 37, 125, ISO, 174. 176, 179, 180; "Gladstone, Rt. Hon. W. E. and His Grandchild," 151, 177, 180; "Gower, Lord Ronald,'' 173, 180; "Greenall, Ladv Gilbert," 176; "Greenall, Sir Gilbert," 37, 122, 123, 175, 180; "Grote, Gcoi-ge, Esq.," 48, 114, 141, 172 ; "Grosvenor, Countess," •73 ; "Grosvenor. Lady Beatrice," 173; "Hardy, Mrs. Paul," 177; "Hare, John, Esq.," 90, 178; "Harold," (Son of the Dowager Countess of Winchilsea), 1 70 ; "Hartington, Marquessof," 177; "Heugh, Mrs.,"' 37, 60, 65, 113, 114, 121, 133,172, 183; "Hoare, T. R., Esq., Twin Daughters of," ("Twins,'0 67, 124, 173; " Holden, Luther, Esq.," 46, 139, 174; "Hook, J. C, R..\.," 37, SO, 122, 123, 175, 180; "Hunt, W.," 178; "Huntly, Marchioness of," 171 ; "Irving, Sir Henry," 151, 176, 180; "Ismay, Thomas H. Esq.," 151, 176; "James, Captain," 152, 17s ; "James, Mrs." (see Miss Effie Millais) ; "Jopling, Mrs.," 107, 174; "Kelk, Sir John, Bart.," 171 ; " Lawson, Dorothy, Daughter of Mrs. Harry," 177 ; " Leech, Mrs. John," 30 ; "Lees, Eveleen, Daughter of T. .Evans Lees. Esq.," 108, 172; "Lees, Gracia, Daughter of T. Evans Lees, Esq.," no, 172; "Lehmann, Nina, Daughter of F. Lehmann, Esq.," 120, 171 ; "Leighton, Stanley, Esq.," 178; "Liddell, Master," Portraits by Millais (continued)— 172 ; " Lorne, Maniiioss of," 154, 176; "l.ylton, Lord," 173; "Manners, Henry, Mnnpu'ss of c; .inliy,'' 170 ; "Manners, lion. Jo'in 'Nevile," (15, 154, 178; "Mill.iis, Miss .Mice Caroline," ''5. '37> >7.i; "MiUais, Miss l.flic," 136, 173 ; " Millais, George and Everett, Kscjs. ." 136, 173; "Millais J. G., Esq." (Unfin ished), 178; "Millais, Lady," 156 ; "Millais, Miss Mary," 137, 173 ; ¦Millais, Miss Margaret," 176; Myers, Mrs. F. W., see Ten nant, Miss Efeleen ; " New man, Cardinal," 113, 174, 180; "Noble, Lilly, Daughter of J.," 107, 170; "Ormonde, Mar chioness of," 173, l8o ; "Otway, Miss Evelyn," 174; "Paget, Sir James," 130, 133, 137, 172, 180 ; " Patmore, Mrs. Coventry," 29, 70, 168; "Perugini, Mrs.," 46, 108, 174; "Phillips, Frederick, and Mary Stuart" ("Twa Bairns"), 162 ; " Portrait of a Gentleman," 38, 64, 169 ; " Portrait of a Gentle man and His Grandchild," 87, 167 ; "Portrait of a Lady," no, 177; "Primrose, Lady Peggy," 116, 176, 181 ; " Princess Marie of Edinburgh, H.R.H. " ("A Little Duchess ), 60, 122, 175, 180; "Princess of Wales, H.R.H.," 176; "Pullar, Sir Robert," 129, 178; "Quain, Sir Richard, Bart, M.D.," 130, 178; "Ranken, Master," 177; "Rosebery, Earl of," 177; "Rothschild, Master Anthony de,"6s, 129, 178 ; " Rus kin, Professor,'' 30, 98, 152, 168, 181; "Salisbury, Marquis of," 50, 116, 17s, 181; "Schenley, Miss Hermione," 174 ; " Schlesin ger, Mrs. Sebastian," 173 ; "Scott, Miss (of Philadelphia)," 176 ; "Shaftesbury, The Larl of, K.G.," 106, 173, 181 ; "Siddal, -Miss," 151, 160, 168; "Simon, R. Rintoul, Ada, Daughter of," 178; "Stepney, Miss Catherine Muriel Cowell (Alcyone) "79, 174; I go INDEX Portraits by Millais (continued) — ' ' Stem, Mrs. James, " 1 75 ; "Stib bard, Mrs," no, 173; "Sullivan, Sir Arthur," 177; '-'Taylor, Mas ter Wyclif," 170; "Tennant, Miss Eveleen" (Mrs. F. W. H. Myers), 65, no, 143, 172 ; "Tennyson, Lord," 37, 60, 126, 17s, 181 ; "Thomp.son, Sir Henry, F.R.C.S.," 129, 175; "Thorpe, Dorothy," 175 ; " Thwaites, Dan iel, Esq.," io5, 174; "Tweeddale, Marchioness of," 178 ; " Waving, Charles," 176; "'Wertheimer, Charles J., Esq.," 143; "Wer theimer, Mrs. Charles," 177; " Westminster, Duchess of," (First), 164, 173, 175; "West minster, The Duchess , of " (Second), 96, 138, 175; "West minster, Hugh Lupus Grosvenor, Duke of," 164, 181 ; " Westmin ster, Marquess of," 172 ; "Wilson, Fleetwood, Esq.," 176; " Wim borne, Lord," ,165, 175 ; "Wort ley, Mrs. Charles Stuart," 93, 176 ; "Wyatt, Mr." (" Portrait of a Gentleman and His Grandchild",) 87, 167. Portraitist, Millais as a, 58, 60 Pre-Raphaelite Brotherhood, Fonna- tioii, of, 24 ; Principles, 25 Pre-Raphaelitism, Millais's view of, 31 Pre-Raphaelite works, at R.A. , 56 Prices for early works, 22 ; The Carpenter' s Shop, Ferdinand lured by Ariel, 22 ; The Huguenot 24, 29; other works, 72, 74, 86, loi, 102, 104, 120, 131, 148, 150, 182 et seq. Portraits, 38 Punch, on The Vale oj Rest 32, 74 ; on Ophelia, 76 ; on The Hugue not, 103 Religious works by MiUais, 21, 22, 34 Rossetti, D. G. , first association with MiUais,; influence upon, 24 Rossetti, William, and Pre-Raphaelite Brotherhood, influence on Millais, 24 Rossetti, Mrs. U. G. (see Miss Siddal) Royal . Academy, exhibition at, 54 et seq. ; reject The Enemy Sowing Tares, as diploma work, 79 Ruskin on Pre-Raphaelite Brotherhood, 24 ; championship of Millais, 27 ; on Tlie Rescue, and Peace Con cluded, 30 ; on Sir Isumbras, 31, 94 ; Vale of Rest, 32 ; portrait of, at Glenfinlas, 30 ; on The Rescue, 76 ; on Autumn Leaves, 92 ; on The Huguenot, 103 ; on Mariana 105 ; on The Ornithologist 137 ; on Spring, 144 Ryan, Miss, as model, 94 Sale room, Millais's works in, 182 et seq Sandys, F., caricature of Sir Isum bras, 52 Shee, Sir M. Archer, P.R.A., and the early work of Millais, 20 Siddal, Miss, model for Ophelia, 30, 76 Sign-Board at Keston, j6o Snow Pictures by Millais, 58 Stephens, F. G., possible influence on MiUais's early work, 24 Stanley, Mrs. H. M. , as sitte., 108 Stibbard, Mrs. (Miss Gray), sitter for Pot Pourri, 30 ; for other works, 87, 90, 92, 96, no, 144 Tate GaUery, establishment of, 25, 26 Tennant, Miss Dorothy, as sitter, 108 Thackeray, W. M., Millais and, 17, 27 Times, The, on Pre-Raphaelitism, 24 ; on The Carpenter's Shop, 26, 27 "Velasquez, Millais on, 61, 66 Water-colour Painter, Millais as, 34 Wortley, Mrs. Stuart, Portrait of, 93, no, 131 THE END RICHARD CLAY ANt) SONS, LIMITED, LONDON AND BUNGAY. Geo. Rowney & Co.'s Patent Ring-Bound SKETCH-BOOKS. (r.iiciii .\.' ::'¦: " WHATMAN BOARD " RING-BOUND " CARTRIDGE PAPER " RING-BOUND SKETCH-BOOKS. SKETCH-BOOKS. Ci'it^.iiinir^ S L'.a: i6mcj Imp!, 7 ]-in, ' 5}-ii', Svo Inipl, \' ¦ '.-In. \ 7i-in. 4to Imp), 14 '.-111, < lO.', in. PRICE s. tl. ' 3 2 o Ctfhi:r .Si'A-< ill frrfiitUii'ii. The < ¦<\WK\w:\\i.K of lliis m^jliiMil will bc r' aiJ])y .'ijipri!ci:it'.'l In' iill when ski'h hint; J Ih: I'.-.tv.;, .;,,, h.: MiriM^I rl^llt h.irk Will, out iiijiitiir^ th': h.ii'liii^, and will liiu^ t.il.. ..nly half ih'T sp-i'-'- "f ail r,rrhn;,rv huok. 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