,illustration3 ,a ,,yeoman ,,of ,,the   
,,guard4          ,bell's ,miniature    
,series of ,painters        ,,sir ,,john
 ,,everett    ,,millais        ,,by ,a4 
,l4 ,,baldry          ,,london          
,,george ,,bell  ,,sons    #aijh        
,first ,published1 ,december1 #aijb4    
,reprinted1 ,december1 #aijg4           
,,table ,,of ,,contents        ,life of 
the ,artist        ,the ,pre-,raphaelite
 ,brotherhood        ,later             
,developments        ,last ,years       
,the ,art of ,millais      ,our         
,illustrations      ,the ,chief ,works  
of ,millais in ,public ,galleries1 etc4 
,,list ,,of ,,illustrations      ,a     
,yeoman of the ,guard 444 ,frontispiece 
,christ in the ,house of ,his ,parents  
,a ,souvenir of ,velazquez    ,the ,vale
 of ,rest    ,ophelia    ,autumn ,leaves
    ,the ,north-,west ,passage          
,thomas ,carlyle          ,,sir ,,john  
,,millais        ,,his ,,life           
,although ,john ,everett ,millais was   
born1 on ,june #h1 #ahbi1 at ,portland  

,place1 ,southampton1 his father was an 
inhabitant of ,jersey1 and a  member of 
a family which had been settled in that 
island from a date  anterior to the     
,norman conquest4  ,the first five years
 of the child's  life were spent in     
,jersey1 but in #ahce he was taken by   
his parents to  ,dinan1 in ,brittany1   
where he began1 by his sketches of the  
scenery of  the place and the types of  
the people1 to give the first convincing
  proofs of the remarkable artistic     
capacity that was in him4  ,these  early
 efforts were so surprising1 and        
attracted so much attention  outside his
 family circle1 that when he was not    
more than nine years  old he was brought
 to ,london for an expert opinion on his
 chances in  the profession for which he
 seemed predestined4  ,the ,president of
 the  ,royal ,academy1 ,sir ,martin     
,archer ,shee1 was consulted1 and his   
encouraging declaration1 that ,nature   
had provided for the boy's  success1    
decided the future of the young artist1 

who was at once  allowed to begin       
serious study4    ,in #ahch he entered  
the drawing-school in ,bloomsbury which 
was carried  on by ,henry ,sass1 and    
regarded as the best available place for
 the  training of budding genius4  ,in  
the same year he took the silver  medal 
of the ,society of ,arts1 for a drawing 
from the antique1 and  caused quite a   
sensation when he appeared1 at the      
distribution of the  prizes1 to receive 
his award from the ,duke of ,sussex1 who
 was  presiding4  ,the surprise of the  
spectators is said to have been         
unbounded when ,mr4 ,millais came       
forward1 a small child in a  pinafore1  
to answer to his name1 and even the     
officials at first  found it hard to    
believe that he could be really the     
winner of the  medal4    ,for two years 
he remained under the tuition of ,mr4   
,sass1 and1 helped  by his teaching and 
by a good deal of work from the casts in
 the  ,british ,museum1 the boy         
developed so rapidly that when he was   

only  eleven years old he gained        
admission to the ,royal ,academy        
,schools1  the youngest student1 it is  
said1 that has ever been received into  
them4  ,his career there was a series of
 successes4  ,for six years he  laboured
 indefatigably1 and plainly proved his  
ability by taking  prize after prize1   
beginning with a silver medal in #ahdc1 
and ending1  in #ahdg1 with the gold    
medal for a historical picture1 ,the    
,tribe of  ,benjamin seizing the        
,daughters of ,shiloh4    ,subjects of  
this type seem at that time to have     
attracted him  strongly1 and to have    
occupied a great deal of his attention1 
for in  #ahdf he had painted1 and       
exhibited at the ,academy1 ,pizarro     
seizing  the ,inca of ,peru1 which is   
now in the ,south ,kensington ,museum1  
and  in the following year another study
 of violent action1 ,elgiva seized  by  
,order of ,archbishop ,odo4  ,to #ahdg  
also belongs the great design1  ,the    
,widow bestowing her ,mite1 for the     

,westminster ,hall competition1  a      
canvas fourteen feet long by ten feet   
high1 covered with life-size  figures4  
,such an effort speaks well for the     
energy and ambition of a  lad of        
eighteen1 who could within the space of 
a few months carry out  so vast an      
undertaking in addition to the ,elgiva1 
and his gold  medal picture4    ,so far 
his progress had been1 from the point of
 view of his elder  contemporaries1 very
 promising and satisfactory4  ,he had   
proved  himself to be possessed of      
unusual gifts2 and apparently historical
  art was to have in him an exponent of 
rather a rare type1 a painter  who would
 carry on its traditions with some      
degree of vitality4  ,but  really he had
 only been feeling his way1 and1 not    
having had time as  yet to analyse his  
inclinations1 he had temporarily        
accepted1 with  youthful imitativeness1 
the precepts of his teachers and        
fellow-students4  ,it did not take him  
long to discover that he was on  the    

wrong track1 and to decide that there   
was in another direction a  far better  
opportunity for the assertion of his own
 independent  convictions4    ,about the
 middle of the year #ahdh1 he1 and his  
friends ,rossetti and  ,holman ,hunt1   
inspired partly by the example of ,ford 
,madox ,brown1 and  partly by their own 
study of the works of the ,italian      
,primitives who1  before the time of    
,raphael1 had laboured with devout and  
simple  naturalism1 decided that the    
principles which guided the early       
masters were being deliberately ignored 
by the modern men4  ,so these  three    
youths agreed among themselves to break 
away from most of the  regulations by   
which they had been bound in their      
student days and to  formulate a new art
 creed of their own4  ,from this        
agreement sprang  into existence an     
association1 that1 despite the small    
number of its  members1 and the         
shortness of its life1 has left upon the
 history of  the ,british ,school a mark

 clear and ineffaceable4        ,,the   
,,pre-,,raphaelite ,,brotherhood    ,the
 ,pre-,raphaelite ,brotherhood1 as this 
association was called by way  of       
declaring the intentions and ambitions  
of the men who belonged to  it1 was     
formally constituted during the autumn  
of #ahdh4  ,it included1  in addition to
 the three originators1 two other       
painters1 ,james  ,collinson and ,f4 ,g4
 ,stephens2 a sculptor1 ,thomas         
,woolner2 and a  writer1 ,william       
,michael ,rossetti1 who acted as        
secretary of the  ,brotherhood4  ,ford  
,madox ,brown never became a member1    
although he  entirely sympathised with  
the artistic aims of the group1 for he  
had1  it is said1 doubts concerning the 
utility of such a banding together1  and
 was more inclined to favour independent
 action2 but several other  young       
painters1 who were never formally of the
 company1 gave it  practical support1   
and openly adopted its methods4         
,indeed1 the list  of these outside     

sympathisers soon became a long one2 it 
included  such able workers as ,william 
,bell ,scott1 ,arthur ,hughes1 ,thomas  
,seddon1 ,w4 ,l4 ,windus1 and ,w4 ,h4   
,deverell1 who were directly inspired   
by the beliefs of the ,brotherhood1 and 
if1 as would be quite  legitimate1 it   
were extended to take in all the others 
whose first  essays in art were         
controlled by ,pre-,raphaelite          
principles1 an  astonishing number of   
artists who have reached high rank in   
their  profession could be added to it4 
,illustration3 ,,christ ,,in ,,the      
,,house ,,of ,,his ,,parents4    ,at    
first the inner significance of the     
,pre-,raphaelite movement was  lost upon
 the general public4  ,when1 in #ahdi1  
,millais exhibited at  the ,academy his 
,lorenzo and ,isabella1 by which his    
adoption of the  new creed was plainly  
enough asserted1 the picture was not    
unkindly  received4  ,it was ridiculed1 
perhaps1 by the people who realised that
  it showed an artistic intention       

somewhat unlike that which was then     
generally prevalent2 but its novelty of 
manner was put down to the  youth and   
inexperience of the artist1 and was     
regarded as a minor  defect that a few  
more years of practice would remedy4    
,but in ,january1 #ahej1 the            
,brotherhood took a step that very      
effectually removed any doubts that were
 felt by the public about the  meaning  
of such canvases4  ,they began to issue 
a monthly magazine1  called ,the ,germ1 
in which they and their friends stated  
with  sufficient frankness what         
,pre-,raphaelitism really meant1 and    
what  were the opinions that they       
professed4  ,as a commercial speculation
  the magazine must be reckoned a       
failure1 for after the fourth number  it
 ceased to be issued1 and at no time had
 it any general  circulation4  ,it      
served its purpose1 however1 of making  
quite  intelligible the creed of its    
promoters2 and it gave to the world     
certain etchings of ,holman ,hunt1      

,collinson1 ,madox ,brown1 and          
,deverell1 and much literary matter by  
,coventry ,patmore1 ,woolner1 ,w4  ,b4  
,scott1 ,f4 ,g4 stephens1 the two       
,rossettis and their sister  ,christina1
 and some other writers4  ,an etching   
was prepared by  ,millais for the fifth 
number1 an illustration of a story that 
,dante  ,rossetti was to write2 but this
 fifth number did not appear4    ,though
 ,the ,germ died so quickly for want of 
support1 it had fully  accomplished what
 was required of it in the way of       
propagandism4  ,when the next batch of  
,pre-,raphaelite efforts was exhibited  
in the  spring of #ahej there was no    
trace of hesitation or toleration in the
  comments of the older artists and the 
press4  ,a perfect storm of  abuse broke
 out4  ,against ,ferdinand lured by     
,ariel and ,christ in  the ,house of    
,his ,parents1 which were the chief     
pictures sent by  ,millais to the       
,academy1 the bitterest attack was      
directed4  ,everything that could be    

said or done to minimise their          
influence1  and to discredit the motives
 by which they were inspired1 was       
lavished upon them without restraint1 in
 a kind of frenzy of  anguished         
excitement4    ,all this1 however1 was  
mild in comparison with the agitation in
 the  following year1 when it was seen  
that the ,pre-,raphaelites1 instead of  
bowing to the storm and recanting their 
opinions1 were prepared to go  to even  
greater lengths in the avowal of their  
convictions4  ,the  opposition had done 
its best to howl them down1 and to      
frighten them  by ferocious threats2 but
 all this expenditure of misapplied     
energy  had had no result4  ,millais    
exhibited ,the ,woodman's ,daughter1    
,the  ,return of the ,dove to the ,ark1 
and ,mariana in the ,moated ,grange1    
and ,holman ,hunt ,valentine and        
,sylvia2 while the other members of  the
 group gave equally definite proofs of  
their intention to  persevere in the    
course they had adopted4    ,alarm at   

this defiance1 and perhaps an uneasy    
consciousness of the  real strength of a
 movement that gave so little sign of   
yielding to  pressure1 drove the        
supporters of the existing condition of 
affairs  to almost incredible lengths4  
,they demanded that these canvases      
should be removed from the exhibition of
 the ,academy1 summarily  expelled as   
outrages on good taste2 they urged the  
students in the  art schools to shun the
 ,brotherhood and everyone connected    
with it2  they descended to the lowest  
depths of misrepresentation1 and drew   
the line at nothing in the way of       
exaggeration4  ,calm and critical       
judgment ceased1 for the moment1 to     
exist1 and a hysterical absence  of     
balance threw into confusion even the   
best ordered and judicious  minds4      
,this outburst had one immediate effect1
 an unpleasant one for the  young       
artists1 it checked for a while the sale
 of their pictures4  ,christ in the     
,house of ,his ,parents had been painted

 on commission  for a well-known dealer1
 and it remained for many years on his  
hands2  but ,ferdinand lured by ,ariel1 
which had also been commissioned1 was   
refused by the intending purchaser4  ,it
 was afterwards sold to ,mr4  ,richard  
,ellison1 a collector of rare           
discrimination1 who was  introduced to  
,millais by a mutual friend4  ,other    
canvases belonging  to the same period  
either returned from the exhibitions to 
the  artist's studio1 or were parted    
with at low prices and on terms of      
payment none too favourable4    ,but    
after a little while things began to    
mend4  ,the attack exhausted  itself by 
its very excess of virulence2 and here  
and there strong men  came forward to   
champion the cause of the               
,pre-,raphaelites4  ,mr4  ,ruskin1      
especially1 appeared in the arena as an 
enthusiastic advocate  of an undertaking
 that was in every way calculated to    
appeal to his  vivid sympathies4  ,he   
declared with acute and prophetic       

insight that  the pilloried artists were
 laying the foundations of a school of  
art  nobler than the world has seen for 
three hundred years4  ,his  explanations
 of their methods were just what were   
wanted to set  people thinking4  ,some  
years1 it is true1 elapsed before his   
enthusiasm1 and the dogged perseverance 
of the young men1 finally  converted the
 great majority of art lovers2 but the  
conversion did  come1 and it was        
complete4    ,meanwhile ,millais was    
manfully playing his part in the        
struggle1  giving no sign that he minded
 being1 as he put it in after years1 so 
dreadfully bullied4  ,nothing could     
shake his resolve to work out his       
artistic destiny in the way he thought  
best4  ,happily he was not  entirely    
without encouragement from the chiefs of
 his own profession1  for just at the   
time when the outside world was decrying
 him most  strenuously1 the ,academy    
elected him an ,associate4  ,this       
election1  was1 however1 quashed1       

because he was discovered to be under   
the age  at which admission was         
possible1 and it was not till #ahec that
 he was  again chosen4  ,by this time he
 had added to the list of his paintings 
his exquisite ,ophelia1 ,the ,huguenot1 
,the ,proscribed ,royalist  and ,the    
,order of ,release1 all works of the    
highest value1 and  regarded to-day as  
evidences of a quite extraordinary      
ability4    ,for about ten years he     
remained faithful to the                
,pre-,raphaelite creed1  and made no    
serious attempt to modify his methods4  
,during this  period appeared his       
,portrait of ,mr4 ,ruskin1 ,the ,rescue1
 ,autumn  ,leaves1 ,the ,blind ,girl1   
,sir ,isumbras at the ,ford1 ,the ,vale 
of  ,rest1 and ,apple ,blossoms1 of     
which the last two are to be reckoned   
as to some extent transitional1 leading 
the way to the later changes  in both   
his theory and practice4  ,what was to  
be the nature of these  changes was     
foreshadowed by ,the ,eve of ,st4       

,agnes1 shown at the  ,academy in #ahfc1
 the year before his advancement to the 
rank of ,royal  ,academician4  ,this was
 the beginning of a period during which 
he  wavered between recollections of his
 earlier style and an obvious  desire to
 find new ways of expressing himself4   
,these variations in  his production    
implied that he was just then uncertain 
as to the  course which it would be best
 for him to follow4  ,he recognised that
  there were many details of his        
youthful creed which had served their   
purpose and ought to be set aside4  ,he 
was conscious of the  possibilities that
 his wonderful command over his         
materials opened up  to him1 and he knew
 that his years of devoted study had    
given him an  equipment of knowledge    
that would serve him in any emergency2  
what he  was seeking was the exact form 
in which to cast his efforts so as to   
allow full scope to his abilities and to
 make indisputable that wide  popularity
 which was coming to him at last4       

,,later ,,developments    ,there was no 
hesitation about the avowal of his new  
views when  finally he did make up his  
mind4  ,with a suddenness that was      
absolutely startling1 he abandoned the  
close and careful realism that  marked  
in such canvases as ,asleep1 ,awake1 and
 ,the ,minuet1 the  still-continuing    
influence of his ,pre-,raphaelite       
conviction1 and  chose instead the      
riotous freedom of touch1 and the happy 
readiness  of suggestion that make his  
,souvenir of ,velasquez1 ,rosalind and  
,celia1 and ,stella so impressive4  ,the
 dramatic point of this  change is that 
a year sufficed to bring it into active 
operation4  ,in  #ahfg he was still     
anxious to work out bit by bit and part 
by part  every fact that his subject    
might present1 and1 in his zeal for     
naturalism1 to leave no chance of       
mistake about the exact meaning of  his 
treatment2 in #ahfh he had thrown       
himself heart and soul into the  task of
 persuading his admirers to accept hints

 in the place of plain  statements1 and 
to understand subtle compromises with   
nature1 instead  of direct              
transcriptions of her assertions4       
,illustration3 ,a ,,souvenir ,,of       
,,velasquez4    ,thenceforward his      
progress was an almost unbroken series  
of  successes1 gained by superb mastery 
of craftsmanship1 and by the  splendid  
confidence in himself that put his      
intentions always beyond  the           
possibility of doubt4  ,with few        
exceptions his pictures1 to the  end of 
his life1 were worthy to rank with the  
best that the ,british  school can show1
 great in accomplishment1 admirable in  
style1 and  attractive always by their  
frankness of manner and purity of       
motive4  ,in some ways he enlarged his  
borders1 for in #ahga he made1 with     
,chill ,october1 his first digression   
into landscape without figures1  and    
began that array of important studies of
 the open air which  reveal most        
instructively his limitless patience and

 searching power  of observation4    ,as
 a portrait painter also he developed   
superlative gifts1 adding  year by year 
to a collection of masterpieces         
unequalled by any of his                
contemporaries4  ,he was fortunate in   
his sitters1 and the list of his        
productions in this branch of art       
includes a large proportion of the  most
 beautiful women and distinguished men  
who have graced the latter  half of the 
century4  ,he immortalised impartially  
leaders of fashion1  pretty children1   
noted politicians1 and people eminent in
 many  professions2 and in his rendering
 of these various types he missed       
nothing of the individuality and        
distinctive character with which  each  
one was endowed4  ,here especially his  
,pre-,raphaelite training  stood him in 
good stead2 for the habit of close      
analysis and careful  investigation had 
been so impressed upon him by the       
experiences of  his youth1 that his     
instinctive judgment was now perfectly  

reliable1  and his ability to decide    
promptly and with certainty about the   
aspects of his subject which were       
fittest for pictorial record had  become
 absolutely complete4    ,in this       
succession of portraits some stand out  
commandingly as  notable performances   
even for an artist who was always       
distinguished--for example1 ,mrs4       
,bischoffsheim 7#ahgc71 ,miss  ,eveleen 
,tennant 7#ahgd71 ,mrs4 ,jopling        
7#ahgi71 ,mrs4 ,perugini  7#ahhj71 ,sir 
,henry ,irving 7#ahhd71 ,the ,right     
,hon4 ,w4 ,e4 ,gladstone  7#ahhe71 ,j4  
,c4 ,hook1 ,r4,a4 7#ahhb71 and ,the     
,marquis of ,salisbury  7#ahhc7--marking
 great moments in his career2 just as   
from time to  time figure compositions  
of rare importance1 like ,the           
,north-,west  ,passage 7#ahgd71 ,effie  
,deans 7#ahgg71 ,the ,princes in the    
,tower  7#ahgh71 and ,speak6  ,speak6   
7#ahie71 punctuated the progress of his 
intellectual and imaginative evolution4 
,he was always1 to the last  day of his 

life1 ambitious and eager to grapple    
with problems of  technical expression4 
,courage to face the supreme            
difficulties of  his profession never   
failed him4  ,he had no idea of avoiding
  responsibilities1 or of finding in an 
easy convention a way to evade  his duty
 to art2 and he tried consistently to   
bring his production up  to the high    
level that would satisfy his ideals4    
,when he missed his  aim--and there is  
no such thing as unvarying success for  
any  artist--it was not for want of     
thought or sincere effort1 but rather   
from over-anxiety4  ,he once said of    
himself1 ,i may honestly say that  ,i   
never consciously put an idle touch upon
 canvas1 and that ,i have  always been  
earnest and hard-working2 yet the worst 
pictures ,i ever  painted in my life are
 those into which ,i threw most trouble 
and  labour2 and in these few words he  
summed up his whole history4            
,,last ,,years    ,it was characteristic
 of him that the honours which were     

heaped upon  him in his later years     
should have diminished neither the      
strength of  his work nor the charm of  
his personality4  ,affectation or       
self-consciousness were the last things 
that were possible to such a  nature    
with its almost boyish energy and       
magnificent vitality4  ,yet  he had     
every reason to be proud of success that
 had come to him1 not  by fortunate     
chance1 but as a result of his own      
tenacity4  ,he was  made an ,officer of 
the ,legion of ,honour1 and received the
 ,medaille  d',honneur at the ,paris    
,international ,exhibition1 in #ahgh2   
the degree  of ,d4,c4,l4 was conferred  
upon him at ,oxford in #ahhj1 and at    
,durham in  #ahic2 he was elected a     
,trustee of the ,national ,portrait     
,gallery in  #ahha1 a ,foreign          
,associate of the ,acadmie des ,beaux   
,arts in #ahhb1 and  ,president of the  
,royal ,academy in #ahif2 he was created
 a ,baronet in  #ahhe1 and an ,officer  
of the ,order of ,leopold in #ahie2 and 

was1  besides1 an ,officer of the ,order
 of ,st4 ,maurice1 and the ,prussian    
,order ,pour la ,mrite1 and a member of 
the ,academies of ,vienna1  ,belgium1   
,antwerp1 and of ,st4 ,luke1 ,rome1 and 
,san ,fernando1 ,madrid4  ,he was one of
 the few ,englishmen invited to         
contribute his portrait  to the great   
collection of pictures of artists       
painted by themselves  in the ,uffizi   
,gallery at ,florence4  ,such a record  
proves most  cogently the manner in     
which the public estimate of his        
capacity  changed as years went on2 it  
is instructive to compare its unanimity 
of recognition with the story of the    
time when art teachers were  urging     
their pupils to greet the name of       
,millais with hisses1 and  were holding 
up his work1 and that of his associates1
 to the  bitterest execration4    ,the  
post of ,president of the ,royal        
,academy he held for only six  months1  
for he succeeded ,lord ,leighton on     
,february #bjth1 #ahif1 and  died on    

#acth of ,august in the same year4  ,his
 election1 however1  rounded off        
appropriately that long association with
 the ,academy to  which he referred in  
his speech at the #ahie banquet1 at     
which he  presided in the absence of    
,lord ,leighton4  ,i must tell you      
briefly  my connection with this        
,academy4  ,i entered the ,antique      
,school as a  probationer1 when ,i was  
eleven years of age2 then became a      
student in  the ,life ,school2 and ,i   
have risen from stage to stage until ,i 
reached  the position ,i now hold of    
,royal ,academician3 so that1 man and   
boy1 ,i  have been intimately connected 
with this ,academy for more than half a 
century4  ,i have received here a free  
education as an artist--an  advantage   
any lad may enjoy who can pass a        
qualifying  examination--and ,i owe the 
,academy a debt of gratitude ,i never   
can  repay4  ,i can1 however1 make this 
return--,i can give it my love4  ,i     
love everything belonging to it2 the    

casts ,i have drawn from as a  boy1 the 
books ,i have consulted in our ,library1
 the very benches ,i  have sat on4  ,no 
other teaching institution had1 indeed1 
had any  part in his education2 no other
 art society had given him assistance   
at a moment when the world was against  
him2 and in no other direction  had such
 practical belief in the greatness of   
his future been  manifested4  ,truly1 he
 owed a debt of gratitude to the        
,academy1 and  he repaid it by being    
ever one of its most active supporters1 
and by  doing infinite credit to its    
best traditions4    ,there was something
 peculiarly pathetic in the fact that   
his life  should have ended just when he
 had reached the position that must     
have seemed to him1 after his long and  
intimate connection with the  ,academy1 
the most honourable to which he could   
aspire4  ,to be the  head of the        
institution that he loved so well1 and  
to be hailed as  chief in the place that
 had seen every stage of his            

development1 from  childhood to ripe    
maturity1 could not fail to be anything 
but  exquisitely gratifying to a man of 
his nature4  ,but almost at the  moment 
of his election it appeared that there  
was little time left  him in which to   
enjoy the honour that had crowned his   
many years of  devotion to the great    
principles of art4  ,the fatal disease  
that had  gripped him a little while    
before was not to be shaken off1 and was
  sapping rapidly and effectually even  
his superb vitality4  ,he worked  on1   
however1 almost to the end1 hopeful even
 in the midst of  suffering1 active in  
carrying out the duties of his office1  
and busy  as ever with the canvases that
 crowded his studio4  ,he was fully     
represented in the ,academy ,exhibition 
of #ahif1 by a group of  portraits1 and 
by a picture1 ,a ,forerunner1 which     
showed no sign of  failing strength or  
of any relaxation in his grasp of the   
essentials  of his craft4    ,then1 with
 painful suddenness1 came the verdict of

 his doctors1 that  his case was        
hopeless4  ,the throat trouble1 that had
 been growing  month by month more acute
 and distressing1 was pronounced to be  
cancer and incurable4  ,in ,june the    
disease had made such strides that  the 
end seemed to be imminent1 but an       
operation gave him some relief1  and his
 life was prolonged till the middle of  
,august1 when at last  death released   
him from his agony4  ,he passed away at 
the house in  ,palace ,gate1            
,kensington1 which had been the scene of
 the many  triumphs of his later years1 
dying as he had lived1 full of courage  
and patience1 fearing nothing1 and      
meeting his fate with cheerful          
resignation4  ,on ,august #bjth1 he was 
buried in ,st4 ,paul's ,cathedral1      
beside his old friend ,lord ,leighton1  
whom only a few months before he  had   
helped to lay to rest4    ,his death not
 only left a gap in the ranks of art1   
but it also took  away1 while he was yet
 in the full enjoyment of his powers1 a 

man  whose sterling qualities had       
attracted a host of friends4  ,his      
frankness and honesty1 his geniality and
 kindliness1 and1 above all1  his manly 
wholesomeness1 without taint of modern  
decadence or  morbidity1 endeared him to
 everyone with whom he came in contact4 
,he  was typically ,english1 in the best
 sense1 with all the physical and       
mental attributes that have enabled our 
race to dominate the world1 a  lover of 
the country1 a good shot1 a keen        
fisherman1 and a fearless  horseman4    
,the very look of him1 with his         
stalwart1 well set-up  figure1 and      
handsome1 self-reliant face1 conveyed   
the impression of  perfect health of    
mind and body1 and declared the         
inexhaustible  vigour of his nature4    
,,his ,,art    ,with all his            
definiteness of opinion and sincere     
belief in the  accuracy of his own      
judgment1 ,millais was too keenly alive 
to the  varieties of nature1 too earnest
 in his observation of the life about   

him1 to fall into the mechanical habit  
of repeating himself4  ,he was  robust1 
modern and practical1 a man whose       
instinct was active rather  than        
contemplative2 and he might even be said
 to be wanting in  imagination1 if by   
imagination is understood the capacity  
to evolve  things curious and unusual   
out of the inner consciousness4    ,but 
if he lacked imagination in this sense1 
he more than made up for  the deficiency
 by the exquisite acuteness of his      
insight into natural  facts1 and by the 
depth of his judgment about the         
essentials of art4  ,he made no mistakes
 through ignorance or want of proper    
preparation2  and he never failed       
because he grudged the preliminary      
thought needed  to carry to success a   
great undertaking4  ,indeed1 the one    
thing that  he always preached was      
application1 constant industry devoted  
to the  task of finding out how work    
should be done4  ,carelessness he       
condemned2 but he had no love for that  

type of performance which  shows the    
trouble that the producer has taken over
 it4  ,he contended1  justly1 that it   
was the duty of the artist to so master 
the executive  details of his profession
 that his work should impress the       
spectator  by its ready certainty rather
 than its conscientious toil4    ,the   
need to strive for the quality of       
freshness in technical  expression was1 
however1 very far from being the only   
thing he  insisted upon4  ,he had1 as   
well1 a strong belief in the importance 
of  a definitely independent attitude   
with regard to choice of pictorial      
motive1 and selection of suitable       
material4  ,but beyond this he          
advocated special precautions against   
any narrowing of the artist's  practice 
by too close adherence to one kind of   
picture4  ,he once put  this conviction 
into words of considerable significance4
  ,individuality is not all that should 
be looked to2 a varied manner  must be  
cultivated as well4  ,i believe that    

however admirably he may  paint in a    
certain method1 or however perfectly he 
may render a  certain class of subject1 
the artist should not be content to     
adhere  to a speciality of manner or    
method4  ,a fine style is good1 but it  
is  not everything--it is not absolutely
 necessary4    ,certainly ,sir ,john    
carried out these principles in his own 
production4  ,he had many sides to his  
character as an artist1 and  used his   
powers of observation with splendid     
freedom4  ,his popularity  was gained   
not by the reiteration of any one set of
 ideas1 but by  showing himself equally 
capable in many forms of painting4  ,in 
his  figure pictures he was by turns    
dramatic1 romantic1 sternly  realistic1 
and at times sentimental in a robust    
way2 in his portraits  he was incisive1 
direct1 and accurate2 in his landscapes 
precise1  exact1 and searchingly correct
 in his rendering of what was before    
him2 and in his water-colours and       
drawings in black and white             

delightfully facile and ingenious4  ,he 
had no speciality1 and no set           
conviction that there was one particular
 thing he could do better  than anything
 else2 so that he never restrained his  
love of variety  or bound himself by    
limitations based simply upon           
expediency4    ,in any classification of
 his works1 the first place must        
necessarily  be given to his figure     
paintings and portraits4  ,indeed1 they 
make up  the bulk of his achievement1   
and represent the fullest growth of his 
capacity4  ,the history of his life is  
principally written in them4  ,the charm
 of his personality distinguishes them  
all--a charm as  evident in the simpler 
and more limited subjects as in those   
which  made great demands upon his      
powers of invention and contrivance4    
,there was never any suggestion that he 
did not honestly feel the  motive with  
which he was dealing1 or that he was not
 perfectly  convinced that what he had  
chosen was worthy of record4  ,if he    

failed1 it was because he had           
misapprehended the suitability of his   
material1 not because he had been trying
 to do something outside the  range of  
his belief4    ,curiously1 perhaps1 his 
honesty and directness were at the same 
time  the source of what was best in his
 pictures1 and the cause of their  chief
 weaknesses4  ,had he not been so frank 
and wholesome-minded he  could never    
have arrived at that exquisite          
appreciation of the  daintiness of      
childhood to which he gave expression in
 a great many  of his most successful   
canvases1 and could never have gained1  
as he  did1 the hearts of all classes of
 art lovers4  ,only a worshipper of     
children1 with the most absolute        
sympathy with their ways and habits1    
could have painted pictures as          
persuasive as ,cherry ,ripe1 ,a ,waif1  
,caller ,herrin'1 ,the ,princess        
,elizabeth1 and that long series of     
pretty studies of which ,perfect ,bliss1
 ,dropped from the ,nest1  ,forbidden   

,fruit1 and ,little ,mrs4 ,gamp may be  
quoted as types4  ,only a man with the  
happiest sense of delicate shades of    
character  could have commanded the     
extraordinary popularity that came to   
him as  a result of his production of   
pictures such as these4    ,yet it was  
to these very qualities that was due his
 occasional want  of success in dealing 
with stronger themes4  ,his dramatic    
pictures  descended at times into an    
artlessness that was only redeemed from 
feebleness by its obvious sincerity4    
,they failed because he  concerned      
himself so much with matters of fact    
that he missed the  greater             
possibilities of the subjects he had    
selected1 and because in  his desire to 
be real and convincing he forgot that   
there was a need  to appeal to the      
imagination of people who would not be  
satisfied  with plain statements4       
,illustration3 ,,the ,,vale ,,of ,,rest4
    ,on the other hand it is possible to
 select from among his subject  pictures

 several that prove him to have had     
brilliant moments when he  could reach  
the greater heights of pictorial        
invention4  ,there are  quite half a    
dozen of his canvases which by their    
wonderful vitality1  their deep         
significance1 and force of expression   
make good a claim to  the possession of 
the finest kind of mastery4  ,the ,vale 
of ,rest1  ,the ,north-,west ,passage1  
,the ,order of ,release1 ,the ,ruling   
,passion1 ,the ,boyhood of ,raleigh1 and
 perhaps ,effie ,deans show  that he    
could grasp with all possible firmness  
and state with  unflinching decision1   
motives that called for great mental    
exertion4  ,their qualities are those   
that come from a minute insight not only
  into details of character1 but also   
into the principles which govern  the   
dramatic side of pictorial art4  ,no    
false note spoils the harmony  of these 
compositions1 no touch of uncertainty or
 divided opinion2  they are confident   
and assured1 and their meaning is not to

 be  questioned4  ,they express the     
thoughts of a man who1 with all his     
straightforwardness and simplicity1     
could now and then look beneath  the    
surface and work out problems far more  
profound than it was his  every-day     
habit to investigate4    ,his romance1  
especially1 had this merit of being well
 thought out4  ,it was never complicated
 by excess of details1 and was strict in
 its  adherence to the main facts of the
 story1 without irrelevant matter       
introduced to complete picturesquely an 
imperfect conception4  ,the  ,knight    
,errant is a very good example of his   
method of dealing with  an incident     
evolved from his own fancy2 and         
,victory1 ,o ,lord6 is  equally         
characteristic as an instance of the    
power with which he  could seize upon   
the salient points of a subject         
suggested to him by  written history4   
,many of his finer paintings were       
illustrative  records of the impressions
 made upon him by things he had read1   

and  expressions of the instinct that   
brought him throughout his life such    
success as a draughtsman in black and   
white2 but they were only  occasionally 
direct illustrations of particular      
passages from books4  ,more often what  
he gave was his view of what might have 
happened1  rather than a plain          
reproduction in paint of what was       
already fixed  in words4    ,he         
preferred to base himself more upon the 
spirit than the letter of  a story1 to  
find a new reading for himself1 and to  
treat it with a  considerable degree of 
independence4  ,in ,the ,princes in the 
,tower  he followed none of the accepted
 versions1 and in ,effie ,deans he  made
 a subject out of the slightest possible
 suggestion in the text  of the romance2
 yet both pictures show that peculiar   
air of  conviction which results from a 
perfect understanding of what is        
essential for the proper application of 
dramatic material4  ,in these1  as in   
almost all his renderings of incident1  

appears his habit of  attacking not the 
climax of the story1 but rather one of  
its earlier  stages1 an intermediate    
moment when the action is still in      
progress  and the final result is       
suggested rather than clearly           
foreshadowed4  ,this habit was always   
strong upon him4  ,it gave their        
particular  interest to such early works
 as ,the ,huguenot1 ,the ,black         
,brunswicker1 ,the ,proscribed          
,royalist1 and ,the ,escape of a        
,heretic1 just as much as it did to     
later pictures like ,the ,girlhood  of  
,st4 ,theresa1 or ,speak6  ,speak62 and 
by introducing a touch of  speculation  
into the record of his thoughts he      
enhanced the  fascination which was     
never wanting in his sturdy inventions4 
,indeed1 there was in every branch of   
his figure-painting some  sufficient    
reason for his popularity1 some distinct
 attractiveness of  mental quality to   
add convincingly to the impression      
created by his  superlative command over

 technicalities4  ,he could be tender1  
dainty1  and refined in his studies of  
children2 serious and solemn in his     
symbolical compositions2 pathetic1      
vigorous1 and passionate by turns  in   
his subject-pictures2 and through all   
ran a vein of sentiment that  was always
 wholesome1 clean1 and intelligible4    
,he never affected to  be influenced by 
feelings that were not honestly natural 
to him1 nor  did he pretend to represent
 anything that he did not believe in    
sincerely and without question4  ,what  
he painted was invariably what  he felt 
at the moment2 and1 whether it was a    
masterpiece or a  comparative failure it
 expressed simply the appeal that the   
subject  had made to him2 and his       
response to this appeal was always      
unconventional and definite4    ,he     
trusted in the same way to a personal   
impression of his sitter  when he set   
himself to paint a portrait4  ,what he  
wanted was to show  that he understood  
the individuality of the man or woman   

before him1  and that his understanding 
had helped him to make clear to others  
the  special idiosyncrasies that        
separated that man or woman from the    
ordinary crowd4  ,portraiture to him was
 a matter of observation1 of            
receptiveness to suggestion1 and        
acceptance of what was visible1  rather 
than an artistic process which enabled  
him to give free scope  to his inventive
 instincts4    ,perhaps he was less     
analytical and discriminating in his    
pictures of  women4  ,they seemed to    
appeal to him less than men did as      
subjects  for psychological study4      
,what he preferred to dwell upon were   
the  physical charms of femininity1     
beauty of face and form1 elegance of    
carriage1 and that rounded fulness of   
development that argues perfect         
healthiness of body and mind4  ,the     
stateliness of the card-players in      
,hearts are ,trumps1 the air of high    
breeding and conscious power  which     
distinguishes the portrait of the       

,duchess of ,westminster1 and  the more 
matronly splendour of ,mrs4             
,bischoffsheim1 mark the chief          
variations in his manner of painting    
womankind2 occasionally only did  he    
diverge into more detailed character1 as
 in ,miss ,eveleen  ,tennant1 ,mrs4     
,jopling1 and ,mrs4 ,perugini2 but as a 
rule he was  content to treat the       
freshness and brilliant vitality of his 
feminine  sitters1 and to leave         
untouched their possibilities of passion
 or  strong emotion4  ,his men were full
 of vigorous aspirations1  restrained   
for the moment1 yet near the surface and
 ready at any time  to break into       
activity2 but his women were serene and 
unmoved1  prepared1 perhaps1 for        
conquest1 but wrapped in a reserve that 
would  not allow them to make the first 
advances4    ,that his preference for   
repose in representation did not lead   
the  artist into a dry convention1 or   
into any disregard of the essential     
points of difference between people1 is 

very evident if a comparison  is made of
 his chief portraits4  ,beneath their   
reserve appears a  wonderful variety of 
manner1 and a superb power of           
interpretation4  ,they are studied1     
exact1 and intensely real4  ,no         
perfunctory labour  is seen in them1 and
 their value is diminished by no        
slurring over of  the little things     
which help to define the more intimate  
characteristics of the modern man4      
,the unquestionable popularity that     
,millais gained by his excursions  into 
landscape was equally due to the fact   
that he was a student of  nature1 not an
 imaginative interpreter of what she    
presented4  ,he  dealt with facts and   
left fancies almost entirely alone4  ,in
 the  series of canvases that began with
 ,chill ,october1 and ended with        
,halcyon ,weather1 there was infinite   
industry1 marvellous accuracy1  perfect 
veracity of record1 but little effort to
 be anything but  absolutely exact in   
his statement of what he saw4  ,his     

amazing  patience and his surprising    
quickness of vision1 enabled him to     
grasp  with easy confidence the plain   
truths of nature1 and his command of    
brushwork ensured a rare perfection in  
his pictorial expression of  the matter 
that he had selected for representation4
  ,nothing was  implied or left in      
sketchy incompleteness1 because his     
patience had  failed him before he had  
realised the complicated fulness of his 
subject4  ,he spared himself no toil to 
arrive at what seemed to him  to be the 
perfection of nature1 and he was as     
minutely attentive1 as  surely certain  
of himself1 as he ever was in his figure
 work4    ,as a necessary consequence1  
however1 of this manner of working1 he  
never could be ranked among the inspired
 painters of the open air1  nor could he
 ever be said to have dealt exhaustively
 with the  problems presented by natural
 phenomena4  ,he remained untouched by  
the subtleties of atmospheric effect1 by
 the varieties of momentary             

illumination1 or by the fleeting glories
 of aerial colour1 which  provide the   
student of nature's devices with the    
chief incentive to  artistic effort4    
,he was always too much concerned with  
the things at  his feet1 with matter    
that he could dissect and investigate1  
to give  much thought to the broad and  
comprehensive scheme of which these     
things formed part4  ,whatever he       
arrived at in the way of a record of  a 
natural effect was reached not so much  
by thorough understanding of  the effect
 as a whole1 as by an amazingly acute   
interpretation of the  influence        
exercised by it upon the details upon   
which his eyes were  fixed4    ,an      
excellent instance of this is afforded  
in ,the ,blind ,girl1 where  he has     
given little enough attention to the    
grandeur of the passing  storm-clouds1  
and has concentrated the whole of his   
energies upon the  rendering1 with      
supreme fidelity1 of dripping weeds and 
a drenched  hillside lighted by the rays

 of the setting sun4  ,as a record of   
microscopic insight1 the picture is     
superlatively successful2 it  could     
hardly be more closely reasoned out2    
but1 as a representation  of ,nature in 
one of her most impressive moods1 it is 
ineffectual and  unconvincing4  ,so1    
too1 his most popular landscape1 ,chill 
,october1  falls short of greatness1    
because it is too plainly studied bit by
  bit1 and part by part1 and built up   
precisely by the careful putting  in    
place of material collected for the     
pictorial purpose4  ,it holds  together1
 not because it has one great dominating
 intention1 but  because its            
construction is so ingenious1 and its   
mechanism so  workmanlike1 that no      
single detail can be criticised as out  
of  relation to the rest4  ,it can      
hardly be called learned in design1 nor 
can it be said to have any conspicuous  
dignity of style2 yet the  knowledge of 
form1 the intimate observation of the   
growth of  riverside vegetation1 and the

 appreciation of autumnal colouring1    
which were turned to account by the     
artist in his treatment of the  subject1
 make the canvas prominent among the    
greatest nature studies  of modern      
times4    ,no consideration of his      
influence and no review of his          
performance  would be complete without  
an appreciative reference to his        
services  to black and white4  ,as a    
painter he has a secure place among the 
chief modern masters of the world2 but  
what he did for pictorial art  was      
paralleled1 if not surpassed1 by his    
assertion of the dignity and  importance
 of illustration as a form of occupation
 for even the  greatest of art workers4 
,it has been well said that if ,millais 
had never devoted himself to  the       
painting of oil pictures1 but had given 
his life entirely to the  work of book  
illustration1 his position would still  
have been  indisputable1 and his        
magnificent ability would have been     
amply  demonstrated4  ,there is1 indeed1

 a great deal of truth in this          
contention4  ,although the world would  
have been the poorer for the  loss of   
his masterly essays in brushwork1 and of
 his wonderful  exercises in the        
arrangement of strong colour1 it would  
have  possessed extremely significant   
evidence of the reality of his  artistic
 judgment1 and of the adaptability of   
his inventive powers4  ,in his black and
 white work he showed frequently a side 
of his  capacity that appeared in his   
painting only on great occasions1 a     
sense of dramatic exigencies1 a feeling 
for illustrative meanings1  far beyond  
what was suggested by the general run of
 his pictures4  ,as  an interpreter of  
the fancies of other men he was         
exceptionally  intelligent1 with a      
memorable grasp of the salient points of
 the  story and a remarkable facility in
 summarising essentials4  ,he was       
afraid of nothing in the way of a       
subject1 and spared no labour to  make  
his drawings completely expressive4     

,his love of black and white was indeed 
a genuine one4  ,illustration  was not  
to him1 as it so often is with other    
men1 a mere expedient1  resorted to     
because an unappreciative public refused
 to recognise the  merit and importance 
of his paintings1 and abandoned gladly  
as soon  as he found he could make a    
sufficient income without it4  ,on the  
contrary1 he welcomed the opportunities 
with which this branch of art  practice 
provided him1 and regarded them as of   
the highest value4  ,for more than      
twenty years he was a prolific          
illustrator1 constantly  busy with      
drawings that were reproduced in all    
kinds of books and  magazines2 and even 
in his later life occasional examples   
appeared to  prove that his hand had not
 lost its cunning and that his interest 
in  this type of work was undiminished4 
,how deeply he felt about this          
particular subject is1 perhaps1 best    
proved by his constant advocacy1 within 
and without the ,academy1 of  the claims

 of illustrative draughtsmen to official
 recognition4  ,before the ,royal       
,commission on the ,academy he          
strenuously urged that  workers in black
 and white should be declared eligible  
for election  to membership of that     
institution as draughtsmen purely1      
instead of  being required to disguise  
themselves as picture painters before   
they  could hope for admission2 and his 
pleading then expressed a  conviction   
which remained strong in him till his   
death4  ,he spoke  with real authority  
on a matter that1 both by inclination   
and  association1 he was fully qualified
 to discuss4  ,his experience of        
illustrative drawing1 and his           
acquaintance with the history of its    
development1 were both peculiarly       
intimate2 and he knew exactly what  were
 the possibilities of influence         
possessed by the craft4    ,about his   
technical methods there is comparatively
 little to be said4  ,he was not a      
worker who concerned himself very deeply

 over devices of  execution1 or cared to
 codify his system of painting in       
accordance  with scientific principles4 
,he drew well1 and handled his materials
  with the sureness and confidence that 
came from complete knowledge of  what he
 wanted to do4  ,his chief desire1 as   
has been already stated1  was to retain 
in pictures that had really cost him    
deep thought and  prolonged labour an   
aspect of spontaneity and freshness2 to 
be direct  in statement and simple in   
expression4  ,he had a well-founded     
belief  that the finest art was that in 
which the meaning of the artist was  to 
be realised with the least amount of    
seeking and with as little  inquiry as  
possible about his intentions4          
,consequently1 he strove  all his life  
to master the intricacies of his craft1 
so that no  hesitation on his part might
 make his meaning vague or indefinite4  
,speed he always had4  ,even in the     
apparently laborious period of his      
,pre-,raphaelite performance he could1  

and did1 paint with amazing             
facility--the head of ,ferdinand in     
,ferdinand lured by ,ariel1 was1  for   
instance1 completed in five hours--and  
as years went on his  certainty became  
even more indisputable4  ,cherry ,ripe  
was painted  in a week1 ,the ,last ,rose
 of ,summer in not more than four days1 
and  for many of his portraits half a   
dozen sittings sufficed to give him  all
 that was necessary for the achievement 
of a masterpiece4  ,his  quickness of   
apprehension and accuracy of vision     
helped him to a  prompt decision as to  
choice of material2 and when his        
direction was  once fixed1 his          
inexhaustible energy carried him easily 
through the  work of production4        
,nature had well equipped him for his   
profession1  and wisely he followed the 
lines she had laid down4          ,,our 
,,illustrations    ,the works which have
 been reproduced as illustrations to    
this summary  of the career of one of   
the greatest artists whom the ,british  

school  has known have been selected    
with the intention of representing the  
more important stages in his progress4  
,it is comparatively easy to  divide his
 life into different periods1 each one  
of which was marked  by some            
achievements of more than ordinary      
significance4  ,thus the  ,christ in the
 ,house of ,his ,parents 7#ahdi71 and   
,ophelia 7#aheb7  belong to the time    
when he was a devout believer in the    
creed of the  ,pre-,raphaelite          
,brotherhood2 ,autumn ,leaves 7#ahef7   
and ,the ,vale of  ,rest 7#aheh7 show   
the first beginnings of the change of   
conviction  which led him a few years   
later to an almost complete abandonment 
of  his earlier principles2 ,a ,souvenir
 of ,velasquez 7#ahfh7 marks the  end of
 the transition from his youthful       
methods to the vigorous  freedom of his 
middle life2 ,the ,north-,west ,passage 
7#ahgd7 and ,a  ,yeoman of the ,guard   
7#ahgf71 the triumphant attainment of   
absolute  mastery over all the details  

of his craft1 and the ,thomas ,carlyle  
7#ahgg71 the commencement of that period
 of sober confidence in his  perfected  
skill which continued till his death in 
#ahif4    ,there is hardly one of these 
pictures which does not by its          
superlative quality deserve a place     
among the great things that may  be said
 to have made our art history4  ,they   
show ,sir ,john ,millais not  only as a 
splendid executant but also as a frank  
and sincere thinker  on art questions1  
who did not hesitate to modify his      
opinions as his  widening experience    
proved to him that a better way than the
 one  which he was following at the     
moment might be found to lead him to    
the highest results4  ,it is a fortunate
 circumstance that with one  exception  
the whole of this group of noble works  
can be counted as  public property4     
,they have passed into galleries where  
they are  always accessible1 and they   
are within the reach of every student   
who  wishes to profit by the great      

lessons they are able to teach4         
,,christ ,,in ,,the ,,house ,,of ,,his  
,,parents    ,this is the earliest and  
in some respects the most ambitious of  
the  ,pre-,raphaelite pictures4  ,in it 
all the resources of ,pre-,raphaelitism 
are turned to good account1 and the     
logic of the creed is asserted  with    
unquestioning faith4  ,a verse in       
,zechariah1 ,and one shall say  unto    
him1 ',what are these wounds in thine   
hands8'  ,then he shall  answer1 ',those
 with which ,i was wounded in the house 
of my friends1'  provided the motive1   
and the love of exact and searching     
observation  which was from the first   
the governing principle of the artist's 
practice1 controlled every detail of the
 execution4    ,as a religious painting1
 a representation of a ,holy ,family1   
this work  was by no means approved by  
the mid-century critics4  ,one of the   
writers of the period1 who joined in the
 general outcry against the  picture1   
declared1 with what seems now to have   

been quite unnecessary  emphasis1 that  
it touched the lowest depths of what is 
mean1 odious1  repulsive1 and repelling4
  ,it certainly shows no respect for any
 of  the traditions which were then     
popularly supposed to call for the      
unquestioning support of every artist1  
for the spirit by which was  inspired   
such a composition1 for instance1 as    
,sir ,charles ,eastlake's  ,christ      
lamenting over ,jerusalem1 a picture now
 in the ,tate ,gallery1  which explains 
very well the sort of feebleness that   
was in fashion  in the middle of the    
nineteenth century4    ,millais did not 
hesitate to put on one side all the     
namby-pamby  prettiness and elegant     
affectation which governed the          
production of  his contemporaries1 and  
struck out for himself in a very        
different  direction4  ,he laid the     
scene of his story in the house of      
,joseph1  and1 to quote another critic1 
associated the characters of the sacred 
story with the meanest details of a     

carpenter's shop1 with no  conceivable  
omission of misery1 of dirt1 and even of
 disease1 all  finished with the same   
loathsome minuteness4  ,the child       
,christ  stands before the carpenter's  
bench with the ,virgin kneeling beside  
him preparing to bind up with a piece of
 linen a wound in his hand1  at which   
,joseph leaning forward from the end of 
the bench is looking4  ,st4 ,anne in the
 background is picking up a pair of     
pincers1 and  beside ,joseph is ,john   
the ,baptist coming towards the central 
group  with a bowl of water in his      
hands4  ,an assistant on the other side 
of  the picture watches the incident    
gravely4    ,the keynote of the whole   
composition is its earnest symbolism4   
,every  one of the lovingly laboured    
details explains something of the story1
  the tools on the wall1 the dove       
perched on the ladder1 and the sheep1   
typifying the faithful1 and the wattled 
fence1 an emblem of the  ,church1 which 
are seen through the doorway2 while in  

the meadow  beyond is placed a well as a
 symbol of ,truth4  ,in its imaginative 
qualities1 the picture is not less      
masterly than in its technical          
accuracy1 and excites as much wonder by 
the depth of thought it  reveals as by  
its astonishing accomplishment4  ,it is 
the most  original of all the artist's  
earlier works1 marking definitely his   
emancipation from the influences of his 
student days1 and his  development in   
craftsmanship4        ,,ophelia    ,the 
,ophelia is neither in scale nor in     
imaginative invention as  impressive as 
the ,christ in the ,house of ,his       
,parents1 but it is1  without doubt1 one
 of the pictures by which he will most  
surely be  remembered4  ,it is an       
admirable example of his searching study
 of  natural details1 close and         
elaborate in its realisation of every   
part  of the subject1 and curiously true
 in its rendering of the subtle  tones  
of brilliant daylight4  ,only an        
observer endowed with  extraordinary    

keenness of vision1 and with absolutely 
inexhaustible  patience could have      
interpreted so exactly all the          
complexities of  such a scene4  ,in no  
part of the canvas is it possible to    
detect any  relaxation of his strenuous 
effort after completeness2 nothing is   
slurred over1 and nothing which could   
add to the persuasiveness of  the work  
is omitted4    ,illustration3 ,,ophelia4
    ,the points which are particularly  
to be noticed are the amazing  accuracy 
of the drawing of every leaf and twig in
 the background1 the  truth with which  
the floating draperies and the river    
weeds lying  beneath the surface of the 
water have been rendered1 and the       
brilliant vivacity of the colour1 which1
 strong and insistent as it  is1        
entirely avoids garishness and rankness 
of quality4  ,there is1  too1 a         
delightful tenderness of sentiment which
 suits to perfection a  subject full of 
sympathetic suggestion4  ,not a trace of
 affectation  is to be perceived2 the   

sincerity and good faith of the artist  
cannot  for an instant be doubted1 and  
his understanding of the dramatic       
meaning of the incident chosen is       
perfectly judicious4  ,it would not  be 
easy to find a picture which marks more 
truly the difference  between the finish
 that comes from learned study1 and the 
mere  surface elaboration by which an   
uninspired artist seeks to hide his     
insufficiency of technical knowledge4   
,the imitative painter is  satisfied if 
he can deceive the eye by tricks of     
handling1 cunningly  managed1 and cares 
little for the broad effect of his      
canvas as a  whole2 but ,millais1 who   
was a man of genius1 could never have   
contented himself with the cheap        
popularity attainable by such  devices4 
,he took a far larger view of his       
artistic responsibility1  and even in   
his most prolonged and assiduous labour 
he never forgot  that the part which    
every touch had to play in the general  
pictorial  scheme had to be considered4 

,that he should never have lost the     
unity of effect of his ,ophelia1 though 
he spent many weeks painting  the       
landscape setting of the figure1 in a   
quiet corner on the ,ewell  ,river1 near
 ,kingston1 may be regarded as a        
convincing proof of his  rare fitness   
for dealing with some of the greater    
problems of open  air painting4         
,,autumn ,,leaves    ,as an example of  
his use of poetic and tender sentiment  
this picture  is now rightly admired as 
the most fascinating of all the works   
which  he produced during his life4  ,it
 is neither a great composition nor  an 
amazing illustration of minute patience 
in technical performance2  but it has a 
spontaneous charm of manner that puts it
 among the few  modern masterpieces4    
,when it was first exhibited it was not 
properly  understood by the general     
public1 but expert observers even then  
appreciated its delicate symbolism1 and 
saw in it qualities of the  noblest     
kind4  ,mr4 ,ruskin praised it with     

generous enthusiasm1 and  not only      
ranked it as one of the monumental      
canvases of the world1  but declared    
that not even to ,titian could be       
assigned a place higher  than that which
 ,millais had reached by this triumphant
 achievement4    ,illustration3 ,,autumn
 ,,leaves4    ,judged as a piece of     
painting it is surprisingly free from   
all those  little artifices which a less
 thoughtful artist would have used to   
increase the strength of his appeal to  
the attention of the public4  ,it is    
studiously quiet in manner and formal in
 composition1 an  arrangement of severe 
lines and simple masses1 which might    
easily  have been made blankly          
inexpressive if they had been managed   
with  less subtle perception of the     
deeper possibilities of the subject4    
,but this very reserve gives the picture
 much of its strangely  sympathetic     
beauty1 and increases its hold upon the 
feelings of all  people who are not     
satisfied with the superficialities of  

pictorial  art4  ,the attitudes of the  
figures1 the expressions of the faces1  
the  bareness of the landscape against  
which the group of children is set1  and
 the solemn stillness of the autumn     
twilight which pervades the  whole      
composition are all of value in the     
carrying out of the  artist's intention4
  ,the lingering sadness of autumn is   
throughout  the idea which was in his   
mind1 and the way in which this is      
symbolised in every touch and every     
detail is well-nigh perfect4    ,the    
picture is also remarkable because it is
 practically the first in  which        
,millais showed that masterly           
understanding of the character and  ways
 of children1 which was so often and so 
delightfully displayed in  his later    
production4  ,the young girls who are   
grouped round the fire  of faded leaves 
are painted with inimitable grace and   
tenderness4  ,their unconscious         
naturalness is wholly charming1 their   
unstudied  ease of gesture is           

extraordinarily well rendered2 and there
 is in the  purity of the delicate      
little faces a suggestion of the        
innocence of  childhood which is        
exquisitely fresh and attractive4  ,yet 
no  impossible idealisation spoils the  
truth of the painting4  ,they are       
frankly children who play their parts in
 it1 not little angels with  none of the
 instincts of human beings4        ,,the
 ,,vale ,,of ,,rest    ,although the    
public1 after having become accustomed  
to the artist's  uncompromising         
,pre-,raphaelitism1 must have been      
warned by the  symbolism of ,autumn     
,leaves of the coming change in his     
methods1 the  appearance of his ,vale of
 ,rest at the ,academy in #ahei caused a
 very  definite sensation4  ,people then
 found themselves called upon to  accept
 him as a didactic and imaginative      
moralist4  ,he had1 indeed1  entered    
upon his transition1 and had moved far  
from the literalism of  ,christ in the  
,house of ,his ,parents1 and the obvious

 actuality of  ,ophelia1 towards the    
closely impending declaration of those  
individual preferences which were to    
guide him in the work of the  latter    
half of his life4  ,the ,vale of ,rest  
is said to have been of  all his        
paintings the one that ,millais         
estimated most highly2 and it  is with  
justice reckoned among the most         
brilliant achievements which  mark great
 moments in his career4    ,it is       
certainly the picture which combines    
most surely his power of  thought1 and  
his capacity for stating forcibly and   
dramatically the  things which he       
imagined4  ,there is in it a manly      
sincerity which  cannot be questioned1  
and there is besides a kind of solemn   
beauty  that comes from his instinctive 
avoidance of sensationalism and from    
his naturally correct preference for    
simplicity of treatment4  ,this         
simplicity and sincerity of manner can  
always be found in his best  paintings1 
and when applied1 as in ,the ,vale of   

,rest1 to the avowal  of a strong       
conviction must be regarded as          
accountable for the  extraordinary      
persuasiveness of his art4  ,an artist  
of less  straightforward habit of mind  
would have sought to complicate his     
statement by adding little things with  
the idea of stimulating the  curiosity  
of the observer2 but ,millais was       
content1 when he had found  a subject   
inherently dignified and impressive1 to 
leave it to tell  its own story and not 
to embroider it with trivial            
accessories4  ,to  this reticence is due
 the monumental character of ,the ,vale 
of ,rest2  there is nothing in it to    
distract attention1 and nothing which   
could  jar on the imagination1 and so   
diminish the value of the lesson which  
it is intended to teach4    ,perhaps the
 greatest triumph of all is the way in  
which the picture1  despite the sadness1
 the grimness almost1 of the subject1   
escapes  morbidity4  ,it would have been
 so easy to introduce into it a touch   

of fantastic mysticism1 or to spoil its 
mystery by asserting too  plainly the   
moral of the story1 but the artist has  
been proof against  every temptation1   
and has gone through with the work in   
the way that  his wholesome instincts   
told him would be most correct4  ,the   
dominant  note is one of peace1 and the 
restfulness of the secluded convent     
graveyard in which the last act of the  
drama of life is played  typifies truly 
the long sleep which comes at last to   
end the troubles  and strivings of      
humanity4  ,none of the turmoil of the  
world intrudes  into this vale of rest1 
and even nature herself is in sympathy  
with  its gentle calm4        ,,souvenir
 ,,of ,,velasquez    ,if the ,vale of   
,rest marks significantly the transition
 through  which ,millais passed before  
he finally found the way that he        
followed  for the last thirty years of  
his life1 the ,souvenir of ,velasquez   
shows decisively what was the nature of 
the change that came over his  art4     

,between #ahei and #ahfg he seemed to   
have settled down into a  habit of      
careful and rather laborious            
manipulation and to have become  a      
confirmed lover of high finish and a    
scrupulous exponent of what  were almost
 unnecessary realities4  ,but suddenly1 
in #ahfh1 he threw  all this minute     
precision aside and avowed himself to be
 a robust  impressionist1 glorying in   
his power to give by a few large and    
summary touches a vivid suggestion of   
many facts1 and eager to render  great  
effects rather than microscopically     
analysed and elaborately  assorted      
details4  ,there was no mistaking this  
change and no  explaining it away4  ,it 
meant that he had abandoned once and for
 ever  all that had remained to him of  
the restrictions of the                 
,pre-,raphaelite method and had begun to
 apply its principles in such a  way    
that he could aim henceforth at the     
highest flights of executive            
expression4    ,among the many pictures 

which he produced at this period to     
prove how  completely the wish to rival 
the great executants of other schools   
had possessed him1 the ,souvenir of     
,velasquez stands out as the  cleverest 
in craftsmanship1 and the most          
delightful in feeling4  ,it  is not     
merely an amazingly direct piece of     
brushwork in which every  touch shows   
the hand of a master of technical       
contrivance1 but as a  reflection of the
 spirit of childhood it deserves1 as    
well1 to be  spoken of as a veritable   
inspiration4  ,the beauty of the face is
 very  remarkable1 and there is a pretty
 stateliness in the pose of the  young  
sitter which accords perfectly with the 
old-world costume in  which she is      
represented4  ,as the title implies1 the
 general  arrangement and treatment of  
the picture were suggested by the       
practice of the great ,spanish master1  
but this ,souvenir is a great  deal more
 than a copy of the methods of another  
artist2 it has in  full measure the     

personal qualities by which almost      
everything that  ,millais touched was   
distinguished4    ,illustration3 ,,the  
,,north-,,west ,,passage4    ,that this 
performance was not a happy accident1   
one of those chance  successes which    
sometimes come to an artist as a result 
of a  fortunate combination of          
circumstances1 was put beyond doubt by  
the  character of his contributions to  
the ,academy exhibitions during the     
next half dozen years4  ,he fully       
maintained the high level of  executive 
performance at which he had arrived1 and
 continued steadily  to widen the scope 
of his activity4  ,there seemed to be no
 problem of  handling which he was      
unprepared to attack and no difficulty  
that he  feared as insurmountable4      
,,the ,,north-,,west ,,passage    ,in   
this work1 painted in #ahgd1 he         
displayed his strength in a large  and  
ambitious composition4  ,as a subject   
picture it may fairly be  reckoned as   
the most complete assertion of his      

mature conviction that  he ever put     
before the public4  ,its motive was one 
calculated to  appeal vividly to his    
militant instincts1 and was suited in   
every way  to his robust and energetic  
personality4  ,the idea of indomitable  
perseverance in the face of apparently  
overwhelming dangers1 of  tenacious     
effort to triumphantly accomplish a     
great intention1 was  quite in          
accordance with his natural sympathies2 
and the picture has  therefore an inner 
significance to which almost as much    
interest  attaches as to its outward    
aspect of unhesitating certainty4  ,it  
is1  perhaps1 a little unequal in       
execution1 but parts of it are          
magnificent1 and especially the head of 
the old seaman1 who sits at  the table  
and listens to the story of ,arctic     
exploration that is  being read to him  
by the girl seated at his feet4  ,the   
sitter for  this splendid study of      
rugged age was ,mr4 ,trelawny1 the      
friend of  ,shelley and ,byron4         

,according to his usual custom ,millais 
did little more than suggest in  the    
picture the story implied by the title4 
,the ,north-,west ,passage  is not an   
illustrative painting of adventures in  
the ,arctic region1  but a piece of     
domestic genre on a large scale intended
 rather to  stimulate the imagination   
than to record something actually       
accomplished4  ,but to every thinking   
man it is wanting in nothing  that gives
 interest to a work of art4  ,it teaches
 an admirable lesson  and points a moral
 well worth attention2 and in its       
combination of  strenuousness and simple
 directness1 it reflects exactly the    
nature  of one of the frankest and least
 self-conscious of men4  ,the canvas  is
 a tribute to the many great            
personalities whose lives have been     
devoted to the making of our national   
history1 and1 rightly  understood1 it is
 an eloquent appeal to us all to follow 
worthily in  their footsteps4        ,a 
,,yeoman ,,of ,,the ,,guard    ,another 

masterpiece exhibited three years later 
has now found a  permanent resting-place
 in the ,national ,gallery4  ,this      
riotous and  gorgeous exercise in strong
 colour could only have been            
accomplished  by an artist whose        
splendid audacity was equalled by his   
knowledge of  his craft4  ,the scarlet  
uniform1 with its lavish embroidery of  
black  and gold and picturesque fashion1
 was something that exactly suited  his 
fancy2 and he revelled in his struggle  
with the many problems of  technique    
which such a subject presented for      
solution4  ,yet there is  little sign in
 the picture that he found it more than 
usually  exacting2 and there is no      
evidence that he devoted to it an       
exceptional amount of labour4  ,it is   
particularly memorable for its          
consistent and thorough treatment1 for  
the sound judgment with which  every    
variation of the colour and every       
component part of the design  have been 
managed2 and it seems to have been      

carried through without  hesitation or  
change of intention4  ,it is an         
unfaltering record of a  clearly defined
 impression1 and is not less interesting
 on account of  the sensitive and       
characteristic rendering of the worn1   
old face of  the model than as a piece  
of still life painting of quite         
extraordinary force4  ,the qualities    
that make it great are those  which     
distinguish the productions of none but 
the unquestionable  masters of pictorial
 art4        ,,thomas ,,carlyle         
,illustration3 ,,thomas ,,carlyle4      
,the ,portrait of ,thomas ,carlyle has  
qualities scarcely less  commanding1    
though it did not offer such            
opportunities for the  display of       
masterly contrivance as were afforded by
 the ,yeoman of  the ,guard4  ,to deal  
with masses of strong colour1 or to     
attempt  audacities of brushwork1 would 
not have been correct in a simple       
presentation of a modern man4  ,but even
 without any spectacular  additions this

 picture is a remarkable one1 because it
 reveals so  plainly the discernment of 
character which had much to do with the 
success that ,millais gained in         
portraiture4  ,he cannot be said to     
have spared ,carlyle in his analysis1   
nor to have tried to soften off  the    
angularities of disposition which made  
the grim old sage more  feared than     
loved by the people with whom he came in
 contact4  ,the  face is frankly that of
 a man who has been soured by the       
warfare of  life2 it is hard1 dogmatic1 
fierce perhaps1 and certainly           
intolerant1  but it is keenly           
intellectual and shrewdly reflective4   
,there is  courage and firmness of      
conviction in every line1 and the       
instinct of  the tenacious fighter is   
declared in all the rugged and          
rough-hewn  features4  ,the unflinching 
gaze of the angry eyes1 deep-set under  
the  lowering brows1 is wonderfully     
suggested1 and the cynical1             
contemptuous mouth is magnificently     

drawn without any trace of  caricature4 
,that such a man should have summed up  
humanity as  mostly fools would seem    
natural enough to every one who studies 
this portrait2 the ,carlyle that        
,millais has put on record for us does  
not look like a lover of his species1   
nor like a man who would find  much     
pleasure in the society of his fellows4 
,perhaps the painter has  been too      
severe--to such a breezy enthusiast     
,carlyle must have been  more than a    
little repellent--but he has            
indisputably been perfectly  consistent 
in his statement of what he considered  
to be the right  reading of the complex 
character of his famous sitter4         
,,the ,,chief ,,works ,,of ,,millais    
,,in ,,public ,,galleries1 ,,etc4       
,,national ,,gallery4    ,the ,yeoman of
 the ,guard4  #ahgf4  #d ft4 #g in4 by  
#c ft4 #h in4  7#adid47    ,portrait of 
the ,right ,hon4 ,w4 ,e4 ,gladstone4    
#ahgi4  #d ft4 #a in4 by #c  ft4        
7#afff47      ,,tate ,,gallery4         

,ophelia4  #aheb4  #b ft4 #f in4 by #c  
ft4 #h in4  7#aejf47 ,tate ,gift4       
,the ,vale of ,rest4  #aheh4  #c ft4 #d 
in4 by #e ft4 #g in4  7#aejg47  ,tate   
,gift4    ,the ,knight ,errant4  #ahgj4 
#f ft4 by #d ft4 #e in4  7#aejh47  ,tate
 ,gift4    ,the ,north-,west ,passage4  
#ahgd4  #e ft4 #i in4 by #g ft4 #d in4  
7#aeji47  ,tate ,gift4    ,mercy--,st4  
,bartholomew's ,day--#aegb4  #ahhf4  #f 
ft4 #a in4 by #d ft4 #d  in4 7#aeaj47   
,tate ,gift4    ,saint ,stephen4  #ahie4
  #e ft4 by #c ft4 #i in4  7#aefc47     
,tate ,gift4    ,a ,disciple4  #ahie4   
#d ft4 #a in4 by #b ft4 #aa in4         
7#aefd47 ,tate ,gift4    ,speak6        
,speak6  #ahie4  #e ft4 #f in4 by #f ft4
 #aa in4  7#aehd47 ,chantrey  ,bequest4 
,the ,order of ,release--#agdf4  #ahec4 
#c ft4 #d in4 by #b ft4 #e in4  7#afeg47
 ,tate ,gift4    ,the ,boyhood of       
,raleigh4  7#afia47 #d ft4 by #d ft4 #h 
in4  ,gift of ,lady  ,tate4  7#ahgj47   
,a ,maid offering a ,basket of ,fruit to
 a ,cavalier4  #f in4 by #d in4         

7#ahjg47 ,bequeathed by ,mr4 ,henry     
,vaughan4    ,charles ,i4 and his ,son  
in the ,studio of ,van ,dyck4  #f in4 by
 #d in4  7#ahjh47 ,bequeathed by ,mr4   
,henry ,vaughan4    ,equestrian         
,portrait4  #ahhb4  #aj ft4 #e in4 by #g
 ft4 #g in4 7#aejc47  ,anonymous donor4 
,n4,b4  ,sir ,edwin ,landseer painted   
the gray palfrey with the gorgeous      
accoutrements1 intending it for an      
equestrian portrait of ,queen           
,victoria1 but this was never carried   
out1 and ultimately the picture  was    
sent to ,millais1 who painted his       
daughter1 now ,mrs4 ,james1 in  this old
 riding costume1 together with the page1
 the dog1 and the  background1 and      
called the picture ,nell ,gwynne4  ,it  
is also  sometimes known as ,diana      
,vernon4    ,it is initialled both by   
,landseer and ,millais1 and the date is 
that  of its completion by ,millais4    
,,national ,,portrait ,,gallery4    ,the
 ,earl of ,beaconsfield4  ,a copy by    
,boyle from ,millais' portrait4         

,thomas ,carlyle4  #ahgg4  ,an          
unfinished portrait4  #c ft4 #i in4 by  
#b ft4  #aj in4    ,william ,wilkie     
,collins1 the novelist4  #aa in4 by #g  
in4    ,john ,leech1 caricaturist4  ,in 
water-colours4  #aa in4 by #i in4       
,,birmingham ,,art ,,gallery4    ,the   
,widow's ,mite4  #ahfi4  #c ft4 #aj in4 
by #b ft4 #g in4 7#aga47    ,the ,blind 
,girl4  #ahef4  ,pre-,raphaelite work4  
#b ft4 #h in4 by #a ft4 #i  in4 7#agb47 
,presented by the ,rt4 ,hon4 ,william   
,kenrick4      ,,british ,,and ,,foreign
 ,,bible ,,society1 ,,queen ,,victoria  
,,st41 ,,london4    ,portrait of the    
,earl of ,shaftesbury4  #ahgg4          
,,christ ,,church1 ,,oxford4            
,portrait of the ,rt4 ,hon4 ,w4 ,e4     
,gladstone4  #ahhe4      ,,fitzwilliam  
,,museum1 ,,cambridge4    ,the          
,bridesmaid4  7,all ,hallows' ,e'en47   
#ahea4      ,,the ,,garrick ,,club1     
,,london4    ,portrait of ,sir ,henry   
,irving4  #ahhd4      ,,institute ,,of  
,,civil ,,engineers1 ,,london4          

,portrait of ,sir ,john ,fowler1 ,bart41
 ,c4,e4  #ahfh4      ,,leeds ,,art      
,,gallery      ,childhood4       ,youth4
        ,a series of panels for lunettes
     ,manhood4      formerly in the     
,judges' ,lodgings in    ,age4          
,leeds4  ,painted in #ahdg4      ,music4
           ,art4                        
,,liverpool ,,art ,,gallery4    ,lorenzo
 and ,isabella4  #ahdi4                 
,pre-,raphaelite work4  #d ft4 #i in4 by
 #c  ft4 #d in4 ,purchased in #ahhd4    
7#ccg47    ,the ,martyr of the ,solway1 
in #afhj4  #ahgj4  #a ft4 #aj in4 by #b 
ft4 #d  in4  ,presented by ,mr4 ,george 
,holt in #ahie4  7#ebe47                
,,manchester ,,art ,,gallery4    ,autumn
 ,leaves4  #ahef4  ,pre-,raphaelite     
work4  #c ft4 #e in4 by #b ft4 #e  in4  
7#add47  ,bought from the ,leathart     
,collection4    ,a ,flood4  #ahgj4  #c  
ft4 #b in4 by #d ft4 #h in4  7#ade47    
,from the  ,matthews ,collection4       
,victory1 ,o ,lord6 #ahga4  #f ft4 #d   
in4 by #d ft4 #f in4  7#aga47  ,bought  

from the ,executors of ,mrs4 ,reiss1    
#ahid4      ,,the ,,corporation ,,of    
,,manchester4    ,portrait of ,bishop   
,fraser4  #ahhj4    ,portrait of ,queen 
,alexandra when ,princess of ,wales4    
#ahhf4      ,,national ,,gallery ,,of   
,,canada4    ,portrait of the ,marquis  
of ,lorne1 now ,duke of ,argyll4  #ahhd4
      ,,new ,,south ,,wales ,,gallery1  
,,australia4    ,the ,captive4  #ahhb4  
,,the ,,corporation ,,of ,,oldham4      
,portrait of ,t4 ,o4 ,barlow1 ,r4,a4    
#ahhf4      ,,oxford ,,university       
,,gallery4    ,portrait of ,thomas      
,combe4  #ahej4    ,return of the ,dove 
to the ,ark4  #ahea4      ,,the ,,royal 
,,academy1 ,,burlington ,,house         
,,diploma ,,gallery4    ,a ,souvenir of 
,velazquez4  #ahfh4      ,,royal        
,,holloway ,,college1 ,,egham4    ,the  
,princes in the ,tower4  #ahgh4    ,the 
,princess ,elizabeth4  #ahgi4           
,,shakespeare ,,museum1 ,,stratford     
,,on-,,avon4    ,portrait of ,lord      
,ronald ,gower4  #ahgf4      ,,st4      

,,bartholomew',s ,,hospital1 ,,london4  
,portrait of ,sir ,james ,paget4  #ahgb4
    ,portrait of ,luther ,holden1       
,p4,r4,c4,s4  #ahhj4      ,,university  
,,of ,,glasgow4    ,portrait of the     
,rev4 ,john ,caird1 ,d4,d4  #ahha4      
,,the ,,university ,,of ,,london4       
,portrait of ,george ,grote4  #ahga4    
,,chiswick ,,press3 ,,printed ,,by      
,,charles ,,whittingham ,,and ,,co4     
,,tooks ,,court1 ,,chancery ,,lane1     
,,london4