|Mrs Coventry Patmore (1851) J E Millais|
|Mrs Poventry Patmore (1856) John Brett|
|Effie Ruskin (1853) J E Millais|
|Effie Millais (1873-4)|
|The Highland Lassie (1854)|
If Millais managed to infuse his portraits of Effie with such depth of feeling, it is unsurprising that his paintings where she acts as a model treated her with similar levels of respect. In The Order of Release 1746, she is the barefoot deliverance for a Jacobite soldier, a stoic point of rest for man and child. The cloaking that drapes her gives her a goddess appearance that holds her apart from the tartan and ginger-haired man and child, but her hold on the pair, whilst delivering the titular order, ties her to them. She is woman as heroine, who has succeeded on a small scale to free a Scottish man from English tyranny.
|The Order of Release 1746 (1852-3)|
|Married for Rank (1853)|
|A Ghost Appearing at a Wedding Ceremony (1853-4)|
|The Race Meeting (1853)|
Retribution's husband has at least the grace to look ashamed when faced with his wrong-doing. The seated woman has just married the gentleman, their discarded hats and flowers beside them, when they are brought face-to-face with his first wife and two children. One wife points to the ring of her predecessor as the woman pleads with her husband to be acknowledged. This husband has managed to ruin two wives, a fate that Effie Millais fought when she intervened with Rose La Touche's mother. In Millais' world, husbands have the power of destruction, and women are the unsuspecting victims.
|Married for Love (1853)|
|Peace Concluded 1856 (1856)|
Happy New Year, readers of The Kissed Mouth and I wish you all a merry night and a bright end to 2014. I'll see you all next year....