EFFIE GRAY'S REVENGE ON JOHN RUSKIN.

BY ESSIE FOX

John Ruskin (1819-1900)

Following on from my previous post, I'm returning this month with more gossip regarding the personal affairs of John Ruskin - the celebrated artist, writer and critic whose ardent support for the Pre-Raphaelites helped to establish their good reputation, achieving the fame they so desperately sought.

But the passion expressed for the world of art was not transferred to the marriage bed, even when Ruskin came to wed Effie Gray - the attractive and lively young woman whose charms had inspired several offers of marriage, and led to more than one broken heart.

The couple first met when Effie was a child, their parents being acquainted and often sharing each other's company. Ruskin, who was older, soon became very fond of the little girl, so much so that when he was was twenty-one and Effie only twelve years old, she inspired him to write a fairytale. The King of Golden River was published in 1851 and became a Victorian classic.

John Ruskin as a child

However, there is some evidence that much like his friend Lewis Carroll, Ruskin felt far more at ease in the innocent company of the young, perhaps reliving through imagination his own happy childhood memories.

 Ruskin's portrait of Rose la Touche

Following the annulment of his marriage to the needy and womanly Effie, it was a girl called Rose La Touche who eventually won John Ruskin's heart. They met when she was nine years old, when her family engaged him to tutor the girl - about which Ruskin was to write, "...in the eventful year of 1858, a lady wrote to me from - somewhere near Green Street, W., - saying, as people sometimes did, in those days, that she saw I was the only sound teacher in Art...that she wanted her children - two boys and a girl - taught the beginnings of Art rightly; especially the younger girl, in whom she thought I might find some power worth developing."

Ruskin and Rose became very close. When not together they often wrote, her letters addressed to St Crumpet. He proposed in 1868, by which time he was almost fifty years old and Rose was just eighteen. But her family were greatly concerned regarding Rose's happiness, so much so that they wrote to Effie (now the respectable wife of Millais) to enquire about what had really occurred surrounding the scandal of her divorce.

Effie's response was to suggest that a marriage to Ruskin should not go ahead and, whether it was this influence or other religious differences, Rose la Touche turned her suitor down.

Rose la Touche on her deathbed by Ruskin

The result was enormous unhappiness. Rose died when twenty-seven years old, by then being placed in a nursing home when her parents feared their daughter mad. The tragedy of her premature death led to Ruskin's great despair, employing spiritualist mediums to try and contact Rose's soul, and then becoming quite convinced that the Renaissance artist, Carpaccio, had included Rose's portrait in his paintings of Saint Ursula. 

Whatever the misery and pain that had been suffered by Effie Gray during her marriage to Ruskin, it would seem that he paid the heaviest price. Effie's revenge was a dish served cold - but a dish of the utmost potency.


Essie Fox new novel, Elijah's Mermaid, is a Victorian psychological drama concerning an artist's doomed affairs, and the tragic results for the women who are chosen to be his muse. 

A VICTORIAN LOVE TRIANGLE

BY ESSIE FOX

Autumn Leaves by Millais

A few days ago, I went to Tate Britain to view the latest 'blockbuster' exhibition: Pre-Raphaelites: Victorian Avant-garde.

Today, I'm still musing on my reaction to the show, which was more muted than I would have expected, considering my love for the era and art. I found many paintings to be somewhat insipid, even to the point of twee. I found that in life, just as in reproduction, the busy and florid canvasses produced by Holman Hunt are likely to fill me with stark irritation, hardly able to look at one more of his pompous, overblown scenes by the time I'd reached the exit door.

But, what is without doubt in my mind is the fact that, of this group of artists, there are some who really shine for me, and of these my favourites have to be Millais, Burne-Jones and Rossetti; every one of them standing out as great masters above the general throng. And as fascinating as the art are the stories that lie behind their scenes - stories that are, more often than not, linked with the women who they loved; who acted as muses for their art.

Effie Gray in her youth - painted by Thomas Richmond

Many of Millais' paintings are modelled on the figure of Effie Gray, the woman who became his wife but who, at the start of his career, was married to John Ruskin, the influential critic and patron without whose support the Pre-Raphaelites may never have achieved quite the same success.

Millais' portrait of Ruskin, produced while he shared a holiday in Scotland with his patron

Millais was often invited to spend time with his patron and admirer. While on a visit to Scotland, both Mr and Mrs Ruskin posed as models for his work. By day the young artist painted. By night he lay in a room in a lodge, only separated from his hosts by a thin partition wall. He could hear every movement and breath of the woman with whom he'd become obsessed - and no doubt he also realised the lack of physical intimacy occurring in the marital bed.

The Order of Release by Millais, with Effie Ruskin modelling as the wife - currently on show at Tate Britain.

Millais' passion for Ruskin's wife led to the three of them being involved in one of Victorian England's most celebrated scandals. Very soon after that holiday Effie left her husband and faced public disgrace when petitioning for a divorce. During the ensuing court case Ruskin was shown to be a man who was cold and detached from reality, who rejected his young wife's amorous requests and left her plagued by nervous distress - the fact of which was illustrated in this letter to her father:

"He alleged various reasons, hatred to children, religious motives, a desire to preserve my beauty, and finally this last year he told me his true reason...that he imagined that women were quite different to what he saw I was, and that the reason he did not make me his Wife was because he was disgusted with my person..."

Much speculation was to arise when these facts were presented in the court as to whether Ruskin's disgust had been at the sight of female public hair or a woman's menstruation. But the fire of gossip was eventually doused. Effie was granted her divorce on the grounds of non-consummation - although only after medical examinations that proved she was a virgin still - after which she and Millais were free to wed. Society re-embraced them and they lived a fulfilled domestic life, during which period Millais produced many more great paintings.

One such painting is Autumn Leaves - an apt image for this time of year when the leaves are beginning to fall from trees and the air will soon be fogged and tinged with nostalgic scents of bonfire smoke. In this scene his wife's younger sister, Sophie, is posed as the girl who is just about to throw more leaves onto the burning pyre. The picture is full of symbolism. The fires of passion about to light in this prepubescent girl. The death of youth and innocence. And what is that questioning in Sophie's eyes as they stare right out of the painting's frame? By contrast, the other girls' expressions seem to be very much 'simpler'. All are engrossed in the pile of leaves rather than who might be watching them.

Effie in middle age

Could there have been yet another love triangle affecting Effie's marital life - Effie, who by now had grown older and been worn down by regular childbirths, whose husband was increasingly drawn to paint his younger sister-in-law?

Portrait for a girl (Sophie Gray)

Through other canvasses produced, the viewer is able to view Sophie's transition from a child on the cusp of adulthood to the alluring vision of sensuality where the flushed face is all too knowing, where the red of the lips simply begs to be kissed, and the heart on the front of the model's gown is a blatant statement of growing affection between the artist and his muse.

Whatever happened, or did not, there was talk of Effie being upset and arguments breaking out in the house. The result was that Sophie was asked to leave and, at the age of twenty-four, she suffered a nervous breakdown, going on to exhibit all the signs of what we now call anorexia.

Was that condition caused by Sophie's broken heart? Did the young woman simply wish to retain the form that beguiled her brother-in-law? We shall never know the truth. This affair did not reach the law courts and its intimate details were never exposed as in the case of Ruskin v Gray.



For more on Essie Fox, please see www.essiefox.com