USED
AS A BACKGROUND TO MRS. RUSKIN (by Kim
Morrissey)
Alistair Grieve provides a concise background to the Scottish holiday of
the Ruskins and the Millais' (for part of the holiday, William Millais was
also part of the party) in his essay, "Ruskin and Millais at Glenfinlas,"
first published in The Burlington Magazine, April 1996, pp 228
- 234.
John Ruskin was keen to go on holiday with John Everett Millais to the Trossachs,
partly because he hoped that Millais would paint a theme from Sir Walter
Scott's 'Lady of the Lake.' At the time, it was fashionable for educated
tourists to travel to the Trossachs, and quote passages from the poem at
places mentioned. The locations proved to be so popular that not only had
the New Trossachs Inn (where Millais and the Ruskins stayed briefly) had
plans for expansion, but a newer Trossachs Hotel had been built, closer to
Lock Katrine/ Black's Guide for 1853 includes various quotes, for those who
preferred to take the guide, rather than the book.
Given the break-up of John and Effie's marriage, and her subsequent marriage
to John Everett Millais, one might think that the events following the summer
would have made the participants feel negatively towards the area. In fact,
everyone seemed to be very fond of Brig o' Turk. After their marriage, John
Everett Millais and Effie returned, renting the far grander house of the
minister for their stay, rather than the school-teacher's cottage. Although
it was the source of much gossip, Ruskin continued to be proud of the painting
and Millais, even after the break-up of his marriage to Effie. He writes
to his friend Lady Trevelyan (19.10.1853): 'any time when you are in Scotland
you will be able to find Millais' subject (it is drawn so like).'
(Reflections of a Friendship: John Ruskin's Letters to Pauline Trevelyn,
1848 - 1866), edited by Virgina Surtees, London [1979].p. 64.) The proof
that the scene is exactly as it is painted is a living proof of his believe
in the integrity of the Pre-Raphaelite landscape:
Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a true portrait of some living person. Every minute accessory is painted in the same manner. And one of the chief reasons fror the violent oppositionwith which the schools has been attacked by other artists, is the enormous cost of care and labour which such a system demands from those who adopt it, in contradiction to the present slovely and imperfect style.
P 219-220. Lecture, Edinburgh 1853.
For many years, people have assumed or speculated that the spot on which
John Ruskin stood in 1853 for his 'John Ruskin at Glenfinlas' painting by
John Everett Millais, had been lost forever, submerged because of the damn
built in the 1960's. In 1994, however, in a wonderful moment
of practical research. Alistair Grieve (University of East Anglia) went to
Brig o' Turk, walked up the stream, and found the spot. It proved to be identical
to the details in Millais' painting, as well as the rock on the opposite
bank being identical to the sketch of the rock by Ruskin.
Alistair Grieve provides a concise background to the Scottish holiday of
the Ruskins and the Millais' (for part of the holiday, William Millais was
also part of the party) in his essay, "Ruskin and Millais at Glenfinlas,"
first published in The Burlington Magazine, April 1996, pp 228
- 234.
photograph: Glenfinlas, 1994
(copyright Alistair Greive and Ian Mills)
warning: very large file