Sta.—Dr Roy Strong's article on the Millais ex- hibition at
the Royal Academy is a curious blend of art criticism and prejudiced misogyny. It is a great pity that he should apportion blame in such slapdash terms, particularly as the real facts of the break-up of the Ruskin marriage and Millais's place in it have been set out so sympathetically and judiciously in Miss Mary Lutyens's book, Millais and the Rus- kins. One remark of Dr Strong's does puzzle me. He lists Millais's early 'masterpieces' and includes The Order of Release among them. After cataloguing the proofs of Millais's genius, he concludes scornfully: 'Then came Effie.' Surely Effie Ruskin was one of the models for The Order of Release? Art criticism, however robust, should surely be more precise and not betray itself into such misleading misstatements of fact as: 'Millais . . . running off with Mrs Ruskin.'
It may be of interest to J. W. M. Thompson, is view of his 'Notebook' paragraph, to know that 87 Gower Street, where Millais had his studio and painted The Order of Release, is now No 7, at the Bedford Square end of the street.
WILL J. GIBBINS
79 Boston Manor Road, Brentford
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