Her letters are vivacious and even hint at a decidedly un-Victorian mindset at times. She is presented as an ideal of conservative Victorian womanhood: subtly beautiful, engaged in a traditionally female domestic activity, and looking away to enable the dominant male gaze of the imagined viewer.įrom reading her correspondence, however, it seems that the real Effie was a far cry from the shy, retiring woman depicted by Millais. She sits with flowers in her hair, with her eyes cast down and her head bowed over her sewing. This is certainly the image we get from Millais' 1853 portrait of her, painted whilst she was still married to her first husband. She is often made out as quiet, ladylike, and downtrodden by her relationship with Ruskin. With all the rumours and apocryphal tales, it's hard to get a clear picture of what Effie was like. John Everett Millais (1829–1896) National Trust, Wightwick Manor She married me for my money, breaking her faith to a poor lover.'Įffie with Foxgloves in Her Hair (The Foxgloves) (Euphemia 'Effie' Chalmers Gray, 1828–1898, Mrs John Ruskin) This seems to have been a great disappointment to Ruskin: he wrote, 'I married like a fool, because a girl's face pleased me. It soon became apparent, however, that Effie had married him for his money, strongly encouraged into the match by her father, who was on the verge of bankruptcy. Ruskin married Effie for love, having watched her blossom from a child into a young woman. Ruskin's role in the situation which led Effie to seek an annulment of their marriage has often been misrepresented. However, there is no firm evidence to confirm this. The most pervasive story is that Ruskin, having only ever seen the smooth-bodied nude women of classical art, was disgusted at the discovery that Effie had pubic hair. Ruskin's recorded revulsion at the sight of his wife's naked body on her wedding night has led to many speculative rumours about what exactly constituted the 'certain circumstances' that made her unattractive to him. On the contrary, there were certain circumstances in her person which completely checked it.' But though her face was beautiful, her person was not formed to excite passion. Ruskin himself later made a comment in a similar vein: 'It may be thought strange that I could abstain from a woman who to most people was so attractive. Thomas Richmond II (1802–1874) National Portrait Gallery, London Euphemia ('Effie') Chalmers, née Gray, Lady Millais

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