MASTERPIECES
IN COLOUR
EDITED BY . .
T. LEMAN HARE
MILLAIS
1829—1896
“Masterpieces in Colour” Series
| Artist. | Author. |
| BELLINI. | George Hay. |
| BOTTICELLI. | Henry B. Binns. |
| BOUCHER. | C. Haldane MacFall. |
| BURNE-JONES. | A. Lys Baldry. |
| CARLO DOLCI. | George Hay. |
| CHARDIN. | Paul G. Konody. |
| CONSTABLE. | C. Lewis Hind. |
| COROT. | Sidney Allnutt. |
| DA VINCI. | M. W. Brockwell. |
| DELACROIX. | Paul G. Konody. |
| DÜRER. | H. E. A. Furst. |
| FRA ANGELICO. | James Mason. |
| FRA FILIPPO LIPPI. | Paul G. Konody. |
| FRAGONARD. | C. Haldane MacFall. |
| FRANZ HALS. | Edgcumbe Staley. |
| GAINSBOROUGH. | Max Rothschild. |
| GREUZE. | Alys Eyre Macklin. |
| HOGARTH. | C. Lewis Hind. |
| HOLBEIN. | S. L. Bensusan. |
| HOLMAN HUNT. | Mary E. Coleridge. |
| INGRES. | A. J. Finberg. |
| LAWRENCE. | S. L. Bensusan. |
| LE BRUN, VIGÉE. | C. Haldane MacFall. |
| LEIGHTON. | A. Lys Baldry. |
| LUINI. | James Mason. |
| MANTEGNA. | Mrs. Arthur Bell. |
| MEMLINC. | W. H. J. & J. C. Weale. |
| MILLAIS. | A. Lys Baldry. |
| MILLET. | Percy M. Turner. |
| MURILLO. | S. L. Bensusan. |
| PERUGINO. | Selwyn Brinton. |
| RAEBURN. | James L. Caw. |
| RAPHAEL. | Paul G. Konody. |
| REMBRANDT. | Josef Israels. |
| REYNOLDS. | S. L. Bensusan. |
| ROMNEY. | C. Lewis Hind. |
| ROSSETTI. | Lucien Pissarro. |
| RUBENS. | S. L. Bensusan. |
| SARGENT. | T. Martin Wood. |
| TINTORETTO. | S. L. Bensusan. |
| TITIAN. | S. L. Bensusan. |
| TURNER. | C. Lewis Hind. |
| VAN DYCK. | Percy M. Turner. |
| VELAZQUEZ. | S. L. Bensusan. |
| WATTEAU. | C. Lewis Hind. |
| WATTS. | W. Loftus Hare. |
| WHISTLER. | T. Martin Wood. |
Others in Preparation.
PLATE I.—THE ORDER OF RELEASE. Frontispiece
(Tate Gallery)
This is one of the pictures which Millais always reckoned among the greatest of all his successes, and that it has many notable qualities which justify his preference can certainly not be denied. It is wonderful in its earnest and thoughtful realism, and it explains its motive with a completeness that is most convincing. The expression on the face of the woman who brings the order which frees her husband from prison is singularly happy in its combination of tenderness for the wounded Highlander, and triumph over the hesitating gaoler; and there are many other little touches, like the joyous effusiveness of the dog, and the unconsciousness of the sleeping child, which amplify and perfect the pictorial story.
