The “Hugenot,” indeed, would undoubtedly be taken by general estimate to point the high-water mark of Millais’s fame and genius, in spite of the splendour of the “ninth wave”—if one may push the metaphor so far—which issued ten years later in “The Eve of St. Agnes” and “The Enemy Sowing Tares.” The “Hugenot” appeared with “Ophelia” in 1852; Hunt’s “Light of the World” in 1854. And the “Hugenot” it was that first took unmistakable hold upon the public taste, and created a higher taste than it appealed to, carrying the emotion awakened with it on to higher planes than had yet been reached in English criticism. “The Order of Release,” in the following year, consummated the triumph of the young painter, and was enhanced in fame by Kingsley’s allusion to it in “Two Years Ago.” “The Proscribed Royalist” and the “Portrait of Ruskin” may be regarded as the last products of Millais’s rigidly Pre-Raphaelite period, which terminated, with Rossetti’s, about 1853. “The Rescue” and “The Random Shot,” or “L’Enfant du Regiment,” in 1855, “Sir Isumbras at the Ford: A Dream of the Past,” or “Knight Crossing a Ford,” in 1857, and “The Vale of Rest,” in 1858, are purely transitional works, while, with the notable exception of the two later masterpieces specified above, “The Black Brunswicker” of 1860, may be said to mark the final merging of the Pre-Raphaelite heretic into the popular Royal Academician. His formal election as R.A. took place in 1863. He was made, in 1883, a member of the Institute of France, and was, in 1885, the first English artist to be offered and to accept a baronetcy of the United Kingdom. He has also become a member of the Academies of Edinburgh, Antwerp, Rome and Madrid, and has been honoured at Oxford with the complimentary degree of D.C.L. His marriage in early life with Miss Euphemia Chalmers Gray was anticipated in one of the most pleasing of his female portraits in 1853.