The results escalated from arguments between them over her dance card she was a committed polka dancer to a duel in which one admirer was killed. Without the distraction of a wife he went on to become England's greatest critic and social thinker of the 19th century. But though her face was beautiful, her person was not formed to excite passion. The original said Mrs Gaskell was at school with Effie. At least two slighted others came openly to express their hatred for her, and things were exacerbated when some of her jewellery was stolen and suspicion fell on another soldier-admirer. She was willing — as she wrote to her mother: The outline is familiar. Much of the correspondence between the parties was subsequently edited or destroyed by Effie's relatives to protect her reputation as the injured party. When her mother heard intimations that Ruskin had begun to see her in a non-sisterly light, Effie responded:
Without the distraction of a wife he went on to become England's greatest critic and social thinker of the 19th century. It was at this point, Brownell says, that Ruskin rather than Effie actively started to look for a way out. Ruskin, says Brownell, used the threat of divorce and the ensuing scandal to pressurise Mr Gray into persuading Effie to instigate annulment proceedings instead. Effie herself was the inadvertent source of the most famous of explanations: Neither Ruskin nor Effie, however, fully managed to live down those "certain circumstances", however. Much of the correspondence between the parties was subsequently edited or destroyed by Effie's relatives to protect her reputation as the injured party. Effie was thought to need supervision: Brownell, though, has subjected the surviving letters to a forensic reading and has drawn conclusions that are at odds with the established story. The reasons mooted range from his aversion to children, his religious scruples, a wish to preserve Effie's beauty and to keep her from exhaustion so they could go Alpine walking, to a revulsion with body odour and menstruation. The original said Mrs Gaskell was at school with Effie. She wrote to her brother: Effie had no trouble attracting admirers. If Effie's father had helped dupe Ruskin into the marriage he was in turn duped into ending it. Either Effie herself, or more likely her father, saw marriage into the wealthy Ruskin family as the only way to maintain the Grays' creditworthiness. But though her face was beautiful, her person was not formed to excite passion. Love was to prove a vain hope; the most they ever managed was fondness, and that began to erode soon enough. She did attend the same school, but much earlier. Mrs Gaskell, who had attended the same school — though earlier — recounted gossip she heard of Effie collecting admirers as a hobby. What makes it famous is that it wasn't a sex scandal but a non-sex scandal. What reverberated then and now was that the reason given for ending the union was non-consummation. His cat's-paw presented itself in the shape of Millais. Before the wedding Ruskin had written to his bride-to-be with coy but panting excitement: There was an added overlay of friction caused by Effie's resentment of John's parents, who paid for the couple's comfortable lifestyle and kept a close watch on them in return. The outline is familiar. It was the realisation of this duplicity that was, Brownell argues, the reason for the non-consummation of the marriage. Ruskin had defended the painter against critical attacks, and soon Effie was modelling for his appositely titled picture The Order of Release.
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