When the above painting was first exhibited, there was a gigantic uproar. To a twenty-first century audience, John Everett Millais' painting ‘Christ in the House of His Parents' would rarely raise an eyebrow in response. More likely it would be glanced over simply as a realistic, but uninteresting biblical scene. If one reads criticism from the time period, however, one realizes two points. First, viewers were genuinely angry and disgusted with Millais' depiction of the holy family. Secondly, there really was a reason for the dismay-at least to those writing the critiques. "We are presented with that which is merely disgusting," wrote the author of A Glance at the Exhibition of the Royal Academy, 1850, "forced and painful attitudes; elaboration of ugliness; expatiation on sordid or unimportant details; and all this to the contemptuous banishment of the mysteries and beauties of nature."[1] Another critic, Wornum, is quoted: "The dirty corrugated skin of an emaciated frame" should never, ...[be selected as ] model for sacred or historic character"; "The physical ideal alone", he went on, "can harmonise with the spiritual ideal: in Art, whatever it may be in Nature in its present condition, the most beautiful soul must have the most beautiful body; lofty sentiment and physical baseness are essentially antagonistic; even in the lowest sinks of poverty in the world, the purest mind will shine transcendent."[2] ... more