On the very first page, Fleming tells us that the great painter was 'his parents' eldest child'. No, he was their youngest child; his brother and sister were both born before him. If Fleming is wrong about something so easy to get right, how much confidence can we have in any other part of his book?
In fact it is littered with small errors. For instance, he says that 'Sleeping' and 'Waking' are portraits of his daughter Effie; no, they are portraits of his daughters Carrie and Mary. And every quotation which I have checked is a little bit different from the original. So when I was writing about Millais, or rather his wife Effie, I decided not to trust any information from this book which could not be backed up elsewhere.
It also puts a cynical interpretation on most people's actions and leaves a very nasty taste in the mouth. Millais says he has been roaming the streets; he was 'probably' looking for a prostitute. Effie has a miscarriage; it was 'perhaps' an abortion. Their relationship is supposed to have dwindled into a marriage of convenience. Worst of all, Fleming confidently claims that Effie lied about her marriage to Ruskin and hints that she drove poor Rose La Touche to suicide. I've discussed this episode in detail in my book, 'Effie: A Victorian Scandal'.
All those who actually knew them agree that Millais was a remarkably nice man and that he and his wife were a devoted couple. No one who has published serious studies of his work bothers to cite Fleming. We definitely need a good modern biography of Millais - the 1899 'Life and Letters' by his son leaves out too much - but it is not this one.
Merryn Williams