Affronted by the growing enthusiasm for Pre-Raphaelite art, which Blackwood's Magazine had attacked in a review of the 1850 Academy Exhibition (See Works, 12.xlv), the critic, John Eagles, attacked Ruskin's professional and personal reputation under the banner of a concern for public taste. When John Millais's painting, The Order of Release, displayed at the Royal Academy Exhibition of 1853, received public acclaim, reinforcing the reputation of the Pre-Raphaelites still further, Eagles blamed what he saw as the usurpation of the old masters (see here) on Ruskin's influence as a critic (see here) whose authority was self-assumed (see here). That Eagles felt moved to attack Ruskin by giving Blackwood's readers a sarcastic reprise of Ruskin's work from Modern Painters I (1843) to Pre-Raphaelitism (1851) (see here), can be read as evidence of Ruskin's current high profile. While criticising Millais's painting technique, Eagles took the opportunity to allude to the fact that Millais's model was Effie Ruskin (see here).