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In an effort to recover the extensive cross-fertilization between literary and visual representation in the Victorian period, I discuss the possible influence ofJohn Everett Millais's Christ in the House of His Parents (1849-50) on George Eliot's Adam Bede (1859). Bringing to bear on this connection the discourses of art criticism, evolutionary science, the higher criticism, and aesthetic theory, I see the significance of this influence in terms of what it tells us about mid-century Realism's radical dissent from traditional representations of, among other things, women, religion, and the working classes. At the heart of this dissent-and of the outraged reactions to Millais's painting-is the role of the flawed human body.