• Looks like a hooded figure sitting down with hands on hips? - JimHall2000

The Dear Uncle's bedsheet, John the Baptist, Henry VIII's bedpost, Ahasureus' bedpost

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2011-08-07: As John Everett Millais included pictorial citations from an anonymous 16th century painting into his 1850 painting Christ in the House of His Parents, I always wondered why that bedpost from the anonymous painting did not made it into Millais painting. But today an idea crossed my mind, which led me to insert image #2 (second from left) into my earlier 2010 comparison of images #1, #3 and #4.

#1  (allusion to the bedpost #3): 1876, Henry Holiday: Segment of an illustration to Lewis Carroll's The Hunting of the Snark (vectorized after a scan from an 1911 edition of the Snark)

#2  (allusion to the bedpost #3 and to Philip Galle's print #4): 1850, the young John the Baptist in John Everett Millais: Christ in the House of His Parents (aka The Carpenter's Shop). The left leg of the boy looks a bit deformed. This is no mistake. Probably Millais referred to #3 and to #4.

#3  (Henry VIII's bedpost): 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation, (mirror view).

#4  (bedpost #3 alludes to bedpost #4): 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance of #4 to the image #3 (the bedpost) was shown by the late Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus.

  1. Bonnetmaker 33 months ago | reply

    I was a bit slow. It took me almost one year before I understood how John the Baptist fits into the picture shown above. Below you see an earlier arrangement, made in December 2010.
    Henry VIII's Bedpost (marked)
     
    The relation between these three images was discovered in 2009:
    Fetch it home by all means -- you may serve it with greens

  2. Bonnetmaker 33 months ago | reply

    Version with markers:
    10a

    The whole picture:
    Holiday - Millais - anonymous -  Galle; marked

  3. Bonnetmaker 33 months ago | reply

    Hi , thank you for your note "Looks like a hooded figure sitting down with hands on hips?": Yes, that is one possible way to see it. And in this case I have the same impression.

    Often it is not necessary to look for meaning of the shapes in Holiday's illustrations. When constructing pictorial citations, Henry Holiday frequently did not use meaning (e.g. "hands", "hood" etc.), but just the shape of lines, forms as well as similar topological relations of comparable elements to each other. Example:
    The Hunting of the Snark

    And in the following example, a piece of cloth turns into the head of a beaver:
    Inspiration by Reinterpretation
    Similar shapes, different meanings.

  4. Bonnetmaker 33 months ago | reply

    Hi , hi hope, that it also is fun beyond being educational, like that naughty wing-flapping rat:
    From Doré's Root to Holiday's Rat
    I guess, that Henry Holiday's work too was meant to be educational and entertaining at the same time. It is a bid sad (because people miss lots of fun), that Holiday's illustrations are so unterestimated.

    In the Snark, the illustrations probably are as important, as Carroll's ballad. I know only of one scientist who understood that importance. John Tufail reckoned in his Illuminated Snark (2004), that the illustrations could help to interpret Carroll's poem. He did not spot the similarities then (which I stumbled into in late 2008), but, as an example, he helped me with his assumption that the night sky in Holiday's front cover illustration may be part of a map. That drew my attention to the Ditchley portrait:
    Ditchley Snark

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