Götz Kluge's photos

The Hunting of the Snark (1876) has been written by Lewis Carroll and illustrated by Henry Holiday. The Image shows Henry Holiday's illustrations to the front cover and the back cover of the book and paintings depicting Queen Elizabeth I. There are many more pictorial allusions in Henry Holiday's Snark illustrations.

[left (colored mirror view) and right (original)]: a segment from an illustration (1876) by Henry Holiday to The Hunting of the Snark [center]: Portrait (1615) of Mary Throckmorton Lady Scudamor by Marcus Gheeraerts the Younger. Here Holiday's creativity and playing with zoomorphism gave life to a scarf. · The coloring of the gloves I added to Henry Holiday's illustration based on Lewis Carroll's poem . The Beaver's color I just guessed ;-) · · 057· · He came as a Butcher: but gravely declared, · · 058· · · · When the ship had been sailing a week, · · 059· · He could only kill Beavers. The Bellman looked scared, · · 060· · · · And was almost too frightened to speak: · · 285· · But the Butcher turned nervous, and dressed himself fine, · · 286 · · · · With yellow kid gloves and a ruff -- · · 287· · Said he felt it exactly like going to dine, · · 288· · · · Which the Bellman declared was all "stuff." · · 409· · Such friends, as the Beaver and Butcher became, · · 410· · · · Have seldom if ever been known; · · 411· · In winter or summer, 'twas always the same-- · · 412· · · · You could never meet either alone.

In Lewis Carroll's The Hunting of the Snark , the intertextuality of the poem is paralleled by the interpictoriality of Henry Holiday's illustrations: Here Henry Holiday reinterprets Marcus Gheeraerts I+II. The image above shows Henry Holiday's illustration to the chapter The Banker's Fate . (A small part of the left side has been removed in order to achieve a 4:3 ratio. The largest size is 5696 x 4352 pixels.) To Holiday's illustration I added images from which, in my opinion, he had borrowed shapes and concepts: (1) Under the Banker's arm: * Horizontally compressed segment of The Image Breakers (1566-1568) aka Allegory of Iconoclasm , an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). I mirrored the "nose" about a horizontal axis (yellow frame). (2) Under the Beaver's paw (mirror views): * [top]: Marcus Gheeraerts the Younger: Catherine Killigrew , Lady Jermyn (1614) * [bottom, mirror view]: Marcus Gheeraerts the Younger: Mary Throckmorton , Lady Scudamore (1615)

[left]: Segment from an illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark depicting the Broker (upper left corner). The object he is holding at his lips is the handle of a malacca walking cane, a gesture associated with dandies in the Victorian era. [right]: Segment from anonymous: Edward VI and the Pope , a Tudor anti-papal allegory of reformation (16th century). Holidays Snark illustrations are conundrums. And the were constructed as conundrums. The pattern in the frame (2) on the left side is an allusion to a rather unobstrusive pattern on the right side. This shows that Holiday did not "copy" patterns just because of they would contribute to the impressiveness of his illustrations. · In 1922 (46 years after The Hunting of the Snark was published), Henry Holiday (the illustrator) wrote to George Sutcliffe (Sangorski & Sutcliffe, bookbinders, London): "... you will notice that the Broker in [the proof of the illustration to The Crew on Board ] no. 5 is quite different to the one in [ the later proof ] no. 2. I had intended to give a caricature a the vulgar specimen of the profession, but Lewis Carroll took exception to this and asked me to treat the head in a less aggressive manner, and no. 2 is the result. I consider that no. 5 has much more character, but I understood L. Carroll's objection and agreed to tone him down. ..." Charles Mitchel called the first design of the broker's face in the lower right corner of the print "conspiciously antisemitic". The change of the printing blocks must have been very important to Carroll, as it took the wood cutter Swain quite some effort to implement that change (see p. 102, Lewis Carroll's The Hunting of the Snark , 1981 William Kaufmann edition). As shown in the image above, the broker's face also appears in the upper left section of Holiday's illustration to The Hunting . Rather than by a "Semitic" face, Holiday may have been inspired by what could be a cliché of the face of a roman catholic monk depicted in the 16th century anti-papal painting Edward VI and the Pope .

[top]: John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. Literature: * Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents ( circle.ubc.ca/handle/2429/26546 ) p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm ) * Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871 p. 225-364: The Pre-Raphaelites and the 1848 Revolution ( en.wikipedia.org/wiki/Special:BookSources/0226063283 ) [center]: Anonymous : Edward VI and the Pope , An Allegory of Reformation, mirrored view (16th century, NPG 4165 ). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552. Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street , a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits , 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to a buyer unknown to me, that is, when Holiday started with his illustrations to The Hunting of the Snark . Location: National Portrait Gallery, London [bottom]: Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (middle) was shown by 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 . Location: Rijksmuseum, Amsterdam Detail: The Carpenter and Ahasuerus: Before I found Millais' allusions as a kind of bycatch of my Snark hunt, I started with Henry Holiday's allusions to Millais: An "allusion chain": Album: J. E. Millais

The color markers in both images show, to which pictorial elements in a 1674 print Henry Holiday alluded in his illustration to Lewis Carroll's The Hunting of the Snark (lower image, 1876) in the chapter The Hunting . The print (upper image by an anonymous artist, redrawn by me) is the orartie van de Professor L. Wolsogen over syndroom en de nytlegging van de felue gadaen ... . The animals in that print are based on illustrations by M. Gheeraerts the Elder to Aesop's Fables. (The print now is located at British Museum, BM Satires 1047, reg.no.: 1868,0808.3286 . A scan of the original print showing more details can be obtained from the museum.) Holiday alluded to that 1674 image depicting William III as well as the allegorical figures for "religion" and "liberty". He discussed with Dodgson (Carroll) about the possible allegorical depiction of "care and hope". Interestingly, the two female members of the hunting crew also are quite similar to the allegories of "religion" and "liberty" shown in the 1674 print, the conflict between both probably being also conflict for the reverend Dodgson. I made this image in the year 2010. The little inset with the yellow frame was my first presentation (2009-07-09) of the comparison.

recto, unframed deliver.odai.yale.edu/content/id/594cf828-e6b8-4ec4-bf14-cac45880305d/format/3 ===================== John Martin: The Bard ca. 1817 Yale Center for British Art, Paul Mellon Collection collections.britishart.yale.edu/vufind/Record/1671616 : "Based on a Thomas Gray poem, inspired by a Welsh tradition that said that Edward I had put to death any bards he found, to extinguish Welsh culture; the poem depicts the escape of a single bard. In mydailyartdisplay.wordpress.com/the-bard-by-john-martin , "Jonathan" connects the painting to the poem The Bard written by by Thomas Gray in 1755: · · ... · · On a rock, whose haughty brow · · Frowns o'er cold Conway's foaming flood, · · Robed in the sable garb of woe · · With haggard eyes the Poet stood; · · ... · · "Enough for me: with joy I see · · The diff'rent doom our fates assign. · · Be thine Despair and sceptred Care; · · To triumph and to die are mine." · · He spoke, and headlong from the mountain's height · · Deep in the roaring tide he plunged to endless night. · · ... The poem and the painting may have been an inspiration to Lewis Carroll and Henry Holiday in The Hunting of the Snark: · · 545 · · Erect and sublime, for one moment of time. · · 546· · · · In the next, that wild figure they saw · · 547· · (As if stung by a spasm) plunge into a chasm, · · 548· · · · While they waited and listened in awe. · See also: Henry Holiday's Snark illustrations and John Martin's "The Bard": - www.academia.edu/9885417/The_Bellman_and_the_Bard - www.academia.edu/9923718/Henry_Holidays_Monsterspotting - www.academia.edu/10251338/Monsters_and_Monstrances - www.academia.edu/12586460/The_Bard_the_Baker_and_the_Butcher

(1) Henry Holiday: "The Vanishing" Illustration to Lewis Carroll's "The Hunting of the Snark" (1876), lower half (2) John Martin: "The Bard" (detail) commons.wikimedia.org/wiki/File:John_Martin_-_The_Bard_-_Google_Art_Project.jpg ca. 1817 Yale Center for British Art Based on a Thomas Gray poem, inspired by a Welsh tradition that said that Edward I had put to death any bards he found, to extinguish Welsh culture; the poem depicts the escape of a single bard.

Dithered B&W graphics, optimized fpr printing: 105 x 82 mm at 1200 dpi or 210 x 164 mm at 600 dpi (1) Henry Holiday: "The Vanishing" Illustration to Lewis Carroll's "The Hunting of the Snark" (1876), lower half (2) John Martin: "The Bard" (detail) commons.wikimedia.org/wiki/File:John_Martin_-_The_Bard_-_Google_Art_Project.jpg ca. 1817 Yale Center for British Art Based on a Thomas Gray poem, inspired by a Welsh tradition that said that Edward I had put to death any bards he found, to extinguish Welsh culture; the poem depicts the escape of a single bard.

[left]: Henry Holiday: "The Vanishing" (detail) Illustration to Lewis Carroll's "The Hunting of the Snark" (1876), lower left side [right]: John Martin: "The Bard" (detail) commons.wikimedia.org/wiki/File:John_Martin_-_The_Bard_-_Google_Art_Project.jpg (ca. 1817), lower left side

(1) John Martin: The Bard ca. 1817 Yale Center for British Art, Paul Mellon Collection collections.britishart.yale.edu/vufind/Record/1671616 (2) Inset: A monster from Henry Holiday's illustration to the chapter "The Beaver's Lesson" in Lewis Carroll's "The Hunting of the Snark" (1876)

[top left]: Detail of an illustration by Henry Holiday to Lewis Carroll's "The Hunting of the Snark" (1876) [top right]: Mirror view of a horizontally compressed detail from John Martin's "The Bard" (ca. 1817, see red and green marks below) [bottom left]: M.C. Escher: Cimino Barbarano, 1929 (middle segment, redrawn from original, horizontally compressed) See also: www.mcescher.com/Gallery/ital-bmp/LW129.jpg [bottom right]: John Martin: The Bard ca. 1817 (Color desaturated segment) Original painting: Yale Center for British Art, Paul Mellon Collection collections.britishart.yale.edu/vufind/Record/1671616 M. C. Escher took the whole concept of John Martin's The Bard . Henry Holiday in most cases quoted different elements (shapes) in his source images and often gave those elements a completely new meaning. (In one case the shapes even were the cracks in the varnish of a source image.) === John Martin: The Bard === Yale Center for British Art: "Based on a Thomas Gray poem, inspired by a Welsh tradition that said that Edward I had put to death any bards he found, to extinguish Welsh culture; the poem depicts the escape of a single bard. Escher turned that landscape into am Italian scenery." In mydailyartdisplay.wordpress.com/the-bard-by-john-martin , "Jonathan" connects the painting to the poem The Bard written by by Thomas Gray in 1755: · · ... · · On a rock, whose haughty brow · · Frowns o'er cold Conway's foaming flood, · · Robed in the sable garb of woe · · With haggard eyes the Poet stood; · · ... · · "Enough for me: with joy I see · · The diff'rent doom our fates assign. · · Be thine Despair and sceptred Care; · · To triumph and to die are mine." · · He spoke, and headlong from the mountain's height · · Deep in the roaring tide he plunged to endless night. · · ... The poem and the painting may have been an inspiration to Lewis Carroll and Henry Holiday in The Hunting of the Snark: · · 545 · · Erect and sublime, for one moment of time. · · 546· · · · In the next, that wild figure they saw · · 547· · (As if stung by a spasm) plunge into a chasm, · · 548· · · · While they waited and listened in awe.

to be used as icon

From Henry Holiday's illustrations to Lewis Carroll's The Hunting of the Snark (1876) Front cover of an American 1911 edition

From Henry Holiday's illustrations to Lewis Carroll's The Hunting of the Snark (1876) Front cover

· · · · 001 · · "Just the place for a Snark!" the Bellman cried, · · · · 002· · · · As he landed his crew with care; · · · · 003· · Supporting each man on the top of the tide · · · · 004· · · · By a finger entwined in his hair. Henry Holiday's illustration to the first "fit" in Lewis Carroll's The Hunting of the Snark (1876)

From Henry Holiday's illustrations to Lewis Carroll's The Hunting of the Snark (1876) Illustration (1876) by Henry Holiday (engraved by Joseph Swain) to Lewis Carroll's The Hunting of the Snark depicting the Bellman (a cartoonish version with bigger nose), the Baker, the Barrister, the Billard marker (dipicted only in this illustration), the Banker (looks different in some other illustrations), the Bonnet maker (half hidden face; only in this illustration, perhaps an "Assistenzselbstbildnis" of Henry Holiday) and the Broker. Whatsoever, on board of that snarked vessel you probably can forget about playing billards anyway.

Illustration by Henry Holiday (cut by Joseph Swain) to Lewis Carroll's The Hunting of the Snark , 1876. Why should a peaceful activity like lace-making (see below or lines #277 to #280 of the Snark ) have "proved an infringement of right"? This image may have been used to symbolize dissection in context with C. L. Dodgson's (aka Lewis Carroll's) involvement in the vivisection debate . 053 · · The last of the crew needs especial remark, 054· · · · Though he looked an incredible dunce: 055· · He had just one idea--but, that one being "Snark," 056· · · · The good Bellman engaged him at once. 057· · He came as a Butcher: but gravely declared, 058· · · · When the ship had been sailing a week, 059· · He could only kill Beavers. The Bellman looked scared, 060· · · · And was almost too frightened to speak: 061· · But at length he explained, in a tremulous tone, 062· · · · There was only one Beaver on board; 063· · And that was a tame one he had of his own, 064· · · · Whose death would be deeply deplored. 065· · The Beaver, who happened to hear the remark, 066· · · · Protested, with tears in its eyes, 067· · That not even the rapture of hunting the Snark 068· · · · Could atone for that dismal surprise! 069· · It strongly advised that the Butcher should be 070· · · · Conveyed in a separate ship: 071· · But the Bellman declared that would never agree 072· · · · With the plans he had made for the trip: 073· · Navigation was always a difficult art, 074· · · · Though with only one ship and one bell: 075· · And he feared he must really decline, for his part, 076· · · · Undertaking another as well. 077· · The Beaver's best course was, no doubt, to procure 078· · · · A second-hand dagger-proof coat-- 079· · So the Baker advised it-- and next, to insure 080· · · · Its life in some Office of note: 081· · This the Banker suggested, and offered for hire 082· · · · (On moderate terms), or for sale, 083· · Two excellent Policies, one Against Fire, 084· · · · And one Against Damage From Hail. 085· · Yet still, ever after that sorrowful day, 086· · · · Whenever the Butcher was by, 087· · The Beaver kept looking the opposite way, 088· · · · And appeared unaccountably shy. And if that was not enough: 273 · · The Boots and the Broker were sharpening a spade-- 274 · · · · Each working the grindstone in turn: 275 · · But the Beaver went on making lace, and displayed 276 · · · · No interest in the concern: 277 · · Though the Barrister tried to appeal to its pride, 278 · · · · And vainly proceeded to cite 279 · · A number of cases, in which making laces 280 · · · · Had been proved an infringement of right . 421 · · But the Barrister, weary of proving in vain 422 · · · · That the Beaver's lace-making was wrong, 423 · · Fell asleep, and in dreams saw the creature quite plain 424 · · · · That his fancy had dwelt on so long. (from Lewis Carroll's and Henry Holiday's The Hunting of the Snark , 1876) Links: o Charles Darwin: www.ipernity.com/doc/goetzkluge/album/370833 o Eva Amsen, Alice's Adventures in Animal Experimentation , 2007-09-19, easternblot.net/2007/09/19/alices_adventures_in_animal_experimentation o Lewis Carroll, Some Popular Fallacies About Vivisection , Fortnightly Review [London: 1865-1934] 23 (1875 Jun): 847-854; Online at Animal Rights History, 2003. www.animalrightshistory.org/animal-rights-quotes/literatu... o On the usage of lace-needles with microscopes see pg. 391 in Darwin, C. R. 1849, On the use of the microscope on board ship , in Owen, R., Zoology. In Herschel, J. F. W. ed., A manual of scientific enquiry; prepared for the use of Her Majesty's Navy, and adapted for travellers in general. London: John Murray, pp. 389-395. "Circular discs of fine-textured cork, of the size of the saucers (with one or two circular springs of steel-wire to keep the cork at the bottom of the water), serve for fixing objects to be dissected by direct instead of transmitted light. For this end short fine pins and lace-needles should be procured; wherever it is possible, the animal ought to be fixed to the cork under water." darwin-online.org.uk/content/frameset?viewtype=side&i... o Jed Mayer: The vivisection of the Snark , 2009-06-22: Victorian Poetry (Amazon etext in HTML) www.amazon.com/vivisection-Snark-fictional-animal-Report/... o Rod Preece: Darwinism, Christianity, and the Great Vivisection Debate , Journal of the History of Ideas - Volume 64, Number 3, July 2003, pp. 399-419 www.jstor.org/discover/10.2307/3654233 o Letters on vivisection from/to Charles Darwin: www.darwinproject.ac.uk/advanced-search?as-corresp=&as-person=&as-place=&ask-content=vivisection&asv-content=as-body&as-year-from=&as-year-to=&as-set=&as-physdesc=&as-volume=&as-repository=&as-calnum=&as-n=&intercept=adv&asp-page=0&as-type=letter&asdesc=#type=letters&secondKeyword=vivisection&sort=date&itemsPerPage=25&currentPage=1&filterOperand=AND o People related to vivisection and Charles Darwin: www.darwinproject.ac.uk/advanced-search?as-corresp=&as-person=&as-place=&ask-content=vivisection&asv-content=as-body&as-year-from=&as-year-to=&as-set=&as-physdesc=&as-volume=&as-repository=&as-calnum=&as-n=&intercept=adv&asp-page=0&as-type=letter&asdesc=#type=people&keyword=vivisection&sort=title&itemsPerPage=25&currentPage=1&filterOperand=AND