Götz Kluge's photos with the keyword: Bellman

[main image]: John Martin: The Bard (ca. 1817) , by GIMP: contrast enhanced in the rock area & light areas delated & (most of) color removed & retinex filtering [upper inset]: Detail from preperatory draft for Henry Holiday's illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark [lower inset]: Henry Holiday: Illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark , detail It seems, that initially Henry Holiday saw anthropomorphic "faces" in John Martin's rocks and used them in his draft. However, Holiday's final allusion to this part of John Martin's painting is different - and funnier. As the for The Bard , the final Bellman comes closer to that figure than the drafted Bellman. === Literature === 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. 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: · · ... · · 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; · · ... · · A Voice, as of the Cherub-Choir, · · Gales from blooming Eden bear; · · And distant warblings lessen on my ear, · · That lost in long futurity expire. · · Fond impious Man, think'st thou, yon sanguine cloud, · · Rais'd by thy breath, has quench'd the Orb of day? · · To-morrow he repairs the golden flood, · · And warms the nations with redoubled ray. · · "Enough for me: With joy I see · · The different doom our Fates assign. · · Be thine Despair, and scept'red Care, · · To triumph, and to die, are mine." · · He spoke, and headlong from the mountain's height · · Deep in the roaring tide he plung'd to endless night. · · ... Full text: www.thomasgray.org/cgi-bin/display.cgi?text=bapo spenserians.cath.vt.edu/TextRecord.php?action=GET&tex... www.english.upenn.edu/~mgamer/Etexts/gray.bard.html www.google.com/search?q="A+Voice,+as+of+the+Cherub-Choir" The poem and the painting may have been an inspiration to Lewis Carroll and Henry Holiday in The Hunting of the Snark . This is about The Vanishing of The Baker : · · 537 · · "There is Thingumbob shouting!" the Bellman said, · · 538 · · · · "He is shouting like mad, only hark! · · 539 · · He is waving his hands, he is wagging his head, · · 540 · · · · He has certainly found a Snark!" · · 541 · · They gazed in delight, while the Butcher exclaimed · · 542 · · · · "He was always a desperate wag!" · · 543 · · They beheld him--their Baker--their hero unnamed-- · · 544 · · · · On the top of a neighbouring crag. · · 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. Album: John Martin

[main image]: John Martin: The Bard (ca. 1817) , by GIMP: contrast enhanced in the rock area & light areas delated & (most of) color removed & retinex filtering [inset]: Henry Holiday: Illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark , detail 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. 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: · · ... · · 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; · · ... · · A Voice, as of the Cherub-Choir, · · Gales from blooming Eden bear; · · And distant warblings lessen on my ear, · · That lost in long futurity expire. · · Fond impious Man, think'st thou, yon sanguine cloud, · · Rais'd by thy breath, has quench'd the Orb of day? · · To-morrow he repairs the golden flood, · · And warms the nations with redoubled ray. · · "Enough for me: With joy I see · · The different doom our Fates assign. · · Be thine Despair, and scept'red Care, · · To triumph, and to die, are mine." · · He spoke, and headlong from the mountain's height · · Deep in the roaring tide he plung'd to endless night. · · ... Full text: www.thomasgray.org/cgi-bin/display.cgi?text=bapo spenserians.cath.vt.edu/TextRecord.php?action=GET&tex... www.english.upenn.edu/~mgamer/Etexts/gray.bard.html www.google.com/search?q="A+Voice,+as+of+the+Cherub-Choir" The poem and the painting may have been an inspiration to Lewis Carroll and Henry Holiday in The Hunting of the Snark . This is about The Vanishing of The Baker : · · 537 · · "There is Thingumbob shouting!" the Bellman said, · · 538 · · · · "He is shouting like mad, only hark! · · 539 · · He is waving his hands, he is wagging his head, · · 540 · · · · He has certainly found a Snark!" · · 541 · · They gazed in delight, while the Butcher exclaimed · · 542 · · · · "He was always a desperate wag!" · · 543 · · They beheld him--their Baker--their hero unnamed-- · · 544 · · · · On the top of a neighbouring crag. · · 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. Album: John Martin

William Blake: The Omnipotent or The Ancient of Days , 1794, detail mirror view Inset: The Snark hunting Bellman

1876 and around 1870. If it was for this pairing only, I would not use this side-by-side image as an example for allusions to Charles Darwin (19th century portrait) in Lewis Carroll's and Henry Holiday's The Hunting of the Snark . Also, too obvious allusions to Darwin would have narrowed the interpretation space which Carroll wanted to leave to his readers. However, there is more . Darwin portrait found in What Mr Darwin Saw in His Voyage Round the World in the Ship ‘Beagle’ , 1879. »Extracts paraphrased by W.P. Garrison from Darwin’s Beagle diaries. Son of a US abolitionist, W.P. Garrison published this work anonymously. His stated aim was to 'interest children in the study of natural history, and physical and political geography'. Garrison selected extracts from Darwin's original diaries, reorganising material thematically into four parts: 'Animals', 'Man' (strange peoples and customs, particularly of savage and barbarous life), 'Geography' (physical features of the countries visited by Mr Darwin) and 'Nature' (account of the grandeur of terrestrial processes).« Source: University of Cambridge > Department of History and Philosophy of Science > Whipple Library > Rare book collections > Online exhibitions

[left]: Henry Holiday's back cover illustration (1876) to Lewis Carroll's The Hunting of the Snark . [right]: Allegorical English School painting (ca. 1610, redrawn, color desaturated and rearranged 2013) of Queen Elizabeth I at Old Age with allegory of Death and Father Time . (Location of original painting: Corsham Court, EAN-Number: 4050356835081) www.corsham-court.co.uk/Pictures/Commentary.html : "This portrait of Elizabeth I illustrates the difficulties she encountered during her troubled reign. For example, conflict between Protestants and Catholics was rife and the re-drafting of the Book of Common Prayer (held in her left hand) was a sensitive issue of the time." Changes of lower segment: Shifted mirror view [inset]: The Bellman , detail from Henry Holiday's front cover illustration (1876) to Lewis Carroll's The Hunting of the Snark .

The Bellman (segment of an illustration by Henry Holliday to Lewis Carroll's The Hunting of the Snark ) and a mirrored view of an unfinished portrait of Sir Henry Lee by Marcus Gheeraerts the Younger

Henry Holiday : The Banker's Fate (vector graphics for posters) Vectorized segment from an illustration by Henry Holiday (cut by Joseph Swain) to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1876). Resizeable vector graphics for posters : www.snrk.de/snarkhunt/bankersnatch.svg PDF: www.snrk.de/snarkhunt/bankersnatch.pdf Facebook: www.facebook.com/photo.php?fbid=2070929978168&set=o.2... Fit the Seventh THE BANKER’S FATE 489 · · They sought it with thimbles, they sought it with care; 490 · · · · They pursued it with forks and hope; 491 · · They threatened its life with a railway-share; 492 · · · · They charmed it with smiles and soap. 493 · · And the Banker, inspired with a courage so new 494 · · · · It was matter for general remark, 495 · · Rushed madly ahead and was lost to their view 496 · · · · In his zeal to discover the Snark 497 · · But while he was seeking with thimbles and care, 498 · · · · A Bandersnatch swiftly drew nigh 499 · · And grabbed at the Banker, who shrieked in despair, 500 · · · · For he knew it was useless to fly. 501 · · He offered large discount—he offered a cheque 502 · · · · (Drawn “to bearer”) for seven-pounds-ten: 503 · · But the Bandersnatch merely extended its neck 504 · · · · And grabbed at the Banker again. 505 · · Without rest or pause—while those frumious jaws 506 · · · · Went savagely snapping around- 507 · · He skipped and he hopped, and he floundered and flopped, 508 · · · · Till fainting he fell to the ground. 509 · · The Bandersnatch fled as the others appeared 510 · · · · Led on by that fear-stricken yell: 511 · · And the Bellman remarked “It is just as I feared!” 512 · · · · And solemnly tolled on his bell. 513 · · He was black in the face, and they scarcely could trace 514 · · · · The least likeness to what he had been: 515 · · While so great was his fright that his waistcoat turned white- 516 · · · · A wonderful thing to be seen! So great was his fright that his waistcoat turned white 517 · · To the horror of all who were present that day. 518 · · · · He uprose in full evening dress, 519 · · And with senseless grimaces endeavoured to say 520 · · · · What his tongue could no longer express. 521 · · Down he sank in a chair—ran his hands through his hair— 522 · · · · And chanted in mimsiest tones 523 · · Words whose utter inanity proved his insanity, 524 · · · · While he rattled a couple of bones. 525 · · “Leave him here to his fate—it is getting so late!” 526 · · · · The Bellman exclaimed in a fright. 527 · · “We have lost half the day. Any further delay, 528 · · · · And we sha’nt catch a Snark before night!” Source: The Hunting of the Snark , Lewis Carroll, 1876

The image shows Henry Holiday's illustration (1876) to the front cover of Lewis Carroll's The Hunting of the Snark compared to a grey shaded reproduction of the Ditchley Portrait (a gift from Sir Henry Lee to Queen Elizabeth I, c. 1592) by Marcus Gheeraerts the Younger. "While I concede Tufail 's thesis (2003) that Holiday received his instructions from Carroll and created his illustrations to reflect Carroll's cryptic messages and allusions, I contend that the interpretations given to the words we know so well by so many illustrators over a period in excess of 130 years continue to keep the Snark alive. Furthermore, it is my personal belief that Holiday managed to slip in a few interpretations of his own even though Carroll approved of the end result." (Doug Howick: The Hiihijig of the Bijtcheb, Knight Letter #28, Summer 2009) Perhaps Tufail and Howick both are right. There is more: "The 'clouds' - or what at first glance appear to be clouds, are another item of considerable interest. If these are indeed supposed to represent clouds, then they are remarkably poor renditions (and Holiday was by no means either a poor, nor slipshod artist). Rather any close examination of this aspect of the illustration leads the observer to think that this background to the Bellman is actually a map, complete with rivers. contrast to the map Bellman presents to his admiring crew." (John Tufail, The Illuminated Snark , 2004) As Henry Holiday in his Snark illustrations frequently alluded to works of father&son Gheeraerts, John Tufail's Illuminated Snark gave me the idea to search for a Gheeraerts painting in which a map is shown . John reckoned, that the clouds in Holiday's front cover illustration may be part of a map. I think that this possibility cannot be excluded. John's assumption then drew my attention to the Ditchley portrait. (The Ditchley portrait again helped me to find sources for Holiday's illustration to the back cover of Carroll's book as well.) 2013-12: Evidence supporting of John Tufail's thesis: www.doylenewyork.com/asp/fullcatalogue.asp?salelot=13BP04+++553+&refno=++953647&image=0 (see also: groups.yahoo.com/neo/groups/carrolliana/conversations/topics/358 )

The comparison shows Henry Holiday's illustration (1876) to the front cover of Lewis Carroll's The Hunting of the Snark compared to a reproduction of the Ditchley Portrait (a gift from Sir Henry Lee to Queen Elizabeth I, c. 1592) by Marcus Gheeraerts the Younger. 2013-02-05: The allusions in Henry Holiday's Snark illustration to the Ditchley Portrait are not as easy to detect as in some other Snark illustrations by Holiday, yet this comparison holds the third rank in my set of Flickr Members' Snark Favorites . Watch the sail of the ship and the queen's "sail". "While I concede Tufail 's thesis (2003) that Holiday received his instructions from Carroll and created his illustrations to reflect Carroll's cryptic messages and allusions, I contend that the interpretations given to the words we know so well by so many illustrators over a period in excess of 130 years continue to keep the Snark alive. Furthermore, it is my personal belief that Holiday managed to slip in a few interpretations of his own even though Carroll approved of the end result." (Doug Howick: The Hiihijig of the Bijtcheb, Knight Letter #28, Summer 2009) Perhaps Tufail and Howick both are right. As Henry Holiday frequently alluded to works of father&son Gheeraerts, John Tufail's Illuminated Snark (2004) gave me the idea to search for a Gheeraerts painting in which a map is shown . John reckoned, that the clouds in Holiday's front cover illustration may be part of a map. I think that this possibility cannot be excluded. John's assumption then drew my attention to the Ditchley portrait. (The Ditchley portrait again helped me to find sources for Holiday's illustration to the back cover of Carroll's book as well.)

Henry Holiday's depiction of the Bellman in fhe front cover illustration to Lewis Carroll's The Hunting of the Snark and Father Time from an allegorical English School painting (ca. 1610) depicting Queen Elizabeth I at Old Age . That which hath made them drunk hath made me bold; What hath quench'd them hath given me fire. Hark! Peace! It was the owl that shriek'd, the fatal bellman, Which gives the stern'st good-night. He is about it: The doors are open; and the surfeited grooms Do mock their charge with snores: I have drugg'd their possets, That death and nature do contend about them, Whether they live or die.

Assembled scans from original 19th century sources: • Illustration by H. Holiday to The Hunting of the Snark, 1876 • Inlay: Print based on a drawing (1834-04-16) by Conrad Martens , etching published in: Francis Darwin, Life and Letters of Charles Darwin , p. 160, 1888. Conrad Martens' drawing has been engraved by T. Landseer and published in the year 1838 by H. Colburn in The Narrative of the Surveying Voyages of HMS Adventure and Beagle .

The Bellman (segment of an illustration by Henry Holliday to Lewis Carroll's The Hunting of the Snark ) and a mirrored view of an unfinished portrait of Sir Henry Lee by Marcus Gheeraerts the Younger Yes, the noses and the eyes are different. This is not a face comparison. In this case, Holiday's pictorial allusions refer to the surroundings of Lee's face, not to the face itself. As in several other cases, Holiday maintained the topological relation between the quoted shapes. Here the shapes are the nodes in two quite similar graphs. Holiday even "copied" the cracks in the varnish of Gheerert's painting.

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.

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)

Darwin did use tuning forks for experiments with spiders. 201 · · You may seek it with thimbles--and seek it with care; 202· · · · You may hunt it with forks and hope; 203· · You may threaten its life with a railway-share ; 204· · · · You may charm it with smiles and soap -- I think that The Hunting of the Snark alludes to many events in the Victorian era. Among those, Charles Darwins Beagle voyage, his discoveries and the resulting challenge to religious beliefs surely were important issues to the Reverend Dodgson (aka. Lewis Carroll) and his Snark illustrator, Henry Holiday. The image: Illustration by Henry Holiday to the chapter The Hunting in Lewis Carroll's The Hunting of the Snark (1876). Inset: Charles Darwin , photo probably by Messrs. Maull and Fox, around 1854, see also commons.wikimedia.org/wiki/File:Charles_Darwin_aged_51.jpg . Inset in inset: Charles Darwin's "I think" sketch of the evolutionary tree ( about July 1837 , 1st notebook 1837-1838, page 36) compared to a "weed" in the lower left corner of Holiday's illustration. I learned, that Darwin did not keep his notebook secret after the publication of On the Origin of Species , but I do not know of any presentation of his sketch before 1876. Thus, the resemblance between the "weed" and Darwin's evolutionary tree sketch may be purely incidental. Remarks: (1) I also left a copy here: commons.wikimedia.org/wiki/File:CharlesDarwinHuntingSnark.jpg , License: CC-BY-SA-3.0 (2) The person on the right side in Holiday's illustration is "The Banker". This figure has different faces in different illustrations. (3) Henry Holiday may have been inspired by Darwin's "tree of life" sketch when he did his illustrations to Lewis Carroll's The Hunting of the Snark . However, the problem with my guess is, that (as far as I know) the sketch still may not have been known to the public when Lewis Carroll and Henry Holiday worked on The Hunting of the Snark .