Proteins are not stagnant—they wiggle and fold and unfold to take on numerous shapes. We need to study not only one shape of the viral spike protein, but all the ways the protein wiggles and folds into alternative shapes in order to best understand how it interacts with the ACE2 receptor, so that an antibody can be designed. Low-resolution structures of the SARS-CoV spike protein exist and we know the mutations that differ between SARS-CoV and 2019-nCoV. Given this information, we are uniquely positioned to help model the structure of the 2019-nCoV spike protein and identify sites that can be targeted by a therapeutic antibody. We can build computational models that accomplish this goal, but it takes a lot of computing power.
021 There was one who was famed for the number of things
022 He forgot when he entered the ship:
023 His umbrella, his watch, all his jewels and rings,
024 And the clothes he had bought for the trip.
025 He had forty-two boxes, all carefully packed,
026 With his name painted clearly on each:
027 But, since he omitted to mention the fact,
028 They were all left behind on the beach.
029 The loss of his clothes hardly mattered, because
030 He had seven coats on when he came,
031 With three pairs of boots–but the worst of it was,
032 He had wholly forgotten his name.
2018-06-13, update 2020-03-20
In the page related to this blog post, I quoted a large part of the article Henry Holiday’s Hunting of the Snark art has subconscious order (2019-10-17) by Edmond Furter, where he applies his Mindprint concept.
I don’t understand the Mindprint concept yet, probably because I still didn’t dig into it. But I added some hyperlinks into the quoted article. They lead you to entries in my blog snrk.de to which Furter might have referred when he wrote his article. Those links weren’t in the original article.
Watch those fingers: The photo has been “photoshopped” (by Henry Holiday or Joseph Swain?) already many years before I worked on it using GIMP. Holiday’s tinkering with the little finger and the thumb of his left hand might be a “Victorian craze“.
The image shows Henry Holiday and segments of one of Henry Holiday’s illustrations (cut by Joseph Swain) to Lewis Carroll’s The Hunting of the Snark. The segments show the Bonnetmaker and a bonnet.
The Bonnetmaker draeing could be a little self portrait of and by Henry Holiday. However, the photo is several years older than Holiday’s illustrations to The Hunting of the Snark. Perhaps it is a portrait taken by Joseph Swain or a self portrait taken by Henry Holiday quite a few years after the Snark was published. Henry Holiday was younger when he illustrated Carroll’s Snark tragicomedy.
Henry Holiday and the Bonnetmaker have one thing in common: They are creative artists. So is Joseph Swain, who engraved that illustration. How did his face look like in 1876?
Such little self portraits have a long tradition.
In German there is term “Assistenzfigur”. That is a person positoned in the background or beside the main person or main object depicted in a painting. You may think of such a person as the static version of a “film extra” in a movie. She or he serves a a kind of helper or assistant. Sometimes one of these extras is the artist who made the painting. In German we call such an image in the image an “Assistenzselbstbildnis” or “Assistenzselbstbild” or “Selbstbildnis in Assistenz”. Perhaps the first known self-portraits in assistance where a kind of signature of the artist.
The “self-portrait in assistance” first became available since the 14th century to master builders and sculpturer, shortly after that in Italy also to fresco painters, and since the 15th and 16th century also to painters of large altar- and panel paintings; see Raupp, S. 8
Source (in German): Footnote on p. 162 in Suzanne Valadon – Identitätskonstruktion… (2001) by Valeska Doll referring to Untersuchungen zu Künstlerbildnissen und Künstlerdarstellungen in den Niederlanden im 17. Jahrhundert (1984) by Hans-Joachim Raupp.
In that matter there also are references to Raupp in Melanie Munduch: Die Selbstbildnisse Luca Giordanos (2012)
For diskussion of the finger “photoshopping”: Twitter
Original post: 2017-09-28. Update: 2020-03-04
The fourth [Snark mark] is its fondness for bathing-machines,
Which it constantly carries about,
And believes that they add to the beauty of scenes—
A sentiment open to doubt.
[The New Belfry of Christ Church, Oxford] is of the best of Dodgson’s Oxford squibs, a good humored but cutting attack on Dean Liddell (the father of Alice) and the wooden cube built to contain the Cathedral bells during operations to build a new tower. Though it can still be found today behind the stone walls of the tower, the wooden cube was always a temporary plan but Dodgson was impatient and the Governing body were slow.
Source: Cristies, 2009-12-04
The Bell in The Hunting of the Snark might be interpreted as a symbol for time and time pressure. But it also might have been used by C.L. Dodgson to continue lampooning Dean Henry Liddell‘s “bonnet-box” project, a meekly geometric belfry to go up on the cathedral at Christ Church. In The New Belfry of Christ Church, a certain “D. C. L.” wrote:
§ 7. On the impetus given to Art in England by the new Belfry, Ch. Ch.
The idea has spread far and wide, and is rapidly pervading all branches of manufacture. Already an enterprising maker of bonnet-boxes is advertising ‘the Belfry pattern’: two builders of bathing-machines[MG025] at Ramsgate have followed his example: one of the great London houses is supplying ‘bar-soap’ cut in the same striking and symmetrical form: and we are credibly informed that Borwick’s Baking Powder and Thorley’s Food for Cattle are now sold in no other shape.
In The Belfry at Christ Church by E.G.W. Bill, edited by Michael Hall and published in Oxoniensia 2013 (Oxfordshire Architectural and Historical Society), I found this quote from a letter by C.L. Dodgson to The Pall Mall Gazette (1874-10-31):
During the restoration of the Cathedral, when the bells had been removed from the tower, which had become too weak to support them, it was proposed to hang them outside the cathedral in a wooden belfry, which we were assured would be quite inoffensive, as it would hardly be visible from any point of the compass. In an evil hour we consented, and the resulting erection, which cost about a thousand pounds, speedily made us famous for having inflicted upon Oxford the ugliest and most conspicuous monstrosity that probably she has ever seen. This, and the great expense already incurred, forced on us the conviction that we must now erect a stone bell-tower.
2018-05-24, editet: 2020-02-28
In his Illuminated Snark, John Tufail assumed that the night sky in the front cover of The Hunting of the Snark could be a map. Together with my assumption that Henry Holiday drew inspiration from several paintings by Marcus Gheeraerts (I+II), John’s paper helped me to find the Ditchley Portrait. That again helped me to find the painting by an unknown artist depicting Elizabeth I at old age.
2017-08-28, update 2020-02-27
Always assumed that thingamajig derived from Lewis Carroll’s thing-um-a-jig (1876).
I’d seen an oft cited but unsourced reference to 1824 in dictionaries but now found it: June 1824 issue of The Casket a literary monthly “all the cute and curious thingumajigs of the Old Colony.”
— Sandy Slynn (@Sandy_Slynn) February 17, 2020
Do you think that this “baker” on page 83 really proves that the book is a first edition and that it should be “butcher”? You find the answer in any contemporary Snark edition.
More Examples for advertising the first edition of “The Hunting of the Snark”, offered for prices between €200 and €1000:
First edition, first printing, with “Baker” for “Banker” on page 83.
First issue with “baker” not “butcher” on page 83. It is unknown how many copies were printed this way.
This is about line 560 on page 83, the last page of Lewis Carroll’s tragicomedy. A “Baker” in that line is no proof that the book is a rare first Snark edition. All copies are printed this way, because that is how it should be. In Henry Holiday’s illustration on page 82 you see the head and a hand of the Baker, not the Banker (and not the Butcher either). Remember, the Banker had to be left behind in the previous chapter, so he cannot show up in the final chapter.
Thus, there is nothing special about “Where the Baker had met with the Snark.” This alleged error is a myth. Those rare book traders just didn’d (and still don’t) check the facts.
Then there is the JubJub. If you read somewhere that the bird never will look at a “bride”, then better check line 386 on page 55 in the original Snark edition. It’s “bribe”. You can find “It will never look at a bride” in the Internet many times. But that’s wrong.
2018-04-02, update 2019-07-02
Removed (not by me) from Wikipedia
Rare book sellers often claim, that the first edition of ”The Hunting of the Snark” can be identified by the word “Baker” instead of “Butcher” or “Banker” in the 560th line on page 83. However, “Where the Baker had met with the Snark” is correct. “Butcher” or “Banker” in the 560th line is wrong. Also “bribe” in the 386th line on page 55 is correct, even though in the Internet the erratic “It never will look at a bride” can be found.
(The hyperlinks in this text where not part of the WP text.)
[…] This rare first edition is complete with the nine illustrations by Henry Holiday and features the expected first edition points (noted below). Item number: #9505 Price: $750 CARROLL, Lewis The hunting of the snark: an agony in eight fits London: MacMillan, 1876. First edition Details: Collation: Complete with all pages xi, , 83,  9 illustrations by Henry Holiday Edition points: p.83 baker instead of butcher rear board I Was a Boojum […]
2019-11-26, updated 2020-02-13
Untangling the Knot
An Analysis of Lewis Carroll’sThe Hunting of the Snark
by Sandra Mann, 2018
[…] The Hunting of the Snark is an allegory for the journey of life which Carroll crafted very carefully to include “difficulties” which he believed had come about because of human error. Life as a journey by boat had long been a favorite metaphor of Carroll’s. In this case the tale would not be of a sweet row on a placid river, but one of a voyage filled with fear and bewilderment and dread. And the moral, that despite our bewilderment, we would all be saved through God’s love and compassion in the end. […]
(Sandra Mann and Mary Hammond are pen names of Mary Hibbs.)