In this allegorical English School painting (ca. 1610, by an unknown painter) of Queen Elizabeth I at old age you see the allegories of Death and of Father Time.
In the inset you see on the left side a depiction of the Bellman from Henry Holiday’s front cover illustration to Lewis Carroll’s The Hunting of the Snark (1876).
Only now, after a few years of having found this painting, I recognized, that not only Henry Holiday’s Bellman looks like that unknown painter’s Father Time, But also the posture of the old queen and the old man are similar.
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2018-10-11, updated: 2019-07-01
Authors, who say that they “don’t not know” whether their book is satire, quite probably lie. Such honest lies are less boring that telling that they won’t tell. (That is a difference to presidents who lie openly because it shows that they have the power to do that.)
Of course “The Hunting of the Snark” contains satire. Dodgson wasn’t stupid. Satirists who explain their work would kill their work. E.g. in case of the “bathing machines“, “The Hunting of the Snark” took a reference to one of Carroll’s obvious satires.
2018-10-03, updated: 2019-06-17
- [left]: Illustration The Crew on Board by Henry Holiday to Lewis Carroll’s The Hunting of the Snark (1876)
- [right]: Crossing the Line (1839), based on a print by Thomas Landseer, after Augustus Earle. You will find the print in Robert Fitz-Roy’s Narrative of the surveying voyages of HMS Adventure and Beagle, Vol II (1839).
This is of of the comparisons where am not so sure whether Holiday alluded to Landseer’s print. If it is, then you might wait a little bit before you look at my spoiler where I marked possible(?) clues given to us by Holiday.
2017-11-08, updated: 2019-06-16
Rare art, rare books etc. are currency if there are (and will be) enough people who trust in that currency. In 1876 Macmillan produced some special Snark editions. Presently AbeBooks offers “The Hunting of the Snark” with a blue cover for 6000 US$.
In the introduction to The Hunting of the Snark (Penguin Classics edition, 1962, 1974,p. 17), Martin Gardener wrote:
How well the academician Holiday succeeded in producing grotesques for the Snark (it is the only work of Carroll’s that he illustrated) is open to debate. Ruskin was certainly right in thinking him inferior to Tenniel. His drawings are, of course, thoroughly realistic except for the overzize heads and the slightly surrealist quality that derives less from the artist’s imagination than from the fact that he was illustrating a surrealist poem.
I think that Gardner certainly was wrong. And Ruskin certainly was wrong as well. But, of course, that is open to debate.
Jun 13, 1862: Saw Millais’ “Carpenter’s Shop” at Ryman’s. It is certainly full of power, but hideously ugly: the faces of the Virgin and Christ being about the ugliest.
I found this quote in Lewis Carroll’s Diaries on Twitter.
And I found the following quote from Charles Dickens in Pre-Raphernalia, Raine Szramski‘s blog with “Pre-Raph Sketchbook Cartoons”.
You behold the interior of a carpenter’s shop. In the foreground of that carpenter’s shop is a hideous, wry-necked, blubbering, red-headed boy, in a bed-gown, who appears to have received a poke in the hand, from the stick of another boy with whom he has been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness, that (supposing it were possible for any human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest ginshop in England.
Two almost naked carpenters, master and journeyman, worthy companions of this agreeable female, are working at their trade; a boy, with some small flavor of humanity in him, is entering with a vessel of water; and nobody is paying any attention to a snuffy old woman who seems to have mistaken that shop for the tobacconist’s next door, and to be hopelessly waiting at the counter to be served with half an ounce of her favourite mixture. Wherever it is possible to express ugliness of feature, limb, or attitude, you have it expressed. Such men as the carpenters might be undressed in any hospital where dirty drunkards, in a high state of varicose veins, are received. Their very toes have walked out of Saint Giles’s.
Interestingly, Henry Holiday might have alluded to Millais’s Christ in the House of His Parents when he illustrated Lewis Carroll’s The Hunting of the Snark.
Category: Christ in the House of his Parents
In July 2018, the members of the LCSNA (Lewis Carroll Society of North America) received the 100th Knight Letter.
(A friend told me that the caterpillar (here without hookah) on the front page is a Hickory Horned Devil.)
Also in this issue, Goetz Kluge makes the case that a seventeenth-century engraving may have influenced Henry Holiday’s last illustration for The Hunting of the Snark. Goetz’s excellent blog about all things Snark is at http://snrk.de/
Preface to the Knight Letter № 100, LCSNA, 2018
On pages 55~56 you find a few lines which I wrote about the Baker and Thomas Cranmer in The Hunting of the Snark.
There also is an accompanying web page.
Incidentally, in parallel to my little note in the Knight Letter № 100 on the Baker’s “hot” names and on Henry Holiday’s pictorial reference to Thomas Cranmer’s burning, a paper »Life, Eternity and Everything, Hidden Eschatology in the Works of Lewis Carroll« suggesting textual references from The Hunting of the Snark to Thomas Cranmer’s Forty-Two Articles has been published in The Carrollian (July 2018, № 31, p.25~41), a journal of the Lewis Carroll Society in the UK. The author, Karen Gardiner, is an Anglican priest. She also knows the objections of Revd. C.L. Dodgson (aka Lewis Carroll) angainst the dogma addressed by Article № 42 of Thomas Cranmer’s Forty-Two Articles.
Karen Gardiner (2018) and I (2015), as well as Angus MacIntyre (1994) and Mary Hibbs (2017), we all suggested that there are such references to Thomas Cranmer and his Forty-Two Articles (the Baker’s forty-two boxes) – coming from different starting points and different backgrounds. As for me, initially I just looked for Lewis Carroll’s (C.L. Dodgson’s) textual references as guidance for finding pictorial references in Henry Holiday’s illustrations.
2018-07-28, updated 2019-06-09
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 https://snrk.de/page_the-new-belfry I wrote about that already earlier, but today I found a Twitter thread by Thomas Morris (@thomasngmorris) on C.L. Dodgson’s (Lewis Carroll’s) The New Belfry of Christ Church, Oxford.
Jun 7, 1855: The Times announces that Liddell of Westminster is to be the new Dean: the selection does not seem to have given much satisfaction in the college.
Quote: C.L. Dodgson, @DodgsonDiaries on Twitter
2017-08-28, updated: 2019-06-08