“Thought to be based on Gheeraert’s iconoclasm image”

https://publicdomainreview.org/collections/the-art-of-hidden-faces-anthropomorphic-landscapes/
(Snapshot 2019-10-10)

Marcus Gheeraerts the Elder’s allegory of iconoclasm, ca.1566 — Source.

The next picture is an illustration by Henry Holiday for Lewis Carroll’s The Hunting of the Snark. The face hidden in the darkness of the trees is thought to be based on Geheert’s iconoclasm image above.

The tenth of Henry Holiday’s original illustrations to Lewis Carroll’s The Hunting of the Snark, 1876 — Source.


Info to the Public Domain Review: This was my first discovery of one of Henry Holiday’s allusions. This finding started my Snark hunt in December 2008.

By the way, Henry Holiday only contributed nine illustrations to The Hunting of the Snark and two illustrations for the book cover. The Ocean Chart probably had been made by a typesetter.

And there are various way’s to write Gheeraert’s name. 😉

Snark too Dark

On the left side of this image comparison you see a scan (source: commons.wikimedia.org) of Henry Holiday’s illustration to the final chapter The Vanishing in Lewis Carroll’s The Hunting of the Snark. It already is a quite faithful reproduction of the original illustration.
        In prints made by Ian Mortimer (for a limited edition of The Hunting of the Snark published by Macmillan in 1993) from Joseph Swain’s original woodblocks, the illustration has better quality, but looks even darker. That is as faithful to the original as it can get.

I think that in the original printing from electrotypes, the dark areas of the illustration might have grown wider than it was intended by Henry Holiday. It looks as if too much black ink spilled into the white areas. Therefore I scanned the illustration from my own 1st edition of The Hunting of the Snark. Then I grew the white areas a bit. (First I enlarged the image by 2:1. Then I applied GIMP → Filters → Generic → Delate. After that I scaled the image back to its previous size.) You see the result on the right side.

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2018-06-17, updated: 2019-07-07

Page 83


(Source: sheltonfamilystore.com)

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 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. That’s just the place for alternative facts.

 

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2018-04-02, update 2019-07-02

Time

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

Knight Letter № 100

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.

 
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(MG064)

2018-07-28, updated 2019-06-09

Charles Darwin

The Bellman and Charles Darwin.

As for Darwin’s beard see also: Charles Darwin’s wild whiskers in From Charles Darwin’s beard to George Eliot’s right hand: 4 famous Victorian bodily quirks

In an early preparatory draft, the Bellman had a quite different face. Henry Holiday later used that face (an Oxford colleague?) in another illustration.
 

2017-08-27, updated: 2019-05-30