In this image one of the elements has been marked (orange frame) which Henry Holiday borrowed from a 17th century painting (by an anonymous artist). This might be a bit different from the borrowing described by T. S. Eliot in 1920. In the example shown here, the borrowing of the pictorial allusion is inconspicuous. It doesn’t enrich Holiday’s illustration. It’s only purpose might be that of a signpost pointing to another work of art.
In some of his illustrations to Lewis Carroll’s The Hunting of the Snark, Henry Holiday alluded to The Image Breakers, a 16th century print made by Marcus Gheeraerts the Elder. I see at least one of Holiday’s pigs in that print and also something which Henry Holiday could have turned into a Moritz bass tuba.
2019 is the year of the pig. Does that make me see pigs everywhere, or did Henry Holiday see that pig in Gheeraert’s print too?
Actually, I have to confess that I saw the pig already in 2009. And it wasn’t just that:
One of the surest tests [of a poet’s superiority or inferiority] is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.