Götz Kluge's photos with the keyword: religion

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.

The left picture is a segment from an print which shows the burning of Thomas Cranmer . The right picture is a +135° rotated detail from Henry Holiday's illustration to the final chapter of Lewis Carroll' s The Hunting of the Snark, In "The annotaded ... Snark", Martin Gardner wrote about Henry Holiday's illustration to the last chapter of Carroll's The Hunting of the Snark : "Thousands of readers must have glanced at this drawing without noticing (though they may have shivered with subliminal perception) the huge, almost transparent head of the Baker, abject terror on his features, as a giant beak (or is it a claw?) seizes his wrist." · · · · 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. · · · · 033 · · He would answer to "Hi!" or to any loud cry, · · · · 034 · · · · Such as " Fry me! " or " Fritter my wig! " · · · · 035 · · To "What-you-may-call-um!" or "What-was-his-name!" · · · · 036 · · · · But especially "Thing-um-a-jig!" · · · · 037 · · While, for those who preferred a more forcible word, · · · · 038 · · · · He had different names from these: · · · · 039 · · His intimate friends called him " Candle-ends ," · · · · 040 · · · · And his enemies " Toasted-cheese ." · · · · 041 · · "His form is ungainly--his intellect small--" · · · · 042 · · · · (So the Bellman would often remark) · · · · 043 · · "But his courage is perfect! And that, after all, · · · · 044 · · · · Is the thing that one needs with a Snark." · · · · 045 · · He would joke with hyenas, returning their stare · · · · 046 · · · · With an impudent wag of the head : · · · · 047 · · And he once went a walk, paw-in-paw, with a bear , · · · · 048 · · · · "Just to keep up its spirits," he said. · · · · 049 · · He came as a Baker: but owned, when too late-- · · · · 050 · · · · And it drove the poor Bellman half-mad-- · · · · 051 · · He could only bake Bridecake--for which, I may state, · · · · 052 · · · · No materials were to be had. That is, there were no brides in the crew.

[left]: Segment (devided) of Henry Holiday 's depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark (engraved by Joseph Swain). Outside of the window are some of the Baker's 42 boxes. [right]: Anonymous : Segment (two times) of Edward VI and the Pope, An Allegory of Reformation , mirrored view (16th century). Iconoclasm depicted in the window. Under the window (see below) is Thomas Cranmer who wrote the 42 Articles in 1552. In The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (1994, p. 72), the late Margaret Aston compared the iconoclastic scene to prints depicting the destruction of the Tower of Babel (Philip Galle after Maarten van Heemskerck, 1567). From Margaret Aston's book I learned that the section showing the iconoclasm scene is an inset, not a window. Actually, it may have been an inset which was meant to be perceived as a window as well.

From his eeriest illustration to The Hunting of the Snark , Henry Holiday alluded to an monstrance-like simulacrum in John Martin's The Bard . [left] Henry Holiday: Illustration (1876) to chapter The Vanishing in Lewis Carroll's The Hunting of the Snark , detail [right] John Martin: The Bard (ca. 1817), mirror view of a horizontally compressed detail.

Patterns from an illustration by Henry Holiday (and Joseph Swain) to the chapter The Vanishing in Lewis Carroll's The Hunting of the Snark (1876) and a segment of the Allegory of Iconoclasm (or The Image Breakers ) by Marcus Gheeraerts the Elder (c. 1567). (1st version on Flickr: 2010-08-24 )

053 · · The last of the crew needs especial remark, 054· · · · Though he looked an incredible dunce: 055· · He had just one idea--but, that one being "Snark," 056· · · · The good Bellman engaged him at once. · · · · · · · · · · · · (Lewis Carroll, from The Hunting of the Snark , 1876) · · · · · · Need I rehearse the history of Jowett? · · · · · · I need not, Senior Censor, for you know it. · · · · · · That was the Board Hebdomadal, and oh! · · · · · · Who would be free, themselves must strike the blow! · · · · · · · · · · · · (Lewis Carroll, from Notes by an Oxford chiel , 1874) Here the Butcher's face could be an allusion to Benjamin Jowett 's face. Jowett was an Oxford contemporary of Lewis Carroll .

See also: www.academia.edu/9856486/Henry_Holiday_-_and_Millais_Christ_in_the_House_of_His_Parents_ . The discovery here is the allusion by Henry Holiday to the painting by J.E. Millais. Finding Millais' allusions to an anonymous painter and to Galle's print is a "bycatch" of my Snark hunt. The relation between the anonymous painting and Galle's print already has been explained by Margaret Aston in 1994. That relation brobably has been discovered even earlier by Millais. . [left]: Henry Holiday: Depiction (1876) of the Baker 's visit to his uncle in Lewis Carroll's " The Hunting of the Snark " (engraved by Joseph Swain). Outside of the window are some of the Baker's 42 boxes. [right top]: John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. Literature: * Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents ( circle.ubc.ca/handle/2429/26546 ) p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm ) * Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871 p. 225-364: The Pre-Raphaelites and the 1848 Revolution ( en.wikipedia.org/wiki/Special:BookSources/0226063283 ) [right middle]: Anonymous : Edward VI and the Pope , An Allegory of Reformation, mirrored view (16th century, NPG 4165 ). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552. Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street , a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits , 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to a buyer unknown to me, that is, when Holiday started with his illustrations to The Hunting of the Snark . Location: National Portrait Gallery, London [right bottom]: Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (right middle) was shown by Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus . Location: Rijksmuseum, Amsterdam

[left]: Segment from Henry Holiday's depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark . Outside of the window are some of the Baker's 42 boxes. [center]: Segment from John Everett Millais : Christ in the House of His Parents (1850). [right]: segment from Edward VI and the Pope , An Allegory of Reformation , mirrored view (Anonymous, 16th century); depiction of iconoclasm. In The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (1994, p. 72), the late Margaret Aston compared the iconoclastic scene to prints depicting the destruction of the Tower of Babel (Philip Galle after Maarten van Heemskerck, 1567). From Margaret Aston's book I learned that the section showing the iconoclasm scene is an inset, not a window. Actually, I think, it is an inset which was meant to be perceived as a window as well. · Holiday quoted pictorial elements from both paintings [center, right]. I assume that he must have noticed, that Millais quoted from the 16th century painting.

"I personally don't look for secret messages hidden by Carroll in the text; rather, I look at themes and symbols as potential hints as to the sorts of things that were on Carroll's mind at the time." Darien Graham-Smith , 2005-10-05 The image: [B&W]: Upper part of Henry Holiday's illustration (1876) to The Baker's Tale in Lewis Carroll's The Hunting of the Snark depicting some of the Baker's 42 boxes piled up outside the window. In 1552, shortly before the early death of Edward VI, Thoma s Cran mer wrote down 42 articles , a protestant doctrine. In Henry Holiday's depiction of the staple of some of the Baker's 42 boxes piled up outside of the window of the Baker's uncle's room also the number 42 is visible. [color]: Segment from a painting (c. 1570) by an unknown artist ( commons.wikimedia.org/wiki/File:Ed_and_pope.png ).The segment is displayed in a mirrored view. Thomas Cranmer is located on the right side in the mirrored image. (Among other persons in the painting not shown in this segment: Edward VI, Henry VIII). There is a book about this painting where Thomas Cranmer is identified: Margaret Aston, The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait , 1994. · 42 and Thomas Cranmer: How could the number 42 get into anyone's mind? Douglas Adams made that number popular as an answer to everything. (But what was the question?) In The Hitchhiker's Guide to the Galaxy he (similar to many other writers, e.g. Tom Stoppard) challenged his readers with allusions to the works of earlier writers. An earlier writer who had an obvious affinity to the number 42 is known as Lewis Carroll. And, as I learned from John Tufail , "before the 39 articles of Faith that Carroll [the Rev. Dodgson] declined to attest to, there were 42 articles [written by Thomas Cranmer]." Of course, like Adams, Carroll wouldn't give any good reason for his affinity (not only in the Snark ) to the number 42 either, but he surely knew, that "Forty-Two" is an important number in the history of Anglicanism: In the mind of Charles Lutwidge Dodgson (aka Lewis Carroll) the Forty-Two Articles of Thomas Cranmer surely had their place. · · · · 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. · · · · 033 · · He would answer to "Hi!" or to any loud cry, · · · · 034 · · · · Such as " Fry me! " or " Fritter my wig! " · · · · 035 · · To "What-you-may-call-um!" or "What-was-his-name!" · · · · 036 · · · · But especially "Thing-um-a-jig!" · · · · 037 · · While, for those who preferred a more forcible word, · · · · 038 · · · · He had different names from these: · · · · 039 · · His intimate friends called him " Candle-ends ," · · · · 040 · · · · And his enemies " Toasted-cheese ." · · · · 041 · · "His form is ungainly--his intellect small--" · · · · 042 · · · · (So the Bellman would often remark) · · · · 043 · · "But his courage is perfect! And that, after all, · · · · 044 · · · · Is the thing that one needs with a Snark." · · · · 045 · · He would joke with hyenas, returning their stare · · · · 046 · · · · With an impudent wag of the head : · · · · 047 · · And he once went a walk, paw-in-paw, with a bear , · · · · 048 · · · · "Just to keep up its spirits," he said. · · · · 049 · · He came as a Baker: but owned, when too late-- · · · · 050 · · · · And it drove the poor Bellman half-mad-- · · · · 051 · · He could only bake Bridecake--for which, I may state, · · · · 052 · · · · No materials were to be had. · · Background: The Baker in Lewis Carroll's The Hunting of the Snark has many features in common with Thomas Cramer. Many of his nick names are associated with heat or having been burnt : "Fry me!" or "Fritter my wig!", "Candle-ends" or "Toasted-cheese". Cranmer later was accused of heresy and had to leave his articles behind him before he heroically recanted his recantations: "On 14 February 1556, he was degraded from his episcopal and sacerdotal offices in preparation for execution. Following his trial, Cranmer was put under intense pressure to recant. Desperately lonely and broken, Cranmer at last signed a series of six recantations, the last of which rejected his entire theological development. Although the more traditional practice was to impose a lesser sentence on recanted heretics, Mary maintained that Cranmer should burn . On 21 March 1556, Cranmer was to recant publicly, using a speech that had been endorsed by the government before suffering his punishment. Instead, he stunned the authorities and the gathered crowd by recanting not his earlier theological positions but the recantations themselves. He then ran to the stake and steadfastly held his right hand, the hand that had signed the recantations, in the fire . His heroic end undid much of the government's planned propaganda against him and his Protestant cause and earned him an honored place in Foxe's catalog of Protestant martyrs." ( Encyclopedia Britannica, 1911 ) "Mary Tudor suppressed the 42 Articles when she returned England to the Catholic faith; however, Cranmer's work became the source of the 39 Articles which Elizabeth I established as the doctrinal foundations of the Church of England. There are two editions of the 39 Articles: those of 1563 are in Latin and those of 1571 are in English." ( Victorian Web )

[left]: Segment from an illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark depicting the Broker (upper left corner). The object he is holding at his lips is the handle of a malacca walking cane, a gesture associated with dandies in the Victorian era. [right]: Segment from anonymous: Edward VI and the Pope , a Tudor anti-papal allegory of reformation (16th century). Holidays Snark illustrations are conundrums. And the were constructed as conundrums. The pattern in the frame (2) on the left side is an allusion to a rather unobstrusive pattern on the right side. This shows that Holiday did not "copy" patterns just because of they would contribute to the impressiveness of his illustrations. · In 1922 (46 years after The Hunting of the Snark was published), Henry Holiday (the illustrator) wrote to George Sutcliffe (Sangorski & Sutcliffe, bookbinders, London): "... you will notice that the Broker in [the proof of the illustration to The Crew on Board ] no. 5 is quite different to the one in [ the later proof ] no. 2. I had intended to give a caricature a the vulgar specimen of the profession, but Lewis Carroll took exception to this and asked me to treat the head in a less aggressive manner, and no. 2 is the result. I consider that no. 5 has much more character, but I understood L. Carroll's objection and agreed to tone him down. ..." Charles Mitchel called the first design of the broker's face in the lower right corner of the print "conspiciously antisemitic". The change of the printing blocks must have been very important to Carroll, as it took the wood cutter Swain quite some effort to implement that change (see p. 102, Lewis Carroll's The Hunting of the Snark , 1981 William Kaufmann edition). As shown in the image above, the broker's face also appears in the upper left section of Holiday's illustration to The Hunting . Rather than by a "Semitic" face, Holiday may have been inspired by what could be a cliché of the face of a roman catholic monk depicted in the 16th century anti-papal painting Edward VI and the Pope .

[top]: John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. Literature: * Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents ( circle.ubc.ca/handle/2429/26546 ) p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm ) * Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871 p. 225-364: The Pre-Raphaelites and the 1848 Revolution ( en.wikipedia.org/wiki/Special:BookSources/0226063283 ) [center]: Anonymous : Edward VI and the Pope , An Allegory of Reformation, mirrored view (16th century, NPG 4165 ). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552. Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street , a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits , 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to a buyer unknown to me, that is, when Holiday started with his illustrations to The Hunting of the Snark . Location: National Portrait Gallery, London [bottom]: Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (middle) was shown by Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus . Location: Rijksmuseum, Amsterdam Detail: The Carpenter and Ahasuerus: Before I found Millais' allusions as a kind of bycatch of my Snark hunt, I started with Henry Holiday's allusions to Millais: An "allusion chain": Album: J. E. Millais

Illustration by Henry Holiday to The Hunting of the Snark (1876, chapter The Vanishing ) and The Image Breakers (1566-1568) by Marcus Gheeraerts the Elder. How does blurring help to compare the images? The Priest in the Mouth detail is displayed using two high resolution images (middle) which then again have been low pass filtered (bottom). That filtering helps to focus on larger structures. This was the first allusion by Henry Holiday to another work of art which I discovered in December 2008.

The Hunting of the Snark (1876) has been written by Lewis Carroll and illustrated by Henry Holiday. The Image shows Henry Holiday's illustrations to the front cover and the back cover of the book and paintings depicting Queen Elizabeth I, to which Henry Holyday may have alluded. There are many more pictorial allusions in Henry Holiday's Snark illustrations.