Uploads from Bonnetmaker, tagged conundrum, with geodata

Lewis Carroll in "The Hunting of the Snark"

nobody@flickr.com (Bonnetmaker) — Fri, 24 May 2013 14:44:00 -0700

Photographic self portrait by Lewis Carroll, and its inclusion into an illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark

[top]: Henry Holiday: vectorized segment of an illustration (cut by Joseph Swain) to The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark (1876)

[left]: Original

[middle]: Low pass filtered

[right]: Self portrait by Charles Lutwidge Dodgson (aka Lewis Carroll, May 1875) displayed in mirror view. (Credits for the photo used in the comparison: Watts Gallery, Compton, Guildford)

It should be considered that mirroring (swapping left and right) may have occured just because the engraver (Joseph Swain) reproduced the illustration directly from Dodgson's photo. The wood block print then shows a mirror view. This applies to all mirror views cut by Swain. In other cases Holiday and/or Swain had to create intermediate drawings with mirrored images (or elements of images) in order not to have a mirror view in the print.

Larger size:
• www.flickr.com/photos/bonnetmaker/5085322873/ (without resemblance indicators)

"Need I rehearse the history of Jowett?"

nobody@flickr.com (Bonnetmaker) — Fri, 24 May 2013 14:33:30 -0700

Bonnetmaker posted a photo:

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)

The image above shows photos of Benjamin Jowett and Henry Holiday's depiction of The Butcher in Lewis Carroll's The Hunting of the Snark.

Billiard-Marker & Henry George Liddell, Pocket Billiard

nobody@flickr.com (Bonnetmaker) — Fri, 24 May 2013 14:35:00 -0700

Bonnetmaker posted a photo:

[right]: Henry Holiday's depiction of the Billiard marker in Lewis Carroll's The Hunting of the Snark. The face in color is Henry Liddell's face (by Hubert von Herkomer). Liddell was Carroll's (Dodgson's) superior in Christ Church, Oxford.

[left]: The left image shows Holiday's draft for the right picture and an image depicting Liddell at age 28. That clear resemblance in Holiday's draft of the Billiard marker to Carroll's boss perhaps was a bit too much for Carroll. In the right picture the resemblance is weaker, but the asymmetry of the eyes and eyebrows still is there.

The original images had been vectorized.

See also:
- www.flickr.com/photos/bonnetmaker/4485252810/
- www.flickr.com/photos/odisea2008/2829587979/
- holiday.snrk.de/BilliardMarker.htm

This is a JPG version of a Poster: Is the Billiard marker going to play foul? (PDF, 5.2 MB vector art)

Two Portraits of Lewis Carroll

nobody@flickr.com (Bonnetmaker) — Fri, 14 Oct 2011 15:39:45 -0700

Bonnetmaker posted a photo:

Photographic self portrait by Lewis Carroll, and its inclusion into an illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark

[top]: Henry Holiday: vectorized segment of an illustration (cut by Joseph Swain) to The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark (1876)

[left]: Original

[center]: Low pass filtered

[right]: Self portrait by Charles Lutwidge Dodgson (aka Lewis Carroll, May 1875) displayed in mirror view. (Credits for the photo: Watts Gallery, Compton, Guildford)

It should be considered that mirroring (swapping left and right) may have occured just because the engraver (Joseph Swain) reproduced the illustration directly from Dodgson's photo. The wood block print then shows a mirror view. This applies to all mirror views cut by Swain. In other cases Holiday and/or Swain had to create intermediate drawings with mirrored images (or elements of images) in order not to have a mirror view in the print.

The Bonnetmaker, Henry Holiday, and a Bonnet

nobody@flickr.com (Bonnetmaker) — Sat, 22 Jan 2011 01:59:42 -0800

Bonnetmaker posted a photo:

281 The maker of Bonnets ferociously planned
282 A novel arrangement of bows:
283 While the Billiard-marker with quivering hand
284 Was chalking the tip of his nose.

This image shows Henry Holiday, the Maker of Bonnets and Hoods (the only artist in the Snark hunting party) and a bonnet.

Notice the photographer's tinkering with Holiday's thumb and little finger. (Holiday also was a photographer himself.)

Update 2011-02-05: 2048 x 4841

Billiard-Marker & Henry George Liddell

nobody@flickr.com (Bonnetmaker) — Sat, 22 Jan 2011 01:59:40 -0800

Bonnetmaker posted a photo:

2013-03-22: You may have noticed that I sometimes shift old comparisons to the top of my photostream. I do that by changing the "Date posted to Flickr" setting in order to draw your attention to comparisons which I consider to be specially interesting. This little comparison is pretty funny. It shows how Henry Holiday (surely with Carroll's consent) lampooned Lewis Carroll's boss. I also think that this comparison may explain the strange "shadow" below the Billiard Marker's chin: Holiday cut of Liddell's chin. In case of trouble that helped to deny any similarities between the faces. Yet, Holiday could not stop to leave traces.

The comparison shows Henry Holiday's depiction (draft and final illustration) of the Billiard marker in Lewis Carroll's The Hunting of the Snark. The face in color is Henry George Liddell's face. Liddell was Carroll's (Dodgson's) superior in Christ Church, Oxford.

The upper right image (from a portrait by George Cruikshan) shows Liddell at age 28. Such a clear resemblance of Holiday's draft of the Billiard marker to Carroll's boss perhaps was a bit too risky for Carroll. The similarity wasn't sufficiently deniable. In the lower picture the resemblance is weaker, but the asymmetry of the eyes and eyebrows still is there. (The lower left segment is from a 1891 portrait by Sir Hubert von Herkomer.)

See also: holiday.snrk.de/BilliardMarker.htm

Poster: Is the Billiard marker going to play foul? (PDF, 5.2 MB)

Henry George Liddell in "The Hunting of the Snark"

nobody@flickr.com (Bonnetmaker) — Sat, 22 Jan 2011 01:59:45 -0800

Bonnetmaker posted a photo:

This was my first image showing Henry Holiday's depiction of the Billiard marker in Lewis Carroll's The Hunting of the Snark (1876). The face in color and in the background is Henry George Liddell's face (painted by Sir Hubert von Herkomer in 1891). Liddell was Carroll's (Dodgson's) superior in Christ Church, Oxford.

In this image, I gave Liddell the Billiard marker's wig. Later I discovered, that the resemblance between Liddell at age 28 and a draft by Holiday's of the Billiard marker showed a much stronger resemblance. Perhaps Carroll/Dodgson did not accept such an obvious resemblance. So Holiday finally showed an older Billiard marker with a wig. Holiday also chopped off the chin, but left its shadow in his illustration. Thus, the real Liddell would not really be able to find himself depicted as the Billiard marker playing foul in the Snark.

In my first Liddell-picture I perhaps did too much manipulation, although I showed, how I manipulated the image. Examples: Liddell got the Billiard marker's wig. And the Billiard marker got Lidgell's chin. Later (see below) I published images with less manipulation, but perhaps also with less fun.

Copyright: I made this image myself. It shows comparisons of images which are at least older than 100 years. As for the level of originality of this image uploaded to Flickr: It is the combination of images which generates significantly new information about an important poem in British literature. The claim is, that this is the first picture which shows, that Henry Holiday hid facial features of his client's boss in an illustration to Lewis Carroll's The Hunting of the Snark.

(Sorry for bragging. But I need to make clear, that this is something really new and that I didn't just upload copied material to Flickr.)

For access to more of my comparisons, I will give guest passes to researchers and curators etc. on request.

Thomas Cranmer at the Stake

nobody@flickr.com (Bonnetmaker) — Thu, 11 Nov 2010 13:58:50 -0800

Bonnetmaker posted a photo:

The assumptions below may not be necessarily wrong, but due to www.flickr.com/photos/bonnetmaker/8306159467/ the comparison shown above perhaps isn't worth too much.

========================================================================

I think of The Hunting of the Snark as the search of truth, which turns into a Boojum when the legitimate struggle turns into violent fanaticism. Then hunters of the Snark have to pay with their life.

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 sublimal 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."

There is more in that illustration than just this "head" caught in the branches, and the "beak" is neither a beak nor is it a claw. I think, it is the depiction of a burning stake.

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."

The left picture shows the burning of Thomas Cranmer.

The right picture shows something, which could be a burning stake (obfuscated by mixing it with an additional quote from John Ruskin's Gneiss Rock) or a right hand in flames.

In some cases I noticed, that Holiday mixed shapes from several sources into a single shape in an illustration. This also helps to make his puzzles a bit more difficult - similar to Carroll's conundrums.

42 Boxes and 42 Articles

nobody@flickr.com (Bonnetmaker) — Thu, 11 Nov 2010 13:59:00 -0800

Bonnetmaker posted a photo:

"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

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 references to 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 declined to attest to, there were 42."

Of course 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.

The image:

[left]: Segment from 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, Thomas Cranmer 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.

[right]: 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 and has been converted into grey shades. 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)

Background:

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)

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".

Links:
- www.snrk.de/snarkhunt/#fit1
- holiday.snrk.de/FourtyTwoBoxes.cgi
- groups.yahoo.com/group/TheHuntingOfTheSnark/links/Admin_s...

A new version of the image (at the top of this page) is here: www.ipernity.com/doc/goetzkluge/19997983

Henry VIII's Bedpost

nobody@flickr.com (Bonnetmaker) — Mon, 01 Nov 2010 14:58:40 -0700

Bonnetmaker posted a photo:

[left (inspiration from the bedpost)]: 1876, Henry Holiday: Segment of an illustration to Lewis Carroll's The Hunting of the Snark

[middle (Henry VIII's bedpost)]: 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation, (mirror view).

[right (inspiration to the bedpost)]: 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance to the image in the 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.

NPG 4165 Edward VI and the Pope 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 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.

(Upload date: 2010-19-11. The date then has been modified in order to change the position of this image in the photostream.)

Copyright: I made the comparison between the image on the left side and in the middle myself in 2010. Dr. Margaret Aston found the resemblance of the figure in the middle image and the right image in 1994. As for the level of originality of this image uploaded to Flickr: Since 1876 this is the first time that for this illustration by Henry Holiday pictorial quotes from that 16th century painting can be shown with a still sufficiently high level of confidence. (Sorry for the bragging. But I want to make clear, that this is not just uploading the art of others to my photostream.)

Winged Pig Band: Henry Holiday's Inspiration (old)

nobody@flickr.com (Bonnetmaker) — Mon, 20 Sep 2010 01:18:55 -0700

Bonnetmaker posted a photo:

Segment from The Image Breakers (1566-1568) by Marcus Gheeraerts the Elder.

Darwin's snarked Study

nobody@flickr.com (Bonnetmaker) — Sat, 11 Sep 2010 13:58:20 -0700

Bonnetmaker posted a photo:

Alfred Parsons' depiction of Charles Darwin's study in Downe. The wood cutter was J. Tynan.

I assume that Alfred Parsons quoted shapes from Henry Holiday's illustration (cut by Joseph Swain) to The Bakers Tale in Lewis Carroll's The Hunting of the Snark in a similar manner as Henry Holiday used shapes in the works of earlier artists perhaps in order to "point" to these works. The match of each single shape could be quite incidental, but the the spacial relation of most shapes to each other also matches well. That is less likely to be just incidental.

(Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/. Henry Holiday's illustration has been scanned from a book published in 1911.)

Henry Holiday

nobody@flickr.com (Bonnetmaker) — Sat, 28 Aug 2010 09:01:55 -0700

Bonnetmaker posted a photo:

Collage: Henry Holiday (perhaps self portrait photo by Henry Holiday; watch the tinkering with the thumb and the little finger) and segments of one of Henry Holiday's illustrations (cut by Joseph Swain) to Lewis Carroll's The Hunting of the Snark.

The Baker's Uncle over Darwin's Fireplace

nobody@flickr.com (Bonnetmaker) — Thu, 05 Aug 2010 16:30:45 -0700

Bonnetmaker posted a photo:

Segments from
• [left, vertically stretched]: Alfred Parsons' depiction (1882) of Charles Darwin's study in Downe
• [right]: an illustration (1876) by Henry Holiday to Lewis Carroll's The Hunting of the Snark

This comparison is not about Henry Holiday's quotes from other artists. Here Alfred Parsons quoted from Holiday.

Did Parsons notice, that in Henry Holiday's illustrations (1876) to Lewis Carroll's The Hunting of the Snark the illustrator, academic painter and Pre-Raphaelite artist Holiday quoted from works of several earlier artists? I think, Holiday used such quotes to install pictorial conundrums in his illustrations which parallel the textual conundrums of Lewis Carroll in the Snark poem.

Holiday also quoted from John Everett Millais (1850 painting) and from a 16th century anonymous artist, perhaps in order to show that Millais himself quoted from that anonymous artist (not as plagiarism but in order to address iconoclasm depicted in that 16th century propaganda painting).

On the youngest side of that quoting chain is Alfred Parsons. In 1883 his illustration of Charles Darwin's study in Downe was published. Parsons not only hid a small zoo in his illustration. He also quoted from the Henry Holiday: In this example Parsons hid the Baker's dear uncle on top of the fireplace of Darwin's study.

For this he also used a simple distortion. At least two of the elements in an illustration by Henry Holiday (the face and the tagged medicine bottle in the right image shown above) had been vertically compressed and built into the depiction of Darwin's study. I stretched that segment a bit (left image shown above, 2009).

Vectorized versions:
• Rescaleable, for printing posters: PDF (7.7 MB) and SVGZ (8.3 MB)
• 2403 x 1377 JPG

(The segment of Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/. Henry Holiday's illustration has been scanned from a 1911 book.)

A little Zoo in Charles Darwin's Study

nobody@flickr.com (Bonnetmaker) — Wed, 31 Mar 2010 02:27:12 -0700

Bonnetmaker posted a photo:

Alfred Parsons' depiction of Charles Darwin's Study in Downe, drawn from a photo and engraved by J. Tynan, signed in August 1882, published in an article by Alfred R. Wallace in the Century Magazine (The Century Illustrated Monthly Magazine), Volume 25, Nov. 1882 to April 1883. (Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/).

The little zoo, which Parsons (and Tynan) hid in his illustration, is highlighted by coloring the animals. Even when depicting real objects, artist can "play" with that reality.

There seem to be more items in the image, but I do not have a better source which would allow me to get a closer look.

See also:
• www.artandpopularculture.com/Alfred_Parsons_(artist)
• www.google.com/images?q=Alfred+Parsons