I got distracted. Again. Seems my brain has been having a bit of a vacation too, I’ve been quite the space case lately. Anyroad, came upon these um, attachments? Extensions? Falls? (Does anyone else remember falls?) I’d love to have some of these done with my hair, if it ever achieves thickness again. These are from 1840. Click for full size!
I am not entirely sure I would be able to bash my head with a rolling-pin, even whilst wearing a steel helmet. That ringing must be unbelievable and deafening.
Click for full size. Text translations in the comments. Death’s toes are extraordinarily long.
Click for full size.
The Evil Spirit Of The White House. James Albert Wales, Lithograph coloured, 1881. Subject: U.S.A. Politics, Infectious Disease, Malaria, Contagion, James Abram Garfield.
Click for full size. I swear, Death’s face in The Count is a dead ringer for Peter Cushing. Death also gets in a bit of arse kicking in The Knight. Text translation in the comments.
A most evocative piece by Rockwell Kent, click for full size.
Nightmare. Rockwell Kent, Lithograph. Subject: Nightmares, Suicide.
Click for full size, text translations in the comments. The 3rd image is a surviving fragment of the original wall, featuring the Duchess. Hess could have done a much better job with the dress, and he left out those amazing braids!
Click for full size. As you can see, all effort was put into making Joanna Southcott as awful as possible. Ms. Southcott was a self-styled prophetess, and claimed to be pregnant at 64 years of age, and died shortly afterward. It would seem she was held to be nothing more than a con by the medical establishment, with little consideration that she might actually believe all the nonsense she preached. The depiction of her is certainly nothing at all like her actual appearance (there’s a photo at the link.)
A Medical Inspection. Or Miracles Will Never Cease. Thomas Rowlandson, Etching coloured, 1814. Subject: Obstetrics, Prophesy, Pregnancy, Anecdotes, Religious Mania, Joanna Southcott (1750-1814).
Yesterday evening found me distracted again, chasing one tangent after another until I landed on Cornelis van Haarlem (1562-1638), a most talented painter. He was a Northern Mannerist, and given all the foibles of that particular style, he made his characters luminous and achingly beautiful, even when they were misbehaving. Click all images for full size. The first painting which caught my eye was A Monk With A Beguine, painted in 1591:
Een monnik en een begijn, A monk with a beguine, by Cornelis Cornelisz van Haarlem.
The detail and light are wonderful, it’s all so…lustrous. And reluctantly lusty. You can almost feel their consciences attempting to get the better of them, and failing. The story of the Beguines is an interesting one. I think there’s a lot to be said for such structures as the beguines, just sans religion. At the time, this was a good option for a lot of women, when they had few choices in life.
What grabbed my attention next was Venus and Adonis:
Venus and Adonis, by Cornelis Cornelisz van Haarlem.
You can see in Adonis’s face there’s some problem, one which has him quite emotional, while Venus has the solid air of confidence and casual comfort. Again, the details are astonishing in their beauty and light; the pearls are translucent.
I’ll add just one more here, The Fall of the Titans, which leads me to the conclusion that all men should have a dragonfly for their dick. Yep. Here’s a detail first, then the full painting:
Detail from The Fall of the Titans by Cornelis Cornelisz van Haarlem.
The Fall of the Titans by Cornelis Cornelisz van Haarlem.
Look at the faces, those expressions. Incredibly poignant, once you can stop looking at the dragonflied and butterflied* genitals. Also, dragonfly dick and the character at the bottom right are same person.
*Not meant in that way!
Click for full size. Text translation in the comments.
Cardinal.
Bishop.
Click for full size. There are five of these, so most below the fold.
Singular Effects Of The Universal Vegetable Pills… Charles Jameson Grant, Lithograph coloured. Subject: Proprietary Medicines, James Morison, Morison’s Pills, Vegetable compounds.
Click for full size. I like the way Death addresses them as Mr. King and Mrs. Queen.
Todt zum König:
Herr König Ewr G’walt hat ein End,
Ich führ euch hie bey meiner Hend,
An diesen dürren Brüder-Tantz,
Da gibt man euch deß Todes-Krantz.
Death to The king:
Mr. King, your power has an end,
I lead you here by my hand
to this dance with dry brothers.
There they’ll give you the death-garland.
Der König:
Ich hab gewaltiglich gelebt,
Und in hohen Ehren geschwebt:
Nun bin ich in deß Todtes Banden,
Verstricket sehr in seinen Handen.
The king:
I have lived powerfully
and hovered in high honour.
Now I’m in Death’s bond,
caught in his hands.
Todt zur Königin:
Fraw Königin Euwr Frewd ist auß,
Springen mit mir ins Todten-Hauß,
Euch hilfft kein Schöne, Gold noch Gelt,
Ich spring mit euch in jene Welt.
Death to The Queen:
Mrs. Queen, your joy has ended,
dance with me into the death-house.
Neither beauty, gold nor money will help you.
I’m dancing with you into the next world.
Die Königin:
O Weh vnd Ach, O weh vnd jmmer,
Wo ist jetzund mein Frawenzimmer,
Mit denen ich hatt Frewden viel:
O Todt thu g’mach, mit mir nicht eyl.
The queen:
Oh woe and alas, oh woe for ever.
Where is now my band of maids
with whom I had many pleasures?
Oh Death, take it easy, don’t hurry with me.
This is the oil which birthed Antimacassars. My great-grandmothers and grandmother had antimacassars on everything. Click for full size!
Macassar Oil, An oily Puff for Soft Heads. Thomas Rowlandson, Etching coloured, 1814. Subject: Macassar Oil, Rowland’s Oil,Alexander Rowland,baldness,hair Tonic, Hair Oil,Proprietary Medicines.