DOCSLIB.ORG

Farnese Hercules

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Farnese Hercules Our Furnaced Planet & Hercules, Man of Calpe Fig.1, S5. Charcoal burning bright in a narghile's bowl. Photo: therook315.deviantart.com "It is a confoundyous injective so to say, Shaun the fiery boy shouted, naturally incensed, as he shook the red pepper out of his auricles. And another time please confine your glaring in- tinuations to some other mordant body. What on the physiog of this furnaced planet would I be doing besides your verjuice? That is more than I can fix, for the teom bihan, anyway". (412.13-18) I propose that my readings of the above passage, well along in the book, are related and complementary. I will use them to expose the imaginary, limestone Hercules colossus, with club, lion pelt, and oranges; emergent, towering at the embouchure of the Liffey. The Farnese Hercules1 of our "furnaced2 planet", this man of Calpe, for that is the name of the local Dublin limestone, is an example of a re-occurring theme in Finnegans Wake with a primary scene at the beginning of the work (approx. pp. 627-004). This essay was written as an accompaniment to Under the Astrolabe with Hercules3. First, the readings: Reading 1 "GLARING", a young, shining Shaun shouts invectives, injections, and ejections. He's fiery, incensed with anger (L. "Here is a small burnt patch of flooring; here incendo), aromatic (L. incensum) with rage, is the tinder from a little bundle of burnt shaking red pepper (hot by nature and paper, but not so light as usual, seeming to be coloured danger-hot), brazen, popping, steeped in something; and here is—is it the cinder of a small charred and broken log of yellow-orange embers, from behind the wood sprinkled with white ashes, or is it coal auricles of his heart/from about the ? O Horror, he is here! and this, from which auricles of his ears: stewing and fuming- we run away, striking out the light and overturning one another into the street, is all steam and smoke and so on. Naturally that represents him." Bleak House p.320. incensed? 4 Tin of mom's Phillips' Shaun? Fig. 2. Guppy finds Krook spontaneously What does he mean "doing their combusted.4 "Bleakrooks" (40.30) verjuice"? Bile? Something sexual, seedy ejaculation? Is "verjuice" verge juice (verge Fr. for yard, yerd, the male member). Or is it cheap wine ("verjuice"/vert jus, wine from too green pressed grapes). Is it 1 Marble after a bronze by Lysippos (c.390 BC) retrieved in 1546 from Caracalla's Baths, Rome (216 AD) and used as a garden gnome by Cardinal Alessandro Farnese. 2 The Irish accent has "furnaced" pronounced closer to farnace than firnace. 3 Paré, D.G., 2013. Under the Astrolabe with Hercules. fuyublog.wordpress.com, 16 p. 4 Dickens, Charles, 1853. Bleak House, Bradbury & Owens, London, 624p. 1 Shaun's nature to be angry, smelly, and fuming? I don't follow the Doodle family much. As for the portmanteau "Confoundyous", Joyce passes from confoundment by a con fou, (Fr. for crazy .... ) or dummy (from cunny) to a "you" which becomes "us" in "yous" similar to 3rd person plural inventions such as "you all". Or is it ewes found by a con or con. Reading 2 STAND BACK from the aisle, between the pews and watch an alter boy, bowl of incense in hand, follow a thurifer with censer at the end of a slightly bent arm, his right; garlands of chains grouped in the other hand, his left; smoking mass swinging slowly, sweetly, back and forth, with silver's heft giving a slight jerk as the momentum of the orb lourdily reaches the end of its arc, smoke pouring through its fretwork: the little furnace's orifices. Inside, the small grains of bright, dried tree resin, greesy Fig. 3. The Botafumeiro, lustre, red dye fixed (Fr. "mordant" Santiago de Compostela. 412.16 and "more than I can fix" 412.18), looking a little like coarsely ground, hot, red pepper; underlain by the black, red corpuscle shaped, white ashed charcoal, the grains smolder, melt, and sublimate. The incense drifts up. Reading 3 AS IF to evoke impressions of similar processes to those of a censer, on a much larger scale, Joyce appears to describe the earth telling us to "please confine your glaring in-tinuations to some other mordant body"(412.16). Its orbit follows a similar circular trajectory as a swinging censer, although following through and completing its trajectory, Fig. 4. Eruption at Cotopaxi. Edwin admittedly slightly elliptical, all in Church, 1865. being naturally incensed. Our furnaced planet has a hot nickel core wrapped in its magma sludge blanket oozing and fuming from its pustulated "physiog", its geomorphologic face. The incensory (censer) too has a little, glaring furnace in the form of a red hot, charcoal that allows the incense to smoulder aromatically. You can buy these special charcoals at church supply stores or at Middle Eastern groceries where the exact same charcoals are sold for hookahs, the tentacled furnaces meant for smoking tobacco, hashish, or opium. Finally, "furnaced planet" may refer to the 2 furnaces heating houses on the planet. The Hercules Furnace Company made a popular furnace about 1890 to 1940. More volcanoes and other smoking materials In another scene, where Joyce draws parallels between war and volcanogenic processes, he also alludes to the narghile5 or water pipe in a rather indirect manner: Docetism and " Match of a matchness, like your Bigdud dadder Didicism, Maya- in the boudeville song, Gorotsky Gollovar's Thaya. Tamas- Troubles, raucking his flavourite turvku in Rajas-Sattvas. the smukking precincts of lydias, 2 with Mary Owens and Dolly Monks seesidling to edge his cropulence and Blake-Roche, Kingston and Dockrell auriscenting him from afurz, our papacocopotl, 3 Abraham Bradley King? (ting ting! ting ng!) By his magmasine fall. Lumps, lavas and all.4 Bene! But, thunder and turf, it's not alover yet! One recalls Byzantium. The mystery repeats itself todate as our callback mother Gaudyanna," (fw294.21-33) 2 A vagrant need is a flagrant weed. 3 Grand for blowing off steam when you walk up in the morning. "Mary Owen" and "Dolly Monks", above, echo Garry Owen and Dollymount just as on p.147.32.6 The first, a Calvary ditty and regimental anthem (Garryowen); a side saddling woman, George Eliot, nom de plume of Mary Evens; or Mary "laudanum" Owens, Lincoln's Belle (see "Abraham" 294.28). The second, Dollymount, the beach behind the North wall of the terrible prongs at the mouth of the Liffey; a 7th Calvary Regiment, U.S. Army (also known as Garry Owen) horse named Dandy, General "blow-me-up" Custer's mount to be exact; and an Irish Hero who's lithoportrait hangs from the Sandycove giant's girdle (U. 281.29)7, another colossus perhaps (See Fig. Sup. 14). After a bit of ephemeral mammalian history, with a heavy emphasis on colonization, Joyce transitions to the more enduring, planetary history. From the excrement signaled by "cropulence", a melding of coprolites (fossilized feces), corpulence, and crap, through a process of "auriscenting" for fireworks, the oriflamme, ordinance, pyroclastics, and aroma. All under the paternal eye of the Popocatépetl ("papacocopotl") Volcano, Pueblo, Mexico. Note too "magmasine" forming up 5 Quickly surveying "we certney like gurgles love the nargleygargley so, arrah-beejee, tell that old frankay boyuk to bellows upthe tombucky in his tumtum argan" (230.31- 33) we see the "gurgles", "nargleygargley" (the hookha and its noise), "frankay boyuk" a reference to cigars, "bellows" and the slick "tombucky" (tobacky on the raft and Becky Thatcher). "argan", an edible Moroccan/Algerian oil. 6 Paré, D.G., 2013. Custard, War on the Plains. www.fuyublog.wordpress.com, 14 p. 7 Joyce, James, 1922. Ulysses. The Bodley Head, London, 742 p. 3 magma and magazine (big and small); lava; "mother Gaudyanna" or Gondwana, motherland land of the Gonds: "a large tract of hilly country in India which roughly corresponds with the greater part of the present Central Provinces. It is derived from the aboriginal tribe of Gonds, who still form the largest element in the population and who were at one time the ruling power. Gondwana was thus included in the dominions of the 8 Bhonsla raja of Nagpur, from whom it finally passed to the British in 1853." Gondwana is also the ancient, post-Carboniferous super continent of the Pangaea mother world splitting into little continents: thunder and turf and lava, and so on. Ting! ting! ting! Ting the bombletes ting! The hookah barely peeps through with the help of words such Fig. 5. A Gentleman With His Hookah- as "match", "Bigdud dadder" pointing to exotic Bagdad, and a Burdar, or Pipe-Bearer. Doyley, C. 1813. The European in India. London, 149 p. traveller to strange places smoking until "raucking" (Fr. rauque Scan: D.G Paré for hoarse) his flavourful, favourite Turkish tobacco (Latakia) in Lydian cafés in Anatolia. Note 1's flagrant vagrant with his fragrant weed and note 2's blowing off steam also support smoking. Farnese Hercules emerges All very fine, perhaps even reasonable as readings go, but where is the Farnese Hercules? Has Joyce, on p. 412 and about the book, built up a sense of a Hercules emerging from the text, the earth, the Liffey in our dreams, the Liffey in Heaven? Bearing in mind that Joyce uses any means, logical or hardly explainable, to evoke an image, the device here seems to associate "furnaced planet" or the Farnese Hercules with Atlas and Atlas with planet and back around. Please hold these thoughts or a minute. Fig.
Load more

Recommended publications
  • Stuart Lochhead Sculpture
    Stuart Lochhead Sculpture Stuart Lochhead Limited www.stuartlochhead.art 020 3950 2377 [email protected] Auguste Jean-Marie Carbonneaux Paris, 1769-1843 Hercules, after the Antique bronze 73 cm high Signed and dated Carbonneaux 1819 on the right side of the base Related literature ■ E. Lebon, « Répertoire », in Le fondeur et le sculpteur, Paris, Ophrys (« Les Essais de l'INHA »), 2012 [also available online] Stuart Lochhead Limited www.stuartlochhead.art 020 3950 2377 [email protected] Auguste Jean-Marie Carbonneaux is one of the pioneers of the technique of sand-casting for monumental sculpture. Not a lot is known about his life but a recent publication by E. Lebon (see lit.) has shed some light on his career. Born into a family of metal workers, Carbonneaux is known to be active as a founder from 1814. In 1819 at the request of the celebrated sculptor François-Joseph Bosio (1768-1845) he received the prestigious commission to execute the equestrian statue of Louis XIV for the Place des Victoires, Paris, which was unveiled in 1822. Carbonneaux cast the statue and the two men worked together at least one more time since he also executed in bronze Bosio’s large group of Hercules fighting Achelous transformed into a snake, a statue commissioned by the French royal household in 1822, exhibited at the Salon of 1824 and now in the Musée du Louvre, Paris. Clearly recognised as being an excellent founder, Carbonneaux was also selected by the Polish-French count Leon Potocki in 1821 to cast the equestrian portrait of the polish statesman and general Josef Poniatowski by Berthel Thorvaldsen1.
    [Show full text]
  • BM Tour to View
    08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782.
    [Show full text]
  • Farnese Hercules
    FARNESE HERCULES ROMAN, 2ND CENTURY AD MARBLE HEAD RESTORED IN THE 18TH CENTURY HEIGHT: 55 CM. WIDTH: 21 CM. DEPTH: 16 CM. PROVENANCE: IN AN EUROPEAN COLLECTION FROM THE 18TH CENTURY BASED ON THE RESTORATION TECHNIQUES. THEN IN AN AMERICAN PRIVATE COLLECTION FROM THE 1950S. His left leg is forward, slightly flexed, while his supporting leg, the right, is tensed. The position tilts his hips significantly, drawing attention to the prominent muscles of our man’s torso. The inclined line of his hips contrasts with the line of his shoulders, giving the body a pronounced ‘S’ shape. This position, also known as contrapposto, is a Greek invention from the 5th century This statue of a middle-aged man in a BC, introduced by the sculptor Polyclitus. resting position depicts the demi-god At the time, he was looking for the way to Hercules in heroic nudity. Its statuary type perfectly represent the human body and is that of the Farnese Hercules. ultimately devised this new position. 3, Quai Voltaire, 75007 Paris, France – T. +33 1 42 97 44 09 - www.galeriechenel.com Although his head is modern, the craftsmanship is of high quality, reminiscent of late Hellenistic creations. His face and thoughtful, serene expression respect the codes for the representation of the demi- god in statues of this type (Ill. 1). Hercules is hiding his right hand behind his back and, although it is now missing, based on the Farnese Hercules type, we can Ill. 1. Statuette of Hercules resting, Greek, 3rd imagine that he was once holding the apples century BC or Roman replica from the early imperial from the Garden of the Hesperides (Ill.
    [Show full text]
  • Rubens's Theory and Practice of the Imitation of Art Author(S): Jeffrey M
    Rubens's Theory and Practice of the Imitation of Art Author(s): Jeffrey M. Muller Source: The Art Bulletin , Jun., 1982, Vol. 64, No. 2 (Jun., 1982), pp. 229-247 Published by: CAA Stable URL: https://www.jstor.org/stable/3050218 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms CAA is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin This content downloaded from 94.71.154.90 on Mon, 01 Feb 2021 11:33:27 UTC All use subject to https://about.jstor.org/terms Rubens's Theory and Practice of the Imitation of Art Jeffrey M. Muller Only recently has it been suggested that Rubens informed collector, I was led to question this body of evidence for an his art with theory. Muller Hofstede has proposed to see explanation of the painter's stance towards the art of the Rubens's work in light of the principle "ut pictura poesis" past. The present article therefore considers in depth one as outlined by Lee.' Both Muiller Hofstede and Winner theoretical point: the problem of artistic imitation in have recognized the artist's method of juxtaposing chosen Rubens's thought and practice.
    [Show full text]
  • Hercules Abstracts
    Hercules: A hero for all ages Hover the mouse over the panel title, hold the Ctrl key and right click to jump to the panel. 1a) Hercules and the Christians ................................... 1 1b) The Tragic Hero ..................................................... 3 2a) Late Mediaeval Florence and Beyond .................... 5 2b) The Comic Hero ..................................................... 7 3a) The Victorian Age ................................................... 8 3b) Modern Popular Culture ....................................... 10 4a) Herculean Emblems ............................................. 11 4b) Hercules at the Crossroads .................................. 12 5a) Hercules in France ............................................... 13 5b) A Hero for Children? ............................................ 15 6a) C18th Political Imagery ......................................... 17 6b) C19th-C21st Literature ........................................... 19 7) Vice or Virtue (plenary panel) ............................... 20 8) Antipodean Hercules (plenary panel) ................... 22 1a) Hercules and the Christians Arlene Allan (University of Otago) Apprehending Christ through Herakles: “Christ-curious” Greeks and Revelation 5-6 Primarily (but not exclusively) in the first half of the twentieth century, scholarly interest has focussed on the possible influence of the mythology of Herakles and the allegorizing of his trials amongst philosophers (especially the Stoics) on the shaping of the Gospel narratives of Jesus. This
    [Show full text]
  • Classical Mythology in Florence
    Tom Sienkewicz Monmouth College [email protected] Classical Mythology in Florence Museo Archeologico especially the Chimaera, and the François Vase Minos and Scylla, Theseus and the Minotaur (Ovid 8.1-185) Calydonian Boar Hunt (Ovid 8.260-546) Homer. Iliad XXIII (Funeral Games of Patroclus) Ulysses and Polyphemus (Ovid 14.160-220) Classical Mythology at the Duomo Porta della Mandorla, Campanile and Opera del Duomo Orpheus/Eurydice (Ovid 10.1-80) Daedalus/Icarus (Ovid 8.185-260) Public sculpture Piazza della Signoria and Loggia Dei Lanzi. Hercules and Cacus (Ovid. Fasti.1.540ff) Perseus and Medusa (Ovid 4.610-803) Classical Mythology in the Palazzo Vecchio Circe (Ovid 14.240-310) Rape and Intervention of Sabine Women (Livy 1.9-10) Hercules and Nessus (Ovid 9.1-150) Classical Mythology in the Studiolo di Francesco Primo Classical Mythology in the Palazzo Medici-Riccardi Rape of Persephone (Ovid 5.380-500) The Mythology in the Public Sculpture of Florence Apollo and Daphne 1.450-570 Classical Mythology in the Bargello Classical Mythology in the Uffiizi Classical Mythology in the Pitti Palace Classical Mythology in the Boboli Gardens especially the Grotta of Buontalenti Classical Mythology in the Medici Villa at Poggio a Caiano Hercules in Florence The François Vase c.570 B.C. found in tomb at Fonte Rotella near Chiusi in 1844-45 Made by Ergotomos Painted by Kleitias Side A Side B Calydonian Boar Hunt Theseus' Crane Dance The Funeral Games of Patroclus Battle of Lapiths and Centaurs The Marriage of Peleus and Thetis The Marriage
    [Show full text]
  • Benjamin Proust Fine Art Limited London
    london fall 2018 fall TEFAF NEW YORK NEW YORK TEFAF fine art limited benjamin proust benjamin TEFAF NEW YORK 2018 BENJAMIN PROUST LONDON benjamin proust fine art limited london TEFAF NEW YORK fall 2018 CONTENTS important 1. ATTRIBUTED TO LUPO DI FRANCESCO VIRGIN AND CHILD european 2. SIENA, EARLY 14TH CENTURY sculpture SEAL OF THE COMMUNAL WHEAT OF SIENA 3. FLORENCE, LATE 15TH CENTURY BUST OF A BOY 4. PIERINO DA VINCI TWO CHILDREN HOLDING A FISH 5. ATTRIBUTED TO WILLEM VAN TETRODE BUST OF TIBERIUS 6. FLORENCE OR ROME, FIRST HALF 17TH CENTURY FLORA FARNESE 7. ATTRIBUTED TO HUBERT LE SUEUR HERCULES AND TELEPHUS antiquities 8. KAVOS, EARLY CYCLADIC II LYRE-SHAPED HEAD & modern 9. GREEK, LATE 5TH CENTURY BC drawings ATTIC BLACK-GLAZED PYXIS 10. IMPERIAL ROMAN OIL LAMP 11. AUGUSTE RODIN FEMME NUE ALLONGÉE 12. AUGUSTE RODIN NAKED WOMAN IN A FUR COAT 13. PIERRE BONNARD PAYSAGE DE VERNON benjamin proust Having first started at the Paris flea market, Benjamin Proust trained with international-level art dealers, experts and auctioneers in France and Belgium, setting up his own gallery in Brussels in 2008. In 2012, Benjamin moved his activity to New Bond Street, in the heart of Mayfair, London’s historic art district, where it has been located ever since. A proud sponsor of prominent British institutions such as The Wallace Collection and The Courtauld Gallery in London, Benjamin Proust Fine Art focuses on European sculpture and works of art, with a particular emphasis on bronzes and the Renaissance. Over the years, our meticulous sourcing, in-depth research, and experience in solving provenance issues, all conducted with acknowledged honesty and professionalism, have been recognized by a growing number of major international museums, with whom long-standing relationships have been established.
    [Show full text]
  • Horror and Amazement: Colossal Mythological Statue Groups and the New Rhetoric of Images in Late Second and Early Third Century Rome
    Originalveröffentlichung in: Barbara Borg (Hrsg.), Paideia: The World of the Second Sophistic, Berlin 2004, S. 105-129 Horror and amazement: Colossal mythological statue groups and the new rhetoric of images in late second and early third century Rome RALF VON DEN HOFF Cultural phenomena of the second and early third century CE, which are con- ventionally placed in the category of ‘Second Sophistic’, have been studied both in terms of their socio-political implications, and as a discourse of identity con- struction, especially among the elites of the Greek east.1 In this context, only some aspects of the visual arts have been analyzed as signs of a ‘Greek Renais- sance.’2 In a broader sense and as far as the city of Rome was concerned, the nexus of visual culture and the Second Sophistic was only of minor interest.3 Thus, it is still a desideratum to describe this relationship beyond references to paideia in the restricted sense of knowledge of Classical Greek culture and to concepts like ‘Greek influences’ or classicism, which were elements of Roman culture long before the second century CE.4 It is clear that the Second Sophistic is also defined by new interests in elaborated form, rhetorical performances and entertainment. Hence, it is fruitful to compare visual and textual phenomena in terms of their modes of depiction and means of addressing the audience – that ———————— 1 See in particular: Bowersock, 1969; Bowie 1970; Anderson, 1993; Woolf, 1994; Swain, 1996; Schmitz, 1997; Bowie, 2000; Goldhill, 2001; Stephan, 2002, 199-222. 2 Walker, 1989; see also von Mosch, 1999 (for the relevance of coins); Galli, 2001 (for sanctuar- ies and images of pepaideumenoi); Baumer, 2001, 90-93 (for a new interest in classical votive re- liefs); cf.
    [Show full text]
  • Illustrated Guide to the National Museum in Naples : Sanctioned By
    ILLUSTRATED GUIDE IONAL MUSEUM IN NAPLES SANCTIONED BY THE MINISTRY OF EDUCATION RICHTER & CO, - NAPLES PUBLISHERS ILLUSTRATED GUIDE TO THE NATIONAL MUSEUM IN NAPLES EDITORS: G. DE PETRA, formerly Director of the Natio- nal Museum and professor at the University of Naples. A. SOGLIANO, Director of the Ex- cavations at Pompei and professor at the Univer- of sity Naples. G. PATRONI , Professor at the University of Pavie. L. MAR1ANI, Pro- fessor at the University of Pise. E. GABRICI, Director of the Coin Collection in the Natio- nal Museum. D. BASS1 , Director of the Collection of Papyri from Herculaneum. O. MARUCCHI, Director of the Egyptian Col- lection in the Vatican. A. CONT1, Director of the Picture Gallery in the National Museum. PUBLISHERS RICHTER & Co. NAPLES All rights reserved. PREFATORY NOTE This guide book is, with the exception of those pages describing the Picture Gallery, an excerpt from the ency- clopaedic Guida Illustrata del Museo Nazionale di Na- poli, approvata dal Ministero della Pubblica Istruzione, compilata da D. Bassi, E. Gabrici, L. Mariani, O. Ma- rucchi, G. Patroni, G. de Petra, A. Sogliano, per cura di A. Ruesch . The numbers preceding the several descrip- tive notes are identical with those in the Italian work referred to above. In parenthesis are quoted in many cases the numbers affixed to the various objects on the occasion of a recent inventory. For literary references and further information the student is referred to the original Italian edition. ..II..II.JI..II..II ' The National Museum. In the year 1738 the Bourbon King Charles of Naples conceived the idea of presenting the capital of his newly-acquired kingdom with a Mu- seum which should contain all the collected art treasures inherited under the Farnese bequest.
    [Show full text]
  • Pigtorial Index to Mythological Characters Mentioned In
    PI G TORIAL INDEX TO MYTHOLOGI CAL CHARACTERS MENTIONED IN HAWTHORNE ’ S % WONDER BOOK% BY l L L B E R T H. A E A R O Y C E THESIS PRESENTED FOR THE DEGREE OF BACHELOR OF LIBRARY SCIENC E IN THE ILLINOIS STATE LIBRARY SCHOOL UNIVERSITY OF ILLINOIS JUNE 1 904 U N I V E R S I T Y O F l L L I N O l S THIS IS T O C ERTIF Y THA T THE THESIS P REP A RED UN D ER M Y SU P ERV ISIO N B Y IS A P P R O V ED B Y M E A S F UL F IL L IN G THIS P A RT O F THE REQ UIREM EN TS F O R THE D EG REE HEA D O F D E P A RTM EN T INTRODUCTORY NOTE . The foll owing index i s an attempt t o sel ec t from the res ourc es of the Univers i ty of I llinoi s l ibrary five hundred of the mos t interes t ing pi c tures of the thir ty mythologic al charac ters in ' % % Hawthorne s Wonder book . Thes e are meant to include reproduc tions n of famous works of ar t , and o ther pic tures whi ch , al though l acki g in ar ti stic interes t , il lustrate well some l eg end told of the charac ter ment ioned . The arrangement 1 8 firs t by sub j ec t , sec ond by ti tl e , and third by ar ti s t and gallery wher e preserved .
    [Show full text]
  • A Helping Hand from the Divine. Notes on the Triumphalist Iconography of the Early Theodosians
    A HELPING HAND FROM THE DIVINE. NOTES ON THE TRIUMPHALIST ICONOGRAPHY OF THE EARLY THEODOSIANS Antti Lampinen ABSTRACT This article will provide a contextualised look at the variegated manifestations of how Theodosius and his immediate successors sought to refer to divine support in their triumphalist propaganda. In it, particular attention will be devoted to the ambiguities and double-meanings of a set of intentionally polysemic signifiers with both iconographic and rhetorical roots in the earlier Roman triumphal ideology. These compromises between Christian and more ambiguously ‘non- denominational’ references to divine favour were, I will argue, deployed in an open-ended fashion especially during Theodosius’ early rule – a legitimating technique that seems to have been successful, although its contents should alert us to the insufficiency of seeing Theodosian rulership as monochromatically ‘Christian’. After having been elaborated during the decades around 400, these forms of projecting imperial triumphalism came to play a long-standing part in the East Roman and Byzantine ideology of divine favour.* After Adrianople: barbarian crises and moralistic discourse In September 394, the emperor Theodosius defeated the army of the Western usurper Eugenius and his magister militum Flavius Arbogast in a two-day battle near river Frigidus, in modern-day Slovenia. This victory consolidated the whole empire under his rule and paved way for a series of extensive administrative and custodian arrangements that set the scene for the reigns of Arcadius and Honorius. The narrative permutations of the religious (as well as other) themes affixed to Theodosius’ victory in this battle have now been extensively reviewed in Cameron 2011.1 He has, for instance, decisively dismissed certain previous assumptions, based on Theodoret’s dramatized version of the battle in Book 5 of his Ecclesiastical History, about Eugenius’ army marching under the particular protection of the pagan insignia of Hercules and Juppiter (106f.).
    [Show full text]
  • Hercules: a Hero for All Ages
    Hercules: A hero for all ages Hover the mouse over the panel title, hold the Ctrl key and right click to jump to the panel. 1a) Hercules and the Christians ................................... 1 1b) The Tragic Hero ..................................................... 3 2a) Late Mediaeval Florence and Beyond .................... 6 2b) The Comic Hero ..................................................... 7 3a) The Victorian Age ................................................... 8 3b) Modern Popular Culture ......................................... 9 4a) Herculean Emblems ............................................. 11 4b) Renaissance Literature ........................................ 13 5a) Hercules in France ............................................... 14 5b) A Hero for Children? ............................................ 16 6a) C18th Political Imagery ......................................... 18 6b) C19th-C21st Literature ........................................... 19 7a) Opera ................................................................... 21 7b) Vice or Virtue ........................................................ 22 8) Antipodean Hercules (plenary panel) ................... 24 1a) Hercules and the Christians Arlene Allan (University of Otago) Apprehending Christ through Herakles: “Christ-curious” Greeks and Revelation 5-6 Primarily (but not exclusively) in the first half of the twentieth century, scholarly interest has focussed on the possible influence of the mythology of Herakles and the allegorizing of his trials amongst
    [Show full text]