Everyone's photos, videos and docs, with the keywords: "allusions"

Nose is a Nose is a Nose

nobody@ipernity.com (Götz Kluge) — Fri, 22 Mar 2019 20:45:10 +0000

Knight Letter (ISSN 0193-886X) of the LCSNA (Lewis Carroll Society of North America), Fall 2017, № 99

Details: snrk.de/knight-letter-links/kl-fall2017

Schnarkverschlimmbesserung

nobody@ipernity.com (Götz Kluge) — Sun, 15 Mar 2015 11:35:27 +0000

Götz Kluge has posted:

·

from www.academia.edu/9964379/Schnarkverschlimmbesserung

[1910]: Illustration by Henry Holiday (illustrator) and Joseph Swain (wood cutter) to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark ("corrected" by Macmillan in 1910)

[1876]: Detail from an illustration by Henry and Swain to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1st edition, 1876)

[1856]: Detail (mirror view) from The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston.

“Improvement” in German is “Verbesserung”. If things get worse, a “Verschlimmerung” has happened. Jokingly (Germans sometimes can do that) we call “Verschlimmbesserung” what has been made worse after someone tried to improve it. That is what the publisher Macmillan did about 100 years ago. They removed a white spot from the illustration by Henry Holiday (illustrator) and Joseph Swain (wood cutter) to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1876). I found this Verschlimmbesserung in a smaller low-quality Snark edition published by Macmillan in 1910.

Perhaps the publisher thought that the white spot was Joseph Swain's mistake. But would Henry Holiday and C. L. Dodgson (Lewis Carroll) have tolerated such a mistake? As these perfectionists wouldn't have accepted any bad craftsmanship, the white spot must have had a purpose:

Mary's and the Baker's Kerchiefs

nobody@ipernity.com (Götz Kluge) — Sat, 27 Dec 2014 10:00:12 +0000

Götz Kluge has posted:

[left]: Redrawn segment from one of Henry Holiday's pencil drafts for the depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark. Below the draft you see a segment of the final – and less daring – illustration.

[right]: John Everett Millais: Redrawn Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner). Below that segment you see a larger segment from Millais' painting.

This example shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark. Even though Holiday copied a face from a face, he reinterprated shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye.

Such kind of pictorial obfuscation should not be a surprise as The Hunting of the Snark is a poem in which readers had been searching textual allusions since 1876. (Too obvuous allusions are too boring.) The focus on textual analysis of the Snark seems to lead us to underestimate Holiday's paralleling Carroll's wordplay with is own means as an graphical artist.

The Flaw was no Flaw

nobody@ipernity.com (Götz Kluge) — Fri, 19 Dec 2014 21:15:46 +0000

Götz Kluge has posted:

See also: www.academia.edu/9964379/Schnarkverschlimmbesserung

In a 1910 edition of The Hunting of the Snark, an alledged error, which is not an error, had been removed. However, the removed white spot had a reason, as you see in the inset. The inset shows a segment from a 1876 edition with the white spot and a segment from The Bone Player (1856) by William Sidney Mount with a white spot (depicting a reflection from a glass).

[left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876).
[right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston.

The removed "error" had a purpose

nobody@ipernity.com (Götz Kluge) — Thu, 18 Dec 2014 06:30:24 +0000

Götz Kluge has posted:

In a 1910 edition of The Hunting of the Snark, an alledged error, which is not an error, had been removed. However, the removed white spot had a reason, as you see in the inset. The inset shows a segment from a 1876 edition with the white spot and a segment from The Bone Player (1856) by William Sidney Mount with a white spot (depicting a reflection from a glass).

Heads by Henry Holiday and Marcus Gheeraerts the Elder

nobody@ipernity.com (Götz Kluge) — Sun, 14 Dec 2014 05:15:36 +0000

Götz Kluge has posted:

513 · · He was black in the face, and they scarcely could trace
514 · · · · The least likeness to what he had been:
515 · · While so great was his fright that his waistcoat turned white-
516 · · · · A wonderful thing to be seen!

This is probably one of the strongest examples for resemblances between graphical elements in Henry Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. Sometimes Holiday mirrored his pictorial quotes: Here Holiday vertically flipped the "nose" of Gheeraert's "head". I flipped it back.

2011-12-12

2014-02-22

As for the image on the top of this page:

[left]: The Banker after his encounter with the Bandersnatch, depicted in Henry Holiday's illustration (woodcut by Joseph Swain for block printing) to the chapter "The Banker's Fate" in Lewis Carroll's "The Hunting of the Snark" (scanned from an 1876 edition of the book)

[right]: a redrawn and horizontally compressed and reproduction of "The Image Breakers" (1566-1568) aka "Allegory of Iconoclasm", an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). Also I flipped the "nose" vertically.

CC BY-NC-ND 3.0 Version, 2000x2000: www.ipernity.com/doc/goetzkluge/36260048

Fun with Allusions

nobody@ipernity.com (Götz Kluge) — Sun, 21 Sep 2014 01:04:27 +0000

Götz Kluge has posted:

I think that Henry Holiday had quite some fun in imagining how the beholders of his illustrations would deal with what they might see. And the cannot hold him responsible for what they see.

Two Bone Players

nobody@ipernity.com (Götz Kluge) — Sat, 22 Mar 2014 14:44:03 +0000

Götz Kluge has posted:

[left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876).

[right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston.

See also: www.academia.edu/9889413/The_Bankers_Face

Thomas Cranmer's Burning

nobody@ipernity.com (Götz Kluge) — Tue, 13 Aug 2013 19:55:21 +0000

Götz Kluge has posted:

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.

The Carpenter and Ahasuerus

nobody@ipernity.com (Götz Kluge) — Sun, 30 Jun 2013 09:25:02 +0000

Götz Kluge has posted:

[left]: Vectorized segment from John Everett Millais: Christ in the House of His Parents aka The Carpenter's Shop (1850).
Location: Tate Britain (N03584), London.

[right]: Vectorized segment from Philip Galle after Maarten van Heemskerck, Redrawn print Ahasuerus consulting the records (1564).
Location: Rijksmuseum, Amsterdam

42 Boxes meet the Iconoclasts

nobody@ipernity.com (Götz Kluge) — Sun, 30 Jun 2013 09:19:22 +0000

Götz Kluge has posted:

[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.

The Butcher and Benjamin Jowett

nobody@ipernity.com (Götz Kluge) — Sat, 22 Jun 2013 08:43:41 +0000

Götz Kluge has posted:

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.

Star and Tail

nobody@ipernity.com (Götz Kluge) — Tue, 11 Jun 2013 19:48:35 +0000

Götz Kluge has posted:

This is about an illustration in a well known book:
Lewis Carroll's and Henry Holiday's The Hunting of the Snark.

[top]: Redrawn segment of the print orartie van de Professor L. Wolsogen over syndroom en de nytlegging van de felue gadaen ... by an anonymous artist (1674). The print now is located at British Museum, BM Satires 1047, reg.no. 1868,0808.3286.

[bottom]: Segment of an illustration by Henry Holiday to the chapter The Hunting in Lewis Carroll's The Hunting of the Snark (1876)

William III, Religion and Liberty, Care and Hope

nobody@ipernity.com (Götz Kluge) — Sat, 01 Jun 2013 18:00:00 +0000

Götz Kluge has posted:

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.

Holiday - Millais - Anonymous - Galle

nobody@ipernity.com (Götz Kluge) — Sat, 08 Jun 2013 20:52:14 +0000

Götz Kluge has posted:

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

42 Boxes, Sheep, Iconoclasm

nobody@ipernity.com (Götz Kluge) — Sat, 08 Jun 2013 20:31:12 +0000

Götz Kluge has posted:

[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.

Thomas Cranmer's 42 Boxes

nobody@ipernity.com (Götz Kluge) — Sun, 23 Jun 2013 19:21:00 +0000

Götz Kluge has posted:

"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, 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.

[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)

Millais, Anonymous, Galle

nobody@ipernity.com (Götz Kluge) — Sun, 02 Jun 2013 08:04:44 +0000

Götz Kluge has posted:

[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

An Expedition Team

nobody@ipernity.com (Götz Kluge) — Fri, 31 May 2013 20:26:39 +0000

Götz Kluge has posted:

Darwin did use tuning forks for experiments with spiders.

201· · You may seek it with thimbles--and seek it with care;
202· · · · You may hunt it with forks and hope;
203· · You may threaten its life with a railway-share;
204· · · · You may charm it with smiles and soap--

I think that The Hunting of the Snark alludes to many events in the Victorian era. Among those, Charles Darwins Beagle voyage, his discoveries and the resulting challenge to religious beliefs surely were important issues to the Reverend Dodgson (aka. Lewis Carroll) and his Snark illustrator, Henry Holiday.

The image:

Illustration by Henry Holiday to the chapter The Hunting in Lewis Carroll's The Hunting of the Snark (1876).

Inset: Charles Darwin, photo probably by Messrs. Maull and Fox, around 1854, see also commons.wikimedia.org/wiki/File:Charles_Darwin_aged_51.jpg.

Inset in inset: Charles Darwin's "I think" sketch of the evolutionary tree (about July 1837, 1st notebook 1837-1838, page 36) compared to a "weed" in the lower left corner of Holiday's illustration. I learned, that Darwin did not keep his notebook secret after the publication of On the Origin of Species, but I do not know of any presentation of his sketch before 1876. Thus, the resemblance between the "weed" and Darwin's evolutionary tree sketch may be purely incidental.

Remarks:
(1) I also left a copy here: commons.wikimedia.org/wiki/File:CharlesDarwinHuntingSnark.jpg, License: CC-BY-SA-3.0
(2) The person on the right side in Holiday's illustration is "The Banker". This figure has different faces in different illustrations.
(3) Henry Holiday may have been inspired by Darwin's "tree of life" sketch when he did his illustrations to Lewis Carroll's The Hunting of the Snark. However, the problem with my guess is, that (as far as I know) the sketch still may not have been known to the public when Lewis Carroll and Henry Holiday worked on The Hunting of the Snark.

Holiday and Gheeraerts I

nobody@ipernity.com (Götz Kluge) — Fri, 31 May 2013 08:21:24 +0000

Götz Kluge has posted:

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.