The Faerie Queene is an incomplete epic poem written by Edmund Spenser (1552/1553 – 13 January 1599), and first published in 1590. Spencer was born in London, but he was acquainted with Irish Faerie mythology. Faeries are legendary and mostly composite figures. In Beast Literature, these figures are referred to as les hybrides or zoomorphic. The image above, by Giovanni Battista Tiepolo (5 March 1696 – 27 March 1770), features a zoomorphic serpent and putti (little angels), composite figures.
Due to its length, The Faerie Queene is an epic poem, but it is not a mock epic. Reynard the Fox is a mock epic as well as anthropomorphic. Its dramatis personae consists of talking animals. As for the The Faerie Queene, it is allegorical. Its Knights each represent a virtue, virtues taught in the Trivium and the Quadrivium. The Faerie Queene is also fantastical (le fantastique).Here the French may use the word “le merveilleux”, and, in the case of the Faerie Queene, “le merveilleuxchrétien.” We may also refer to chivalry. The Faerie Queene features Knights who are allegorical figures. Beneath are illustrations by Walter Crane.
Holiness defeats Error, Walter Crane, 1895-97 (Wiki)
The Middle Ages: Allegories, Hagiographies, Education
During the Middle Ages, readers loved books about the lives of saints and particularly martyrs: hagiographies and martyrologies. The early and Orthodox Church had catalogues instead of hagiographies. These were: the menaion, the synaxarion and paterikon. As for the Western Church, its most successful hagiography was Jacques de Voragine’s Golden Legend. The faithful enjoyed stories of miracles just as children love fairy tales. A belief in magic and miracles can save one from despair. The same is true of Faith and Hope, two of the theological virtues.
The currently neglected notion of virtue is a product of Greco-Roman antiquity Plato, Aristotle, Cicero, Marcus Aurelius and the Bible, but it was adopted by the Church Fathers of the Western Church and the Great Fathers of the Eastern Orthodox Church. (See Church Fathers, Wikipedia, scroll down to Great Fathers.)
The Faerie Queene (see Wikipedia) consists of six (6) Books:
Book One: the virtue of Holiness as embodied with Red Cross knight;
Book Two: on the virtue of Temperance as embodied in Sir Guyon;
Book Three: the virtue of Chastity as embodied in Britomart, a lady knight;
Book Four: a continuation of book four. A three-day tournament is held. When Britomart lifts her mask, Artegal falls in love with her;
Book Five: the virtue of Justice, as embodied in Sir Artegal;
Book Six: the virtue of Courtesy as embodied in Sir Calidore.
Comment
Would that current world leaders were familiar with the virtues, temperance, in particular. The Faerie Queene is about the virtues. Each Knight represents a virtue. Under a current leader, we need Faith, Hope, and Charity because he does not exercise the Cardinal virtues. To a certain extent, The Faerie Queene is rooted in Cortegiano’s The Book of the Courtier (1508-1528).
Walter Crane by Frederick Hollyer, 1886 (Photo credit: Wikipedia)
I am closing this mini-series on art in 19th-century Britain, except for future posts on individual artists: Aubrey Beardsley, Kate Greenaway, Randolph Caldecott, as well as artists who illustrated their own texts, a foremost example being Beatrix Potter.
Walter Crane by his father Thomas Crane (Photo Credit: Wikipedia)
From Abolitionism to Socialism
Immigrants to the United States
The Declaration of Independence
Wage Slavery
However, before closing, I can’t resist taking a closer look at Walter Crane who dared say the “Chicago four” (see Haymarket affair, Wikipedia) had been wrongfully convicted. His contracts were cancelled and he was shipped back to Britain.
As I read about Walter Crane, it occurred to me that slavery laid the foundation for wage slavery and that, consequently, there might be a link between abolitionism and socialism (labour unions).
Most immigrants to the United States were people escaping persecution, poverty, a change of régime, not to mention revolutions or other evils. There was no room in Europe for the Pilgrim Fathers and the Puritans, but there was land in what was or would become the United States.
However, among immigrants to the United States, there were persons seeking far more than the acquisition of a little white house surrounded by a picket fence. They were seeking the privileges that birth conferred upon European aristocrats, and which money might confer upon certain immigrants. Slavery had afforded nearly free wealth to plantation owners. Once a plantation owner had bought his slaves, wealth was within easy reach. Could the same not be done for industrialists?
In fact, the British had laughed when they read the text of the Declaration of Independence (4 July 1876). Britain was about to lose its better-located American colony, but as principal writer of the United States Declaration of Independence, Thomas Jefferson was seeking for the white what the black slaves could not attain and it so happened that Thomas Jefferson owned a large number of slaves.
If there were slaves, all men were not created equal. If there were slaves, the Creator had not endowed man with certain unalienable rights. Finally, if there were slaves, they did not possess a life of their own. They therefore had no rights and could in no way pursue happiness?
I am inclined to think that Jefferson meant what he wrote, but that he was dependent on his slaves to the point of blindness and that he perhaps could not see the blacks as altogether human. He was unable to travel to France, where he spent several years, unaccompanied. He took slaves with him.
Therefore, it is possible that slavery had left in the American mind the thwarted notion that wealthy did not have to earn their wealth, which could serve to explain why an employer hired children and overworked employees he also underpaid. There was a ‘precedent:’ slavery. Workers were not owned, but why should they be paid adequately when the goal of the industrialist was to make as large a profit as possible. This could explain why Walter Crane, a socialist, made himself persona non grata at a gathering of polite society in Boston. Employers had rights: a profit.
Design by Walter Crane (Photo credit: Google Images)
The Gilded Age
a mindset
wage slavery
entitlement, or a “right” to
Slavery could be and was abolished, at a price: Abraham Lincoln was assassinated. But what could not be removed was a mindset. There was a precedent. Slaves had made the plantation owner rich, so factory owners would pay workers a less than adequate salary. Machines had increased productivity and so would employees.
“Increased mechanization of industry is a major mark of the Gilded Age‘s search for cheaper ways to create more product.” (See Gilded Age, Wikipedia.)
In other words, one type of slavery, the enslavement of the blacks, would be followed by another type: wage slavery.
“According to historian Steve Fraser, workers generally earned less than $800 a year, which kept them mired in poverty. Workers had to put in roughly 60 hours a week to earn this much.”
The Haymarket Affair
Walter Crane driven out of the United States
Socialism = Labour Unions
Consequently, abolitionism was followed by socialism or a degree of Marxism. After the Haymarket affair (1886), labour unions would develop. Employees paid union dues to be protected and it occurred to certain new Americans that they too could levy dues from businesses to ‘protect them.’
The Boston socialites who drove Walter Crane out of the United States may have been the wives of wealthy factory employers. In fact, they may have been the wealthy employers themselves. Yet, the social Walter Crane attended in 1891 was a Boston anarchist meeting. How could anarchists drive an artist out of a country? It seems that the expulsion of Walter Crane was a sign of things to come, a ‘precedent.’ A few decades later, McCarthyism arose.
(Photo credit: Google Images)
The Arts and Crafts Movement and Socialism
It should be noted however that although the Arts and Crafts Movementand William Morris are associated with socialism, William Morris owned a company and Kelmscott Press. Machines were used. They were not deemed useless; they were in fact very useful. Members of the Arts and Crafts Movement used machines. These increased the availability, at a reasonable price, of the various elements required to make a home beautiful: fabrics, wallpaper, decorative tiles, glassware, furniture, etc. Two stories merge: the Golden Age of Illustration, illustrations that could be reproduced, and the domestication of art, products that could be manufactured. However, Walter Crane was a member of the Art Workers Guild.
Almost immediately below, a photograph shows Morris & Co.‘s employees weaving at his Merton factory.
The weaving shed in Morris & Co.‘s factory at Merton, which opened in the 1880s
Walter Crane: Women’s Clothing
a woman’s health
liberty
I forgot to mention that Walter Crane was a ‘clothes activist.’ He was “a Vice President of the Healthy and Artistic Dress Union, a movement begun in 1890.” (See Walter Crane, Wikipedia.) Women were forcing themselves into corsets and very tight clothes. Crane therefore militated against tight-fitting garments. Bless him! About two or three decades later, Coco Chanel started designing flexible clothes. Jersey was a fabric Coco Chanel loved.
Conclusion
The impact of the Industrial Revolution cannot be understated. Machines did the work, but our industrialists did not differ substantially from slave-owners. The goal was a profit even if the welfare of workers was put in jeopardy. A profit was a noble goal. People tend to have a good opinion of themselves and they may close their eyes if money is to be gained and even ill-gained.
The Poppy Tile by Walter Crane (Photo credit: Google Images)
The Industrial Age and Socialism
In our discussion of art in Britain during the 19th century, I mentioned that William Morris and Walter Crane were socialist activists. The Industrial Revolution (beginning in the middle of the 18th century) led to an abuse of workers. Workers were often very young, they worked 60 hours a week over 6 days, the noise produced by machines was deafening, repeated movements, crippling, not to mention other detrimental consequences.
William Morris was born to a wealthy family and Morris & Co. was a successful business venture. By and large, employees of Morris & Co. (now Liberty of London and Sanderson [the designs]) were craftsmen, as was William Morris himself. The Kelmscott Chaucer, printed at the Kelmscott Press, named after Morris’ Kelmscott Manor, which he rented, was a modern illuminated manuscript. Morris was a calligrapher and painter as was his friend Sir Edward Burne-Jones. When the Kelmscott Chaucer was published, in 1896, it was as a joint effort and the first two copies were presented to William Morris and Edward Burne-Jones.
However, the work differed from a craft in that it was printed, which made it accessible to several individuals. The books produced by the Kelmscott Press are ancestors to books produced by the current Folio Society. In particular, the paper will not age into a brittle and yellow paper. It is acid-free paper or nearly so. It is the paper used by waltercolour artists and printmakers. An artwork will not otherwise survive.
Such were the books printed by the Kelmscott Press, established in 1881. Liberty of London has to use mechanization or it could not offer fabrics, etc. in bulk. But times have changed. The forty-hour week is no longer a rarity and workers use headphones to deafen the sound. However, the abuse has not ended and the working environments where abuse occurs are not restricted to factories.
Neptune’s Horses by Walter Crane (Photo credit: Wikipedia)
Walter Crane
the arts domesticated
Arts & Crafts exhibition in the US
To keep this post brief, I will focus on Walter Crane’s activities as a member of the Socialistmovement (socialism) to which he was introduced underWilliam Morris‘ influence. As an artist, both he and Morris tried to “bring art into the daily life of all classes.” (See Walter Crane, Wikipedia.) The products of today’s Liberty of London can be described as carriage trade). For instance, the lovely tote bags it sells are not available to the poorer classes, poverty still exists, but it is art domesticated. There is truth however to the saying that no one is sufficiently rich to buy a product that will not last or to overindulge in the trendy.
Crane was not an anarchist, but when domestic and other art designed by members of the Arts and Crafts movement were exhibited in the United States, Walter Crane attended a social in Boston and said that the “Chicago four,” who had been executed, were wrongfully convicted. No sooner did he voice his opinion that he was shipped back to London. Workers were agitating in the hope of bringing the work week down from 60 hours to 48 hours.
On 4 May 1886, during a demonstration, in favour of the 48-hour week, someone threw a dynamite bomb at the police. People then start to shoot. Seven (7) police officers and four (4) civilians died and many more were wounded. The Demonstration took pace at Haymarket Square in Chicago. (See Haymarket Affair, Wikipedia). The Chicago four were the four men who were hanged. Although none had thrown the bomb, one or more of the seven men who who were convicted had built it. One of the convicted men was sentenced to life imprisonment, but seven men were condemned to death. Among the seven, four were hanged, the death sentence of two workers was commuted to life imprisonment, and one committed suicide. Prisoners were pardoned in 1893 by governor John Peter Altgeld. Because of the Haymarket Affair, May 1st became the International Workers’ Day.
According to Wikipedia, “[f]or a long time he [Crane] provided the weekly cartoons for the Socialist organs Justice, The Commonweal and The Clarion. Many of these were collected as Cartoons for the Cause. He devoted much time and energy to the work of the Art Workers Guild, of which he was master in 1888 and 1889 and to the Arts and Crafts Exhibition Society, which he helped to found in 1888.”
However, Walter Crane is best known for his illustrations and, in particular, for his illustrated edition of Edmund Spenser‘s Faerie Queene (1894-96). But he was a socialist activist. William Morris was a card-carrying member, as may have been Walter Crane.
Britomart viewing Artegal
Holiness defeats Error
Florimell saved by Proteus
Conclusion
William Morris and Walter Crane were both associated with at least two of the art movements of 19th-century English. Crane started out with the Pre-Raphaelites as did William Morris. Both were members of the Arts and Crafts Movement, and both were socialist activists. As for the movements, all culminated in the aesthetic movement and art produced as the 19th century drew to a close often displays the curvilinear Art Nouveau style. The borders of Walter Crane’s illustrations for Spenser’s Faerie Queene are an example of Art Nouveau. So are the borders of the Kelmscott Chaucer (see Sources and Resources).
Morris was the giant, the businessman, the coordinator, and immensely eclectic. In Walter Crane, we have the most prolific illustrator of his times. But both realized the industrial revolution had brought misery to workers and, therefore, to the lower classes. Awareness of this misery is associated mostly with William Morris and Walter Crane, but the Arts and Crafts Movement was nevertheless a statement.
Flora’s Feast by Water Crane, 1889 (Photo credit: Google Images)
Japonismeis a French term. It was first used by Jules Claretie(3 December 1840 – 23December 1913) in L’Art français en 1872(French Art in 1872) 1913) in L’Art français en 1872 (French Art in 1872). I chose it to describe, in part, the Golden Age of illustration in Britain. The art work that was flooding Europe after Japan’s Sakoku (locked country) period were mere wood-block prints, or ukiyo-e, but no one questioned their beauty. They were in fact not only genuine art, but in many cases, masterpieces.
the Writer and the Illustrator
In Britain, Japonisme ushered in the Golden Age of illustrations. Both word and art could be reproduced very quickly. An author retained the services of an artist, John Tenniel, who, for his part, retained the services of an engraver or engravers. The engravers of Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass (1871) are the Brothers Daziel.
Although some artists could illustrate their text, which was the case with Beatrix Potter (28 July 1866 – 22 December 1943), the author of The Tale of Peter Rabbit, in most cases, illustrating a book successfully required the collaboration and compatibility of a writer and an artist. The illustrations were then engraved, unless the illustrator was also an engraver.
The Tale of Peter Rabbit by Beatrix Potter (Photo credit: Wikipedia)
Therefore, when JohnTenniel accepted to illustrate Lewis Carroll‘s Alice’s Adventures in Wonderland (1865) and its sequel, Through the Looking-Glass (1871), he and Lewis Carroll had long discussions. John Tenniel was accepting his first commission as the illustrator of children’s literature. Until he agreed to illustrate Lewis Carroll’s Alice, John Tenniel had been working as a political cartoonist for Punchmagazine. He could draw, but the subject matter was brand new. Consequently, if successful, illustrating Alice’s Adventures in Wonderland and Through the Looking-Glass could make history. Besides given that Lewis Carroll was a pioneer in the area of official literary nonsense, his task was all the more challenging. What was John Tenniel to do each time the text grew “curiouser and couriouser”?
Literary nonsense
Edward Lear (12 or 13 May 1812 – 29 January 1888) had published his Book of Nonsense, in 1846, a few decades before the Golden Age of Illustration. In particular, he had popularized limericks, a literary genre, poetry to be precise. Witty literature was not new. It found a rich expression in the Salons of the first half of the 17th century in France and it was, to a certain extent, related to the conceit(la pointe), the witty and ingenious metaphors of the metaphysical poets of 17th-century England. Literary nonsense would become a feature of children’s literature.
The flowers are beginning their masquerade as people. Sir Jonquil begins the fun by Walter Crane, 1899 (Photo credit: Wikipedia)
Alice’s Adventures in Wonderland and Through the Looking-Glass were very successful and all the more so because children had gained importance. Although the mortality rate among children had not abated drastically, advances in medicine allowed parents to expect their children to survive childhood. Queen Victoria married her first cousin, Prince Albert of Saxe-Coburg and Gotha, a Prince consort, and gave birth to nine healthy children who married royals.
Gutenberg continued: the Instantaneous, yet…
Moreover the success of LewisCarroll‘s and Tenniel’s Alice’s Adventures in Wonderland and Through the Looking-Glass, word and art, did make history. Johannes Gutenberg‘s invention of the printing-press in the middle of the 15th century had been major revolution, one of the most significant in European history. Well, a book had been produced that included fine reproductions of beautiful images. Printed books containing printed illustrations had been produced between 1500 and 1865 but Japonisme had eased the task.
The Calligrapher & the Artist
Compared to the labour of monks who copied books one at a time, Gutenberg’s invention made printing a text seem instantaneous, hence the revolutionary character of the invention of the printing-press. Let us also consider that the printing-press led to the growth of literacy which, in 19th-century Britain, was being extended to children as children’s literature was popular. However, if an illustrated book were to be a commercial success, producing the book demanded that word and art match in an almost inextricable manner.
What comes to mind is the collaboration between the calligrapher and the artist who illuminated such books as Books of Hours, laicity’s Liber Usualis. The printing-press had been invented but, as noted above, a good relationship between the author and the illustrator was crucial:
“There was a physical relation of the illustrations to the text, intended to subtly mesh illustrations with certain points of the text.” (See John Tenniel, Wikipedia.)
Japonisme
Printing illustrations, however, constituted a more challenging task than printing a text, a challenge that was eased by Japonisme.First, Japonisme allowed the rapid printing of illustrations. Second, it validated the work of illustrators. But third, it also simplified the duplication of illustrations.
Typically, the art of Japan featured:
a diagonal line crossing a vertical or horizontal line;
flat or lightly shaded colours;
a stark outline;
&c
Composition did not ease a printer’s labour, but flat colours and a stark outline, i.e. the linearity of Japanese wood-block prints, did help the illustrator and the printer. So did the use of flat colours.
Rackham’s work is often described as a fusion of a northern European ‘Nordic’ style strongly influenced by the Japanese woodblock tradition of the early 19th century. (See Arthur Rackham, Wikipedia.)
Rackham’s “Mad Tea-Party”, featured above, exhibits a diagonal line and it is a linear work of art. The colours are poured inside lines, which reminds me of colouring books for children. But note that there are few shadows. The cups and saucer do not cast a shadow, nor does the teapot. As for dimensionality, it is expressed through the use of lines rather than a juxtaposition of shades of the same colour or the juxtaposition of different colours. Wood-block printing allowed for a measure of dimensionality through the use of lighter or darker tones of a colour or colours. However, by and large, Japanese wood-block prints do not show the shadow of the objects they depict.
With respect to linearity, one need only compare Katsushika Hokusai‘s (c. 31 October 1760 – 10 May 1849) “Self-Portrait” and Rackham’s illustration of the “Town mouse and Country mouse”, shown in a previous post. Moreover, draping or dimensionality is achieved by using less lines (pale: close) or more lines (dark: distant).
Self-Portrait by Hokusai (Photo credit: Wikipedia)
Town Mouse and Country Mouse by Arthur Rackham (Photo credit: Wikimedia.org)
Conclusion
Arthur Rackham’s illustrations are close to ukiyo-e(“pictures of the floatingworld”).Walter Crane, however, is the most prolific among Japoniste illustrators of children’s books. He illustrated a very large number of literary works. We are acquainted with his Baby’s Own Æsop (Gutenberg [EBook #25433]), but he also illustrated The Baby’s Own Opera (Gutenberg [EBook #25418]), songs for children. Folklorists, however, had collected and classified a very large number of folk tales.
Illustrators had countless tales to illustrate: those produced by the Brothers Grimm, Hans Christian Andersen, Perrault, Madame d’Aulnoy. Anyone can rewrite the “Little Red Riding Hood” and illustrate it. Carl Larsson illustrated the “Little Red Riding Hood” in 1881. The Arts and Crafts movement was international. (to be cont’d)
I apologize for the delay. My computer is nearly dead and life has a way of making demands.
With my kindest regards. ♥
The Little Red Riding Hood by Carl Larsson (Photo credit: Wikipedia)
For the moment, however, we will glimpse the art of British artists, some of whom had been or were members of the Arts and Crafts movement (1890 – 1920) or had benefited from the broadening of objects and styles considered artistic introduced by the Pre-Raphaelite Brotherhood, founded in 1848. The Pre-Raphaelite Brotherhood conferred acceptability to areas of the visual arts that had seemed marginal in earlier years, such as history painting and the illustration of books, children’s literature especially, and artwork that was reproduced, or prints.
Such movements broke with the constraints of academic painting and introduced a democratization of art. The “beautiful” could be found in a piece of textile or wallpaper, the decoration of a room, or to put it in a nutshell: design. Given the breadth of this subject, I will show art by Walter Crane, Arthur Rackham and Sir John Tenniel. This particular post is an illustrated introduction.
Tenniel, White Rabbit, dresses as herald, blowing trumpet (37)
Tenniel, White Rabbit checking watch (2)
A Mad Tea-Party,Alice in Wonderland by Sir John Tenniel (25) (Courtesy ofThe British Library)
Town mouse and country mouse by Arthur Rackham (Photo credit: Google Images)
Centuries of Childhood
acceptance of childhood
moralistic literature
oral tradition
As it flourished, the illustration of children’s literature reflected a major transformation. Childhood was not born until recently, which can be explained, at least in part, by the high mortality rate among children. Too few reached adulthood. Besides, children’s literature had been put into the service of education. It was didactic and moralistic, or so people thought. (See Philippe Ariès and Centuries of Childhood, Wikipedia.) It was as though children were born tainted with the original sin, a condition baptism did not correct fully.
In literature, Æsopic fables flourished long before Beatrix Potter (Peter Rabbit). There are several illustrators of Æsopic fables who are also, to a large extent, illustrators of Jean de La Fontaine. Jean de La Fontaine retold a large number of Æsopic fables that had been taken away from the realm of oral tradition beginning with Latin author Phædrus (1st century CE) and Greek author Babrius (2nd century CE). (See Phædrus [fabulist], Wikipedia.) These were supposedly didactic, but the Horatian ideal, to inform and to delight, was not always served. Children were delighted and did not necessarily identify with the careless behaviour of a mere grasshopper. The tale was not about the behaviour of children; it was about the behaviour of a grasshopper. Children knew the difference.
Illustrations have solid roots in Western culture. Jean de France, duc de Berry paid a fortune for his illustrated Très Riches Heures. But it could well be that Japonism triggered the British Golden Age of illustration and its large European counterpart. Japan had isolated itself in the 17th century (1633–39). No one could enter or leave Japan under penalty of death. That period of Japan’s history is called the Sakoku period, which ended in 1853 with the forcible entry of the Black Ships of Commodore Matthew Perry.
However, as of 1860, Europe was flooded with Japanese prints. As prints, these were not the unique works of art Europeans created (beginning with the 8th-century Book of Kells). After the invention the printing press, certain books were still illuminated by hand. But, as of 1501, printers no longer left room on a page for an illustrator to illuminate a printed text. The hand-painted printed books produced during the period that spans the invention of printing and the demise of hand-painted books are called incunabula(les incunables).
Contrary to Europeans, the Japanese printed their artwork and these were considered by Europeans to be genuine artwork, despite duplication. Even Vincent van Gogh could afford a Japanese print of which he liked both the style and the subject matter. He did not learn a printing technique, but Henri de Toulouse-Lautrec and Mary Cassatt did. Art had become affordable and it spread to design, to use a broad term. Moreover, certain artists’ Japonism consisted in including the objects of the Orient in their paintings: white and blue porcelain, fans, screens… Many artists also liked the beau idéal Japan proposed.
Ironically, appreciation of Japan’s beau idéal contributed to the emergence of Art Nouveau, Art Deco and, eventually, modernism. Art Nouveau flourished during the golden years of illustration. However, the most significant element Japonism brought to European art was an acceptance of art reproduced: prints.
Japanese artists reproduced their art, called ukiyo-e, using wood block printing. Consequently, they did not adhere to the notion that a work of art should be unique and original. Apprenticeship consisted in attempting to master the art of one’s master. For Japanese artists, beauty was not a matter of taste. They supported the concept of a beau idéal, which meant that, in their eyes, beauty was one of a kind, but not the artwork.
Prints
It is in this respect, the acceptability of prints, that Japonism paved the way for the golden age of illustrations (see Illustration, Wikipedia). Many of us do purchase original art, but a reproduction can provide the same pleasure as the original. Such is the case of my beloved Child Händel. It is an inexpensive copy of a painting by Margaret Isabel Dicksee, but I like it. So did Walter Shaw Sparrow and Ralph Peacock who either compiled, the former, or, the latter, wrote a chapter of Women Painters of the World (Gutenberg [EBook #39000]).
As it happens, a poster by Toulouse-Lautrec may cost millions. Several copies were made, but few are available and the art of Toulouse-Lautrec is considered beautiful by a large number of art lovers. Although beauty is in the eye of the beholder, there is a significant degree of unanimity with respect to the beauty of certain works of art.
Early Illustrators
Jean de La Fontaine‘s Fables were illustrated from the moment they proved successful. As well, given that many were rewritings of Æsopic fables, the stories they told had the merit of being familiar. La Fontaine had several illustrators, the most famous of whom is Gustave Doré. But Doré’s illustrations are monochrome. Wood engravings and etchings, an intaglio technique, may be coloured, but prints are often monochrome art. (See Wood engravingand Etching, Wikipedia.)
However, we are beginning with John Tenniel, Arthur Rackham and Walter Crane. Walter Crane illustrated The Baby’s own Æsop. (See Gutenberg [EBook #25433] and Laura Gibbs’ mythfolklore.net.aesopica). Early illustrations were not coloured. Gustave Doré‘s, illustration of La Fontaine are monochrome pieces. Prints, such as the oriental prints that flooded Europe after the Sakoku period, could be coloured, in which they differed substantially from monochrome prints. Both Arthur Rackham and Sir John Tennielproduced monochrome as well as coloured illustrations and both illustrated Lewis Carroll‘sAlice’s Adventures in Wonderland.
They and Walter Crane are our artists, as space and the nature of weblogs do not allow me to feature Beatrix Potter—who illustrated the books she wrote, the Peter Rabbit stories, Kate Greenaway, and others. All are listed at the foot of this post. Pictures can be found by clicking on the name of the artist. Their work may also be seen at Wikimedia.org. Write the name of the artist and specify Wikimedia.org. However, the art of other illustrators may be shown in future posts.
Sir John Tenniel engaged in nonsense art and Lewis Carroll, in literary nonsense, but Carroll did not write limericks. Nonsense is an umbrella term and, although limericks can be used in children’s literature, they may be not suitable for children. Unlike Walter Crane’s The Baby’s own Æsop, “Hercules and the Waggoner” a fable by Æsop and La Fontaine, and Rudyard Kipling’s “Small boy of Quebec,” which is witty and delightfully naïve, limericks may be crude. But Walter Crane produced Toy Books inspired by Japanese art.
Toy Book by Walter Crane (Gutenberg [EBook #25433])
The Little Red Riding Hood by Walter Crane (Gutenberg [EBook #19993])
Conclusion
I must close this very incomplete post, but we have seen a significant expansion of the areas that could be considered legitimate art, from illustrations to design. Japonism played a role in this expansion and it also played a role in a democratization of art as did the Arts and Crafts movement.
I spent a lifetime in the classroom and wish to praise initiatives such as the Project Gutenberg and the Internet Archives. I didn’t have those precious tools. Æsop’s fables are available online, including lovely illustrations one can also use for to illustrate La Fontaine’s retelling of an Æsopic fable. As for Bestiaria Latina or mythfolklore.net, it is a rich and accurate source of information and also leads to texts. Needless to say, Wikipedia – the free encyclopedia is an excellent and exhaustive source of information as is the monumental Encyclopædia Britannica.
I had prepared a long and informative article that contained a list of illustrators. There was a Golden Age of Illustration (1880 – 1920) and a Golden Age of Children’s Literature (see also Artcyclopedia and Pinterest). However, my post disappeared, with the exception of the earliest draft which, fortunately, contained a list of the e-texts I use most frequently. Posting that information will suffice.
Peace
In fact, I also lost a second post, in its entirety. It was about the Middle East. I still feel that no single nation should fight terrorism. It is a global threat. The terrorist who killed James Foley and Steven Sotloff is a Londoner.
There have been too many lives lost or destroyed since 9/11 and a former administration accrued a huge debt. Such ideologies as Manifest Destiny and Exceptionalism are flawed and they have led to unjustifiable meddling. Terrorists are not a nation; they’re a scourge. Therefore, the wars waged in the 2000s were catastrophic.
I wonder if releasing the prisoners detained at Guantanamo would help put an end to this nightmare? The journalists held in captivity must be rescued or more will die. I feel so sorry for the families, friends and colleagues of these victims.
Having written the above, I trust President Obama and so do most world leaders. He has earned their respect and their admiration. I should add that Americans elected him to the presidency of their country, the United States of America.
This is a very short post, but I do wish all of you an excellent week.
Percy J. Billinghurst, ill. La Fontaine [EBook #25357]
* Could John Rae (ill.) be John Rae Neill (ill.) (12 November 1877 – 19 September 1943)?
La Fontaine, Jean de (1621 – 1695)
[EBook #24108] Fables in Rhyme for Little Folks, by Jean de La Fontaine, translated by John William Trowbridge Larned, ill. John Rae or John Rae Neill (1918) (Wikipedia)
[EBook #25357] A Hundred Fables of La Fontaine. Percy J. Billinghurst, ill.
For La Fontaine, my favourite site is the Musée Jean de La Fontaine. It is La Fontaine’s official and bilingual (French-English) internet site.
La Fontaine wrote many Æsopic fables, so illustrations inspired by Æsop’s fables may also be used to illustrate La Fontaine’s retelling of fable by Æsop.
I have endeavoured to collect all my posts on Jean de La Fontaine (8 July 1621 – 13 April 1695), most of which are also discussions of Æsop‘s Fables. We have now discussed many fables by La Fontaine and Æsop. My list may therefore be incomplete.
Crane was influenced by Japonisme: ukiyo-e prints. In England, Japonism was called the Anglo-Japanese Style. The Alphabet of Old Friends, shown above, one of Crane’s toy books, is an example of Japonism both from the point of view of subject matter (e.g. the heron or crane, the oranges) and style: flat colours, etc.
Pre-Raphaelite Brotherhood and the Arts and Crafts Movement
The Healthy and Artistic Dress Union
However, Crane is usually associated with the Pre-Raphaelite Brotherhood (middle of 19th century) and the Arts and Crafts Movement (1860 and 1910), movements that incorporated the decorative arts and design. William Morris (24 March 1834 – 3 October 1896), a leading member of both movements, designed wallpaper and tiles. Interestingly, Walter Crane designed not only wallpaper, etc., but clothes for women, looser-fitting clothes. He was in fact a Vice President of the Healthy and Artistic Dress Union. This, I would not have suspected.
At first sight, Walter Crane’s moral for the “Fox and the Grapes” seems rather negative, if one focuses on the word disappointment: “The grapes of disappointment are always sour.” However, this moral may serve to lessen cognitive dissonance, if the grapes are deemed sour. Since Æsop‘s Fables are for anyone to retell, morals may differ from author to author.
La Fontaine’s illustrators
Walter Crane was a fine artist. He is the creator of “Neptune’s Horses,” an artwork that is somewhat reminiscent of Hokusai‘s Great Wave off Kanagawa. “Neptune’s Horses” is featured at the very bottom of this post. However, although Crane illustrated Æsop‘s Fables, and, by extension, some of La Fontaine’s Æsopic fables, the most famous illustrators of La Fontaine’s Fables are Jean-Baptiste Oudry, FrançoisChauveau, Jean Ignace Isidore Gérard Grandville, Gustave Doré, and others, some of whom I have already mentioned and some I will mention in future posts.
The Video
YouTube has a lovely video featuring Walter Crane’s art. However, it does not show his illustrations of fables. It does not fully belong to this post. The music is Franz Schubert‘s (31 January 1797 – 19 November 1828) Ständchen, D. 957.
FABLES by Jean de La Fontaine (& Æsop)
(listed in alphabetical order: Boy, Cat, Cock, Fox…
The following list is mostly alphabetical (cha, che, coq, bel). It simply provides the title La Fontaine gave to his Fables. My post are written in English. Sometimes the fable is named in both French and English. They are listed as book (of XII [12]) and number (XII.14)
A rooster, while scratching for grain,
Found a Pearl. He just paused to explain
That a jewel’s no good
To a fowl wanting food,
And then kicked it aside with disdain.
[EBook #25433]
It is within the nature of fables, and literature, to be ambiguous, but not necessarily impenetrably closed. Although Jean de La Fontaine‘s “The Cock and the Pearl” suggests that we do not always see an object’s intrinsic worth nor, for that matter, a person’s intrinsic worth, it may be interpreted differently. “The Cock and the Pearl” presents a riddle as does Walter Crane‘s shortened “Cock and Pearl,” a limerick, or five-line poem, with the rhyme scheme aabba. Its moral is not altogether apparent: “If he ask bread will ye give him a stone?” However, the exemplum, or illustration, makes the limerick clearer. This cock needs food more than he needs jewels.
As for La Fontaine’s full length but very short “Cock and the Pearl,” it has a second exemplumthat further illustrates the first exemplum. This doubling is intentional. In “Le Bûcheron et Mercure” (“The Woodman and Mercury” [1.V.1]), La Fontaine writes that he sometimes provides a “double image,” or second exemplum, which is the case in “The Cock and the Pearl.” Having told about the cock who gives a pearl to a jeweller in exchange for a “crumb of bread,” La Fontaine also tells about a “dunce” who finds a rare manuscript, takes it to a bookstore, and leaves it there in exchange for a gold coin (un ducaton). In “The Cock and the Pearl,” the fabulist himself, transforms the cock into a “dunce.” As a result, the fable is not altogether anthropomorphic.
The First Exemplum
In the first exemplum, or “ìmage,” the finder knows he has unearthed a precious jewel. He would not otherwise take the pearl to a jeweller saying “I think it fine,” « Je la crois fine ». La Fontaine’s translator also writes that the cock scratched up “a pearl of purest ray” and he refers to the jeweller as a beaupremier Lapidaire, i.e. someone the cock does not know or someone who was not recommended to him. La Fontaine then resets his narrative using a mirror-image esthetics or “double image” (“The Woodman and Mercury” [V.1]).
The Second Exemplum
In the second image, a “dunce,” now a man, finds a “manuscript of merit,” takes it to a bookstore and leaves it there in exchange for a gold coin. The word “dunce” is derived from the name of John Duns Scotus[ii] (c. 1266 – 8 November 1308) and, by calling someone a “dunce,” un ignorant or ignoramus, La Fontaine himself provides his fable with an interpretation. The fable is about a dunce or un ignorant. Consequently, although the moral is not summed up in a sentence judiciously placed at the end or beginning of the fable, in “The Cock and the Pearl,” the protagonist of the moral, a cock or a man, is un ignorant or a dunce.
Yet, the “The Cock and the Pearl” invites other interpretations, but the use of the word “dunce” (un ignorant, or ignoramus) could say it all, or almost. Fables may be very unkind to humans who often deserve a lesson or two.
The Cock and the Pearl
A cock scratched up, one day,
A pearl of purest ray,
Which to a jeweller he bore.
“ I think it fine,” he said,
“ But yet a crumb of bread
To me were worth a great deal more. ”
So did a dunce inherit
A manuscript of merit,
Which to a publisher he bore.
“ It’s good,” said he, “I’m told,
Yet any coin of gold
To me were worth a great deal more. ”
Wenceslaus Hollar, illustrator
However, in the Middle Ages, “The Cock and the Jewel” was the first fable of a widely-used grammar book. (See “The Cock and The Jewel,” Wikipedia). In France, this grammar book was called the Ysopet-Avionnet,[i] which suggests a combination of the two traditions of Æsopic fables: the Latin tradition and the Greek. At one point, it was believed the word ‘Ysopet’ [a diminutive of Ésope] stood for the Latin tradition and that the word ‘Avionnet’ [also a diminutive] referred to Avianus’ popular collection of 42 fables written in Latin, but substantially rooted in the Greek tradition, Babrius’ fables. According to the presentation page of the online Ysopet-Avionnet(please click on the Ysopet-Avionnet) I have used, “[t]he title Ysopet-Avionnet was originally given to the fables of Avianus alone.”
Avianus
However, because the Ysopet-Avionnet contained and still contains 64 Æsopic fables, translated by “Romulus,” and 18, translated by Avian or Flavius Avianus, there had to be a Romulus or a person using the name Romulus as a pseudonym. It would appear, however, that the fables contained in the Ysopet-Avionnet are rooted in both the Latin tradition, the fables of Phædrus (c. 15 BC – c. 50 AD), and the Greek tradition, the fables of Babrius (c. 2nd Century CE).
Avianus lived in the 5th century CE, the 400s. His collection of 42 fables, translated into Latin, proved a success. Famed English printer and translator William Caxton (ca. 1415~1422– ca. March 1492) printed Avianus’ 42 fables in the 15th century (1484) and then translated them into English naming his collection TheFables of Avian.
Le Coq et la Perle
Un jour un Coq détourna
Une Perle, qu’il donna
Au beau premier Lapidaire.
“ Je la crois fine, dit-il ;
Mais le moindre grain de mil
Serait bien mieux mon affaire.”
Un ignorant hérita
D’un manuscrit, qu’il porta
Chez son voisin le Libraire.
“Je crois, dit-il, qu’il est bon ;
Mais le moindre ducaton
Serait bien mieux mon affaire.”
(Photo credit: Gutenberg [EBook #18732])
The Moral
“The Cock and the Jewel” is the first fable of the Ysopet-Avionnet where it is entitled “Du coc et de l’esmeraude” (“The Cock and the Emerald”), in old French, and “De Gallo et Iaspide,” in Latin. “The Cock and the Emerald” most certainly owes some of its prominence to its being the opening fable in a widely-used textbook. The Ysopet-Avionnet can be read online (please click on the title) but the jewel is an emerald rather than a pearl and the fable entitled “Du coc et de l’esmeraude,” “The Cock and the Emerald” (“De Gallo et Iaspide”). Therefore, the pearl is a function and so is the cock himself. In other words, the pearl’s role could be played by any precious jewel. As for the cock, La Fontaine transforms him into a human being before our very eyes.
“Du coc et de l’esmeraude:” The Moral
More importantly, however, “Du coc et de l’esmeraude” has a moral. Unlike more modern translations of Æsop’s fables, “Du coc et de l’esmeraude” does not present a riddle. It has in fact a long moral according to which the stone, the emerald, means wisdom and the cock, folly. The fool is foreover a fool and he cannot stay still. Fools have no stability, or fermeté. The online edition I have used is dated 1919, and is based on three manuscripts of the 14th century (Brussels, Bibl. roy. 11193; Brit. mus. Add. 33781; Paris, Bibl. nat. fonds franç. 1594). It was edited by Kenneth McKenzie and A. Oldfather and published by the University of Illinois. However, the French is old French. (See Ysopet-Avionnet.)
Jean de La Fontaine
Which takes us back to La Fontaine. The moral of his “Cock and Pearl” is somewhat veiled, but thinly so. As noted above, the finder goes to the beaupremier Lapidaire (jeweller) and is called un ignorant (ignoramus). He is a “dunce,” in an English translation. Fables being anthropomorphic, i.e. humans in disguise, the “dunce” fares poorly among humans. If such persons can settle for a “crumb of bread,” they are unlikely to choose a good leader or a good spouse. As well, it would also be difficult for a “dunce” to tell right from wrong. Dunces may, in fact, be so foolish as to believe they are harming others when they are harming themselves. To La Fontaine’s “double image,” or two exempla, we could add a third or a fourth exemplum. But the moral of the fable would always be that fools are fools and will forever remain fools. Other fabulists have offered different interpretations, but it could well be that “The Cock and the Pearl” is about human folly and fools. Fools cannot see the intrinsic value of an object or human being.
“The Cock and the Pearl” is also the first fable of Marie de France‘s (1160-1210) famous collection, where “The Cock and the Pearl” is entitled “Del cok e de la gemme” (“The Cock and the Gem”). Normandy-born Marie de France lived in England. She will be discussed in a later post. However, in closing, I should point out that according to Wikipedia’s entry on “The Cock and the Jewel,” this fable can be compared to Zen Buddism‘s kōan, a story, dialogue, question, or statement, that may provoke “great doubt.” (See kōan, Wikipedia.) I must end this post as it is already far too long. However, I will first provide the English translation, by Harriet Spiegel,[iii] of Marie de France’s moral for “Del cok e de la gemme.” True to anthropomorphism, the moral begins with a “Many people are like this…”
The Cock and the Gem
Many people are like this
When something does or suit their wish.
What for the cock and gem is true
We’ve seen with men and women too:
They neither good nor honour Prize;
The worst they seize; the best, despise.
Marie de France, illuminated manuscript
(Photo credit: Wikipedia)
(Please click on the image to enlarge it.)_________________________[i] The Ysopet-Avionnet is available in English, from Amazon.France[ii] “He was known as “Doctor Subtilis” because of the subtle distinctions and nuances of his thinking. Later philosophers in the sixteenth century were less complimentary about his work, and accused him ofsophistry. This led to his name, “dunce” (which developed from the name “Dunse” given to his followers in the 1500s) to become synonymous for ‘somebody who is incapable of scholarship’.” (SeeDuns Scotus, Wikipedia.)
[iii] Harriet Spiegel, editor and translator, Marie de France, Fables (Toronto: the University of Toronto Press, 2000 [1994]), pp. 31-32.
The Fox and the Crane, by Walter Crane (1845–1915)
Photo credit: Gutenberg [eBook #25433]), p. 19
Perry Index 426
Aarne-Thompson Classification Systems 60 (now ATU [Uther])
You have heard how Sir Fox treated Crane:
With soup in a plate. When again
They dined, a long bottle
Just suited Crane’s throttle:
And Sir Fox licked the outside in vain.
THERE ARE GAMES THAT TWO CAN PLAY ATCover Page: Baby’s Own Æsop
Photo credit: Gutenberg [eBook #25433]
(Please click on the image to enlarge it.)
Walter Crane: a Limerick
We are still in the “‘Golden Age’ of British illustration”[i] (see Arthur Rackham, Wikipedia). Walter Crane (1845–1915) created illustrations for Baby’s Own Æsop (1887), Æsop‘s Fables adapted for children. The above illustrations are examples of Art Nouveau (curves…). Famed engraver W. J. Linton (7 December 1812 – 29 December 1897) provided Walter Crane with the limericks, which does not mean he is their author. To the best of my knowledge, the limericks are anonymous. In Æsop and Jean de La Fontaine, the crane is a stork. Consequently, these are functions.
As for the text, it is a limerick version of the Æsopic fable “The Fox and the Stork” and Jean de La Fontaine’s retelling. Limericks are five-line poems and, typically, nonsensical, which is not the case with “The Fox and Crane.” The fable has simply been adapted for children. Limericks can be learned easily and then recited. Their rhyme scheme is AABBA and their meter, the tri-syllabic anapest: two short and a long. Interestingly, the shortened text is inserted in the illustration, suggesting the growing importance of illustrations. Therefore, the limericks have a dual purpose. They suit children and allow for large illustrations.
“The Fox and the Stork,” by Æsop
In Æsop’s fable, the crane (la grue) is a stork (la cigogne) and the limerick, a genuine fable. It is number 426 in the Perry Index and type 60 and AT type 60. The following is V. S. Vernon Jones’ translation of Æsop’s “The Fox and Stork.” [eBook #11339]
A Fox invited a Stork to dinner, at which the only fare provided was a large flat dish of soup. The Fox lapped it up with great relish, but the Stork with her long bill tried in vain to partake of the savoury broth. Her evident distress caused the sly Fox much amusement. But not long after the Stork invited him in turn, and set before him a pitcher with a long and narrow neck, into which she could get her bill with ease. Thus, while she enjoyed her dinner, the Fox sat by hungry and helpless, for it was impossible for him to reach the tempting contents of the vessel.
« Le Renard et la Cigogne » (I.18)
“The Fox and the Stork” (I.18)
Old Mister Fox was at expense, one day,
To dine old Mistress Stork.
The fare was light, was nothing, sooth to say,
Requiring knife and fork.
That sly old gentleman, the dinner-giver,
Was, you must understand, a frugal liver.
This once, at least, the total matter
Was thinnish soup served on a platter,
For madam’s slender beak a fruitless puzzle,
Till all had passed the fox’s lapping muzzle.
But, little relishing his laughter,
Old gossip Stork, some few days after,
Returned his Foxship’s invitation.
Without a moment’s hesitation,
He said he’d go, for he must own he
Never stood with friends for ceremony.
And so, precisely at the hour,
He hied him to the lady’s bower;
Where, praising her politeness,
He finds her dinner right nice.
Its punctuality and plenty,
Its viands, cut in mouthfuls dainty,
Its fragrant smell, were powerful to excite,
Had there been need, his foxish appetite.
But now the dame, to torture him,
Such wit was in her,
Served up her dinner
In vases made so tall and slim,
They let their owner’s beak pass in and out,
But not, by any means, the fox’s snout!
All arts without avail,
With drooping head and tail,
As ought a fox a fowl had cheated,
The hungry guest at last retreated.
You knaves, for you is this recital,
You’ll often meet Dame Stork’s requital.
Jean de La Fontaine
(Photo credit: La Fontaine, ancien site officiel)
(Photo credit: La Fontaine, ancien site officiel)
The Deceiver Deceived or “le trompeur trompé ”
The structure of this fable is that of the “deceiver deceived” or “trompeur trompé.” The fox, as host, serves the crane (la grue) her meal in a flat plate. So the crane, as hostess, serves the fox (le renard) his meal in an urn. Molière used this structure in shorter plays (one to three acts) known as farces, as opposed to grandes comédies (five acts). These shorter plays resemble French medieval farces and facéties as well as comedies belonging to the Italian commedia dell’arte, an improvised comic form where the characters were stock-characters or archetypes, i.e. they always played the same role in plays following the same formula, or plot, as in “Harlequin” Romances.
In short, “The Fox and the Crane” is a farce; a trick played on one character is played on the trickster. It is as though “The Fox and the Stork” were reversed into “The Stork and the Fox,” a mirror image æsthetics.
The Moral of “The Fox and the Stork”
At its simplest level, the moral of this fable is that what harm we do others can be done to us. The trickster may expect retaliation (lex talionis),[i]but not of a military nature. So this fable is a cautionary tale. The stork having been fooled by the fox, the fox can expect anything, and it is fooled the stork.
Yet, what this fable has to teach is an all-encompassing rule. It is the “do not do unto others what you do not wish others to do unto you.” According to Wikipedia,
“[t]he moral drawn is that the trickster must expect trickery in return and that the golden rule of conduct is for one to do to others what one would wish for oneself.”
Wikipedia emphasizes the universality of this rule (see Golden Rule). Let’s scroll down to the Sanskrit tradition.
“In Mahābhārata, the ancient epic of India, comes a discourse where the wise minister Vidura advises the King Yuddhiśhṭhira thus, ‘Listening to wise scriptures, austerity, sacrifice, respectful faith, social welfare, forgiveness, purity of intent, compassion, truth and self-control – are the ten wealth of character (self). O King aim for these, may you be steadfast in these qualities. These are the basis of prosperity and rightful living. These are highest attainable things. All worlds are balanced on dharma, dharma encompasses ways to prosperity as well. O King, dharma is the best quality to have, wealth the medium and desire (kāma) the lowest. Hence, (keeping these in mind), by self-control and by making dharma (right conduct) your main focus, treat others as you treat yourself.’”
—ooo—
“In the best of all possible worlds” (Candide [Leibniz], Voltaire), would the stork or crane have tricked the trickster?
I have endeavoured to collect all my posts on Jean de La Fontaine (8 July 1621 – 13 April 1695), most of which are also discussions of Æsop‘s Fables. We have now discussed many fables by La Fontaine and Æsop. My list may therefore be incomplete.
The ‘Golden Age’ of British book illustration
The illustrations shown in this post are by Walter Crane (1845–1915) who illustrated Æsop‘s Fables adapted for children. Crane lived during the ‘Golden Age’ of British book illustration. His contemporaries were Randolph Caldecott, Kate Greenaway, Arthur Rackham, Sir John Tenniel(Alice in Wonderland), and other celebrated illustrators.
Japonism of Toy Books
Crane was influenced by Japonisme: ukiyo-e prints. In England, Japonism was called the Anglo-Japanese Style. The Alphabet of Old Friends, shown above, one of Crane’s toy books, is an example of Japonism both from the point of view of subject matter (e.g. the heron or crane, the oranges) and style: flat colours, etc.
Pre-Raphaelite Brotherhood and the Arts and Crafts Movement
The Healthy and Artistic Dress Union
However, Crane is usually associated with the Pre-Raphaelite Brotherhood (middle of 19th century onward) and the Arts and Crafts Movement (1860 and 1910), movements that incorporated the decorative arts and design. William Morris (24 March 1834 – 3 October 1896), a leading member of both movements, designed wallpaper and tiles. Interestingly, Walter Crane designed not only wallpaper, etc., but clothes for women, looser-fitting clothes. He was in fact a Vice President of the Healthy and Artistic Dress Union. This, I would not have suspected.
At first sight, Walter Crane’s moral for the “Fox and the Grapes” seems rather negative, if one focusses on the word disappointment: “The grapes of disappointment are always sour.” However, this moral may serve to lessen cognitive dissonance, if the grapes are deemed sour. Since Æsop‘s Fables are for anyone to retell, morals may differ from author to author.
La Fontaine’s illustrators
Walter Crane was a fine artist. He is the creator of “Neptune’s Horses,” an artwork that is somewhat reminiscent of Hokusai‘s Great Wave off Kanagawa. “Neptune’s Horses” is featured at the very bottom of this post. However, although Crane illustrated Æsop‘s Fables, and, by extension, some of La Fontaine’s Æsopic fables, the most famous illustrators of La Fontaine’s Fables are Jean-Baptiste Oudry, François Chauveau, Jean Ignace Isidore Gérard Grandville, Gustave Doré, and others, some of whom I have already mentioned and some I will mention in future posts.
The Video
YouTube has a lovely video featuring Walter Crane’s art. However, it does not show his illustrations of fables. It does not fully belong to this post. The music is Franz Schubert‘s (31 January 1797 – 19 November 1828) Ständchen, D. 957.
FABLES by Jean de La Fontaine (I like the fable entitled “The Man and the Snake” [X.1])
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