The Wunderkammer of the Mild Colonial Boy, Esq., a Reactionary Tory Gentleman, who armed only with a Steampowered Babbage Engine and Pure Intentions, wanders the Time Streams and Aetheric Plane gathering an Eccentric Hodgepodge of Curiousities, Frivolities, Whimsicalities and Nonsense.
Q. Why is your Tumblelog called "My Ear-Trumpet Has Been Struck by Lightning"?
A. Because "My Grandmother's Ear-Trumpet Has Been Struck by Lightning" wouldn't fit in the available space.
The Blessed Damozel by Dante Gabriel Rossetti, based on his poem that goes by the same name. The date of this painting confuses me, so I can’t properly put one. I do know, that this version is from somewhere between 1870-1882.
These are the first four stanza’s of his poem:
The blessed damozel leaned out From the gold bar of Heaven; Her eyes were deeper than the depth Of waters stilled at even; She had three lilies in her hand, And the stars in her hair were seven.
Her robe, ungirt from clasp to hem, No wrought flowers did adorn, But a white rose of Mary’s gift, For service meetly worn; Her hair that lay along her back Was yellow like ripe corn.
Herseemed she scarce had been a day One of God’s choristers; The wonder was not yet quite gone From that still look of hers; Albeit, to them she left, her day Had counted as ten years.
(To one, it is ten years of years… . Yet now, and in this place, Surely she leaned o’er me—her hair Fell all about my face… . Nothing: the autumn fall of leaves. The whole year sets apace.)
In her hand, Mary holds a pear, one of the fruits of Paradise, which presents her as the new Eve. The Christ Child sits on her knees and plays with its opposite, a rosary that alludes to the Passion. Saint John, as a boy, stands behind a column, pointing to the Sacred Scriptures that announce Christ’s mission as savior, which is the message that underlies this devout representation of the Virgin and Child. The scene takes place under renaissance architecture in the form of a gallery or observatory open to a garden. Behind it lies a broad landscape with a river.
Between 1515 and 1520, van Orley made several works on the same subject, but this one stands out for its background, as well as for the couple in the garden with their backs to the viewer. These are similar to what is depicted in Jan van Eyck’s Madonna of Chancellor Rolin, at the Louvre in Paris.