Wednesday 22 January 2014

The Doom Fulfilled

The Doom Fulfilled
Sir Edward Coley Burne-Jones, Bt ARA (1833-1898)


Oil on canvas - 154 x 138 cm

This painting describes the Perseus legend that appears in William Morris's "The Doom of King Acrisius" from The Earthly Paradise.

"The Doom of King Acrisius" in The Earthly Paradise. 5 vols. London: Longmans, Green, 1896.


He beheld the sea,

And saw a huge wave rising mightily

Above the smaller breakers of the shore,

Which in its green breast for a minute bore

A nameless horror, that it cast aland

And left, a huge mass on the oozing sand,

That scarcely seemed a living thing to be,

Until at last those twain it seemed to see,

And gathering up its strange limbs, towards them passed.

And therewithal a dismal trumpet-blast

Rang from the tower, and from the distant town

The wind in answer brought loud wails adown.

       Then Perseus gently put the maid from him,

Who sank down shivering in her every limb,

Silent despite herself for fear and woe,

As down the beach he ran to meet the foe.

       But he, beholding Jove's son drawing near,

A great black fold against him did uprear,

Maned with grey tufts of hair, as some old tree

Hung round with moss, in lands where vapours be;

From his bare skull his red eyes glowed like flame

And from his open mouth a sound there came,

Strident and hideous, that still louder grew

As that rare sight of one in arms he knew:

But godlike, fearless, burning with desire,

The adamant jaws and lidless eyes of fire

Did Perseus mock, and lightly leapt aside

As forward did the torture-chamber glide

Of his huge head, and ere the beast could turn,

One moment bright did blue-edged Herpe burn,

The next was quenched in the black flow of blood;

Then in confused folds the hero stood,

His bright face shadowed by the jaws of death,

His hair blown backward by the poisonous breath;

But all that passed, like lightning-lighted street

In the dark night, as the blue blade did meet

The wrinkled neck, and with no faltering stroke,

Like a God's hand the fell enchantment broke,

And then again in place of crash and roar,

He heard the shallow breakers on the shore,

And o'er his head the sea-gull's plaintive cry,

Careless as Gods for who might live or die.

 — "The Doom of King Acrisius," I, 274-75]

Morris, William.

Wednesday 8 January 2014

William Holman Hunt: Shadow Of Death and The Scapegoat



William Holman Hunt
Shadow Of Death and The Scapegoat

This painting was done in 1870-73 it is Tempera and Oil on canvas. 



The red woollen crown represents the crown of thorns worn by christ at his crucifixion.  The silhouette behind Christ show his fate and the tools of his death. The scrolls of the law and the pomegranate in the right of the picture, the pomegranates symbolise resurrection and the hope of eternal life. The female figure is Mary the mother of Christ.

The colours are very vibrant and rich, especially the vivid red blood coloured wool which grabs attention. 

Shadow of Death links to a prior painting by Hunt, The Scapegoat. The Scapegoat was painted by Hunt 1854-55 (Oil on Canvas). The Scapegoat represents Christ dying for our sins. Scapegoats in old biblical text were sacrificed to God as an offering for the sins of the Jews.


The rainbow represents resurrection, in comparison to the skull at the left side of the painting which shows  death. The red woollen crown likewise represents the crown of thorns worn at the crucifixion. The bright new colours were created by advances in the chemical industry which allowed paints to become more vivid and bright, this paint was available in metal tubes, the use of metal paint tubes allowed the artist to paint on location in the Middle East. The background of mountains show Usdam near Jordan.

By David Monckton, Jamie Tuckey and Emily Thursfield