Saturn learns that if you devour your children, you gonna get castrated, 15th century
Luke and I were looking at Hieronymus Bosch’s painting The Garden of Earthly Delights and discovered, much to our amusement, music written upon the posterior of one of the many tortured denizens of the rightmost panel of the painting which is intended to represent Hell. I decided to transcribe it into modern notation, assuming the second line of the staff is C, as is common for chants of this era.
so yes this is LITERALLY the 600-years-old butt song from hell
Bibliothèque nationale de France, Département des manuscrits, Français 12476, detail of f. 10r (Venus bathing). Martin le Franc, Le Champion des Dames (1440)
Demonstrating the frequent medieval practice of eating in the bathtub!
stop assuming all female figurines and statues are depictions of goddesses
there’s a reason you don’t do that for men and it’s that the fact that it’s a statue of a human does not mean it’s a religious figure and you know that
c’mon, surely you can do better than this
this is from 1460 and they all have “that feel” faces
Saint Hedwig’s family from Legend of Saint Hedwig (in the center Hedwig of Andechs and Henry I the Bearded, from left Gertrude, Agnes, Henry II the Pious, Boleslaus, at the bottom Sophia i Conrad the Curly), 14th century
Hendrick Goltzius, Cadmus Slays the Dragon, 1573 - 1617.
A small selection of variations on St. Barbara statues. In some she is depicted carrying the Blessed Sacrament, while in others, she only carries her palm of martyrdom, or the sword with which she was beheaded, and her tower.
Fun on a page, that’s what this illustration is. It shows a city under attack. Two soldiers are prying open the gate with hooks and ropes. Two of their mates decided to try their luck with a more stealthy approach. They cloaked themselves in bushes and are slowly approaching the city walls. In spite of their magic trick they are spotted: the soldier on the wall is waiting for them with a big rock in his hand. A full story captured in a single image, like a modern cartoon: a job well done by this medieval illustrator.
Pic: Göttingen, Staatsbibliothek, Cod. Ms. philos. 63 (15th century).
Portrait of Elizabeth Murray
England (c. 1650)
Oil on canvas, 124 x 119 cm
I think I have seen pictures of this before, in high school maybe, but I don’t remember there being a second person before. I seem to remember this image being cropped differently too, which is very disturbing because now that I see the entire painting, the way I remember it being cropped was very clearly and deliberately intended to remove the person holding the tray of flowers.
Since we’re throwing haymakers at the kyriarchy today, I think this is something that we should really be talking about too, because it happens
ALL. THE. TIME.
Level 1: People of Color from Medieval, Renaissance, and other Early Modern European works were often literally painted over in later decades or centuries.
Level 2: It was very fashionable in a lot of 17th and 18th century paintings to have a Black servant featured in portraits of very important historical figures from European History.
Honestly? They’re practically ubiquitous. A lot of the very famous paintings you’ve seen of European and American historical figures have a Black servant in them that have been cropped out or painted over.
Those silly stock photos from your American History Professor’s Powerpoint?
Your Professor’s PowerPoint for “George Washington”:
The actual painting:
Your professor’s Powerpoint on Jean Chardin:
The actual painting:
PowerPoint on Maria Henriette Stuart (with some commentary about the Habsburg jaw):
But, because of whitewashed history curricula, teachers and professors continue to use the cropped images because they don’t want their lecture to get “derailed” by a discussion about race.
These images are also more commonly seen on stock photo sites, including ones for academic use.
I honestly can’t find anyone really writing about this, or even any analysis on how often the cropped photos are used.
The reason they are so easy to crop out is because of the the artistic conventions which reflect the power hierarchy:
Oil paintings of aristocratic families from this period make the point clearly. Artists routinely positioned black people on the edges or at the rear of their canvasses, from where they gaze wonderingly at their masters and mistresses. In order to reveal a ‘hierarchy of power relationships’, they were often placed next to dogs and other domestic animals, with whom they shared, according to the art critic and novelist David Dabydeen, ‘more or less the same status’. Their humanity effaced, they exist in these pictures as solitary mutes, aesthetic foils to their owners’ economic fortunes.
This is drastically oversimplified, but at least it addresses it directly.
If anyone knows more on any studies or statistical evidence on this tendency, feel free to add it.