A Note on Richard Hooker's Impact on Pre-Raphaelite Art

William Holman Hunt, The Hireling Shepherd, 1851

Now that Hooker is slowly re-emerging in academic journals and theological discussions, it seems that there is anther area to be explored: Hooker's impact on art. In the 19th century, Keble's edition of Hooker's works were widely read. This passage from the ODNB perfectly captures the various connections between Ruskin, Hooker, and the Pre-Raphaelites:

In May 1851 he [Holman Hunt] wrote to the poet Coventry Patmore, who had been responsible for enlisting Ruskin's support, asking to borrow a copy of the works of the seventeenth-century theologian Richard Hooker. He added: 'As however I am obliged to read for my next year's subjects much just now, I hope you will be able to spare it some time'. Hooker provided the theme of The Hireling Shepherd, with its underlying attack on sectarianism for deflecting the clergy from the task of tending their flock. The picture marks out a new direction, in which the symbolism is so arcane as to be virtually impenetrable without a literary gloss. The painting can, however, be enjoyed on many levels. Its sunlit landscape, with its closely observed blue shadows, was painted at Ewell, Surrey, between June and December 1851 and was Hunt's most ambitious attempt at naturalism to date.

Hooker's writing not only impacted Hunt's art, but it also prompted the painter to take social action:

His dislike of narrow sectarianism-which underlies the composition of The Hireling Shepherd and Our English Coasts, 1852-deepened into disgust on his first visit to Jerusalem, where he found squabbling Christian sects vying with each other to convert the poverty-stricken Jews. Bribery was endemic and Hunt was so incensed by the activities of Samuel Gobat, Anglican bishop of Jerusalem, in this respect that in 1858 he published a pamphlet unmasking him (ODNB).

Along with Ruskin's observations about paintings by Tintoretto, Hooker's works must also be included as influences on Hunt's art, including 'The Shadow of Death,' which we looked at a few weeks ago. For more context to the painting, click here.

A Wittgenstein Wochenendbeilage

There are loads more cool things about Wittgenstein. Since his family was minted, he chilled with so many of his generation's elite--especially the artistic elite. I suppose one way of putting it would be that when you walk into the Neue Galerie on 5th Ave., you're pretty much entering Wittgenstein's world.

This painting by Klimt is of Wittgenstein's sister, also known as Margaret Stonborough (1905). Wittgenstein's father also commissioned works by Rodin and fully funded the Vienna Secession building. Basically, he was the sugar daddy for many artists and architects of the various modernist movements. The Vienna Secession was primarily founded by Josef Hoffman, Joseph Maria Olbrich, Otto Wagner, and Koloman Moser.

Wittgenstein not only rubbed shoulders with the gifted artists of his day, but also one particularly mediocre artist, as well. At school, he was two years above Adolf Hitler, despite being born six days after the future Fuhrer. Thirty six years later, Wittgenstein would be on the run from his former schoolmate, and ironically require his assistance. With the advent of the Anschluss, or Germany's annexation of Austria, Wittgenstein was racially classified as a Jew. In order to be reclassified--to receive a Befreiung--as a Mischlinge, the applicant required the personal approval of Hitler. Out of 2100 applications in 1939, Hitler approved 12 (but not because he was stingy or really hated Jews; he was simply too busy designing flamboyant leather uniforms for his troops). The Wittgensteins' sheer wealth, which the Reichsbank had likely been eagerly eyeing for quite some time, definitely made the slim odds seem more in their favour to have their grandfather (and therefore his progeny) reclassified. And it would certainly cost them. In August of 1939, for the hefty sum of 1.7 tonnes of gold and other assets (way over $50 million in our time), the Befreiung was granted. If the Wittgensteins had transferred the money to the Reichsbank a few weeks later (i.e, after the outbreak of the war), it actually would have been considered a war crime, the punishment being death by hanging.

But before Hitler ruined the Wittgenstein's party, Ludwig had met some pretty cool people and tried his hand at a few artistic pursuits, as well. Brahms and Mahler hung out at his house, and Brahms even gave his sister piano lessons.

Wittgenstein's sister commissioned Josef Hoffman to build this desk, which i have not been able to get out of my head since my visit to the Neue Gallerie. Hoffman stained the oak and then rubbed chalk into the wood grain to achieve this effect.

In 1925, Margaret Stonborough also commissioned her brother Ludwig--then a gardener in a nearby monastery--as an architect to design a large house for her in Vienna. Wittgenstein worked alongside Paul Engelmann, his friend from the army. Just to get an idea of how all the modernist movements are intertwined (not necessarily harmoniously), Engelmann had studied under Adolf Loos, who was also a friend of Wittgenstein. Loos basically bashed the Vienna Secession, whose building Wittgenstein's father had financed.

During the building of his sister's house, Wittgenstein also focussed more on sculpture. He had met the sculptor Michael Drobil when they were both in a POW camp, and Drobil had been a member of the Secession, as well.

It's fascinating to contextualise philosophers and artists with their cultural milieu. That being said, i've barely scratched the surface of the modernists, and i welcome any suggested reading.

Addendum:

I got a helpful comment from a reader on Lumberjocks (where i also post my blog), as well as some suggested reading. I thought i would post it here so we can all benefit. Thanks, JL Smith!

As a result of my education (both formal and informal) I have a pretty good grasp of the Vienna Secession particularly from an architectural and painting perspective. I have always found it interesting that the movement imposed no aesthetic dogma but instead focused on producing modern works of art. My understanding of the context beyond the artistic world has always been somewhat limited. I am sure you know that Art and Architectural history professors typically don’t like to teach social and political history. For the most part it seems if one whats to understand the art world in it’s broader context they will have to do it on their own.

I don’t know if these reading suggestions will align with your interests or not but I have read them and found them interesting. They cast a wider net then most art/architectural books do regarding context (the widest context is probably the Judgment of Paris).

These three are by Ross King
The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism

Michelangelo and the Pope's Ceiling

Brunelleschi's Dome: How a Renaissance Genius Reinvented Architecture

Gregory Curtis wrote
The Cave Painters: Probing the Mysteries of the World's First Artists

Philip Steadman wrote
Vermeer's Camera: Uncovering the Truth behind the Masterpieces

The Debate of the Carpenter's Tools

Below is the famous late fifteenth century poem depicting the tools of a carpenter engaged in debate. I was determined to find it when i read a blog post by Christopher Schwarz that mentioned this poem in passing as being included in an older book by Roy Underhill. For a helpful introduction to the poem, click here. Below is the brief forward by James Orchard Halliwell from his 1844 edition of the poem, included in the volume Nugae Poetica: Select Pieces of Old English Popular Poetry, Illustrating the Manners and Arts of Fifteenth Century. I think the title of his book is longer than his little blurb on our poem, but here it is for your enjoyment.

Addendum: Since scrolling all the way down for the footnotes is a royal pain, they're included after every relevant page, but i decided to leave the entire list at the bottom, as well.

1 Shype-Ax. Most likely an ax used for chipping or trimming. See MED, “chip-ax.”

3 Clene hose and clene schone. The sense of these lines appears to be “I will earn you food and drink, but you’ll have to work harder to earn yourself clothing.”

6 Thall. “Thou will.” See MED, “thou.”

7 longys the crafte. Crafte may here refer to the profession of carpenters in general, or the local craft guild of carpenters more specifically.

9 Belte. An “allet maul, hammer; also, a bat or club.” See MED, “betel.”

13 Twybyll. A “kind of ax with two cutting edges; formerly used for cutting mor tices”; see OED, “twibill,” 1.

17 Wymbyll. A name applied to several different kinds of boring tools; see OED, “wimble.”

22 twenti pounde. This is an outlandish sum, perhaps double the amount of an ex perienced master carpenter’s yearly wages.


31 Groping-Iren. A chisel or gouge.

43 ale-wyffe. Brewing ale was a common household industry for women.

48 twenti merke. A mark was two-thirds of a pound; since the Whetstone is speaking of yearly wages, this boast seems more plausible.

53 Adys. An adze is an ax-like tool with a curved blade, used for cutting away wood.

77 seven pens drynke. Seven pence, the rough equivalent of a carpenter’s daily wages, would purchase up to seven gallons of ale (depending on its strength), a comic ally extravagant amount.

79 Lyne and the Chalke. Strings coated in chalk are still used by carpenters for drawing lines on wood to be cut.

87 Prykyng Knyfe. MED and OED quote only this line; if not an awl, this tool is likely to be some other instrument for marking wood.

93 Persore. “An awl, a gimlet, an auger”; see MED, “percer(e).” Lines 100–04 sug gest that this is a drill.

106 schyreff of the toune. Sheriffs originally had considerable local authority in admin istering the royal legal system, but by the later Middle Ages, their impor tance had waned. Nevertheless, the job was typically held by minor gentry, and being ap pointed sheriff would be an honor considerably beyond the hopes of carpenters.

107 Skantyllyon. A gauge, used for measuring the depth of mortises (recesses made in wood for joinery).

120 drynke never peny. A penny’s worth of ale might vary between one-third and one gallon.

139 Brode-Ax. Salzman describes this as “made with a chisel edge, beveled only on one side, which enabled it to follow a marked line accurately” (Building in England, p. 342).

145 Twyvete. Uncertain. OED suggests that this is a double-edged axe, via an etymology endorsed by Wilson (“Debate of the Carpenter’s Tools,” p. 406). Salzman argues plausibly that the tool is a mallet (Building in England, p. 344).

162 a knyght. Though late medieval knighthood was a marker of wealth rather than birth, carpenters would have been extremely unlikely to rise to this rank. The Windlass’s disbelief in lines 167–68 is entirely justified.

163 Wyndas-Rewle. A windlass is an axle or roller used for winding or moving.

179 The devyles dyrte. This expression appears in the Towneley Plays, in the Play of the Buffeting, ed. England, p. 233, line 170. The sense of the insult is “something wretched or excremental.”

183 This seven yere. The customary duration of an apprenticeship.

199 Nother the mayster ne the man. I.e., “neither the master nor his apprentices and journeymen.”

221 Draught Nayle. Uncertain. MED and Salzman suggest that this is a punch for countersinking nails (Building in England, p. 345). Wilson argues that the etymol ogy favors the interpretation of the phrase as a nail-drawer (“Debate of the Carpen ter’s Tools,” p. 468).

279 hym that it dud make. See the introduction to this item.

Footnotes and Textual Notes:

Item 16, THE DEBATE OF THE CARPENTER’S TOOLS: FOOTNOTE

1 If he ever thrives, then he bears himself well [Presumably ironic]

Item 16, THE DEBATE OF THE CARPENTER’S TOOLS: EXPLANATORY NOTES

Abbreviations: MED: Middle English Diction ary; OED: The Oxford English Dictionary;

Title No title or incipit. Halliwell, the poem’s first editor, gave the poem this title, which has been favored in subsequent references. The text begins one-quarter down the page of fol. 23r, with no space separating it from the previous item.

1 Shype-Ax. Most likely an ax used for chipping or trimming. See MED, “chip-ax.”

3 Clene hose and clene schone. The sense of these lines appears to be “I will earn you food and drink, but you’ll have to work harder to earn yourself clothing.”

6 Thall. “Thou will.” See MED, “thou.”

7 longys the crafte. Crafte may here refer to the profession of carpenters in general, or the local craft guild of carpenters more specifically.

9 Belte. An “allet maul, hammer; also, a bat or club.” See MED, “betel.”

13 Twybyll. A “kind of ax with two cutting edges; formerly used for cutting mor tices”; see OED, “twibill,” 1.

17 Wymbyll. A name applied to several different kinds of boring tools; see OED, “wimble.”

22 twenti pounde. This is an outlandish sum, perhaps double the amount of an ex perienced master carpenter’s yearly wages.

31 Groping-Iren. A chisel or gouge.

43 ale-wyffe. Brewing ale was a common household industry for women.

48 twenti merke. A mark was two-thirds of a pound; since the Whetstone is speaking of yearly wages, this boast seems more plausible.

53 Adys. An adze is an ax-like tool with a curved blade, used for cutting away wood.

77 seven pens drynke. Seven pence, the rough equivalent of a carpenter’s daily wages, would purchase up to seven gallons of ale (depending on its strength), a comic ally extravagant amount.

79 Lyne and the Chalke. Strings coated in chalk are still used by carpenters for drawing lines on wood to be cut.

87 Prykyng Knyfe. MED and OED quote only this line; if not an awl, this tool is likely to be some other instrument for marking wood.

93 Persore. “An awl, a gimlet, an auger”; see MED, “percer(e).” Lines 100–04 sug gest that this is a drill.

106 schyreff of the toune. Sheriffs originally had considerable local authority in admin istering the royal legal system, but by the later Middle Ages, their impor tance had waned. Nevertheless, the job was typically held by minor gentry, and being ap pointed sheriff would be an honor considerably beyond the hopes of carpenters.

107 Skantyllyon. A gauge, used for measuring the depth of mortises (recesses made in wood for joinery).

120 drynke never peny. A penny’s worth of ale might vary between one-third and one gallon.

139 Brode-Ax. Salzman describes this as “made with a chisel edge, beveled only on one side, which enabled it to follow a marked line accurately” (Building in England, p. 342).

145 Twyvete. Uncertain. OED suggests that this is a double-edged axe, via an etymology endorsed by Wilson (“Debate of the Carpenter’s Tools,” p. 406). Salzman argues plausibly that the tool is a mallet (Building in England, p. 344).

162 a knyght. Though late medieval knighthood was a marker of wealth rather than birth, carpenters would have been extremely unlikely to rise to this rank. The Windlass’s disbelief in lines 167–68 is entirely justified.

163 Wyndas-Rewle. A windlass is an axle or roller used for winding or moving.

179 The devyles dyrte. This expression appears in the Towneley Plays, in the Play of the Buffeting, ed. England, p. 233, line 170. The sense of the insult is “something wretched or excremental.”

183 This seven yere. The customary duration of an apprenticeship.

199 Nother the mayster ne the man. I.e., “neither the master nor his apprentices and journeymen.”

221 Draught Nayle. Uncertain. MED and Salzman suggest that this is a punch for countersinking nails (Building in England, p. 345). Wilson argues that the etymol ogy favors the interpretation of the phrase as a nail-drawer (“Debate of the Carpen ter’s Tools,” p. 468).

279 hym that it dud make. See the introduction to this item.

Item 16, THE DEBATE OF THE CARPENTER’S TOOLS: TEXTUAL NOTES

Abbreviations: see Explanatory Notes

1 MS: Initial T is two lines tall.

4 wheresoever. MS: wherasever.

8 nothyng. MS: nothnyng.

12 clothe and fede. MS: clothe fede.

41 dey and nyght. MS: dey nyght.

82 thryve. MS: thryv.

124 hym owght. MS: hy owght.

183 prentys. MS: puntys.

224 mayster. MS: maystys.

237 wyrke not. MS: wyrke no.

245 Groping Iren. MS: iren is added above the rest of the line.

268 off. MS: of.

279 gest. MS: yet. Wilson’s emendation.

Apartment Grey Water #4: Shabbat

As previously noted, my 'temporary setup' poses a problem for use on Shabbat due to the use of electricity in operating the pump. This simple solution works well for Shabbat and for the whole week, collecting water used in the sink for flushing the toilet. It seems to yield a lot of water, so i am going to try and get a hold of חסכמים for my taps. These are basically water-aerating filters that significantly decrease the amount of water we use. That in turn can save the electricity needed to heat water for showers, etc. The company that produces them is called Magictech, and they have loads of cool projects going on. Water-Aerating filters are also a more sane/mainstream option.