Thursday, November 16, 2023

Visual Relics (1854-1857)

Félix-Jacques Moulin
Model kissing her Reflection
ca. 1854
hand-colored daguerreotypes (stereograph)
Getty Museum, Los Angeles

Félix-Jacques Moulin
Genre Scene
ca. 1854
albumen print
Princeton University Art Museum

Alban-Adrien Tournachon and Félix Nadar
Pierrot Yawning
1854
salted paper print
Nelson-Atkins Museum of Art, Kansas City, Missouri

attributed to Bruno Braquehais
Model in Diaphanous Gown
ca. 1854
hand-colored daguerreotypes (stereograph)
Getty Museum, Los Angeles

attributed to Bruno Braquehais
Reclining Model in Harem Costume
ca. 1856
hand-colored daguerreotypes (stereograph)
Getty Museum, Los Angeles

Anonymous Photographer
Portrait of Annie Holland
ca. 1855
hand-colored daguerreotype
Chrysler Museum of Art, Norfolk, Virginia

Anonymous Photographer
Portrait of Arthur Holland (postmortem)
ca. 1855
hand-colored daguerreotype
Chrysler Museum of Art, Norfolk, Virginia

Olympe Aguado
Gros Chêne au Bois de Boulogne
ca. 1855
albumen silver print
Getty Museum, Los Angeles

Olympe Aguado
Crossroads in the Bois de Boulogne
ca. 1856
albumen print
Nelson-Atkins Museum of Art, Kansas City, Missouri

Jeremiah Gurney
Mr & Mrs Moses Sperry Beach
ca. 1855
hand-colored daguerreotype
Nelson-Atkins Museum of Art, Kansas City, Missouri

Félix Nadar
Antoine-Samuel Adam-Salomon
ca. 1855
albumen print
Nelson-Atkins Museum of Art, Kansas City, Missouri

Louis-Pierre-Théophile Dubois de Nehaut
Women Stacking Carrots
ca. 1854-56
salted paper print
Metropolitan Museum of Art, New York

Louis-Pierre-Théophile Dubois de Nehaut
La nièce de M. Tahon,
propriétaire de la maison n° 7

ca. 1854-56
salted paper print
Metropolitan Museum of Art, New York

Louis-Pierre-Théophile Dubois de Nehaut
Construction of Commemorative Fountain
1856
salted paper print
Cleveland Museum of Art, Ohio

Oscar Gustave Rejlander
Standing Model
ca. 1857
albumen print
Princeton University Art Museum

Oscar Gustave Rejlander
There He Goes
1857
albumen print
Los Angeles County Museum of Art

Angels Grieving over the Dead Christ

         The epitaphios of Thessaloniki

From those few famous silkworms smuggled
Into Constantinople in the head of a walking stick
Silk waterfalls
Poured from the ancient bolts

Into now-destitute reservoirs
Of church treasuries in Aachen,
In Liège, in Maastricht, in Sens,
In the Sancta Sanctorum of the Vatican,

Bright rivers seeping past
The age when a teaspoonful of
Silkworm eggs the size of one grain
Could endow a church,

The age when the letters in the words
Of sacred testaments were
Unreeled in the coastal cities of Asia Minor,
When a bookworm conspired

To wrest a maze of empty roads
Through the words My Lord –
That ancient, flickering text
Once permanently affixed

By blind but face-picturing, speechless
But law-breaking wooden shuttles,
Now a heap of gold wires displayed
With a crumbling silk vestment someone

Plucked from a shovelful of dust
During one of those treasure hunts conducted
In the burying grounds, in other eras,
A shovelful of dust

Now blowing into your eyes,
As if a storm wind from Paradise
Blew the rumors of this death
So hard you must cover your eyes

Before the museum case.
The late afternoon tugs
At a gold thread you can hear fraying
When you close your eyes,

A thread you feel your way along,
A thread at which the invisible globe pulls,
Leading you to the end of the world
Where there is a pile of

Clothes stolen from the grave,
Where your fear is relegated
To a masterwork of silk slaves –
That He is dead.

Here death is only a flash of worlds
Unfurled from a rifled
Church treasury, and you are invited
To walk this alluvial wave of gold,

To walk in the labyrinths 
Of the angels' howls,
To run your hands along the walls
Of the silk thread's passageways,

To feel with your fingers
The angels' barbaric, stifled,
Glittering vowels
Tightly woven with gold wires.

If you were to tug at one,
Unraveling the angels
Into a vivid labyrinth of thread
From the fourteenth century

Backwards to the scissors blade
A seraph takes to a fragile
Filament of gilt
According to a law still unrevealed,

The shroud would disappear
In the gust of a little breeze
From this door left ajar
Into the next life,

The threshold we cross with closed eyes –
Where angels hide behind their backs
The saws with which they mean
To saw the present from the past,

Oblivious to the scarlet threads
That prove to be hidden among
The filaments, those red rivers
Running through the theme of time

So shockingly – so before you set foot there,
Take heed. This is the work
Of Byzantine silk slaves confined
To the palace grounds at Constantinople,

And you must beware.
There was a way station
On the Silk Road
Where the authorities executed

Traitors in a wooden box
In innumerable, unspeakable ways.
When you touch this shroud from the east
You take that hundred feet of road.

You must walk softly past.
You must try not to look.
The torrent of words – later, later.
Here tongues are cut out,

And that is why the howling
Is mute,
Gilded, herringboned.
Because although this is death,

It is the work of slaves
Whose task was only
To expose the maximum amount of gold thread
To the ceiling price of so many nomismata

Per square inch, in a swift mischief
Of curious knots, of mazes
Flashing past, of straight paths
Made inextricable,

So look again.
The angels wring their hands
Over a statue. They are deranged,
But not by grief. They mourn

Not a body, but a work of bronze.
They do not bring a mortal to the grave.
But we onlookers who grieve and grieve –
We cannot relegate this thought

To a glory woven cryptically
In heavy silks;
We cannot consign it, sweep it off,
For we cannot weigh

In our palms the empty cocoons,
We cannot study
Within the secret workshops
Of the silkworm,

We cannot touch the boiling
Water where the spools whirl,
We cannot learn firsthand
The bleakness of the craft

With which God made the world,
We cannot recount the legend that,
When they met face-to-face, both
God and the worm laughed.

Note: The title is from a description of the Thessalonikian epitaphios in Byzantium, by Paul Hetherington and Werner Forman (London: Orbis, 1983). Hetherington proposes that the epitaphios, an Orthodox liturgical length of cloth, was worn, perhaps, over the heads of priests as they approached the altar to celebrate the Eucharist. The epitaphios of Thessaloniki was discovered in 1900.

– Gjertrud Schnackenberg (Supernatural Love: Poems 1976-1992)