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| Anonymous photographer Plaster casts of hands and feet ca. 1875-1900 albumen print Rijksmuseum, Amsterdam |
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| Jacobus Ludovicus Cornet Room of Cornelis de Witt in Prison at the Gevangenpoort in The Hague 1844 watercolor Rijksmuseum, Amsterdam |
In the Prison Pen
Listless he eyes the palisades
And sentries in the glare;
'Tis barren as a pelican-beach –
But his world is ended there.
Nothing to do; and vacant hands
Bring on the idiot-pain;
He tries to think – to recollect,
But the blur is on his brain.
Around him swarm the plaining ghosts
Like those on Virgil's shore –
A wilderness of faces dim,
And pale ones gashed and hoar.
A smiting sun. No shed, no tree;
He totters to his lair –
A den that sick hands dug in earth
Ere famine wasted there,
Or, dropping in his place, he swoons,
Walled in by throngs that press,
Till forth from the throngs they bear him dead –
Dead in his meagerness.
– Herman Melville (1864)
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| Giacomo Brogi Vatican Palace Library Salon in Rome, designed by Domenico Fontana (1543-1607) ca. 1856-81 albumen silver print National Gallery of Canada, Ottawa |
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| Henri Fantin-Latour Manet's studio in the Batignolles 1870 drawing Metropolitan Museum of Art, New York |
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| Theodor von Holst The Fairy Lovers ca. 1840 oil on canvas Tate Gallery |
Song of Fairies Robbing an Orchard
We, the Fairies, blithe and antic,
Of dimensions not gigantic,
Though the moonshine mostly keep us,
Oft in orchards frisk and peep us.
Stolen sweets are always sweeter,
Stolen kisses much completer,
Stolen looks are nice in chapels,
Stolen, stolen, be your apples.
When to bed the world are bobbing,
Then's the time for orchard-robbing;
Yet the fruit were scarce worth peeling,
Were it not for stealing, stealing.
– Leigh Hunt (1832)
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| attributed to Paul Nadar Portrait of Sarah Bernhardt ca. 1880 albumen print Rijksmuseum, Amsterdam |
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| Adolphe Mouilleron after Edouard Hamman Andreas Vesalius with corpse on anatomy table ca. 1856 lithograph British Museum |
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| Jacob Joseph Eeckhout Portrait of Petronella de Lange 1835 oil on panel Rijksmuseum, Amsterdam |
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| Calvert R. Jones Temple of Vesta, Rome 1846 salted paper print National Gallery of Canada, Ottawa |
from Adonais: An Elegy on the Death of John Keats
To that high Capital, where kingly Death
Keeps his pale court in beauty and decay,
He came; and bought, with price of purest breath,
A grave among the eternal. – Come away!
Haste, while the vault of blue Italian day
Is yet his fitting charnel-roof! while still
He lies, as if in dewy sleep he lay;
Awake him not! surely he takes his fill
Of deep and liquid rest, forgetful of all ill.
* * *
He has outsoar'd the shadow of our night;
Envy and calumny and hate and pain,
And that unrest which men miscall delight,
Can touch him not and torture not again;
From the contagion of the world's slow stain
He is secure, and now can never mourn
A heart grown cold, a head grown gray in vain;
Nor, when the spirit's self has ceas'd to burn,
With sparkless ashes load an unlamented urn.
– Percy Bysshe Shelley (1821)
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| George Pieter Westenberg The Slypsteenen at Amsterdam 1817 oil on canvas Rijksmuseum, Amsterdam |
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| Gustave Le Gray The Great Wave, Sète 1857 albumen silver print National Gallery of Canada, Ottawa |
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| Adriaan de Lelie Sculpture Gallery (casts from the antique) of the Felix Meritis Society, Amsterdam 1806-09 oil on canvas Rijksmuseum, Amsterdam |
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| Caldesi & Co. Bernieri, London Torso of Nike from the Parthenon (Elgin Marbles) 1857-59 albumen print Rijksmuseum, Amsterdam |
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| Caldesi & Co. Bernieri, London Two of the Three Fates from the Parthenon (Elgin Marbles) 1857-59 albumen print Rijksmuseum, Amsterdam |