When it comes to Western mythology, we naturally think of ancient Greek mythological heroes such as "Venus", "Athena", "Zeus" and "Apollo". However, Britain actually has its own mythological system. Although, its origin is far less ancient than ancient Greek mythology.
However, a large number of artists also express interesting Themes of British mythology in their works. Different artists interpreted the stories, reflecting the styles, forms and preferences of their time. In their works we can see everything from the Victorian Neo-Baroque to The Fauvism.
Lear and Cordelia in 1876
John Rogers Herbert
Nottingham City Museum and Gallery
Let's start with a gorgeous painting of King Lear (the legendary founder of Leicester), which is with his daughters.
The costumes and architecture here are Italian-style, and Lear's posture represents justice, even Solomonism, giving an English myth the aura of the Old Testament and classical world.
Herbert's painting is stylistically comparable to William Calder Marshall's 19th-century bronze sculpture Seblina Thrown into the River Cévenne.
Sebrina was thrown into the River Severn
William Calder Marshall
Worcester City Museum
The story of Sabrina drowning along with her mother by her father's ex-wife Gwendoren is found in The Book of Jeffrey in Monmouth's History of the Kings of Britain). The sculpture has curved nudes, somewhat like bernini's painting of Apollo and Daphne in Greek mythology in Baroque marble in the Bogaise Arcade.
Similarly, the bronze statue of William Goscomb John depicting Merlin holding a young King Arthur (probably late 19th century) not only uses a medium favored by Renaissance artists, but is also reminiscent of the Christian portrait of Saint Simon, acknowledging the divinity of the Son of Christ in the Temple and St. Christopher, with St. Christ holding the baby Christ.
Merlin and Arthur/Merdin, 1902
William Goscomb John (1860-1952)
National Museum of Wales
Merlin is a figure in several medieval versions of King Arthur mythology who marked kingship at the birth of his child and designed the sword in the stone. The old saint's beard, robes, and bare feet conformed to both druid and biblical doctrines.
In these and other 19th-century reinterpretations of medieval English mythology, the media, iconography, and style of the Renaissance gave authority. Perhaps they reflect the concerns of a regime with imperial ambitions, a desire to prove royal blood with ancient stories, or at least to foster a sense of national pride.
St. Columbus rescues captives in 1883
Robert Herdman (1829-1888)
Other works by Perth and the Council of Kinros that may have adopted this approach include Robert Enariti Herdman's San Columba Saving the Captives and Arlète's The Farm Girl in The Normandy Falles.
Arlète, a farm girl from The Falais in Normandy, was first discovered in 1848 by the Duke of Robert le Diabourg
Paul Falconer Poole (1807-1879)
Leicester Museum and Gallery
Another example is Andrea Casari's Edward the Martyr stabbed in the back of Cobh Castle in front of El Frida, which tells the story of the death of Edward, a martyr of king England. It is the work of an Italian artist who lived in England for 25 years, specializing in historical, mythological and biblical subjects.
Edward's martyrdom was stabbed in the back in front of The Coffey Castle in 1761 or earlier, in front of ElFredo
Andrea Casari (1705 - 1784)
Burton Police Department
So in the 19th century, what kind of themes appeared in British mythology?
In the next issue, we'll talk about it.