Significance of the Lion in English History

Coat of arms of England
with significantly inaccurate anatomy

Lions have held a significant place in English history, symbolizing strength, courage, and nobility. Their presence in heraldry, literature, and the arts underscores their importance in the cultural and political life of England. From the Middle Ages to modern times, lions have been emblematic of power and sovereignty, contributing to the identity and legacy of the nation.

Heraldic Symbolism

The lion is a dominant motif in English heraldry, often appearing on coats of arms, shields, and banners. Its use as a heraldic symbol dates back to the Norman Conquest in 1066, when William the Conqueror introduced the lion as a representation of royal authority and valor. The lion’s association with the monarchy was solidified during the reign of Richard I, known as Richard the Lionheart, who adopted three lions passant guardant (walking with one forepaw raised) as part of his royal arms. These lions continue to be a central element in the Royal Arms of England.

The lion’s presence in heraldry extended beyond the royal family to the nobility and military, symbolizing bravery, leadership, and martial prowess. The lion rampant (standing on one hind leg with forelegs raised) is another common depiction, signifying ferocity and readiness to defend.

Cultural and Literary Significance

Lions have also played a prominent role in English literature and folklore, often depicted as noble and majestic creatures. In medieval bestiaries, lions were described as the king of beasts, embodying virtues such as strength, courage, and nobility. These attributes made the lion an ideal symbol for the English monarchy and aristocracy.

In literature, lions appear in numerous works, from the medieval epic “Beowulf,” where they symbolize noble qualities, to Shakespeare’s plays, where they often represent power and authority. One of the most famous literary lions is Aslan from C.S. Lewis’s “The Chronicles of Narnia.” Aslan, a Christ-like figure, embodies wisdom, sacrifice, and redemption, reinforcing the lion’s association with noble and virtuous leadership.

The Lion in Art and Architecture

The lion’s significance is also evident in English art and architecture. Statues and sculptures of lions are common features in public spaces, symbolizing protection and guardianship. The famous lions in Trafalgar Square, designed by Sir Edwin Landseer, are iconic representations that commemorate British naval victories and symbolize the nation’s strength and resilience.

One of the four lions designed by Edwin Landseer at the base of Nelson’s Column in Trafalgar Square, London.

In addition to public monuments, lions are frequently depicted in religious and secular art, often representing the power and sanctity of the institutions they adorn. The lion’s image can be found in churches, palaces, and government buildings, reflecting its pervasive symbolic presence.

Historical Figures and Legends

The lion has been associated with several historical figures and legends, further cementing its importance in English history. Richard the Lionheart’s epithet reflects his reputation for bravery and leadership during the Crusades. His association with the lion reinforced the animal’s symbolic connection to royal authority and military prowess.

Saint Mark, whose symbol is the winged lion, was venerated in England, particularly in Venice, which had strong trading ties with England during the Middle Ages. The lion of Saint Mark, often depicted with a book and a sword, symbolized wisdom and strength, attributes that resonated with English values.

Conclusion

The lion’s significance in English history is profound and multifaceted, encompassing heraldry, literature, art, and architecture. As a symbol of strength, courage, and nobility, the lion has played a crucial role in shaping the cultural and political identity of England. From the medieval period to the present day, the lion remains a powerful emblem of the nation’s heritage and enduring spirit. Its presence in various forms of expression underscores the enduring legacy of this majestic creature in the history and culture of England.

Chagall’s Circus: A Kaleidoscope of Color and Movement

Marc Chagal, Le Grand Cirque, 1956, Oil on canvas, Private Collection

Marc Chagall, celebrated for his enchanting and dreamlike artworks, took an extraordinary leap into the vibrant world of the circus, creating a series of masterpieces that transcend the boundaries between reality and fantasy. Through his unique lens, Chagall captured the spirit, energy, and magic of the circus, creating a visual symphony that continues to captivate art enthusiasts worldwide.

The Circus as Inspiration

Chagall’s fascination with the circus was deeply rooted in his personal history. Born in Russia in 1887, he spent his early years surrounded by the lively performances of traveling circuses that visited his hometown. These childhood memories served as a wellspring of inspiration, fueling Chagall’s later artistic exploration of the circus theme.

Marc Chagal, The Horse Rider 1949-53 Scottish National Gallery of Modern Art

A Kaleidoscope of Color

Chagall’s circus paintings are characterized by a riot of colors that dance across the canvas. His unique use of bold, vivid hues creates a sense of whimsy and fantasy, transporting viewers into a realm where gravity seems optional, and reality takes on a dreamlike quality. The circus performers, animals, and acrobats become characters in a fantastical narrative.

The Blue Circus 1950 Marc Chagall 1887-1985 Presented by the artist 1953 http://www.tate.org.uk/art/work/N06136

Acrobats in Flight: Defying Gravity

One of the recurring motifs in Chagall’s circus series is the depiction of acrobats soaring through the air. These gravity-defying figures embody a sense of liberation and transcendence, reflecting Chagall’s belief in the power of art to elevate the human spirit. The fluidity of movement and the harmony between performers evoke a sense of joy and celebration.

Circus Animals: Symbolism and Whimsy

Chagall’s circus menagerie includes a cast of whimsical animals, from prancing horses to winged creatures. These animals are not mere spectators but active participants in the circus spectacle. Through his imaginative lens, Chagall imbues the animals with symbolic meaning, inviting viewers to interpret their roles within the intricate tapestry of the circus.

Love and Romance Under the Big Top

The circus, for Chagall, became a metaphor for love and romance. His paintings often feature amorous couples suspended in mid-air, locked in a tender embrace. These depictions go beyond the physical acts of the circus and delve into the emotional and poetic dimensions of human connection, echoing Chagall’s belief in the transformative power of love.

Chagall’s Unique Artistic Language

Chagall’s circus series showcases his distinctive artistic language, blending elements of Cubism, Fauvism, and Surrealism. His ability to merge diverse styles creates a visual vocabulary that is uniquely his own. The dreamy, fantastical quality of his circus paintings reflects not only the artist’s personal experiences but also his profound optimism and belief in the transcendent nature of art.

Enduring Legacy and Contemporary Impact

Decades after Chagall’s exploration of the circus theme, his works continue to resonate with contemporary audiences. The timeless allure of the circus, coupled with Chagall’s imaginative interpretations, ensures that these paintings remain a source of inspiration and wonder. Exhibitions featuring Chagall’s circus series draw crowds eager to experience the magic and emotion encapsulated within his canvases.

Marc Chagal, Circus Horse 1964

Conclusion: Chagall’s Circus – A Visual Feast

Marc Chagall’s circus series stands as a testament to the artist’s ability to transform ordinary subjects into extraordinary realms of imagination. Through a kaleidoscope of color, movement, and symbolism, Chagall invites viewers to step into a world where the boundaries between reality and fantasy dissolve. The circus, in Chagall’s hands, becomes a visual feast that transcends time, offering a perpetual celebration of the human spirit and the boundless possibilities of artistic expression.

Dwarfism as depicted in European art from the 17th century to the early 20th centuries in Europe

As a subject area, dwarfs were referred to as Midgets whenever they appeaed in newspapers advertising etc. The term “midgets” is considered outdated and offensive today. It’s more appropriate to use terms like “dwarf” or “little people.” That being said, historically, individuals with dwarfism were sometimes employed as court jesters or entertainers in various European royal courts. These individuals were often part of performances and events that amused the royal families and their guests. Later, particularly during the 19th and 20th centuries, participants were referred often as Midgets, as the above photographs show.

In art, the representation of individuals with dwarfism has been both historical and symbolic. Portraits and paintings from different periods may depict court jesters or dwarfs as a reflection of societal attitudes and norms at the time. These depictions could serve various purposes, such as entertainment, curiosity, or emphasizing social hierarchies.

The above card shows the Royal Hungarian Midgets circa 1910. A fairly obscure musical entertainment act headed by ‘Prince Andru’, alledgedly the world’s smallest man, traveling with a small group of dwarfs. Prince Andru apparently stood twenty-seven inches tall, weighed thirty-two pounds and was in his early twenties. The dwarfs perform in a beautiful well- lighted, airy miniature canopy erected on a stage, presenting a high-class program of vaudeville acts with musical numbers.

Whether this group of musicians were forced to do this to survive is not known, but it is possible in late Victorian England they would be seen as a speciality or novelty act. The Times newspaper in December 1913 recorded a dispute that was taken to law at Bow Streeet Court:

Although they had not been singled out for loss of earnings, it must have been disheartening to be considered not worthy of a full day’s pay!

There is a long history of the depiction of dwarfs in Court paintings, especially in Spain. Diego Velázquez, the prominent court painter to the King Philip IV during the 17th century.

Velázquez depicted a court dwarf in the service of King Philip IV of Spain. The title of the painting is commonly referred to as “Portrait of Sebastián de Morra,” although the actual identity of the sitter has been a subject of debate among art historians.

The painting is thought to have been created around 1645 during Velázquez’s second trip to Italy, where he was exposed to various artistic influences. Sebastián de Morra, the subject of the portrait, was a member of the court entourage and was likely employed for the amusement of the royal court. In the painting, Velázquez presents a sensitive and sympathetic portrayal of the dwarf.

One notable aspect of Velázquez’s treatment of the subject is the dignified and humanizing way in which he depicts Sebastián de Morra. Instead of relying on the typical conventions of the time that often sensationalized or exoticized dwarfs, Velázquez presents his subject with a sense of humanity, capturing his individuality and character.

The dwarf is portrayed in a relatively simple setting, emphasizing the direct gaze and engaging expression of Sebastián de Morra. Velázquez pays careful attention to details, such as the rendering of fabrics and textures in the clothing, showcasing his mastery of technique.

The portrait is characterized by its psychological depth and the artist’s ability to convey the humanity of the sitter. Velázquez was a master of capturing the personality and essence of his subjects, regardless of their social status or physical appearance.

“Portrait of Sebastián de Morra” is part of Velázquez’s larger body of work, which includes numerous portraits of the Spanish royal family and court members. It stands as a testament to Velázquez’s skill in portraiture and his ability to transcend the conventions of his time to create empathetic and humane representations of diverse individuals.

Harold Pyott, ‘The English Midget’ was another 19th century performer. According to the HeywoodHistory.com:

‘He was born in Stockport in September 1887 to Isaac and Harriet Pyott, who were both of average height, as were his two sisters. His parents died when he was 12 and he was placed under the care of his uncle, who took him to the local doctor for examination. Harold was found to be ‘normal’ in every way except size and weight. It was reported that he was visited by some of the most eminent doctors in Europe, who declared that he had a ‘strong and healthy constitution, but was certainly the smallest human being they had ever seen’.

Harold then lived at the Edinburgh home of his cousin William Beeley, who became his manager. William is listed in various records as working for the Post Office in both Edinburgh and Stockport. The exhibiting of short-statured people and midgets had been popularised by P.T. Barnum with the famous Tom Thumb (Charles Stratton). Barnum’s novelty act arrived in England in 1844 and Stratton became one the most highly paid and famous performers of the Victorian era. Many similar acts followed, including ‘Major Mite’, ‘Anita the Living Doll’ and of course Harold Pyott, who was billed as the ‘world’s smallest man’ and variously known as ‘Tiny Tim’, the ‘The English Midget’, the ‘English Tom Thumb’, or the ‘Living Doll’.

Harold travelled to various pantomimes and circus sideshows around Britain, Europe and South Africa for 35 years, and he performed before royalty on several occasions. Part of his act involved being carried around on the palm of a man’s hand and sitting in a top hat.’

Isaacs A Van Amburgh, the Aminal Trainer

Isaac A. Van Amburgh was a 19th-century American entertainer known for his performances with wild animals, particularly lions and tigers. He gained fame for his daring and often controversial acts in which he interacted closely with these dangerous animals in front of live audiences.

Isaac van Amburgh and his Animals Inscribed 1839

Oil on canvas | 113.7 x 174.8 cm (support, canvas/panel/stretcher external) | RCIN 406346, Royal Collection

Van Amburgh’s performances were a precursor to the modern concept of animal training and the use of exotic animals in entertainment. He would enter cages with ferocious animals, often using a combination of fear, dominance, and conditioning to control them during his acts. His feats included putting his head inside a lion’s mouth, commanding multiple lions and tigers at once, and engaging in mock battles with them.

While he was praised for his audacity and showmanship, there was also criticism and concern about the treatment of the animals in his care. Many animal rights advocates and observers questioned the ethics of subjecting these creatures to potentially harmful and stressful situations for the sake of entertainment.

Van Amburgh’s popularity waned in the latter half of the 19th century as public sentiment shifted towards more humane treatment of animals. His performances are remembered as a reflection of the attitudes and entertainment preferences of his time, as well as a catalyst for discussions about the treatment of animals in captivity.

Bartholomew Fair Watercolour by Charles Green R.I. (1840 – 1898)

Whilst researching for volume two of the George Wombwell biography, I discovered a November 1949 article in the popular newsapaper The Sphere concerning Charles Green’s depiction of Bartholomew Fair in central London. It referred to its place in a collection under the aegis of The National Gallery of British Sports and Pastimes, which had been founded by Walter Hutchinson (1887 – 1950) during 1949. It consisted of over 3600 paintings, prints and other works, which belonged to Hutchinson and adorned his house in London: Hutchinson House. Formerly known as Derby House, Stratford Place, the house was originally built for Edward Stratford, the Second Earl of Aldborough in 1776 – 1777. The current occupants are the Orient Club which have maintained residence since 1962.

There is a catalogue of items from the collection.

National Gallery of British Sports & Pastimes (LONDON) – The First 600 Selected Pictures. National Gallery of British Sports and Pastimes … List of sports and pastimes, etc. (London, c.1950)

Following Hutchinson’s death, and the breakup of the Sports and Pastimes Gallery, all works were offered up for auction. The current whereabouts of Green’s painting is not known and there is no record of its existence in the Courtauld’s Witt Archives (as of summer 2017). The Sphere article is quite sparce, but describes a busy scene, full of incidents after the manner of Frith. The entertainments include Wombwell’s Menageire (rear left), swings, roundabouts and all the fun of the fair. In the background is the entrance to Bartholomew’s Hospital. It is probably the most representative of all views of Bartholomew Fair, although it must have been painted after 1855, the closing date of the fair.

Green was a well known illustrator for the works of Charles Dickens and other examples of his work can be found in collections such as those of the Victoria and Albert museum in central London.

This painting was excluded from the biography due to insumountable, multiple copyright issues, and is published here for the purposes of non-commercial research or private study, reference, criticism or review or news reporting, of not more than one item (article or page) from any one issue of a newspaper of periodical. Copyright issues should not be allowed to interfere with the discovery of hitherto unknown artworks from being researched and presented for public display.

Any information concering the current location of the watercolour would be gratefully received.