Diogenes

painting
John William Waterhouse-Diogenes
Diogenes, 1882, oil on canvas, 208.3 x 134.6 cm.

Waterhouse’s early success of the 1880s was based on classical subjects such as this which show a strong debt to Alma-Tadema. The most famous of the Cynic philosophers, Diogenes (412?-323 BC) pursued the ideal of eliminating non-essential luxuries, thus choosing to live not in a house but in a large tub. Supposedly he would stalk the streets of Athens with the lantern (here shown at his feet) vainly searching for an honest man.

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Saint Cecilia

painting
John William Waterhouse - Saint Cecilia
Saint Cecilia, 1895, oil on canvas, 123.2 x 200.7 cm.

Kneeling on a crimson cushion, the Saint has been playing a small organ in a garden overlooking the sea. Her labours have tired her and she has sought rest in a marble chair, studying an illuminated song-book over which she has fallen asleep. It is twilight; the sun sinks beyond the mountainous horizon, piercing the cypresses with its dying rays. The only sounds are the plash of water from an ancient fountain and the lapping of waves against the hulls of the triremes anchored in the distant harbour. Then, as the shadows lengthen, a more unearthly sound is heard. Two youthful angel musicians appear to serenade the Saint with violin and rebec, imparting an ineffable sweetness to her dreams.

St Cecilia was a Roman virgin martyr who lived in the 2nd or 3rd century AD. Her relics, which are thought to be genuine, are preserved in the basilica of S. Cecilia in Trastevere, a church of very early foundation. Brought up as a Christian, she took a vow of chastity, and, on marrying a Roman nobleman named Valerius, persuaded him to accept sexual abstinence. He agreed on condition that he was allowed to see her guardian angel, whereupon the angel descended and placed garlands of roses and lilies on their heads. Both Valerius and his brother Tiburtius were baptised as Christians, and in due course they and Cecilia suffered martyrdom for their faith.

Cecilia is famous in Christian iconography as the patron saint of music. Her connection with the art appears to stem from the fact that in early accounts of her life she is said to have rejected the sound of musical instruments that greeted her as she entered the house of her betrothed; she had ears only for the heavenly music that required her to remain stainless in soul and body. The connection was established by the 15th century, and from then on she was constantly depicted in her patronal role. While usually shown playing an organ, she does not disdain other instruments, and the idea of her listening to celestial music is frequently introduced by means of upturned eyes and accompanying angel choirs.

– From Christie’s catalogue

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The favourites of the Emperor Honorius

painting
The favourites of the Emperor Honorius
The favourites of the Emperor Honorius, 1883, oil on canvas, 205 x 119.3 cm.

“The Favorites of the Emperor Honorius” by John William Waterhouse portrays Honorius feeding birds which are on the rug in front of him.  The colours of the Emperor’s clothes and the carpet dominate the foreground is in contrast to the councillors seeking his attention, and who along with the attendants are dressed in paler shades. However, the Emperor is also shown as indecisive, his face in shadow, is contrasted to Augustus’s statue in the background.

Honorius is considered as one of the worst emperors during the last period of the Eastern Roman Empire, and during his reign, Rome was sacked for the first time in 800 years. Honorius, whose name in Latin is Flavius Honorius Augustus, (384 – 423) was the Western Roman Emperor from 393 to 423. He was the younger son of emperor Theodosius I, and brother of Arcadius, who was the Eastern Emperor in Constantinople. Honorius’s reign was precarious and chaotic during a period in which the Western Roman Empire was in rapid decline.

In an early history of this period, it is claimed that on hearing the news that Rome had “perished”, Honorius was initially shocked, thinking the news was about a favourite chicken which he had named “Roma”. This painting depicts Honorius feeds his pigeons, indifferent to the news that Rome has fallen. Gibbon states:

“the amusement of feeding poultry became the serious and daily care of the monarch of the West …… passed the slumber of his life, a captive in his palace, a stranger in his country, and the patient, almost the indifferent, spectator of the ruin of the Western empire, which was repeatedly attacked, and finally subverted, by the arms of the Barbarians”

After the Visigothic invasion of Italy in 402, Honorius and the imperial court retired to the remote and heavily defended city of Ravenna. Honorius was timid and generally took little part in public affairs, he was usually passive in nature, and left the running of the empire to his generals and assistants.

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Mariamne Leaving the Judgement Seat of Herod

painting
John William Waterhouse - Mariamne Leaving the Judgement Seat of Herod
Mariamne Leaving the Judgement Seat of Herod, 1887, oil on canvas, 267 x 183.5 cm.

Mariamne, wife of King Herod the Great, going forth to execution after her trial for the false charges brought against her by the jealousy of Salome, the King’s sister, his mother, and others of his family. After Mariamne’s trial and condemnation by the judges appointed by her husband, Herod, who had been passionately attached to his wife, was about to commute the sentence to imprisonment for life, but was urged by Salome to have the sentence carried out, which was accordingly done’ – see Josephus

Mariamne Leaving the Judgement Seat of Herod, video explore the exhibition John William Waterhouse The Modern Pre-Raphaelite, Royal Academy of Arts.

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