“The Crystal Ball” (without Skull) – Wyleian Sonnet CCXXIX
The painting with the sonnet just preceding shows for certain
a human skull, the top of which stands clearly by the curtain.
In the early 1950’s someone had the skull removed
by painting curtains over it which hopefully improved.
But Waterhouse was well aware that this young lady, trying
to see into the future with her crystal ball or ‘scrying’,
as part of her clairvoyance would have used the skull as well -
an equally important tool in casting of a spell.
In former times, before the year 2000 BC
the ancient Celts in Britain had used beryl spheres to see
imaginary images of future things or past
on which the Druid fortune-tellers sage predictions cast.
Today, as Angelica says, we’re better to rely
on instinct, wit and simple common-sense to get us by.
Hugh Wyles, September 19th.2008.
Author notes
Art detective work has uncovered the hidden secret of a £350,000 painting after it was "doctored" in the early 1950s. "The Crystal Ball" by John William Waterhouse RA (1849-1917) shows a young model in a red dress gazing into the ball, apparently weaving a spell with the aid of a book and a skull. The study later entered the Pyman collection and eventually hung in the dining room at Glenborrodale Castle, Highland. The painting was sold with the castle when the property changed hands in 1952-3. But the new owner did not like the skull and had it covered by curtains. The picture was later sold and it will be auctioned again at Christies, London. It came into the auction room in its amended state.
But when Martin Beisly, head of the Victorian picture department, and his team began to research its background they came across photographs of the original in The Art Journal, 1909. An X-ray of the picture showed the skull still there. A pigment analysis demonstrated that the original surface was still protected with a layer of varnish which meant the addition could be removed safely. The picture would clean up "quite beautifully", Mr Beisly said.
'Skull emerges from behind the curtains', The Times, 29 October 1994
Its recent sale at Christie’s for £350,000 (pounds) -
a price which, though it may be fair, the whole art world astounds
considering £150 pounds as Waterhouse’s fee
for the painting of the picture in the year 1903.
It’s likely, at the price now paid, its owner can afford
to have the picture expertly and carefully restored.
http://allpoetry.com/poem/4603985
In a list
Please tell me what you think
Comments
1 - 5 of 5
-
This is very intriging indeed
In ancient times of seer's and sage
prophetic sight was all the rage.
Mapping futures examining past
reading the stars, spells to cast
Celtic sphere's and Druids reign
rejoicing the power of the moons refrain
best I could do
Just got home from Daughters birthday party
the theme
the 80"s
lots of fun but consumed 3 coolers
you understand
hehe Moony
-
Dear Hugh, I love both yours and AJ's version of the painting, I like it with the skull in it too. What a pity it was taken out in the first place.
A lovely Sonnet my dear Hugh.
Love Jen
-
Ah, more intrigue, the skull
as an instrument, as well.
But, of course, to touch
the center of knowledge,
to read what is held within,
as intuitive as the crystal ball.
On one of the pages offering info
about the painting, there was a fascinating
image, a beautififul morphing of the painting.
A story in itself, old methods, new technology.
The poet/tescher excells again,
and with excellent concluding moral
as proposed by Angelica.
M-C-Patra
-
Dear Hugh,
Your Sonnet that follows mine is most informative as to the history of why the skull was covered by the curtain.
I hope the new owner does restore the skull as that is where it's meant to be seen.
I was very pleased when you said you would write a Sonnet about the skull being missing. I have put the link to it on my Sonnet.
A very beautiful and worthy addition to your Wyleian Sonnet collection..
Love and hugs
Bea 
-
It's hard to say whether I think that painting should have been restored to its original or left the way it was. I sort of think it adds to the interest of the story to leave it in its adulterated condition.
Of course good taste suggests it be changed back to its original state.
How odd they spend that much money for a painting they weren't even informed enough about to know that the skull had been painted over. I have a feeling if I paint a big, braces filled smile on the Mona Lisa, someone's going to know it's been altered!
See, we learn stuff on AP...it's not just a playground.
Adding your comment:
1 - 5 of 5
