John Roddam Spencer Stanhope is considered by some to be a “second wave Pre-Raphaelite”. He was influenced by Edward Burne-Jones, and he was a close friend of Dante Gabrielle Rossetti. He was also uncle to Evelyn De Morgan, whom I have featured previously in this category.
Let’s jump right in. This above painting is another example of allegorical art in which Love has been personified in a mythological way. Shown below is a photograph of the artist next to a portrait painted by his niece, Evelyn De Morgan.
Stanhope was evidently willing to explore themes from Greco Roman Mythology to Christianity. The following painting (for which I did not find a title) apparently depicts the quote from Luke 2: 24 (“Why seek you the living among the dead?”) in which an angel proclaims the resurrection of Christ to the women who have visited his empty tomb on the third day.
Here is a portrayal of an angel expelling Adam and Eve from the Garden of Eden:
I will show one more. This is taken from the myth of Orpheus and Eurydice, another wacked-out lovers’ tragedy from Roman mythology. Guess what? They both die.
I will feature some more paintings from this artist next week.
Perelandra is the second book in the Space Trilogy by C. S. Lewis. Originally, this was my least favorite in the series, but my appreciation for this work has grown since then.
When I first read this story, I didn’t enjoy the planetary landscape as much as that of Malacandra (Mars), but the author’s description of Perelandra (Venus) was more appealing on my second reading years later. The key was that I had to stop thinking like a scientist and, instead, simply enjoy the fantasy. The entire planet is portrayed as a maritime Garden of Eden, complete with floating islands, dragons, fanciful aquatic beasts, and a newly created Adam and Eve.
Eldil and and an Oyarsa are also involved in the affairs of this planet, but the main plot element is a temptation saga in which Dr. Elwin Ransom and Dr. Weston engage in debate as the agents of God and Satan (the Bent One). Some reviewers have expressed the same criticism I initially had: that the dialogue was tedious and slowed the development of the story. Nothing could be further from the truth. By the time I read these passages again, I was more familiar with the writings of Plato and John Milton, and I could recognize these exchanges as a brilliant adaptation from Platonic dialogues and Paradise Lost. Rather than a weak link in the chain, this book stands on its own strength.