File:Rogue Ridehood's Recovery.jpg
Rogue_Ridehood's_Recovery.jpg (720 × 497 pixels, file size: 127 KB, MIME type: image/jpeg)
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Summary
[edit]DescriptionRogue Ridehood's Recovery.jpg |
English: Rogue Riderhood gets dressed after having been rescued from the river |
Date | |
Source | http://www.victorianweb.org/art/illustration/mstone/index.html (Pilip V. Allingham) |
Author | Marcus Stone |
Rogue Riderhood's Recovery by Marcus Stone. Wood engraving by Dalziel. 8.8 cm high x 13 cm wide. Second illustration for the eleventh monthly number of Our Mutual Friend, Chapter Three, "The Same Respected Friend in More Aspects than One" in the third book, "A Long Lane." The Authentic edition, facing p. 388. The setting is Miss Abbey Potterson's riverside public-house, The Six Fellowship Porters, where the apparently lifeless body of the waterman Rogue Riderhood has been taken after a collision between his boat and steamer in the Thames. Having miraculouly been recalled to life, the surly Rogue Riderhood, just finishing dressing, is right; his daughter, Pleasant, is standing centre; and the three figures between her and Miss Potter, standing in the doorway, are Wiiliam Williams, Jonathan, and Bob Glamour. Tom Tootle, in all probability, is the other figure (the aproned waiter) standing in the doorway of the first-floor bedroom. The reader will look in vain for the attending physician, "the gentle Jew and Miss Jenny Wren" (386), to say nothing of Captain Joey. Rogue Riderhood, quarrelsome and obstreperous, is back. But, analsying the illustration as a whole, one is tempted to question both the moment chosen for realisation — rather than the highly dramatic passage in which "The low, bad, unimpressible face is coming up from the depths of the river" (388) and the anxious onlookers withdraw in anticipation of Riderhood's resurrection — and the effectiveness of the overall composition, which does not exploit the possibilities for contrast in terms of poses, expressions, and physical types. Surely the focus should be on the hopeful solicitousness of Pleasant and the surliness of her irrepressible parent, but Stone wastes space on describing in the vaguest possible terms Miss Potterson's first-floor bedroom. Accordingly, one is tempted to speculate about the degree of supervision provided by the author and, indeed, whether he was much involved in the process of illustration at this mid-point of composition and publication. Scanned image and text by Philip V. Allingham.
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 16:13, 1 September 2014 | 720 × 497 (127 KB) | Robert Ferrieux (talk | contribs) | User created page with UploadWizard |
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Camera manufacturer | Canon |
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Camera model | CanoScan LiDE 100 |
JPEG file comment | AppleMark |
Orientation | Normal |
Horizontal resolution | 72 dpi |
Vertical resolution | 72 dpi |
Software used | GIMP 2.4.4 |
File change date and time | 09:43, 19 December 2010 |
Y and C positioning | Centered |
Exif version | 2.2 |
Date and time of digitizing | 16:20, 17 November 2010 |
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Color space | sRGB |
File source | 2 |
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