A Strange Visitor, a Chow Chow Puppy. Artist: Horatio Henry Couldery. Medium: Pastel. Dimensions: 40 × 42 cm. Private Collection.
Horatio Henry Couldery was one of Victorian England's most prominent animal painters. He was particularly famous for his depictions of cats, kittens, and dogs; in fact, his cat paintings earned him the nickname 'Kitten Couldery'.
Born in Lewisham in 1832, Couldery apprenticed as a cabinetmaker in his youth before studying art at the Royal Academy Schools in London. He exhibited his work at the Royal Academy between 1861 and 1892. His meticulous rendering of fur textures and the finest details was a distinguishing feature of his art. John Ruskin wrote that the details in his painting A Fascinating Tail, exhibited in 1875, couldn't be properly seen without a magnifying glass.
Mooncat. Artist: Denise Warren, Lowell, Massachusetts, USA.
Medium: Oil on canvas. It's one of the artist's contemporary pieces, created as part of the DWarren Fine Art collection.
'...The cat curls once around the moon, and the night, finding no edge, closes its eyes...'
Reynard the Fox is a trickster whose roots trace back to medieval Europe, specifically to the animal epic tradition recorded from the 12th century onward.
He's a fox who survives on cunning; in various tales, he disguises himself as a priest, a pilgrim, or a monk, using wordplay to outwit the animals that summon him to court or stand in his way. These narratives are satires: the clergy, the nobility, the royal court, and the justice system are all mocked through the mask of the animal kingdom.
The source of this scene is a 19th-century edition. The German poet Johann Wolfgang von Goethe transformed the older Reynard material into an epic published in 1794 under the title Reineke Fuchs.
The engraving is from the 1853 edition published in London by William Pickering, translated by Thomas James Arnold, and illustrated by the animal painter Joseph Wolf.
The scene comes from the rooster Chanticleer's formal complaint at court. Reynard sets his sights on the rooster's family, who are protected by high walls and the farm's six strong dogs in the abbey's spacious courtyard. At night, he prowls around the walls, peering through the gate cracks; when he can't approach by force, he changes tactics.
He slips into the courtyard in a monk's habit, holding a document with the Great Seal that proclaims peace between beasts and birds.
The fox claims he's repented, saying he now survives only on water and roots, staying completely away from flesh and blood. He explains he'll perform his daily prayers and hold a vigil for a sick vulture. Then, when he appears before the family, he pulls out his rosary, seems to be praying, beats his chest, and goes on his way. The disguise is pure theater.
And it works..
Once the rooster's family feels secure and begins to roam more freely around the abbey, Reynard strikes from behind a bush; he snatches one of Chanticleer's sons and then keeps up his attacks.
The verses in the book sum up the hypocrisy of the scene: 'He draws his rosary, appears to pray; beats his breast, and goes on his way.' The pretense of prayer is the beginning of the hunt.
Neonates are so full of themselves. "Oh the human race is livestock to us" I don't think you know what livestock is. Do you feed them?Protect them from predators? No. You just ambush people in dark alleys. That's not what a higher being does. That's a bottom feeder. A parasite.
I wish there was a confessional for priests...There's things told in confidentiality that make me question the morality of the congregation members in ways the bible has not prepared me for.