Spring, for example). It illustrates a verse from the 1859 version of Rubáiyát of Omar Khayyám, which is printed below the picture in McAllister's article:, apparently in pencil and sanguine chalk, by Charles Sargeant Jagger, 1914. Source: McAllister 93. This is very much in the spirit of Jagger's early Bacchanalias (compare it to
"How sweet is mortal Sovranty!" — think some: Others — "How blest the Paradise to come!" Ah, take the Cash in hand and wave the Rest; Oh, the brave Music of a distant Drum!
It is interesting to see that involved in this scene of abandonment, just to the right side of it, an artist with a palette is busy painting. At the heart of the melée itself is a woman clinging to a man in a leopardskin (who is actually looking at the artist). Also to be seen are a cherubic Pan grasping his pipes, the grotesque face and upper part of a satyr, a woman picking grapes, and another woman at the far left, apparently singing.
Image scan, text and formatting by Jacqueline Banerjee. You may use the image without prior permission for any scholarly or educational purpose as long as you (1) credit the source and (2) link your document to this URL in a web document or cite the Victorian Web in a print one. [Click on the image to enlarge it.]
McAllister, I. G. "Rising British Sculptor: Charles Sargeant Jagger." Studio International. Vol. 54 (Nov. 1914-Feb.1915): 84-99. Internet Archive. Contributed by Robarts Library, University of Toronto. Web. 3 June 2017.
Created 2 June 2017